In their salon of the inn at Avallon were curious emblem pictures of different nationalities:  one a belle of fair hair; another a belle of raven locks; a third a belle of brown ringlets;—­all these for Europe; but for the United States was “a wench as black as coal!” So thought Switzerland of us in the days of 1828.  One lovely day Cooper “persuaded A. to share” his seat on the carriage-box.  Rounding a ruin height “she exclaimed, ‘What a beautiful cloud!’ In the direction of her finger I saw,” wrote Cooper, “a mass that resembled the highest wreath of a cloud; its whiteness greatly surpassed the brilliancy of vapor.  I called to the postilion and pointed out the object. ’Mont Blanc, Monsieur!’ It was an inspiration when seventy miles by an air line from it.  This first view of the hoary Alps always makes a thrilling moment.”

[Illustration:  MONT BLANC.]

Later came morning rides and evening strolls.  The modest stone country-house which they took for economy and the author’s love of quiet home-life was La Lorraine, and belonged to the Count de Portales of Neufchatel.  There was a high field near, where, one day, when Mr. Cooper was teaching his little son Paul the “mysteries of flying a kite,” they caught the rare fleeting glimpse of a glittering glacier. La Lorraine, only half a mile from Berne, is noted as “one of the pretty little retired villas that dot the landscape,” with “the sinuous Aar glancing between” it and the town.  The trim little garden and half-ruined fountain were well shaded by trees, and the adjoining farmhouse and barn-yard, all Swiss, made a fine playground for the children’s summer holiday.  The house and its furniture they found “faultlessly neat.”  There was a near-by common where hoops, rope-jumping, and kites could be enjoyed.  From this point and the cottage windows “was a very beautiful view of the Alps—­an unfailing source of delight, especially during the evening hours.”  Cooper has given some fine descriptions of their life in the glow of this Alpine country; of harvest-time and mountain gleaners.  He tells of a visit to Hindelbank to see the sculptor Nahl’s wondrous idealism in stone, which represents a young mother, the pastor’s wife, and her babe.  The infant lies in passive innocence on its mother’s bosom, while her face is radiant with the light of a holy joy on the resurrection morn.  Her hand is slightly raised in reverent greeting of her Redeemer.  Of this work Cooper writes:  “I take it to be the most sublime production of its kind in the world.”  And they found it in “one of the very smallest, humblest churches in Europe.”

[Illustration:  LA LORRAINE VIEW OF BERNESE ALPS.]

[Illustration:  NAHL’S MEMORIAL TO MADAME LANGHAN.]