SOUNDING siiorp:s 



173 



it does through a heavy sea air, is strained and 

 changed in the straining process, as we have 

 already noted. At times when it is cold the 

 air is tinged bluish-purple, and everything 

 along the shore takes on a tint in correspond- 

 ence therewith. The waves have a violet hue 

 about them, the sands turn lilac, the rocks grow 

 pallid with bluish shadows. At other times, 

 especially at sunset when the sky overhead is 

 flaming with crimson and scarlet, a reddish 

 tone will spread along the beach, warming the 

 dark cliff-rocks into a strange glow of life, and 

 changing the white dunes into hills of red por- 

 phyry. With the sky overcast and the light 

 falling through filmy clouds the effect is lost 

 in gray, gray shore and cliff and sea ; and when 

 a thin fog is lifting and the sun looks like a 

 shining silver plate, the effect is milky white, 

 blue-white as though seen through opal glass. 

 The shore is very susceptible to influences of 

 light; and any color — dull green, gas-blue, pale 

 yellow, pure pink — may chance to dominate the 

 scene. 



And what of the golden coloring of moonlight 

 that gilds the pinnacles of the cliffs, flashes 

 from the wet sands, and glitters along the tops 

 of the falling breakers ! Vastly impressive 

 when the tide is at its ebb is this moonlight | 



Light 

 effects and 

 shore re- 

 flections. 



Monnlinht 

 alonq the 

 shore. 



