much greater freedom and ease of movement, besides being a decided
economy. Feminine garments are so easily destroyed, but for artistic
effect the substitute cannot conscientiously be recommended.

Beyond the Cross Roads the first chamber is Breckinridge Gallery, a
long, rambling hall in which are combined the attractions already passed
and those yet to come, but having no striking feature predominating to
give special character other than the grandeur of extreme roughness,
which is also the quality most observed on passing into the Stone
Quarry, where great accumulations of blocks seem waiting preparation for
shipment.

The next "open country" is protected from public trespass by the Garden
Wall, which appears to have been well built in the long ago by masons
properly trained in their craft, and extends, at a uniform height, to
the Fallen Flats, where the floor is covered with slabs of enormous size
that have fallen from the ceiling since water occupation ceased, as is
clearly shown by the sharp edges and surfaces entirely unworn.

The journey now becomes more interesting as the Cliff-Climbers' Delight
is reached, and we go steadily up the long nights of stairs until
visions of St. Peter begin to rise and we wonder which way the key will
turn. Near the top is a handsome growth of snow-white mold hanging in
long draperies behind the ladder or spread like on asparagus fern
flattened against the rock.

Arrived at the top limits of the stairs the ascent is by no means
finished, but continues through three large chambers known as Five
Points, the Omaha Bee Office--named by one of the staff of that well
known journal--and the W.C.T.U. Hall, dedicated to the service of the