July 1945

Vol. XXIV July, 1945 No. 7 Cathedral Peak

THE MONTHLY PUBLICATION OF THE YOSEMITE NATURALIST DEPARTMENT AND THE YOSEMITE NATURAL HISTORY ASSOCIATION

F. A. Kittredge, Superintendent C. F. Brockman, Park Naturalist M. V Walker, Associate Park Naturalist

VOL. XXIV JULY, 1945 NO.7 SONNET TO AN EVENING PRIMROSE

By June Alexander Unearthly, fragile watcher of the night, Shy remnant of the day's more gaudy bloom, Friend of the fairy-ring, to whom the sight Of aerial, gentle magic does assume The commonplace of life, oh not to you The blazing sun a god. You worship lone And mystic evening things—a secret dew— A silver star—a furtive moth; your own Calm moon, bright queen of all that's dark and still You image here on earth, Diana's jewel, As set against the timeless night, you fill The tiny people 's breasts with awe. But cruel The ways of Artemis, who from on high Decreed you serve her only once—and die. Miss Alexander is a local Yosemite girl now attending Fresno State College. Her poem was originally published in the Annual Anthology of College Poetry and is reprinted here by permission of the National Poetry Association, Los Angeles, California.

THUMBNAIL SKETCHES OF YOSEMITE ARTISTS FERDINAND BURGDORFF

By Elizabeth H. Godfrey, N.P.S. Staff Among present day artists who come to Yosemite to paint is Ferdinand Burgdorff, who lives at Pebble Beach, California. "Each fall," writes Mr. Burgdorff, "when the leaves turn to gold and the atmosphere is definitely blue, I long to be in Yosemite." On one such day in late October 1935, Mr. Burgdorff was in the Valley, and captured with his vision the gold and blue atmosphere that is so typical of autumn in Yosemite. He used as his subject a stripling oak near the Ranger Club, vivid in fall color and scintillating in bright sunshine. Sentinel Rock, cast in deep blue haze, looms upward in the background. Mr. Burgdorff presented this painting to the Museum art collection, and because of its rich color contrast and good composition, it commands the attention and admiration of many visitors. "Yosemite," states Mr. Burgdorff, requires first of all very good and faithful drawing and then good composition, because sometimes a tree must be moved here or there, but it must always be so that it actually could be there naturally. Of course one paints the falls, which I did the same as every other painter, and the meadows too. But even so, my aim is always to make the picture like nature, and not an egotistical demonstration of the different colors sold by the art material dealers. " Ferdinand Burgdorff was born in Cleveland, Ohio, November 7, 1882; From boyhood he was keenly interested in everything which was art and nature. After graduating from high school, he attended the Cleveland School of Art, and won all available scholarships. At that time Frederick Remington was painting Indians and Fernand Lungren, noted desert painter, was doing some outstanding landscapes of the Southwest. Burg dorff, impressed by their work, was

Inspired to paint the "Golden West." ture Notes, November 1944). In 1907, he left for Santa Fe, New In 1911, Mr. Burgdorff returned to Mexico. Here he found colorful subCleveland where he exhibited and jects to paint. There were adobe sold many of his paintings. With the houses, Mexican natives bringing proceeds he started out on a twowood from the mountains on burros, year trip around the world. golden cottonwoods against blue In Paris, he studied under Rene skies, and snow-covered peaks in the Menard and Florence Este. He went distance. on to Italy and Greece, spending The first picture he sold was to the three months at Athens. In Egypt he Santa Fe Railroad of an Indian in a painted desert scenes and landblanket wearing a flat-topped hat scapes along the Nile. Going on to and long tan leggings. The Santa Fe the Philippines in 1913, he stayed at used this for a post card and for the Manila for six months. On his way main picture in their book "Indians home he saw Pekin, Shanghai, Nagof the Southwest." The Santa Fe also asaki, and Port Arthur. has another Burgdorff painting which When Mr. Burgdorff returned to the hangs in El' Navajo Hotel at Gallup United States in 1915, he again made — a scene of the Casa Blanca cliff his home in California, but maindwellings which the artist painted tained his interest in the Southwest. during a trip to Canyon de Chelly In 1924, he and Jimmy Swinnerton, National Monument. famous cartoonist, and also an exFrom Santa Fe, Mr. Burgdorff went cellent landscape artist, went to the to California, and after traveling snake dance together at the Hopi about the State, made his home in Villages at Walpi and Oraibi, then the Monterey country where he on to Grand Canyon where they painted the pines and cypress trees lived at Grandview for three months. of that area. As opportunity permitMr. Burgdorff then remained in the ted he would take trips to the SouthSouthwest until 1928. west and travel about that romantic In speaking of Yosemite, Mr. Burgdesert region with horse and wagon. dorff states, "Back in 1910, I was told He had made the acquaintance of by artists and others that Yosemite Fernand Lungren in 1908, and on one was grey and green in color, and not occasion he had the pleasure of acthe glorious gold and blue of the companying the artist whom he so West that I sought for painting. Howgreatly admired, on a trip to the ever, when I went to Yosemite, for Painted Desert, the Hopi Villages the first time in 1917, I found that and the Grand Canyon. At the there are no greys; that the color is Grand Canyon they had a happy that of the rainbow—properly used— meeting with the Yosemite artist depending upon the sunlight and atChris Jorgensen (see Yosemite Namosphere of the moment. There are

greens, yes, but none that can be squeezed out of a tube; they also are part of that same rainbow."

He has been an artist member since the first day of his arrival in San Francisco in 1908. For many years he has exhibited etchings as well as paintings with the Carmel Art Association exhibitions, and in the past has had one-man exhibitions in the east and south, as well as in the State exhibitions in Sacramento and Santa Cruz.

Between 1917 and 1934, Mr. Burgdorff made several trips to the Valley. In 1934, he returned for the purpose of painting the backgrounds of the life zone cases in the Yosemite Museum. In describing this work he states, "It was the happiest work I ever did. I was working with the museum preparator's group in Berkeley, under the direction of Ansel Hall. Mr. Hall requested me to go to Yosemite to paint the backgrounds of several life zone cases, and to be back in Berkeley in two weeks. But to put away the taxidermy exhibits into safety in an upper room, and then paint the board backgrounds with four coats of white took two weeks alone. Then after that, it took five weeks of close, devoted work to paint the backgrounds, to prepare the settings for each life zone case, and restore the taxidermy.

From 1932 to 1936, Mr. Burgdorff spent a considerable portion of the summer and fall months painting in the Valley. He also painted Tioga Pass in winter, showing the High Sierra peaks against blue sky. He has exhibited yearly in the exhibitions of the Bohemian Club of San Francisco, of which he has been a member.

Recently, while vacationing in Carmel, California, Frank A. Kittredge, present Superintendent of Yosemite National Park, met with Mr. Burgdorff in his studio at Pebble Beach. Mr. Burgdorff told Mr. Kittredge that he was doing a bit for the war effort by painting pictures for the U.S.O., Red Cross, Army Nurses' quarters, hospitals, and other war services, and presenting them as gifts. In January 1945, when Superintendent Kittredge received a request for photographs of Yosemite scenery from the Commanding Officer of the destroyer tender, U. S. N. Yosemite, named for Yosemite National Park, he recalled Mr. Burgdorff's generosity, and wrote to him to see if he would like to donate a Yosemite painting to this ship. Mr. Burgdorff replied by return mail that he would be delighted to do so at once. The painting is of the view of the Valley looking east from the Wawona tunnel.

REFERENCES

Information for the above was obtained by the writer through corresponding directly with Mr. Burgdorff and through personal acquaintance. No previously published material was used.

INTO THE HIGH SIERRA

By Bob W. Prudhomme Before the pros and cons of a twenty-four mile hike may weigh too heavily upon our decision we hurry briskly up the canyon trail from Happy Isles. Our destination is Merced Lake, the first of the five High Sierra camps which link Yosemite Valley with the great back country that lies beyond its magnificent walls. It is a cool, clear morning in late July, and the river, bearing its icy waters from the summit peaks, roars down through the boulders and rapids filling the canyon with song. As we cross the Vernal Fall bridge, a water ouzel comes out on a rock close to the swirling waters of the stream where he commences a morning dip. After a minute or two, in which he vanishes under the surface of a green pool, he appears again upon his rock bearing a breakfast treat. Then in a burst of song he flutters down the stream leaving behind a trailing, liquid melody that fades into the voice of the river. It is a strange contrast of delicate beauty blending with the rush of wild waters that leaves us spellbound. We soon reach the Mist Trail and with faces wet with spray continue to the brink of Vernal Fall where we (*) Bob Prudhomme was employed during the summer of 1942 as Museum Assistant. From last reports, he is now PHM 2/c in the U. S. Navy.

may watch its breathless plunge into the canyon. After a brief rest with time allowed to dry out we are on our way to Nevada Fall, the second of the two great waterfalls of the Merced and by far the most impressive, its waters rocketing into mid-air to break into plumes of spray against the cliffs below. At its base the trail passes through a dense grove of Douglas-fir through which one may see the spray blowing down the canyon to leave every shrub and tree glistening and wet. From the top of Nevada Fall our trail drops into the cool, forested spaces of Little Yosemite Valley where now the Merced has once again become a peaceful, quiet stream, its banks covered with azaleas and shadowed with the tall spires of white and California red fir. A golden-mantled ground squirrel scurries across the trail while over head a Clark's nutcracker voices his discontent to a group of chattering golden-crowned kinglets and chickadees as they flit among the trees. At the uppermost end of the valley the trail begins to climb once again and enters a spectacular country of sheer granite walls and smooth pavements which sweep to the river's edge. It is a country of great contrasts, of sparkling granite and deep azure skies, of gnarled juniper and of playful winds. Our trail soon leaves the river and climbs up the side of the canyon into a magnificent grove of quaking aspens that shelters gardens of wildflowers. The rustle of shimmering leaves and the scented gardens urge us to stay and linger awhile in these quiet glens, but we are now only a mile or two from Merced Lake with the possibili ties of a cool dip and a dinner at the camp before we must return. The trail descends again into the canyon and crosses a wooden bridge above the roar of the river. We enter a dense stand of mountain hemlocks which suddenly opens out upon the sandy shores of the lake, its blue waters dancing in the sunlight. At the far eastern end of the lake is the High Sierra camp with its neat rows of white tents where there is the bustle of campers and the odor of steaks

sizzling on the fire. After a refreshing swim in the lake's frigid waters we hurry to answer the welcome sound of the dinner gong and, like all the others, rush madly for the dining hall. An appetite is not to be bargained with in these climes, so our table is stocked to satisfy King Henry himself, not to mention two very hungry hikers.

Reluctantly we note that it is getting late and that we must retrace our steps back to the Valley. We walk along the lake trail where now the rich colors of twilight are gathering. Already the sun has set beyond the far shore, but as always in its mythical way it reaches back to paint the mountain peaks and the forests with a flourish of crimson. It is the alpine glow reflecting its fire in the mirrored waters of the lake and lingering on until the last shadows of night steal over the range to sprinkle the sky with stars.

As we travel down the canyon trail a full moon rises, reflecting upon the river where every pool and rapid becomes a sheen of rippling silver. Somewhere in the distance a coyote lifts his sad voice to the night and from another hill there comes an answering call. An owl flashes across the trail winging silently into the shadows of an aspen grove where now the moon is playing among the leaves and painting the trunks and limbs a phosphorescent white. Following its course down the canyon to Yosemite Valley where spire-like trees stand silhouetted against the moon. There is the fragrance of azaleas that fringe the river bank, the pungent odor of wet moss and needles, and the stir of birds among the trees as they waken to our steps.

Ahead of us in the center of the trail a deer stands watching and melts quietly into the shadows as we pass. In the near distance there is the thunder of waters that tells us we are close to Nevada Fall. A short distance beyond and we are upon its brink where the waters of the Merced plunge wildly into the depths. Captured by the moon they become a shower of glittering diamonds that drop to vanish into the black shadows below. Then on to Vernal Fall where the mists blow in gusts across the forested ridges and granite slopes, filling the depths of the canyon with the full force of its waters for the final chapter of its journey to Yosemite Valley.

Over two years have passed since this memorable trip, but it has not been forgotten. There are memories which in these days of chaos and disorder help us to endure the waiting until we may once again return, memories which are like the warmth and glow of a campfire lighting the darkness.

COMPLETE VOLUMES OF NATURE NOTES AVAILABLE

A number of complete volumes All orders should be accompanied (unbound) of the back issues of Yosemite by personal check or Postoffice NATURE NOTES have been assembled Money Order sufficient to cover cost and are available at the of mailing. Stamps are acceptable prices listed below. Because some for mailing only. volumes contain as many as two Vol. XXIII_ _ 1944 $1.35 Special Issues, there is a variation Vol. XXII __1943 $1.35 in the price per volume. Vol. XXI _1942, __ _ $1.35 The number of complete volumes Vol. XX __1941 $1.35 assembled is rather limited, therefore, Vol. XIX _1940 $1.20 orders will be filled on a first Vol. XVIII__1939 $1.35 come—first served basis. Complete Vol. XVII __1938 $1.50 volumes issued prior to 1934 will be Vol. XVI __1937 $1.20 assembled whenever sufficient stock Vol. XV __1936 $1.20 is on hand, and they will be added Vol. XIV _._1935 $1.20 to the following list from time to time. Vol. XIII __1934 $1.20

YOSEMITE FIELD SCHOOL

In spite of the fact that the Yosemite School of Field Natural History was discontinued for the duration following the summer of 1941, a number of requests for information concerning this activity are occasionally received. We hope to resume this school when conditions permit.

In addition to many who were members of previous classes, the majority of those numbered in the 1941 group are now scattered widely about the world in various branches of the armed services. Yosemite is proud of the records they have made in the defense of our country. Their letters are read with eager interest. It is hoped that our answers bring a bit of the Sierra wilderness in which they are all interested, to wherever duty has taken them.

(C.F.B.)

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