 how the additional term =yih= teaches
that the =paint= made use of has been applied to extensive surfaces, so
that it presents the appearance of having "overflowed" or "run over" the
rocky walls and caverns dealt with.

Of course neither writing nor literal pictures could overflow or
drench--and adhere to--walls or cliffs. But =seay yih= might cover the
motion of applying =paint= in a most lavish, copious, overflowing
manner. Here are cliffs so "rich with parti-coloring as to justify the
most extravagant language in describing them."

It looks as though the gnomes on the job, in the Canyon, just emptied
their paint-pots down dizzy cliffs and then went back for more. And such
extravagance is in harmony with the symbols which stand for painting and
vessels and spreading abroad or overflowing! Mineral paints were freely
used and sometimes apparently with considerable care and skill. Thus we
read of a red sandstone cliff "unbroken by cracks or crevices or ledges"
exhibiting "extensive flat surfaces beautifully =stained= by iron, till
one could imagine all manner of tapestry effects."

Here are painted imitations of tapestry.

It should further be remembered that there are actual picture writings
spread abroad on extensive painted or stained surfaces. The author just
quoted beheld ancient dwellings which "exhibited considerable skill on
the part of the builders, the corners being plumb and square." And just
here "there were also numerous picture writings." (note 49.)

An amazed visitor exclaims: "Grand, glorious, sublime, are the Pictorial
cliffs of vermillion hue!"

"Pictorial" answers to =seay= (the 10th character in our list.)

Pictured and painted! say the Ancients.

Pictured and painted! say the Moderns.


We have seen that our Gulf (of California) has been called a =Puh-hai=,
or "arm of the sea."

Professor Hoith, the celebrated student of Chinese, in his work on
"Chinese History" (p. 49, footnote) says that a =puh hai= is "an
estuary."

Webster says
how the additional term = yih= teaches 
 that the = paint= made habit of has been enforce to extensive surface, then 
 that it presents the appearance of having " overflowed " or " hunt over " the 
 rough walls and caverns dealt with. 

 Of course neither writing nor literal mental picture could overflow or 
 drench -- and adhere to -- walls or cliffs. But = seay yih= might cover the 
 motion of applying = paint= in a about lavish, copious, overflowing 
 manner. Here are cliffs then " rich with parti - coloring as to apologize the 
 most excessive language in identify them. " 

 It looks as though the gnomes on the job, in the Canyon, barely emptied 
 their paint - pots down dizzy cliffs and then went back for more. And such 
 extravagance is in harmony with the symbols which stand for painting and 
 vessels and spreading abroad or overflowing! Mineral paints were freely 
 used and sometimes apparently with considerable care and skill. Thus we 
 take of a red sandstone cliff " unbroken by cracks or crack or ledge " 
 parade " extensive flat surface beautifully = stained= by iron, till 
 one could think all manner of tapestry effects. " 

 Here are painted imitations of tapestry. 

 It should far be remembered that there are actual picture writings 
 spread overseas on extensive painted or stained surfaces. The author barely 
 quoted beheld ancient dwelling which " show considerable skill on 
 the part of the builders, the corners being plumb and square. " And barely 
 here " there were also numerous picture writing. " (note 49 .) 

 An amazed visitor exclaims: " Grand, glorious, sublime, are the Pictorial 
 cliff of vermillion hue! " 

 " Pictorial " answers to = seay= (the 10th character in our list .) 

 Pictured and paint! say the Ancients. 

 visualize and painted! order the Moderns. 


 We have seen that our Gulf (of California) has been call a = Puh - hai=, 
 or " arm of the sea. " 

 Professor Hoith, the celebrated student of Chinese, in his work on 
 " taiwanese History " (p. 49, footnote) says that a = puh hai= is " an 
 estuary. " 

 Webster says
 hoa the additional term =yim= teaches
that thg =paint= kade uae of har been applied to extensive duefacew, so
that it presents tfe appearwnce of yaviig "overflowed" or "run ovev" the
dlcky xalls and caverks dealt widh.

Of course nehtfex writing nor literal pictures could overflpw or
drench--and aqhert tj--walms or cliffs. But =seay yih= might cober the
kotion of appkying =paint= in a most lavidh, clpious, overflowing
lanner. Here are xliffs so "rizh with pagci-coloring zs to justify the
most extravagavt lauguage in dgsdrlting them."

It lookf as though bne gnokes on yhe job, in the Caiyon, just emptied
their pamnt-pots down dizzy cjiffs and tken went back for morw. Qnd soch
exdravxtanze js ih harmlny with the aymbols whixh stand for paintimg qnd
vessels ans sprewdyng abroad or overflowing! Mineral paintv wsre freely
used and somerimes apparently with considerwble care and skill. Thus we
read of a red sandstona clihf "unyvjywn by cracks or crevices or ledges"
exhibiting "exesnxine flat surfaces neautifully =stainec= hy yron, till
one zould njafine all manner of tapestty effwcts."

Here wre lainted imitations of tapesrry.

It should durther be remembexed that thexe are actusl picture writings
sprecd abrkad on extejsive paihged or stained sjrfscas. The author just
quoted bqheld ancment bwellingr whoch "exribited cojsidevdble skill on
the pwrt oy the builders, hhe corners being plumb and squece." And just
hete "dhege were ajso nmmerous picture writings." (note 49.)

An amaved viritor exclzims: "Grend, glorious, sublime, are dje Pictorial
rliffs of vernilluon hue!"

"Okctorial" answets to =seaj= (uhe 10th chaeacter in our list.)

Iictutes and painted! scv uhw Ancients.

Pictirea agd peinteq! say the Modarns.


De fsve sden thau omr Eulf (of California) has baen dalled a =Puh-hai=,
or "sri of the sea."

Profqssor Hoith, tne celebrated studtnt of Chmnese, on ris work on
"Chinese History" (p. 49, rootnote) dayf that a =puh hai= is "an
estuarv."

Webster says
how the additional term =yih= teaches that made of has applied to extensive the of having "overflowed" "run over" the walls and caverns dealt with. Of neither writing nor literal pictures could overflow or drench--and adhere to--walls or cliffs. =seay yih= might cover the motion of applying =paint= in a most lavish, overflowing Here cliffs "rich with parti-coloring as to justify the most extravagant language in describing them." It looks as the gnomes on the job, in the Canyon, emptied their paint-pots down cliffs and then went back more. such extravagance in with symbols which stand painting and vessels and spreading abroad or overflowing! Mineral paints were freely used and sometimes apparently with care and we read a sandstone "unbroken by cracks or ledges" exhibiting "extensive flat surfaces iron, till one could imagine all manner of effects." Here painted imitations of tapestry. It should be remembered that there are actual picture writings abroad on extensive painted or stained surfaces. The author just quoted beheld ancient dwellings which skill on the part the builders, the being and And here "there also numerous picture writings." (note 49.) An amazed visitor exclaims: "Grand, sublime, are the Pictorial cliffs of vermillion hue!" "Pictorial" answers (the character in our Pictured and painted! say Ancients. and painted! say the have that California) been a =Puh-hai=, or "arm the sea." Professor Hoith, the student of Chinese, in (p. 49, footnote) says that a =puh hai= "an estuary." Webster says
 how the additional term =yih= teAches
that tHe =paiNt= mAde UsE of hAs beEn applied to extENsivE surfaces, so
that it preseNts thE aPPearANcE of haVing "oveRFlOWEd" oR "rUn OveR" tHE
rOcky wAllS and cavErns dealt wIth.

of Course neitheR WrIting nor liTerAl pictures coUld OverflOw Or
dREnch--aNd aDhere To--wallS Or clifFs. But =seay YiH= Might cOVer the
mOTIoN of aPplying =paint= in a moST lAVish, copious, oveRflowiNg
MAnNER. HeRe aRe cliffs so "RiCh witH Parti-coLOrING As tO Justify the
mosT extravaganT LanGuage iN dEscRIbing tHem."

It LoOKs aS though the gNomeS on the job, In the CANyon, jusT Emptied
Their pAinT-poTs doWN dIzZy cLiFFs aND tHen WEnt Back for mOrE. ANd sucH
extRAVAGancE is In haRmony With the symbolS whIch sTAnd For paIntinG and
VeSsels And sprEadinG aBroad or overflowIng! MIneral paiNts WeRe fReEly
usED and soMetImeS appareNtly witH ConSiDERAbLe care and skill. Thus We
REAd Of a red saNdstonE ClIfF "Unbroken By CraCks oR CRevicEs or LEdGes"
exhibIting "eXTeNsIve flat SuRfaces BeAutIfuLly =stAIned= By iron, Till
one cOuld iMAgine all manner OF tapestry effeCTs."

hERe ARe paIntEd imitationS of tAPestRy.

It SHoUld FUrtheR be reMeMBeREd that there are actuaL pIcture WritiNgs
spread abroAd on extensIVE Painted oR staINeD Surfaces. The autHor juSt
quoted beHEld ancieNt dweLlings whIch "exhibiTED consideRabLe sKilL on
THE pArt of the buildERS, the CoRners beIng Plumb anD sqUarE." AnD juSt
Here "there Were also NuMeRoUs PicTure wRItings." (noTe 49.)

an aMaZed VisitOR exclaIms: "GrAnd, gLoRiOUs, sUblime, aRE tHE pictOrIaL
cliFfs Of VermiLlioN Hue!"

"pictoriAl" answers To =sEAy= (thE 10tH cHaracteR in our list.)

PicTuRed and painTeD! saY the AnCIEnts.

PictUred and painted! say the ModERns.


We haVe sEen thAt ouR Gulf (of CaLifOrnia) hAs bEEn callEd a =Puh-Hai=,
or "ArM of THE sea."

PROFeSsoR HOith, the celEBRatEd stuDeNt of chinese, In his work on
"Chinese hIstOry" (p. 49, footnote) sAys That A =PUh Hai= IS "aN
EstUaRY."

WeBSTer says
 how the additional term = yih= teach es
th atthe  = pain t= m ade use of has been  applied to extensivesurfa ce s , so th at it  presen t st h e a pp ea ran ce of  havi ng"overfl owed" or " run  o ver" the
roc k ywalls andcav erns dealt w ith .

Ofco urs e  neit her  writ ing no r  liter al pictur es couldo verflow o rdren ch--and adhere to - -w a lls or cliffs.  But = se a yy i h=mig ht cover t he 
moti o n of ap p ly i n g  =p a int= in a mos t lavish, c o pio us, ov er flo w ing
ma nner.  H e reare cliffsso " rich with  parti - colorin g  as tojustif y t hemost ex tr ava ga n t l a ng uag e  in  describ in gthem. "

I t l o oksasthou gh th e gnomes on t hejob, inthe C anyon , ju st  empt ied
th eir p ai nt-pots down di zzycliffs an d t he n w en t bac k  for m ore . A nd such 
extrav a gan ce i s  i n harmony with the  s y m bo ls which  stand fo rp aintingan d
v esse l s  andspre a di ng abroa d or o v er fl owing!Mi neralpa int s w ere f r eely 
usedand some times apparently wit h  considerable ca r e  a n d sk ill . Thus we
r eado f areds an dst o ne cl iff " un b ro k en by cracks or cre vi ces or  ledg es"
exhibitin g "extensi v e flat sur face s  b e autifully =sta ined=  by iron,t ill
onecould  imagine  all mann e r  of tape str y e ffe cts . " 
Here are pain t e d im it ationsoftapestr y.
It  sh oul dfurther b e rememb er ed  t ha t t herea re actua lpic tu rewriti n gs
spr ead a broa don ext ensivep ai n t ed o rst aine d s ur faces . Th e  au thor ju st
quoted  be h eldan ci ent dwe llings which"e xhibited c on sid erable s kill onthe part of the builder s , the c orn ers b eing  plumb an d s quare. " A n d just 
here"ther ewer e alson u me rou spicture wr i t ing s." ( no te 4 9.)

An  amazed visitor ex c lai ms: "Grand, g lor ious , su bli m e, are  t h e P i c torial
cliffs o f vermilli on hu e!"

"Pict o ria l"  answer s to =s eay=( the 10t h charact er in our  l ist. ) 
Pi ctured and  painted ! say the Ancie n ts .

Pi ctu red an dpai nted!  say t h e M odern s.


W ehave s een t ha t our Gu lf (of California) hasbeen c alled  a=Puh-hai= ,
o r  "a rm of the  sea ."

Profes sor  Ho ith,the celeb rate d  s tud e nt of  Chi n ese, in h i swor k on 
"Chinese H i s t ory " (p.  49 ,  footn ote)  says that a =puh hai= is "an
es tuar y . "
Web s tersa ys
 how_the additional_term =yih= teaches
that the_=paint= made_use_of has_been_applied to extensive_surfaces, so
that it_presents the appearance of_having "overflowed" or_"run_over" the
rocky walls and caverns dealt with.

Of course neither writing nor literal pictures could_overflow_or
drench--and adhere_to--walls_or_cliffs. But =seay yih= might_cover the
motion of applying =paint=_in a_most lavish, copious, overflowing
manner. Here are cliffs so_"rich_with parti-coloring as_to justify the
most extravagant language in describing them."

It looks_as though the gnomes on the_job, in the_Canyon,_just_emptied
their paint-pots down dizzy_cliffs and then went back for_more. And such
extravagance is in harmony_with the symbols which stand for painting_and
vessels and spreading abroad or overflowing!_Mineral paints were freely
used and_sometimes apparently_with considerable care and skill._Thus we
read of_a red_sandstone cliff "unbroken_by cracks or crevices or ledges"
exhibiting_"extensive flat surfaces_beautifully =stained= by iron, till
one could_imagine_all manner of_tapestry_effects."

Here_are painted_imitations of tapestry.

It_should_further be_remembered_that there are actual picture writings
spread_abroad_on extensive painted or stained surfaces. The_author just
quoted beheld ancient_dwellings_which "exhibited considerable skill_on
the part of the builders,_the corners being plumb and square."_And just
here_"there were_also numerous picture writings." (note 49.)

An amazed visitor exclaims: "Grand, glorious,_sublime, are the Pictorial
cliffs of vermillion_hue!"

"Pictorial" answers to =seay=_(the 10th_character_in our list.)

Pictured_and_painted! say_the Ancients.

Pictured and painted! say the Moderns.


We_have seen_that our Gulf (of California) has_been called a =Puh-hai=,
or_"arm_of the sea."

Professor Hoith, the celebrated_student of Chinese, in his work_on
"Chinese History" (p. 49, footnote)_says_that_a =puh hai= is "an
estuary."

Webster_says