As the skies appear to a man, so is his mind. Some see only clouds there; some, prodigies and portents; some rarely look up at all; their heads, like the brutes, are directed toward Earth. Some behold there serenity, purity, beauty ineffable. The world runs to see the panorama, when there is a panorama in the sky which few go to see.

My first view - a panorama of brilliant deep blue ocean, shot with shades of green and gray and white - was of atolls and clouds. Close to the window I could see that this Pacific scene in motion was rimmed by the great curved limb of the Earth. It had a thin halo of blue held close, and beyond, black space. I held my breath, but something was missing - I felt strangely unfulfilled. Here was a tremendous visual spectacle, but viewed in silence. There was no grand musical accompaniment; no triumphant, inspired sonata or symphony. Each one of us must write the music of this sphere for ourselves.

Once the hatch was opened, I turned the lock handle and bright rays of sunlight burst through it. I opened the hatch and dust from the station flew in like little sparklets, looking like tiny snowflakes on a frosty day. Space, like a giant vacuum cleaner, began to suck everything out. Flying out together with the dust were some little washers and nuts that dad got stuck somewhere; a pencil flew by.
My first impression when I opened the hatch was of a huge Earth and of the sense of unreality concerning everything that was going on. Space is very beautiful. There was the dark velvet of the sky, the blue halo of the Earth and fast-moving lakes, rivers, fields and clouds clusters. It was dead silence all around, nothing whatever to indicate the velocity of the flight… no wind whistling in your ears, no pressure on you. The panorama was very serene and majestic.

The last few meters up to the summit no longer seem so hard. On reaching the top, I sit down and let my legs dangle into space. I don’t have to climb anymore. I pull my camera from my rucksack and, in my down mittens, fumble a long time with the batteries before I have it working properly. Then I film Peter. Now, after the hours of torment, which indeed I didn’t recognize as torment, now, when the monotonous motion of plodding upwards is at an end, and I have nothing more to do than breathe, a great peace floods my whole being. I breathe like someone who has run the race of his life and knows that he may now rest forever. I keep looking all around, because the first time I didn’t see anything of the panorama I had expected from Everest, neither indeed did I notice how the wind was continually chasing snow across the summit. In my state of spiritual abstraction, I no longer belong to myself and to my eyesight. I am nothing more than a single, narrow, gasping lung, floating over the mists and the summits.

The position of the anthropologist of to-day resembles in some sort the position of classical scholars at the revival of learning. To these men the rediscovery of ancient literature came like a revelation, disclosing to their wondering eyes a splendid vision of the antique world, such as the cloistered of the Middle Ages never dreamed of under the gloomy shadow of the minster and within the sound of its solemn bells. To us moderns a still wider vista is vouchsafed, a greater panorama is unrolled by the study which aims at bringing home to us the faith and the practice, the hopes and the ideals, not of two highly gifted races only, but of all mankind, and thus at enabling us to follow the long march, the slow and toilsome ascent, of humanity from savagery to civilization. And as the scholar of the Renaissance found not merely fresh food for thought but a new field of labour in the dusty and faded manuscripts of Greece and Rome, so in the mass of materials that is steadily pouring in from many sides—from buried cities of remotest antiquity as well as from the rudest savages of the desert and the jungle—we of to-day must recognise a new province of knowledge which will task the energies of generations of students to master.