§ 29. Such is his view of human labor. Of human pride, see what records. Morpeth tower, roofless and black; gate of old Winchelsea wall, the flock of sheep driven _round_ it, not through it; and Rievaulx choir, and Kirkstall crypt; and Dunstanborough, wan above the sea; and Chepstow, with arrowy light through traceried windows; and Lindisfarne, with failing height of wasted shaft and wall; and last and sweetest, Raglan, in utter solitude, amidst the wild wood of its own pleasance; the towers rounded with ivy, and the forest roots choked with undergrowth, and the brook languid amidst lilies and sedges. Legends of gray knights and enchanted ladies keeping the woodman's children away at the sunset. These are his types of human pride. Of human love: Procris, dying by the arrow; Hesperie, by the viper's fang; and Rizpah, more than dead, beside her children. § 30. Such are the lessons of the Liber Studiorum. Silent always with a bitter silence, disdaining to tell his meaning, when he saw there was no ear to receive it, Turner only indicated this purpose by slight words of contemptuous anger, when he heard of any one's trying to obtain this or the other separate subject as more beautiful than the rest. "What is the use of them," he said, "but together?"[11] The meaning of the entire book was symbolized in the frontispiece, which he engraved with his own hand: Tyre at sunset, with the Rape of Europa, indicating the symbolism of the decay of Europe by that of Tyre, its beauty passing away into terror and judgment (Europa being the mother of Minos and Rhadamanthus).[12] [Illustration: J. M. W. Turner J. H. Le Keux 82. The Nets in the Rapids.] [Illustration: 83. The Bridge of Rheinfelden.] § 31. I need not trace the dark clue farther, the reader may follow it unbroken through all his work and life, this thread of Atropos.[13] I will only point, in conclusion, to the intensity with which his imagination dwelt always on the three great cities of Carthage, Rome, and Venice--Carthage in connection especially with the thoughts and study which led to the painting of the Hesperides' Garden, showing the death which attends the vain pursuit of wealth; Rome, showing the death which attends the vain pursuit of power; Venice, the death which attends the vain pursuit of beauty. How strangely significative, thus understood, those last Venetian dreams of his become, themselves so beautiful and so frail; wrecks of all that they were once--twilights of twilight!