The morning light is used with a loftier significance in a drawing made as a companion to the Goldau, engraved in the fourth volume. The Lake of Zug, which ripples beneath the sunset in the Goldau, is lulled in the level azure of early cloud; and the spire of Aart, which is there a dark point at the edge of the golden lake, is, in the opening light, seen pale against purple mountains. The sketches for these two subjects were, I doubt not, made from the actual effects of a stormy evening, and the next following daybreak; but both with earnest meaning. The crimson sunset lights the valley of rock tombs, cast upon it by the fallen Rossberg; but the sunrise gilds with its level rays the two peaks which protect the village that gives name to Switzerland; and the orb itself breaks first through the darkness on the very point of the pass to the high lake of Egeri, where the liberties of the cantons were won by the battle-charge of Morgarten. [14] I have engraved, at the beginning of this chapter, one of the fragments of these frescos, preserved, all imperfectly indeed, yet with some feeling of their nobleness, by Zanetti, whose words respecting them I have quoted in the text. The one I saw was the first figure given in his book; the one engraved in my Plate, the third, had wholly perished; but even this record of it by Zanetti is precious. What imperfections of form exist in it, too visibly, are certainly less Giorgione's than the translator's; nevertheless, for these very faults, as well as for its beauty, I have chosen it, as the best type I could give of the strength of Venetian art; which was derived, be it remembered always, from the acceptance of natural truth, by men who loved beauty too well to think she was to be won by falsehood. The words of Zanetti himself respecting Giorgione's figure of Diligence are of great value, as they mark this first article of Venetian faith: "Giorgione per tale, o per altra che vi fosse, contrassegnolla con quella spezie di mannaja che tiene in mano; per altro tanto ci cercava le sole bellezze della natura, che poco pensando al costume, ritrasse qui una di quelle donne Friulane, che vengono per servire in Venezia; non alterandone nemmeno l'abito, è facendola alquanto attempata, quale forse ci la vedea; senza voler sapere che per rappresentare le Virtù, si suole da pittori belle è fresche giovani immaginare." Compare with this what I have said of Titian's Magdalen. I ought in that place to have dwelt also upon the firm endurance of all terribleness which is marked in Titian's "Notomie" and in Veronese's "Marsyas." In order to understand the Venetian mind entirely, the student should place a plate from that series of the Notomie always beside the best engraving he can obtain of Titian's "Flora."