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John Ruskin 
John Ruskin on the Towers of the Swiss Fribourg 
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John Ruskin Modern Painters. Volume IV., containing Part V., Of Mountain Beauty (New York: John Wiley & Sons, 1879), Part V., p.32.
The other day I sketched the towers of the Swiss Fribourg hastily from the Hotel de Zahringen. It was a misty morning with broken sunshine, and the towers were seen by flickering light through broken clouds, dark blue mist filling the hollow of the valley behind them. I have engraved the sketch on the opposite page, adding a few details, and exaggerating the exaggerations; for in drawing from nature, even at speed, I am not in the habit of exaggerating enough to illustrate what I mean. The next day, on a clear and calm forenoon, I daguerreotyped the towers, with the result given on the next plate (25 Fig. 2); and this unexaggerated statement, with its details properly painted, would not only be the more right, but infinitely the grander of the two. But the first sketch nevertheless conveys, in some respects, a truer idea of Fribourg than any other, and has, therefore, a certain use. For instance, the wall going up behind the main tower is seen in my drawing to bend very distinctly, following the different slopes of the hill. In the daguerreotype this bend is hardly perceptible. And yet the notablest thing in the town of Fribourg is, that all its walls have got flexible spines, and creep up and down the precipices more in the manner of cats than walls ; and there is a general sense of height, strength and grace, about its belts of tower and rampart, which clings even to every separate and less graceful piece of them when seen on the spot; so that the hasty sketch, expressing this, has a certain veracity wanting altogether in the daguerreotype. 

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