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 chap, xxxix] OF THE ROMAN EMPIRE 205 which Theodoric considered as the noblest ornament of his kingdom. After the example of the last emperors, Theodoric preferred Fiourish- the residence of Eavenna, where he cultivated an orchard withitaiy his own hands. 80 As often as the peace of his kingdom was threatened (for it was never invaded) by the Barbarians, he removed his court to Verona 81 on the northern frontier, and the image of his palace, still extant, on a coin, represents the oldest and most authentic model of Gothic architecture. These two capitals, as well as Pavia, Spoleto, Naples, and the rest of the Italian cities, acquired under his reign the useful or splendid decorations of churches, aqueducts, baths, porticoes, and palaces. 82 But the happiness of the subject was more truly conspicuous in the busy scene of labour and luxury, in the rapid increase and bold enjoyment of national wealth. From the shades of Tibur and Praeneste, the Roman senators still retired in the winter season to the warm sun and salubrious springs of Baiae ; and their villas, which advanced on solid moles into the bay of Naples, commanded the various prospect of the sky, the earth, and the water. On the eastern side of the Hadriatic, a new campania was formed in the fair and fruitful province of Istria, which communicated with the palace of Ravenna by an easy navigation of one hundred miles. The rich productions of Lucania and the adjacent provinces were exchanged at the Marcilian fountain, in a populous fair annually dedicated to trade, intemperance, and superstition. In the solitude of 80 See an Epigram of Ennodius (ii. 3, p. 1893, 1894 [cclxiv. p. 214, ed. Vogel]) on this garden and the royal gardener. 81 His affection for that city is proved by the epithet of "Verona tua," and the legend of the hero ; under the barbarous name of Dietrich of Bern (Peringskiold ad Cochlaeum, p. 240) [Peringskiold annotated the Vita Theodorici regis Ostrogothorum et Italic of I. Cochkeus, 1699 (Stockholm)], Maffei traces him with knowledge and pleasure in his native country (1. ix. p. 230-236). [On the legend of Theodoric in Verona, see Appendix 8.] 82 See Maffei, Verona Illustrata, Part i. p. 231, 232, 308, &o. [The image of the palace given by Maffei is from a seal, not from a coin.] He imputes Gothic architecture, like the corruption of language, writing, &c. not to the Barbarians, but to the Italians themselves. Compare his sentiments with those of Tiraboschi (torn. iii. p. 61). [At Ravenna there are two great memorials of Theodoric ; his tomb (see below, p. 218) and the church of St. Martin (called in caelo aureo from its golden ceiling) now known as S. Apollinare Nuovo, with beautiful mosaics, among which is a representation of the Palace of Theodoric. Close to the church is a high wall Swith some marble pillars, supposed to be a fragment of the actual Palace of Theodoric, but this is very doubtful. See C. Ricci, Ravenna, e i suoi dintorni, 1878.]