country possessed of so many valuable objects of exchange soon
attracted the merchants of the world, whose beneficial traffic
was encouraged and protected by the liberal spirit of Theodoric.
The free intercourse of the provinces by land and water was
restored and extended; the city gates were never shut either by
day or by night; and the common saying, that a purse of gold
might be safely left in the fields, was expressive of the
conscious security of the inhabitants.
[Footnote 69: See an epigram of Ennodius (ii. 3, p. 1893, 1894)
on this garden and the royal gardener.]

[Footnote 70: 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, (Peringsciold and Cochloeum,
p. 240,) Maffei traces him with knowledge and pleasure in his
native country, (l. ix. p. 230 - 236.)]
[Footnote 71: See Maffei, (Verona Illustrata, Part i. p. 231,
232, 308, &c.) His amputes 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, (tom. iii. p. 61.)

Note: Mr. Hallam (vol. iii. p. 432) observes that "the image
of Theodoric's palace" is represented in Maffei, not from a coin,
but from a seal. Compare D'Agincourt (Storia dell'arte, Italian
Transl., Arcitecttura, Plate xvii. No. 2, and Pittura, Plate
xvi. No. 15,) where there is likewise an engraving from a mosaic
in the church of St. Apollinaris in Ravenna, representing a
building ascribed to Theodoric in that city. Neither of these,
as Mr. Hallam justly observes, in the least approximates to what