wo chiefs of the senate;
but he attached himself to Basilius, as the more solid and disinterested
friend.]

[Footnote 61: The character and principles of Leo may be traced in
one hundred and forty-one original epistles, which illustrate the
ecclesiastical history of his long and busy pontificate, from A.D. 440
to 461. See Dupin, Bibliotheque Ecclesiastique, tom. iii. part ii p.
120-165.]

[Footnote 62:

Tardis ingens ubi flexibus errat
Mincius, et tenera praetexit arundine ripas
-------
Anne lacus tantos, te Lari maxime, teque
Fluctibus, et fremitu assurgens Benace marino.]

[Footnote 63: The marquis Maffei (Verona Illustrata, part i. p. 95,
129, 221, part ii. p. 2, 6) has illustrated with taste and learning this
interesting topography. He places the interview of Attila and St. Leo
near Ariolica, or Ardelica, now Peschiera, at the conflux of the lake
and river; ascertains the villa of Catullus, in the delightful peninsula
of Sirmio, and discovers the Andes of Virgil, in the village of Bandes,
precisely situate, qua se subducere colles incipiunt, where the Veronese
hills imperceptibly slope down into the plain of Mantua. * Note: Gibbon
has made a singular mistake: the Mincius flows out of the Bonacus
at Peschiera, not into it. The interview is likewise placed at Ponte
Molino. and at Governolo, at the conflux of the Mincio and the Gonzaga.
bishop of Mantua, erected a tablet in the year 1616, in the church of
the latter place, commemorative of the event. Descrizione di Verona a de
la sua provincia. C. 11, p. 126.--M.]

[Footnote 64: Si statim infesto agmine urbem petiissent, grande
discrimen esset: sed in Venetia quo fere tractu Italia mollissima est,
ipsa soli coelique clementia robur elanquit. Ad hoc panis usu carnisque
coctae, et dulcedine vini mitigatos, &c. This passage of Florus (iii.
3) is still more applicable to the Huns than to the Cimbri, and it may
serve as a commentary on the celestial plague, with which Idatius and
Isidore have afflicted the troops of Attila.]

[Footnote 65: The historian Priscus had positively mentioned the effect
which this example produced on the mind of Attila. Jornandes, c. 42, p.
673]

[Footnote 66: The picture of Raphael is in the Vatican; the basso (or
perhaps the alto) relievo of Algardi, on one of the altars of St. Peter,
(see Dubos, Reflexions sur la Poesie et sur la Peinture, tom. i. p. 519,
520.) Baronius (Annal. Eccles. A.D. 452, No. 57, 58) bra