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he loves as the image of war, he alternately displays his eagerness, his skill, his patience, and his cheerful temper. If he loses, he laughs; he is modest and silent if he wins. Yet, notwithstanding this seeming indifference, his courtiers choose to solicit any favor in the moments of victory; and I myself, in my applications to the king, have derived some benefit from my losses. [20] About the ninth hour (three o'clock) the tide of business again returns, and flows incessantly till after sunset, when the signal of the royal supper dismisses the weary crowd of suppliants and pleaders. At the supper, a more familiar repast, buffoons and pantomimes are sometimes introduced, to divert, not to offend, the company, by their ridiculous wit: but female singers, and the soft, effeminate modes of music, are severely banished, and such martial tunes as animate the soul to deeds of valor are alone grateful to the ear of Theodoric. He retires from table; and the nocturnal guards are immediately posted at the entrance of the treasury, the palace, and the private apartments." [Footnote 16: Isidore, archbishop of Seville, who was himself of the blood royal of the Goths, acknowledges, and almost justifies, (Hist. Goth. p. 718,) the crime which their slave Jornandes had basely dissembled, (c 43, p. 673.)] [Footnote 17: This elaborate description (l. i. ep. ii. p. 2-7) was dictated by some political motive. It was designed for the public eye, and had been shown by the friends of Sidonius, before it was inserted in the collection of his epistles. The first book was published separately. See Tillemont, Memoires Eccles. tom. xvi. p. 264.] [Footnote 18: I have suppressed, in this portrait of Theodoric, several minute circumstances, and technical phrases, which could be tolerable,