[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
is called the Gothic style. They are evidently the degenerate
Roman architecture, and more resemble the early attempts of our
architects to get back from our national Gothic into a classical
Greek style. One of them calls to mind Inigo Jones inner
quadrangle in St. John's College Oxford. Compare Hallam and
D'Agincon vol. i. p. 140 - 145. - M]