luded them from
the hope of mercy. Three captive princes were hanged at Ratisbon, the
multitude of prisoners was slain or mutilated, and the fugitives, who
presumed to appear in the face of their country, were condemned to
everlasting poverty and disgrace. [39] Yet the spirit of the nation was
humbled, and the most accessible passes of Hungary were fortified with
a ditch and rampart. Adversity suggested the counsels of moderation and
peace: the robbers of the West acquiesced in a sedentary life; and the
next generation was taught, by a discerning prince, that far more might
be gained by multiplying and exchanging the produce of a fruitful soil.
The native race, the Turkish or Fennic blood, was mingled with new
colonies of Scythian or Sclavonian origin; [40] many thousands of robust
and industrious captives had been imported from all the countries of
Europe; [41] and after the marriage of Geisa with a Bavarian princess,
he bestowed honors and estates on the nobles of Germany. [42] The son of
Geisa was invested with the regal title, and the house of Arpad
reigned three hundred years in the kingdom of Hungary. But the freeborn
Barbarians were not dazzled by the lustre of the diadem, and the people
asserted their indefeasible right of choosing, deposing, and punishing
the hereditary servant of the state.

[Footnote 36: They are amply and critically discussed by Katona, (Hist.
Dacum, p. 360-368, 427-470.) Liutprand (l. ii. c. 8, 9) is the best
evidence for the former, and Witichind (Annal. Saxon. l. iii.) of the
latter; but the critical historian will not even overlook the horn of a
warrior, which is said to be preserved at Jaz-berid.]

[Footnote 37: Hunc vero triumphum, tam laude quam memoria dignum, ad
Meresburgum rex in superiori coenaculo domus per Zeus, id est, picturam,
notari praecepit, adeo ut rem veram potius quam verisimilem videas: a
high encomium, (Liutprand, l. ii. c. 9.) Another palace in Germany
had been painted with holy subjects by the order of Charlemagne; and
Muratori may justly affirm, nulla saecula fuere in quibus pictores
desiderati fuerint, (Antiquitat. Ital. Medii Aevi, tom. ii. dissert.
xxiv. p. 360, 361.) Our domestic claims to antiquity of ignorance and
original imperfection (Mr. Walpole's lively words) are of a much more
recent date, (Anecdotes of Painting, vol. i. p. 2, &c.)]

[Footnote 38: See Baronius, Annal. Eccles. A.D. 929, No. 2-5. The lance
of Christ is taken from the best evidence, Liut