The palace itself is described by contemporaries as a wonder of art, transplanted as if by magic from the Italian Ravenna to the banks of the Rhine. Charlemagne secured the hundred marble and granite columns upon which the structure rests, as well as the mural decorations of the interior, through the favor of the Pope. Barbarian opulence in buildings was usually displayed in the lavish use of gold and silver, and artistic effect was sought for in brilliant metallic shimmer. But Charlemagne employed gold and silver only for the decoration of that beautiful work of art—the reproduction of the old palace at Ravenna upon the Ingelheim heights—a conspicuous evidence of that great change in times and customs by which not only the abode, but eventually the title and sceptre, of the Cæsars came into the possession of a German sovereign. Contemporaneous descriptions of the personality of Charlemagne have also been preserved. According to the chronicles of Eginhard, he was large and symmetrical of body and stood about seven feet high. He had full, bright eyes, a strong nose, beautiful hair, and a frank, open countenance. Whether sitting or standing, he inspired reverence by his dignity. He was often upon horseback in war or the chase. He loved bathing as passionately as the chase, and often buffeted the green waves of the Rhine with his strong arms, but he was fonder of the warm mineral baths of Aachen[4] (Aix-la-Chapelle) than of the river water. According to the Eginhard chronicles also, Charlemagne usually wore the Frankish costume, which is thus described in a chronicle at Saint Gall[5]: “The Frankish costume consisted of shoes, set off with gold adornments fastened by scarlet bands about the legs, and flaxen hose of the same color, figured in a most skilful manner. Then came the inner coat of bright canvas material, shoulder belt, and sword. The remaining detail of the costume was a gray or blue four-cornered mantle, doubled and so disposed that when worn over the shoulder it fell to the feet before and behind, but barely covered the knees on the sides. A staff was carried in the right hand, made of a sapling with symmetrical knobs, and with a handle of gold or silver finely wrought. It was at once beautiful, strong, and cruel. The mantle was made of a thick woollen stuff called ‘Frisian’ in the northern Netherlands.”