About the central mosaic is set a band of palm leaves, while on the outer circle we see the twelve Apostles very much like the martyrs of S. Apollinare standing dressed in white, their crowns in their hands between palms. Only S. Peter and another, perhaps S. John or S. Paul, do not bear crowns, but S. Peter his keys and the other a book. Between them is set a throne on which stands a jewelled cross.
It is exceedingly difficult to say when these mosaics were executed, for they have been so entirely restored that very little of the original work is left to us. They are certainly very early for work of the Catholic restoration; and yet they remind one strongly of the processions of S. Apollinare Nuovo. If as a whole the design of these mosaics is of the time of the archbishop S. Agnellus, it is curious that the subject of the Baptism should have been used for a church which by his act had ceased to be a baptistery. The most reasonable hypothesis would seem to be that the design and choice of subject is in the main due to the Arians; that the central disc remains late work of their time in so far as it is original at all. While the apostles may be in the main the work of the Catholic restoration.
Theodoric was, as these works serve to show, a great builder of churches in his capital. Not all of them have remained to our day. Dr. Ricci has thought that we see something of one of them in the Portico Antico of the Piazza Maggiore where there are eight columns of granite upon the left of the Palazzo del Comune with late Roman capitals, four of which have the monogram of the Gothic king. The church of S. Andrea,[1] according to Dr Ricci, stood by the city wall, near where the Venetians in the fifteenth century built their Rocca, destroying the church to make room for it. Dr. Ricci suggests that when they began to construct the Portico of the Piazza they used, as indeed they more than any other people were wont to do, the material of the demolished church in their new building and among it these great columns with their Roman capitals and strange monograms.
[Footnote 1: S. Andrea was, according to Rasponi, op. cit. ut supra, the same as the chapel of the Arcivescovado called S, Pier Crisologo.]
But astonishing though these churches are which Theodoric built by the art and hands of the Italians during the generation of his rule in Ravenna, they would not impress us with the strength and importance of his personality and government, as undoubtedly they do, if we had not in his mausoleum perhaps the most impressive late Roman building left to us practically intact in all Italy, a thing which, quite as much as the mightier tomb of Hadrian, assures us of the enormous vitality of Roman civilisation, its weight, endurance, and unfailing continuance through every sort of disaster and misgovernment.
This mighty monument is situated upon the north-east of the city, perhaps upon the old Roman road the Via Popilia. That it was built by Theodoric himself might seem certain. For though it has been said that it was erected by Amalasuntha the Anonymus Valesii tells us that Theodoric built it before he died. "While yet he lived he made a monument of squared stone, a work of marvellous greatness, covered with a single stone." It is perhaps of little consequence to whom we owe this mighty tomb, for it is absolutely, and in any case, Roman work, and might seem to have been modelled upon the far larger and more tremendous mausoleum of Hadrian.[1]
[Footnote 1: Choisy points out that the mausoleum of Theodoric has stylistic affinities with Syrian work, and Strzygowski, who reminds us that several bishops of Ravenna were Syrians, thinks that Ravenna in much derived from Syria especially from Antioch.]
The mausoleum is built in two stories of block after block of hewn and squared stone. The lower of the two stories is decagonal and has in every side a vast archway or niche, one of which forms the gateway. Within we find a huge cruciform chamber lighted by six square openings. The upper story, now reached by two stairways, built with ancient materials in 1774, is circular, having about it eighteen blind arches and over it a vast circular roof hewn out of a single block of Istrian stone that weighs, it is said, two hundred tons. It may be that this upper story, smaller as it is than the lower, was of old surrounded by a colonnade, and it may be that the twelve projections upon the vast monolith of the roof once upheld statutes of the twelve Apostles. We do not know.[1]
[Footnote 1: On the other hand, these projections are thought by many to have been used as rings for the ropes by which the roof was hauled up an inclined bank of earth into place They each bear the name of an Apostle, and are similar to the small abutting arches round the dome of S. Sophia at Salonica]
Here in this mighty tomb, which is known in Ravenna as La Rotonda, abandoned now in an unkempt garden, Theodoric, who expected to found a line of kings who would one day lie beside him; as long as he lay there at all, lay there alone. Not for long, however, did he enjoy that solitude. Already, when Agnellus wrote his Liber Pontificalis, the tomb was empty. He tells us that the porphyry urn, which had served as sepulchre for the Gothic king, then stood at the door of the Benedictine monastery close by, and that it was empty. And it seemed to him, he says, that the body of the king had been thrown out of the mausoleum because a heretic and a barbarian, as we may suppose, was not worthy of it. At any rate the body of Theodoric was no longer in the mausoleum in the beginning of the ninth century, and it is certain that it had been ejected thence many years before. In the year 1854 a gang of navvies who were excavating a dock between the railway station and the Corsini Canal, some two hundred yards perhaps from the mausoleum, and on the site of an old cemetery, came upon a skeleton "armed with a golden cuirass, a sword by its side, and a golden helmet upon its head. In the hilt of the sword and in the helmet large jewels were blazing." Most of this booty they disposed of, but a few pieces were recovered and these are now in the Museo. It might seem that this can have been none other than the body of the great Gothic king. Indeed Dr. Ricci finds the ornament upon the armour to be similar to the decoration upon the cornice of the mausoleum. If this be so it puts the matter almost beyond doubt.