436. Plan of Tomb of Theodoric. Scale 50 ft. to 1 in.
437. Elevation of Tomb of Theodoric, Ravenna. (From Isabelle, ‘Édifices Circulaires.’)
Far more interesting than this—architecturally at least—is the tomb of Theodoric, the Gothic king, now known as Santa Maria Rotunda. The lower storey is a decagon externally, enclosing a cruciform crypt. It is 45 ft. in diameter, each face being ornamented by a deep niche. These support a flat terrace, on which originally stood a range of small pillars supporting arches which surrounded the upper storey. These have all been removed, though their form can be restored from fragments found, and as shown in Woodcut No. [435]. On the face of the tomb itself are the sinkings for the architraves and vaults which they supported. The most singular part of the building is the roof, which is formed of one great slab hollowed out into the form of a flat dome—internally 30 ft. and externally 35 ft. in diameter—and which certainly forms one of the most unique and appropriate coverings for a tomb perhaps anywhere to be found. Near the edge are a series of projecting bosses, which evidently were originally used as handles, by means of which the immense mass was raised to its present position. In the centre of the dome is a small square pedestal, on which, it is said, once stood the urn which contained the ashes of its founder.
The model of this building seems probably to have been the Mole of Hadrian, which Theodoric saw, and must have admired, during his celebrated visit to Rome. The polygonal arrangements of the exterior, and the substitution of arcades for horizontal architraves, were only such changes as the lapse of time had rendered indispensable. But the building of the ancient world which it most resembles is the Tour Magne at Nîmes. In both cases we have the polygonal basement containing a great chamber, and above this externally the narrow ledge, approached by flying flights of steps. We cannot now tell what crowned the French example, though the fact of an urn crowning the tomb at Ravenna points to an identical origin, but we must obtain a greater number of examples before we can draw any positive conclusions as to the origin of such forms. Meanwhile, however, whether we consider the appropriateness of the forms, the solidity of its construction, or the simplicity of its ornaments and details, this tomb at Ravenna is not surpassed by any building of its class and age.
Though the investigation of the early history of these circular forms of churches is not so important as that of the rectangular basilicas, it is extremely interesting from the influence they had on the subsequent development of the style. In Italy it is probable that one-half of the early churches were circular in plan; and one such is still generally retained attached to each cathedral as a baptistery. Except for this purpose, however, the form has generally been superseded: the rectangular being much easier to construct, more capable of extension, and altogether more appropriate to the ritual of the Christian community. In France the circular form was early absorbed into the basilica, forming the Chevet or apse. In Germany its fate was much the same as in Italy, but its supersession was earlier and more complete. In England some half-dozen examples are known to exist, and in Spain they have yet to be discovered.
Had the Gothic architects applied themselves to the extension and elaboration of the circular form with the same zeal and skill as was displayed in that task by their Byzantine brethren, they might probably have produced something far more beautiful than even the best of our mediæval cathedrals; but when the Barbarians began to build, they found the square form with its straight lines simpler and easier to construct. It thus happened that, long before they became as civilised and expert as the Easterns were when they commenced the task, the Westerns had worked the rectangular form into one of considerable beauty, and had adapted it to their ritual, and their ritual to it. It thus became the sacred and appropriate form, and the circular or domical forms were consequently never allowed a fair trial in Western Europe.
Secular Buildings.
Very few remains of secular buildings in the early Christian style are now to be found in Italy. The palace of Theodoric at Ravenna, though sadly mutilated, is perhaps the best and most perfect. In all its details it shows a close resemblance to that of Diocletian at Spalato, but more especially so to the Porta Aurea and the most richly and least classically decorated parts of that edifice, but much intermixed with mouldings and details which would seem to belong to a later style.