The tomb of Theodoric still stands, a noble monument of the art of the sixth century, outside the walls of the north-east corner of Ravenna. This edifice, which belongs to the same class of sepulchral buildings as the tomb of Hadrian (now better known as the Castle of S. Angelo), is built of squared marble stones, and consists of two storeys, the lower one a decagon, the upper one circular. The roof is composed of one enormous block of Istrian marble 33 feet in diameter, 3 feet in height, and weighing, it is said, nearly 300 tons. It is a marvel and a mystery how, with the comparatively rude engineering appliances of that age, so ponderous a mass can have been transported from such a distance and raised to such a height. [137] At equal intervals round the outside of this shallow, dome-like roof, twelve stone brackets are attached to it. They are now marked with the names of eight Apostles and of the four Evangelists. One conjecture as to their destination is that they were originally crowned with statues, perhaps of these Apostles and Evangelists; another, to me not very probable, is, that the ropes used (if any were used) in lifting the mighty monolith to its place were passed through these, which would thus be the handles of the dome.
Footnote 137:[ (return) ] The mausoleum of Theodoric was a work that excited the admiration of his contemporaries. The "Anonymous Valesii" writes "Se autem vivo fecit sibi monumentum ex lapide quadrato, miræ magnitudinis opus, et saxum ingens quod superponeret inquisivit".
This mausoleum, which is generally called La Rotonda by the citizens of Ravenna, was used in the Middle Ages as the choir of the Church of S. Maria della Rotonda, and divine service was celebrated in it by the monks of an adjoining monastery. It is now a "public monument" and there are few traces left of its ecclesiastical employment. The basement, as I have seen it, is often filled with water, exuding from the marshy soil: the upper storey is abandoned to gloom and silence.
Of Theodoric himself, whose body, according to tradition, was once deposited in a porphyry vase in the upper storey of the mausoleum, there is now no vestige in the great pile which in his own life-time he raised as his intended sepulchre. Nor is this any recent spoliation. Agnellus, Bishop of Ravenna, writing in the days of Charlemagne, says that the body of Theodoric was not in the mausoleum, and had been, as he thought, cast forth out of its sepulchre, [138] and the wonderful porphyry vase in which it had been enclosed placed at the door of the neighbouring monastery. A recent enquirer [139] has connected these somewhat ambiguous words of Agnellus with a childish story told by Pope Gregory the Great, who wrote some seventy years after the death of Theodoric. According to this story, a holy hermit, who lived in the island of Lipari, on the day and hour of Theodoric's death saw him, with bound hands and garments disarranged, dragged up the volcano of Stromboli by his two victims Symmachus and Pope John, and hurled by them into the fire-vomiting crater. What more likely, it is suggested, than that the monks of the adjoining monastery should seize the opportunity of some crisis in the troubled history of Ravenna to cast out the body of Theodoric from its resting-place, and so, to the ignorant people, give point to Pope Gregory's edifying narrative as to the disposal of his soul?
Footnote 138:[ (return) ] "Sed ut mihi videtur, ex sepulcro projectus est, et ipsa urna, ubi jacuit, ex lapide pirfiretico valde mirabilis ante ipsius monasterii aditum posita est".
Footnote 139:[ (return) ] Corrado Ricci, "Della Corazzo d'Oro", in "Cronologio Ravennate", 1879.
A discovery, which was made some forty years ago in the neighbourhood of Ravenna, may possibly throw some light on these mysterious words of Bishop Agnellus: "As it seems to me, he was cast forth out of his sepulchre". In May, 1854, the labourers employed in widening the bed of the Canale Corsini (now the only navigable water-way between Ravenna and the sea) came, at the depth of about five feet beneath the sea-level, on some tumuli, evidently sepulchral in their character, made of bricks laid edgeways. Near one of these tumuli, but lying apart by itself, was a golden cuirass adorned with precious stones. The rascally labourers, when they caught sight of their treasure, feigned to see nothing, promptly covered it up again, and returned at nightfall to divide the spoil. A little piece of gold which was found lying on the ground caused enquiries to be set on foot; the labourers were arrested, but unfortunately the greater part of the booty had already been cast into the melting-pot. A few pieces were, however, recovered, and are now in the museum at Ravenna, where they figure in the catalogue as part of the armour of Odovacar. This is, however, a mere conjecture, and another, at least equally probable conjecture, is that the cuirass of gold once covered the breast of Theodoric. The spot where it was found is about one hundred and fifty yards from the Rotonda, and if the monks had for any reason decided to pillage the sepulchre of its precious deposit, this was a not improbable place where they might hide it for a time. Certainly the self-denial which they showed in not stripping the body of its costly covering is somewhat surprising, but possibly the conspirators were few in number and the chances of war may have removed them, before they had an opportunity to disinter the body a second time and strip it of its cuirass, which moreover could not have been easily disposed of without exciting suspicion.
One little circumstance which seems somewhat to confirm this theory, is the fact that there is an enrichment [140] running round the border of the cuirass very similar in character to a decoration of the cornice in Theodoric's tomb.
Footnote 140:[ (return) ] A "meandro", as it is called by Ricci.
Whether this theory be correct or not, the indignity which was certainly at some time offered to the mortal remains of the great Ostrogothic king reminds us of the similar insults offered to the body of the great Puritan Protector, Cromwell, like Theodoric, was carried to his grave with all the conventional demonstrations of national mourning. He was dragged from it again and cast out "like an abominable branch" when the legitimate monarchy was restored, when "Church and King" were again in the ascendant, and when the stout soldiers, who had made him in all but the name king de facto, were obliged to bow their heads beneath the recovered might of the king de jure.