1.20). For this and other ancient sources see Licht 1968, pp. IV. 57 Pasquali 2004 pp. It is also likely that the statues of divinized members of the imperial family were added to the original deities from time to time, as the initial dynastic aspect of the program evolved into a celebration of the imperial institution and its divine authority. The original Pantheon was destroyed in a fire around 80 A.D. By means of the same template, we can restore the original outline of the capitals, nearly all of which have suffered serious damage over time. ‘It is directed to a pantheon of deities, gods and goddesses, each of whom are housed in their own shrine.’ ‘Even though there was a risk that some detractors might use this verse as proof that there are a pantheon of gods rather than one, God deemed this principle so important that it's worth the risk.’ Teams and Technical Agility (The Bern Digital Pantheon Project), Nearly every administration in charge of the Pantheon over the centuries sought to liberate the structure from the accretion of buildings around it and to limit the activity of vendors. Regularizing the Piazza della Rotonda proved to be as difficult as freeing the Pantheon of the buildings built against it. It’s uncertain why, but Hadrian put Agrippa’s original inscription on the new Pantheon—“Marcus Agrippa the son of Lucius, three times consul, made this”—which led to centuries of years of confusion about its origins. On the other hand, we cannot assume that the relieving arches extend as solid brick throughout the full thickness of the drum, as frequently shown in modern reconstructions. Nevertheless, Raphael’s tomb established a conspicuous precedent for Renaissance artists that was much emulated. In Pantheon’s nave stands a duplicate of Foucault's Pendulum which, in 1851, the physicist used to demonstrate to the general public the Galilean principle whereby the Earth rotates on its axis as it orbits the sun. 8). Due to a lack of written records, many unknowns surround the present-day Pantheon, including who designed it and how long its construction took. 127–138. The eight columns of the front have shafts of the gray hue, while the other eight have shafts of pink, though due to patination and grime, the chromatic variation can seem marginal in some light conditions. Along with other recommendations for the commission, Specchi had just published his book of engravings ofDisegni di vari altari e cappelle nelle chiese di Roma in 1713. In layman's terms it states that the combined divine power of all of the members (Deities) of the Pantheon belongs to the Pantheon as a whole. 145–153. Finally, with the inception date of the monument in question once more, the possibility of a Trajanic start gives added strength to the association with Apollodorus, for we know Trajan to have been his appreciative patron and supporter. © 2020 A&E Television Networks, LLC. Hugo Brandenburg zum 65 Geburtstag, Boreas 17, Münster, 1994, pp. 1). (Uffizi A 164 verso). 1.13; see Chapter Five by Gene Waddell). In turn, these inspired the sculptor Antonio Canova (1757–1822) to propose the installation of a new series of commemorative busts of the “illustrious and most important men in Italy.” The first of them were Dante, Tasso, Michelangelo, Palladio, Correggio, Titian, and Veronese; others followed, all commissioned by Canova at his expense from fellow sculptors. 10.8).53 A degree of egomania seems to have inflected these projects, but fortunately, tradition prevailed and little of consequence was done to the Pantheon for the balance of the century. 68 Emma Marconcini in Luisa Cardilli, ed., La Fontana del Pantheon, Rome 1993, pp. 1.10). Inevitably, there is more still to be learned, but as we do so, the lure of the monument and its layered history can only continue to grow. A temple dedicated to all gods. The Panthéon (French: [pɑ̃.te.ɔ̃], from the Classical Greek word πάνθειον, pántheion, ('temple to all the gods') is a monument in the 5th arrondissement of Paris, France.It is located in the area known as the Latin Quarter, standing atop the Montagne Sainte-Geneviève, at the center of the Place du Panthéon which was named after it. 6 Reasons Graphic Design is More Important to Your Business to think.-reasons-graphic-design-important-business-think-0928602 Dwiggins, W. A. Francesco di Giorgio left no detailed textual commentary pertaining to the drawing, in which he increased the height of the interior by inserting an additional attic register, modified the number and rhythm of the pilasters belonging to the existing attic, and rearranged the coffering of the dome (see Fig. The original decoration of the coffering of the dome is likewise a matter of conjecture: Did the coffers contain stellar or floral motifs? National Gallery of Art.The Pantheon William L. MacDonald. Made primarily from bricks and concrete, the Pantheon consists of three sections: a portico with granite columns, a massive domed rotunda and a rectangular area connecting the other two sections. The eye revels in what is in effect a “pantheon of marbles.” Their varied and distant provenance – from modern-day Egypt, Greece, Turkey, and Tunisia – provides a visual reminder of the ample reach of Rome’s imperial dominion, its unity, and its collective wealth.26 The majestic Corinthian order provides another unifying theme for the interior and for the entire building. Those who attempted to critique the composition and improve it in their drawings famously include Francesco di Giorgio Martini (1439–1502) and Antonio da Sangallo the Younger (1484–1546). Why, for example, has one of the three exedras (or alcoves) been omitted in his rendering of the view embracing the entrance and altar bays? 54 Tod A. Marder, “Specchi’s High Altar for the Pantheon and the Statues by Cametti and Moderati,” Burlington Magazine 122, 1980, pp. Their pattern has led to the inspired yet unprovable reconstruction of a civic honor in the shape of a crown of oak leaves (corona civica), combined perhaps with an eagle alluding to the apotheosis of mortals to the immortal realm.14, The roof over the portico runs back to interrupt a secondary pediment applied to the surface of the transitional block, creating a compositional oddity that inspired the invention of a new kind of church facade in the sixteenth century. R. R. Bolgar, Cambridge 1971, pp. 37 Richard Krautheimer, Rome: Profile of a City, 312–1308, Princeton, 1980, p. 90. In this reading, Bernini reenvisioned the integrity of the composition through the commensurability of its horizontal rhythms, in opposition to privileging the strict code of vertical alignment. Under Paul III (1534–1549) in 1545, it became the prerogative of the Pantheon-based Confraternity of St. Joseph of the Holy Land, whose members were composed exclusively of artists, to grant the privilege of burial in the Pantheon. Harvard University Press, https://www.history.com/topics/ancient-greece/pantheon. 1922. Even ridding the piazza of vendors proved exhausting and ultimately insurmountable.52 In the end, he did grade the piazza modestly, situated the vendors behind the fountain, and replaced the last two missing columns and the entablature (decorated with his Chigi family arms) on the east side of the portico. The structure of the portico was consolidated in 1954; from the mid-1960s to the early 1970s, the roof tiles were reset and drainage improved; other works of maintenance and cleaning were pursued almost uninterruptedly from the latter half of the 1970s into the 1980s. A major unifying compositional feature is the use of prestigious colored marbles. These twelve gods demanded worship from all their subjects. It was re… In 1756, the polymath, essayist, critic, and collector Francesco Algarotti (1712–1764) described how “they have dared to ruin that magnificently august fabric of the Pantheon, which alone among the works of antiquity remained complete.” Writing from Venice in 1777, the artist and critic Antonio Visentini (1688–1782) called it a disaster that should never have occurred. Similarly, the foundations of the rotunda have yet to be adequately investigated, and so we remain unsure of the extent to which ground settlement might have contributed to some of the vertical cracks thatpunctuate the structure. ed. The mystery building contained in the History Unbound exercise is the so-called Roman Pantheon, constructed in approximately 31 BC by Agrippa, with the dome roof added by Hadrian in approximately 130 BC. The Pantheon in the Seventeenth and Eighteenth Centuries, Only partly inherited from the Renaissance, Bernini’s high regard for the composition of the Pantheon had no doubt been sharpened by the widespread and hostile reaction to the removal of the ancient bronze trusses from the portico under Urban VIII in 1625. Tilmann Buddenseig and Matthias Winner, Berlin 1968, pp. 1.24). When inadequately anchored bits of the dome began falling in 1753, a massive and controversial “restoration” was undertaken. New Haven 1982), Chap. The Pantheon’s long decline continued. Our thanks to Carla Trovini for this reference. The link between the porch of the Pantheon and the rotunda is formed by the so-called intermediate or transitional block. In the same campaign, the revetments of the interior were consolidated, and the high altar was replaced by a spare modernist counterpart, which must have seemed more appropriate to the imagined severity of the ancient building. Had the interior been built when the canonic Seven Wonders of the World were formulated, it surely would have been among their number. 628–645; Wilson Jones 2000, pp. The interior elevation consists of three zones, or ranges. Canova had been to Paris in 1802, less than a decade after the church had become the Panthéon and turned into a national mausoleum.58 Thus, the Roman Pantheon inspired a French Panthéon, which in turn affected thoughts about the use of the original building. The interior diameter of the rotunda is equal in dimension to the height of the interior from pavement to oculus, while the cornice marking the division between wall and dome exactly bisects this height (see Plate XII). 72 Our thanks to Carla Trovini for clarifying the career of Comparini. 46 Andrea Palladio, I quattro libri dell’architettura, Venice 1570, Book IV, Chapter XX. The new scheme remains in the building for all visitors to see: a remarkably dull combination of rectangular fields and pedimented window frames (see Plate VIII). In 1911, Antonio Muñoz restructured Raphael’s tomb and altar.70, 1.22. Astonishing for its scale and magnificence as for its preservation, rich in history and meanings, the Pantheon exerts a perpetual fascination.