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By the 7th century, the Pantheon had become St. Mary of the Martyrs, a Christian church. A row of niches lines the rear walls of the Pantheon portico and around the perimeter of the dome room.

These niches may have held sculptures of pagan gods, Roman emperors, or Christian saints. The Pantheon was never early Christian architecture, yet the structure was in the hands of the reigning Christian Pope.

Pope Urban VIII pilfered precious metals from the structure, and in return added two bell towers, which can be seen on some photos and engravings before they were removed.

From above, the Pantheon's foot oculus, the hole at the top of the dome, is an obvious opening to the elements. It allows sunlight into the temple room below it, but also allows rain to the interior, which is why the marble floor below curves outward to drain the water.

The ancient Romans were skilled at concrete construction. When they built the Pantheon around A. They gave their Pantheon massive foot thick walls to support a huge dome made of solid concrete.

As the height of the dome rises, the concrete was mixed with lighter and lighter stone material—the top is largely pumice. With a diameter that measures The "step-rings" can be seen on the outside of the dome.

Professional engineers like David Moore have suggested that the Romans used corbeling techniques to construct the dome-like a series of smaller and smaller washers set upon each other.

Each ring was built like a low Roman wall The compression ring oculus at the center of the dome This ring is effective in properly distributing the compression forces at this point.

The ceiling of the Pantheon dome has five symmetrical rows of 28 coffers sunken panels and a round oculus opening at the center. Sunlight streaming through the oculus illuminates the Pantheon rotunda.

The coffered ceiling and oculus were not only decorative but also lessened the weight load of the roof.

Although the dome is made of concrete, the walls are brick and concrete. To support the weight of the upper walls and dome, brick arches were built and can still be seen on the exterior walls.

From him we know that "the capitals, too, of the pillars, which were placed by M. Agrippa in the Pantheon, are made of Syracusan bronze", [23] that "the Pantheon of Agrippa has been decorated by Diogenes of Athens, and the Caryatides, by him, which form the columns of that temple, are looked upon as masterpieces of excellence: the same, too, with the statues that are placed upon the roof," [24] and that one of Cleopatra's pearls was cut in half so that each half "might serve as pendants for the ears of Venus, in the Pantheon at Rome".

The Augustan Pantheon was destroyed along with other buildings in a huge fire in the year 80 AD. Domitian rebuilt the Pantheon, which was burnt again in AD.

The degree to which the decorative scheme should be credited to Hadrian's architects is uncertain. The Historia Augusta says that Hadrian dedicated the Pantheon among other buildings in the name of the original builder Hadr.

Agrippa L. Cassius Dio , a Graeco-Roman senator, consul and author of a comprehensive History of Rome , writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian.

Dio appears to be the only near-contemporaneous writer to mention the Pantheon. Even by the year , there was uncertainty about the origin of the building and its purpose:.

Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens.

Mary and the Martyrs on 13 May "Another Pope, Boniface, asked the same [Emperor Phocas, in Constantinople] to order that in the old temple called the Pantheon, after the pagan filth was removed, a church should be made, to the holy virgin Mary and all the martyrs, so that the commemoration of the saints would take place henceforth where not gods but demons were formerly worshipped.

The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation that befell the majority of ancient Rome's buildings during the early medieval period.

Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary], which at one time was called the Pantheon, and had been founded in honour of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.

Much fine external marble has been removed over the centuries — for example, capitals from some of the pilasters are in the British Museum. In the early 17th century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers often wrongly attributed to Bernini [37] called "the ass's ears", [38] which were not removed until the late 19th century.

The marble interior has largely survived, although with extensive restoration. Since the Renaissance the Pantheon has been the site of several important burials.

Among those buried there are the painters Raphael and Annibale Carracci , the composer Arcangelo Corelli , and the architect Baldassare Peruzzi.

Filippo Brunelleschi , among other architects, looked to the Pantheon as inspiration for their works.

Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo , with the remaining amount used by the Apostolic Camera for various other works.

It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St.

In , the broad frieze below the dome with its false windows was "restored," but bore little resemblance to the original.

In the early decades of the 20th century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.

The Pantheon is in use as a Catholic church. Masses are celebrated there on Sundays and holy days of obligation. Weddings are also held there from time to time.

On 23 July , the Pantheon was established as Cardinal-deaconry of S. Maria ad Martyres, i. On 26 May , this deaconry was suppressed to establish the Cardinal Deaconry of S.

Apollinare alle Terme Neroniane-Alessandrine. The building was originally approached by a flight of steps. Later construction raised the level of the ground leading to the portico, eliminating these steps.

The pediment was decorated with relief sculpture, probably of gilded bronze. Holes marking the location of clamps that held the sculpture suggest that its design was likely an eagle within a wreath; ribbons extended from the wreath into the corners of the pediment.

Mark Wilson Jones has attempted to explain the design adjustments carried out in relating the porch to the dome, arguing that the Pantheon's porch was originally designed for monolithic granite columns with shafts 50 Roman feet tall weighing about tonnes and capitals 10 Roman feet tall in the Corinthian style.

Instead, after the intended columns failed to arrive, the builders made many awkward adjustments in order to use shafts 40 Roman feet tall and capitals eight Roman feet tall.

Alternatively, it has also been argued that the scale of the portico related to the urban design of the space in front of the temple.

Each was They were floated by barge down the Nile River when the water level was high during the spring floods, and then transferred to vessels to cross the Mediterranean Sea to the Roman port of Ostia.

There, they were transferred back onto barges and pulled up the Tiber River to Rome. In the walls at the back of the Pantheon's portico are two huge niches, perhaps intended for statues of Augustus Caesar and Agrippa.

The large bronze doors to the cella , measuring 4. The 4,tonne weight of the Roman concrete dome is concentrated on a ring of voussoirs 9.

The thickness of the dome varies from 6. At its thickest point, the aggregate is travertine , then terracotta tiles, then at the very top, tufa and pumice , both porous light stones.

At the very top, where the dome would be at its weakest and vulnerable to collapse, the oculus actually lightens the load. An empirical relationship gives a tensile strength of 1.

The stresses in the dome were found to be substantially reduced by the use of successively less dense aggregate stones, such as small pots or pieces of pumice, in higher layers of the dome.

Hidden chambers engineered within the rotunda form a sophisticated structural system. The top of the rotunda wall features a series of brick relieving arches , visible on the outside and built into the mass of the brickwork.

The height to the oculus and the diameter of the interior circle are the same, It is also substantially larger than earlier domes. All other extant ancient domes were either designed with tie-rods , chains and banding or have been retrofitted with such devices to prevent collapse.

Though often drawn as a free-standing building, there was a building at its rear which abutted it. While this building helped buttress the rotunda, there was no interior passage from one to the other.

Upon entry, visitors are greeted by an enormous rounded room covered by the dome. The oculus at the top of the dome was never covered, allowing rainfall through the ceiling and onto the floor.

The interior of the dome was possibly intended to symbolize the arched vault of the heavens. Throughout the day, the light from the oculus moves around this space in a reverse sundial effect.

During storms, a drainage system below the floor handles the rain that falls through the oculus. The dome features sunken panels coffers , in five rings of This evenly spaced layout was difficult to achieve and, it is presumed, had symbolic meaning, either numerical, geometric, or lunar.

Circles and squares form the unifying theme of the interior design. The checkerboard floor pattern contrasts with the concentric circles of square coffers in the dome.

Each zone of the interior, from floor to ceiling, is subdivided according to a different scheme. As a result, the interior decorative zones do not line up.

The overall effect is immediate viewer orientation according to the major axis of the building, even though the cylindrical space topped by a hemispherical dome is inherently ambiguous.

This discordance has not always been appreciated, and the attic level was redone according to Neoclassical taste in the 18th century.

The present high altars and the apses were commissioned by Pope Clement XI — and designed by Alessandro Specchi. Enshrined on the apse above the high altar is a 7th-century Byzantine icon of the Virgin and Child, given by Phocas to Pope Boniface IV on the occasion of the dedication of the Pantheon for Christian worship on 13 May The choir was added in , and was designed by Luigi Poletti.

The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari painted by an unknown artist.

The second niche has a 15th-century fresco of the Tuscan school, depicting the Coronation of the Virgin. It was originally dedicated to the Holy Spirit.

A competition was held to decide which architect should design it. Manfredo Manfredi won the competition, and started work in The tomb consists of a large bronze plaque surmounted by a Roman eagle and the arms of the house of Savoy.

It is also known as the Madonna of the Railing, because it originally hung in the niche on the left-hand side of the portico, where it was protected by a railing.

It was moved to the Chapel of the Annunciation , and then to its present position sometime after The bronze epigram commemorated Pope Clement XI 's restoration of the sanctuary.

There are three memorial plaques in the floor, one conmmemorating a Gismonda written in the vernacular. The final niche on the right side has a statue of St.

Anastasio by Bernardino Cametti. On the first niche to the left of the entrance is an Assumption by Andrea Camassei. This refers to the confraternity of artists and musicians that was formed here by a 16th-century Canon of the church, Desiderio da Segni, to ensure that worship was maintained in the chapel.

The confraternity continued to draw members from the elite of Rome's artists and architects, and among later members we find Bernini , Cortona , Algardi , and many others.

The altar in the chapel is covered with false marble. To the sides are paintings by Francesco Cozza , one of the Virtuosi: Adoration of the Shepherds on left side and Adoration of the Magi on right.

The second niche has a statue of St Agnes , by Vincenzo Felici. The chapel was originally dedicated to St Michael the Archangel, and then to St.

Thomas the Apostle. The present design is by Giuseppe Sacconi , completed after his death by his pupil Guido Cirilli. The tomb consists of a slab of alabaster mounted in gilded bronze.

The frieze has allegorical representations of Generosity , by Eugenio Maccagnani, and Munificence , by Arnaldo Zocchi.

C, Marcus Agrippa, the first emperor of the Roman Empire, commissioned a rectangular Pantheon building. Agrippa's Pantheon burned down in A.

In Latin, fecit means "he made," so Marcus Agrippa is forever associated with the Pantheon's design and construction. Then, in A. Having survived many centuries of wars, the Pantheon remains the best-preserved building in Rome.

The Roman Pantheon was originally built as a temple for all the gods. Pan is Greek for "all" or "every" and theos is Greek for "god" e.

Pantheism is a doctrine or religion that worships all gods. After the A. By the 7th century, the Pantheon had become St.

Mary of the Martyrs, a Christian church. A row of niches lines the rear walls of the Pantheon portico and around the perimeter of the dome room.

These niches may have held sculptures of pagan gods, Roman emperors, or Christian saints. The Pantheon was never early Christian architecture, yet the structure was in the hands of the reigning Christian Pope.

Pope Urban VIII pilfered precious metals from the structure, and in return added two bell towers, which can be seen on some photos and engravings before they were removed.

From above, the Pantheon's foot oculus, the hole at the top of the dome, is an obvious opening to the elements.

It allows sunlight into the temple room below it, but also allows rain to the interior, which is why the marble floor below curves outward to drain the water.

The ancient Romans were skilled at concrete construction. When they built the Pantheon around A. They gave their Pantheon massive foot thick walls to support a huge dome made of solid concrete.

As the height of the dome rises, the concrete was mixed with lighter and lighter stone material—the top is largely pumice. With a diameter that measures The "step-rings" can be seen on the outside of the dome.

Professional engineers like David Moore have suggested that the Romans used corbeling techniques to construct the dome-like a series of smaller and smaller washers set upon each other.

Each ring was built like a low Roman wall The compression ring oculus at the center of the dome This ring is effective in properly distributing the compression forces at this point.

The ceiling of the Pantheon dome has five symmetrical rows of 28 coffers sunken panels and a round oculus opening at the center.

Sunlight streaming through the oculus illuminates the Pantheon rotunda. The coffered ceiling and oculus were not only decorative but also lessened the weight load of the roof.

Although the dome is made of concrete, the walls are brick and concrete. To support the weight of the upper walls and dome, brick arches were built and can still be seen on the exterior walls.

They are called "relieving arches" or "discharging arches. These arches provided strength and support when niches were carved out of the interior walls.

The Roman Pantheon with its classical portico and domed roof became a model that influenced Western architecture for 2, years. The pediment was decorated with relief sculpture, probably of gilded bronze.

Holes marking the location of clamps that held the sculpture suggest that its design was likely an eagle within a wreath; ribbons extended from the wreath into the corners of the pediment.

Mark Wilson Jones has attempted to explain the design adjustments carried out in relating the porch to the dome, arguing that the Pantheon's porch was originally designed for monolithic granite columns with shafts 50 Roman feet tall weighing about tonnes and capitals 10 Roman feet tall in the Corinthian style.

Instead, after the intended columns failed to arrive, the builders made many awkward adjustments in order to use shafts 40 Roman feet tall and capitals eight Roman feet tall.

Alternatively, it has also been argued that the scale of the portico related to the urban design of the space in front of the temple.

Each was They were floated by barge down the Nile River when the water level was high during the spring floods, and then transferred to vessels to cross the Mediterranean Sea to the Roman port of Ostia.

There, they were transferred back onto barges and pulled up the Tiber River to Rome. In the walls at the back of the Pantheon's portico are two huge niches, perhaps intended for statues of Augustus Caesar and Agrippa.

The large bronze doors to the cella , measuring 4. The 4,tonne weight of the Roman concrete dome is concentrated on a ring of voussoirs 9.

The thickness of the dome varies from 6. At its thickest point, the aggregate is travertine , then terracotta tiles, then at the very top, tufa and pumice , both porous light stones.

At the very top, where the dome would be at its weakest and vulnerable to collapse, the oculus actually lightens the load.

An empirical relationship gives a tensile strength of 1. The stresses in the dome were found to be substantially reduced by the use of successively less dense aggregate stones, such as small pots or pieces of pumice, in higher layers of the dome.

Hidden chambers engineered within the rotunda form a sophisticated structural system. The top of the rotunda wall features a series of brick relieving arches , visible on the outside and built into the mass of the brickwork.

The height to the oculus and the diameter of the interior circle are the same, It is also substantially larger than earlier domes.

All other extant ancient domes were either designed with tie-rods , chains and banding or have been retrofitted with such devices to prevent collapse.

Though often drawn as a free-standing building, there was a building at its rear which abutted it. While this building helped buttress the rotunda, there was no interior passage from one to the other.

Upon entry, visitors are greeted by an enormous rounded room covered by the dome. The oculus at the top of the dome was never covered, allowing rainfall through the ceiling and onto the floor.

The interior of the dome was possibly intended to symbolize the arched vault of the heavens. Throughout the day, the light from the oculus moves around this space in a reverse sundial effect.

During storms, a drainage system below the floor handles the rain that falls through the oculus. The dome features sunken panels coffers , in five rings of This evenly spaced layout was difficult to achieve and, it is presumed, had symbolic meaning, either numerical, geometric, or lunar.

Circles and squares form the unifying theme of the interior design. The checkerboard floor pattern contrasts with the concentric circles of square coffers in the dome.

Each zone of the interior, from floor to ceiling, is subdivided according to a different scheme. As a result, the interior decorative zones do not line up.

The overall effect is immediate viewer orientation according to the major axis of the building, even though the cylindrical space topped by a hemispherical dome is inherently ambiguous.

This discordance has not always been appreciated, and the attic level was redone according to Neoclassical taste in the 18th century.

The present high altars and the apses were commissioned by Pope Clement XI — and designed by Alessandro Specchi.

Enshrined on the apse above the high altar is a 7th-century Byzantine icon of the Virgin and Child, given by Phocas to Pope Boniface IV on the occasion of the dedication of the Pantheon for Christian worship on 13 May The choir was added in , and was designed by Luigi Poletti.

The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari painted by an unknown artist.

The second niche has a 15th-century fresco of the Tuscan school, depicting the Coronation of the Virgin.

It was originally dedicated to the Holy Spirit. A competition was held to decide which architect should design it. Manfredo Manfredi won the competition, and started work in The tomb consists of a large bronze plaque surmounted by a Roman eagle and the arms of the house of Savoy.

It is also known as the Madonna of the Railing, because it originally hung in the niche on the left-hand side of the portico, where it was protected by a railing.

It was moved to the Chapel of the Annunciation , and then to its present position sometime after The bronze epigram commemorated Pope Clement XI 's restoration of the sanctuary.

There are three memorial plaques in the floor, one conmmemorating a Gismonda written in the vernacular. The final niche on the right side has a statue of St.

Anastasio by Bernardino Cametti. On the first niche to the left of the entrance is an Assumption by Andrea Camassei. This refers to the confraternity of artists and musicians that was formed here by a 16th-century Canon of the church, Desiderio da Segni, to ensure that worship was maintained in the chapel.

The confraternity continued to draw members from the elite of Rome's artists and architects, and among later members we find Bernini , Cortona , Algardi , and many others.

The altar in the chapel is covered with false marble. To the sides are paintings by Francesco Cozza , one of the Virtuosi: Adoration of the Shepherds on left side and Adoration of the Magi on right.

The second niche has a statue of St Agnes , by Vincenzo Felici. The chapel was originally dedicated to St Michael the Archangel, and then to St.

Thomas the Apostle. The present design is by Giuseppe Sacconi , completed after his death by his pupil Guido Cirilli. The tomb consists of a slab of alabaster mounted in gilded bronze.

The frieze has allegorical representations of Generosity , by Eugenio Maccagnani, and Munificence , by Arnaldo Zocchi.

They also organize picket guards at the tombs. The altar with the royal arms is by Cirilli. The epigraph was written by Pietro Bembo. The bust of Raphael is by Giuseppe Fabris.

The two plaques commemorate Maria Bibbiena and Annibale Carracci. Behind the tomb is the statue known as the Madonna del Sasso Madonna of the Rock so named because she rests one foot on a boulder.

It was commissioned by Raphael and made by Lorenzetto in In the Chapel of the Crucifixion, the Roman brick wall is visible in the niches.

The wooden crucifix on the altar is from the 15th century. The bust is a portrait of Cardinal Agostino Rivarola. The final niche on this side has a statue of St.

Evasius Sant'Evasio by Francesco Moderati. The dome photographed with a fisheye lens in South east view of the Pantheon from Piazza della Minerva , The portico-and-dome form of the Pantheon can be detected in many buildings of the 19th and 20th centuries; numerous government and public buildings, city halls , university buildings, and public libraries echo its structure.

From Wikipedia, the free encyclopedia. Roman temple in Rome. For other uses, see Pantheon. Not to be confused with Parthenon. See also Oxford Latin Dictionary , s.

Oxford English Dictionary. Oxford, England: Oxford University Press. December Retrieved September 26, Papers of the British School at Rome.

In Richard Wrigley; Matthew Craske eds. Pantheons; Transformations of a Monumental Idea. Aldershot: Ashgate.

In Martin Henig; Anthony King eds. Oxford University Committee for Archaeology. Lexicon topographicum urbis Romae 4. Rome: Quasar. Retrieved New Answers to an Old Question".

The Pantheon in Rome: Contributions to the Conference. Bern: 31— Bern: Leone; Palombi; Walker eds. Tuscia University.

Archived from the original on 3 March Retrieved 3 March Les monuments antiques de Rome encore existants: les ponts, les murs, les voies, les aqueducs, les enceintes de Rome, les palais, les temples, les arcs in French.

Byzantine Rome and the Greek Popes. Bernini: His Life and His Rome. University of Chicago Press. Retrieved January 3, The Pantheon. Minneapolis: Lerner Publns.

Retrieved May 8, Rodolpho Lanciani. Archived from the original on The Architecture of the Roman Empire, vol. Yale University Press.

S Dept. Retrieved 20 May International Journal of Architectural Heritage. Gardner's Art Through the Ages 9th ed. Dictionary of Maltese Biographies Vol.

Oxford University Press. The Pantheon: Design, Meaning, and Progeny. Harvard University Press. Rome, Italy: Gangemi Editore. Claridge, Amanda Oxford Archaeological Guides.

Oxford Oxfordshire: Oxford University Press. New York: John Wiley and Sons. The Cambridge Companion to the Age of Augustus.

Cambridge University Press. Dating the Pantheon. Journal of Roman Archaeology. Brunelleschi's Dome. A History of Roman Art. Belmont: Wadsworth Publishing.

Cambridge: Cambridge University Press. The Governance of Rome. The Hague, Netherlands: Martinus Nijhof. The Burlington Magazine.

The Burlington Magazine Publications, Ltd. The Journal of the Society of Architectural Historians. Society of Architectural Historians. On the structure of the Pantheon.

Art Bulletin.

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