Interior view of Pantheon; sixteenth-century drawing by Raphael. The structure's dome is 43 meters high, 43 meters in diameter and free-standing. 59–84; Mark Wilson Jones, “The Pantheon and the Phasing of Its Construction,” in Grasshoff, Heinzelmann, and Wäfler 2009, pp. The present-day Pantheon is located on the site of an earlier structure of the same name, constructed around 25 B.C. It is safe, though, to assume that Venus, Mars, and Julius Caesar were accompanied by other statues disposed in the exedras and aedicules of the rotunda. In 1928, the niches and altars in the Rotunda were reconstructed to eliminate most vestiges of baroque decoration. His vision included a forecourt graded to the ancient level and extended around and behind the Pantheon as a vast sunken piazza, which was to be surrounded by famous ancient statues brought to the site from Rome’s museums (Fig. 159–162. These decorations consist of fluted pilasters and the series of friezes already mentioned that are carved in relief on three-foot-tall slabs of marble varying in length and arranged as two horizontal bands on the intermediate block, as well as three bands to either side of the entrance portal. 211–215; William L.MacDonald, The Architecture of the Roman Empire, vol. Tourists from various parts of the world flock to Rome in order to visit this architectural landmark. 87–120. 279–308. 1, pp. 5; Licht 1968, pp. Plan of Agrippa’s Pantheon facing south, orientation now in question. In 1911, Antonio Muñoz restructured Raphael’s tomb and altar.70, 1.22. Northeast capital of portico with detail of Barberini bee and, on cornice, the later Chigi stars and mounts. 259–267; Buddensieg, “Criticism of Ancient Architecture in the Sixteenth and Seventeenth Centuries,” in Classical Influences on European Culture AD 500–1500, ed. On the career of Apollodorus see MacDonald 1965, pp. 1.21).66 This plan, was published in the atlas of De Tournon’s schemes for revitalizing the historic centers of Rome.67 In a different political climate after Napoleon’s demise, Popes Pius VII (1800–1823) and Pius IX (1948–1978) took up identical campaigns, again without success.68, 1.21. 55–63. In other drawings, he changed the position and number of columns in the porch because of a supposedly “erroneous” relationship to the niches and surrounded the temple with columns, producing, as Nesselrath puts it, something of a “caricature” of the original. That he left it untouched in the search for building materials for the Vatican is remarkable. Relazione delle indagini eseguite dal R. Ministero della Pubblica Istruzione negli anni 1892–93, coi rilievi e disegni dell’ architetto Pier Olinto Armanini, Milan 1898. Instead, the metal from a number of cannon at Castel Sant’Angelo can be traced to the Pantheon bronze beams, the very antiquities that had so often been admired by draftsmen and antiquarians in the previous century.50. Kunsthistorische Studien Hans Kauffmann zum 70. These arrangements of 1491 were complemented by a fifteenth-century maiolica relief of the Assumption of the Virgin, which hung within a painted gloria of saints in the half dome of the apse.41. A temple dedicated to all gods. 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. Facade of Pantheon after removal of bell towers in 1882–1883; period photograph. The impetus for these excavations came from the work of a young French architect, Georges Chédanne, a pensionnaire at the French Academy in Rome, who overturned prevailing assumptions by assigning the Pantheon to Hadrian’s reign on the basis of brickstamps belonging to the structure.10 (Roman brickmakers often stamped one brick per batch with information that in effect yields a date range and sometimes the precise year of manufacture.) Georg Satzinger and Sebastian Schütze, Munich, 2008, pp. (Haselberger 1994, Abb. 145–153. 10.6 and Chapter Ten.). A controversial recent theory, advocated here on the basis of fresh corroborative evidence in Chapter Seven, proposes that the initial plan called for columns of even greater size, each weighing no less than 100 tons. 628–645; Wilson Jones 2000, pp. Exterior of intermediate block, west side. (see Fig. 35–58; Mark Wilson Jones, Principles of Roman Architecture, New Haven 2000, Chap. 1.4. (Avery Library, Columbia University), The state of the interior during the Middle Ages is also discussed in Chapter Eight. 36–38; Giuseppe Bonacorso and Tommaso Manfredi, in I Virtuosi al Pantheon 1700–1758, Rome 1998, give the statutes of the confraternity (pp. (Photo archive, National Gallery of Art, Washington, D.C.), 1.23. 22 Licht 1968, pp. Additionally, the Pantheon’s architect, Jacques-Germain Soufflot, had the intention of combining the lightness and brightness of the Gothic cathedral with classical principles. 31–45; Alberto M. Racheli, Restauri a Roma 1870–1990. Because the towers had assumed the role of marking a church, their removal signaled a return to its pre-Christian origins, a change not welcomed by the Vatican (see Chapter Twelve). A public building commemorating and dedicated to the heroes of a … 72 Our thanks to Carla Trovini for clarifying the career of Comparini. See now, Carolyn Y. Yerkes, “Drawings of the Pantheon in the Metropolitan Museum’s Goldschmidt Scrapbook,” Metropolitan Museum Journal 48, 2013, pp. As a signatory of the PRI, we are required to complete an annual assessment which seeks to facilitate learning and development, 230–231. 5 Scriptores Historiae Augustae (S.H.A. Ancient materials were removed not just because they had become damaged but also because they were wanted elsewhere. Ironically, the towers are almost never correctly attributed to his rivals Maderno and Borromini. These twelve gods demanded worship from all their subjects. 23–24; Wilson Jones, “Who Built the Pantheon? Today, the Pantheon continues to function as a church, as well as a major tourist destination. In 1270, a bell tower was constructed on the peak of the portico’s roof, and it remained in place throughout the sixteenth century, as Renaissance drawings attest. Robert Coates-Stephens and Lavinia Cozza, London and Rome 2014, pp. Directed by Alessandro Viviani, the Master Plan (Piano Regolatore) of 1873 sought to render the “intricate labyrinth of narrow streets” more “permeable.” The 1883 Piano Regolatore, which again included the participation of Viviani, anticipated widened streets between the Maddalena and the Pantheon, but no demolition of the intervening city block. Schematic geometry of the Pantheon. For example, the pavement of the rotunda was restored in 1872 and many times thereafter, right up to the 1990s as mentioned earlier. (Uffizi A 164 recto), 1.17 a and b. (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. 4 Allan Ceen, “The Urban Setting of the Pantheon,” in Gerd Grasshoff, Michael Heinzelmann, and Markus Wäfler, eds., The Pantheon in Rome: Contributions to the Conference, Bern, November 9–12, 2006, Bern 2009, pp. Frank Lloyd Wright called his Guggenheim Museum “my Pantheon.” For Louis Kahn, the “Pantheon is really a world within a world.”, Such ideas represent a beginning, not an end, of broader studies of the fabric that arose sometime in the second century AD. 180–184, and for recent defense of the Pantheon as a temple see Fabio Barry, “The Pediment of the Pantheon. 3–10, and Chapter Four in the present volume. 64 In connection with that work, the ministers of Clement XI once again rebuilt the booths and stands of the street merchants within restricted boundaries, for which see Tod A. 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