The Pantheon: From Antiquity to the Present by Tod A. Marder, Mark Wilson Jones

By Tod A. Marder, Mark Wilson Jones

The Pantheon is without doubt one of the most vital architectural monuments of all time. inspiration to were equipped by way of Emperor Hadrian in nearly a hundred twenty five advert at the web site of an previous, Agrippan-era monument, it brilliantly screens the spatial pyrotechnics emblematic of Roman structure and engineering. The Pantheon offers an updated account of modern examine at the top preserved construction within the corpus of historical Roman structure from the time of its building to the twenty-first century. every one bankruptcy addresses a selected primary factor or interval referring to the development; jointly, the essays during this quantity make clear all points of the Pantheon's construction, and identify the significance of the heritage of the development to an knowing of its historical cloth and history, its current kingdom, and its certain function within the survival and evolution of historical structure in glossy Rome.

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3. 4. 5. Pierre-Adrien Pâris, tomb of Agamemnon in a crypt, set design, ca. 6. Paul Philippe Cret, sketch from course on architectural form, University of Pennsylvania, ca. 7. Louis I. 8. 9. Frank Lloyd Wright, “Archeseum,” September 1956, Solomon R. 10. 11. 12. 13. 14. Albert Speer, after Adolf Hitler, central axis with Grosse Halle (project), Berlin, ca. 1937–1941 List of Contributors Janet DeLaineLecturer in Roman Archaeology, Faculty of Classics, University of Oxford Richard A. EtlinDistinguished University Professor Emeritus, School of Architecture, Planning, and Preservation, University of Maryland Lise M.

3 A medieval tradition held the Pantheon to be a work of the devil – since it so clearly exceeded the reach of mortal capabilities, who else could have built it? From a Renaissance perspective more in tune with ancient ideals, Michelangelo arrived at the opposite conclusion: for him, the design was “angelic, not human” and thus divine. In truth, there is something about both pronouncements that makes us think of the Pantheon as if it were, sui generis, a work of nature (even divine nature) like an alpine peak or chasm, appealing as much to those with romantic or religious sensibilities as to those favoring unemotional analysis.

Kähler, Der römische Tempel 1970, after Beltrami 1898) This much can be said with certainty: with its north-facing orientation, Agrippa’s Pantheon was aligned axially with the entrance to the Mausoleum of Augustus about half a mile away, a critical relationship that encourages its interpretation as a dynastic sanctuary (see Plate XVI). This pairing accords with a passage by Dio Cassius, a consul of the third century, which states that Agrippa intended to honor the emperor by dedicating the building to him and erecting his statue inside, but Augustus disapproved.

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