Pantheon: Architectural Masterpiece of Ancient Rome
Pantheon
Pantheon (Pantheon)
FILE added (Pantheon)
Pantheon Author: Emperor Hadrian
Customers: The Emperor Hadrian
Date: 118-125 AD (previous building built by Agrippa in 27 BC)
Location: Campus Martius, Rome city
DESCRIPTION
Construction: Arquitraved and surrounded
Apparatus: Isodom
Construction materials: Concrete, brick, wood
Decorative materials: Stone, marble, stucco
Brief description: A monumental building with a large dome that combines the architecture of arquitravada with straight lines and a round arch. Abundant and luxurious decoration.
Formal analysis
Supporting Elements (Stories): Thick walls at the bottom that decrease towards the top. Openings shaped like niches in the lower ground floor. Blind windows giving onto an interior gallery. Concrete cylinder drum with 3 floors. Within the wall, arches download, spreading the weight of the dome.
Supporting Elements (East): The portico of monolithic columns (8) holding a Corinthian entablature. 8 pillars hold the whole structure. The pillars are Corinthian pilasters and Corinthian columns with niches that have a decorative function.
Supported Elements (Coated): Hemispherical dome with a large window (oculus) that illuminates the heart and ventilates the building. The fact that rain may enter forced them to bend the ground so that water flows towards drainage channels that exist in the perimeter.
Decorative Elements: Polychrome, colored marbles, sculptures in the niches, coffered ceilings decorated with bronze plates, bronze dome cladding throughout the dome.
Spacious interior.
Plant: Junction plant with a rectangular loop.
Parts and elements of the plant: Octastile portico divided into three naves. Circular cella with 8 pillars and 7 niches concentrating all the weight between them. Symmetry/fragmentary; rhythm in columns, pillars, and niches.
Outer space. Facade: The building stands on a podium with a grand central staircase. Above, these monolithic columns. Above the frieze with the inscription of Agrippa. A triangular pediment, the decoration of which is lost today. In the background, you can see the rectangular body that makes the transition between the rectangular pronaos and the circular cella. The dome is almost hidden from a frontal viewpoint.
Facade: Symmetry, rhythm of columns, balance between vertical and horizontal.
Section or raised section: In section, it can be seen how, seen from outside, the drum of the dome hides the inside.
AUTHORITY AND ARCHITECTURAL STYLE
Other works by the author: None
Other works of the style of the era: Colosseum, Maison Carrée (for the architectural style). Trajan’s Column (for the use of construction propaganda).
Depth of style: 1. Systematic use of the arch and vault, creating interior spaces that allow for more extensive and versatile use, and bridging distances and heights with overlapping arches. Using domes. 2. The materials used are stone, marble, brick, mortar, or concrete (a mixture of lime and resistant sand) and wood. 3. Use of Greek orders and also the Tuscan (Doric with smooth shaft and base) and the compound (with elements of the Ionic and Corinthian volutes, acanthus-leaf). 4. Very different types of household: opus quadratum and opus caementicium.
Innovations: Union of two different plants, dome of extraordinary proportions.
Influences: Tholos (circular temple) Greek, oriental influence in the use of the dome.
CONTENT AND INTERPRETATION
Character of the building (public, private, religious, civil, etc.): Public and religious.
Meaning: Temple to all gods. It symbolizes Roman cosmology: Dome divided into five rings (planets), in each ring, 28 coffers (lunar month). The oculus represents the sun and illuminates the rotating dome shape. Metaphorical element: It does the same thing that Rome does, which is to be the center of world civilization and take over. The temple is also dedicated to the deified emperors as above, so it equally glorifies the current emperor, Hadrian.
Symbols: Niches dedicated to the planets that the Romans knew (Mercury, Venus, Mars, Jupiter, Saturn) and the Sun and Moon, with statues of them all. The decoration of the square and the circular aims to represent the gods of the earth and men, respectively.
PURPOSE
Purpose of the work: Religious and propaganda
Purpose of the time: Rome became interested in propaganda.
Contributions: Renaissance and Baroque: the cathedral in Florence, San Carlo alle Quattro Fontane in Rome. Neoclassicism.
AUGUST Prima Porta
Name: AUGUST Prima Porta
Author: –
Client: Roman Senate
Date: 19 AC (copy of 14 AD)
Type of work: Exempt sculpture
Style: Imperial Rome
Original location: Roman villa ad Gallinas Albas, Prima Porta, Rome
Current location: Vatican Museums in Rome
Description
Material & Blogs: Bronze (copy-> Luni or Carrara marble)
Dimensions: Higher than normal
Tones: Polychrome
Short description: Statue of Emperor Augustus, with a solemn and authoritarian stance
Technique: Cast (copy-> carving)
Position: Standing
Figurative
Formal Analysis
Volume/Anatomy: The right arm is raised as a symbol of authority
Movement: Contrapposto
Proportions: Yes, provided it is in reality
Light/Time: East
EDC: Asymmetry, order, height
Expression: Demonstrate that he is a human being and show serenity
Support: Original (Venus on Dolphin) Copy (about himself)
Clothing: Armor, body very upwind
Viewer: Front view
Author and sculptural style
Relationship with other works by the author: –
Relationship with other works of the time: We found more than 80 performances at various times in his life
Depth of style (Imperial Rome)
Innovations: From this statue, many authorities will be represented, and it is home to portraits
Influences: Inspired by classical Greek models
Content and Performance
Theme: Portrait
Sign. Iconography: Represents Emperor Augustus, when the deification of Olympus
Sign. Iconology: Dolphin Venus represented the Roman battles since Augustus won an important naval battle
Purpose and function
Function: Commemorative home of Auguste Pax with the pacification of Gaul and Hispania
Relationship of the work with time: Augustus was the founder of the Roman Empire; representations were made with the power of mythologies
Contributions: –
Discobolus
Name: Discobolus
Author: Myron
Clients: –
Date: 460 BC
Type of work: Statue
Style: Classical 1
Original location: Place of transit, public
Current location: Museo Nazionale Romano delle Terme (Lancelotti copy)
Description
Material & Blogs: Bronze (copy of marble) is made from a single block
Dimensions: Small to reality
Tones: Polychrome
Short description: Athlete carved at the time of the disc throw
Technique: Cast (Copy carving)
Position: Standing
Figurative
Formal Analysis
Volume/Anatomy: The head has an archaic anatomy
Movement/Content: Muscles are in tension
Proportions: Proportionate as reality, follows the canon of Polykleitos
Light: Internal
Time: Short
EDC: Asymmetry, order, vertical, lines predominate (diagonal line with the trunk, legs, zigzag)
Expression: Archaic Smile
Support: Pedestal, the original bronze did not need it
Clothing/Spectator: Front and back view
Style and Sculpture Blames
Relationship of the work with other works by the author: Statue of a broker
Relationship with other works of the period: Zeus, Athena Lemnia, and Polykleitos aphids
Depth of style: (1st classicism)
Innovations: The torso is rendered head-on, and the arms and legs are in profile
Influences: Egyptian position in the body and head, reminiscent of the archaic period
Content and Interpretation
Item: Human figure
Sign. Iconography: The Discobolus shows an athlete in the Olympics held in Athens. He was an athlete who participated in the disc throw test at the Olympics in Athens.
Sign. Iconology: Find an athlete represented in the form of sculpture, just in time to throw the disc in the Olympic Games.
Purpose and Function
Purpose: Aesthetics and commemorative
Relationship of the work with time: It was the beginning of the classical period and the research of perception. The initial classical Discobolus falls before, and it still displays some traits of the archaic period; they mix different cultures, including the Egyptian.
Contributions: Search for beauty; seek the canon; Athens reached its greatest splendor; Myron is the initiator of realism; Greek culture.