The name Pantheon comes from the Greek word pantheion, a term that means “all gods”. However, whether or not the name reflects the original purpose of the structure still remains uncertain, as no surviving record regarding whom the temple was dedicated for has been found. The Pantheon demonstrates the Romans’ adeptness in engineering and construction during the ancient times. The structure has the largest surviving dome, with the interior span that comfortably exceeds any other ancient rival. It has suffered and survived so many complications and had been repaired and restored repeatedly. However, the Hadrianic structural fabric and much of its original marble work remain intact. The coffering of the interior of the dome also shows the Romans’
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The ancient decorations that associate the building with Paganism, including statues, epigraphs, stuccos and bronzes, were lost in the seventh century during when the church undergo important changes to become consecrated and dedicated to the Virgin Mary and the martyrs, hence the name of the church, Basilica of S. Maria ad Martyres. The Christian additions to the Pantheon are still visible in the structure today, including the Christian altar in the main apse, on axis with the entrance, the carved statues of the holy martyrs, the frescoes of saints on the niches of the building, and the Roman medieval painting of the Virgin Mary with Child on wood, that was given as a present to Pope Boniface IV along with the building. The Christianization of Pantheon spared it from being completely dispossessed, like any other antique monuments, and guaranteed an uninterrupted use of the building. Having undergone numerous transformations, the Pantheon becomes this element of continuity and, with all its historic layers, becomes a unique piece of the city of Rome. Careful research showed that the Christianization strategy was not enough to absolutely preserve the Pantheon. The complications that follow made it difficult to maintain, and the dispossession did not spare the extrados of
The ancient decorations that associate the building with Paganism, including statues, epigraphs, stuccos and bronzes, were lost in the seventh century during when the church undergo important changes to become consecrated and dedicated to the Virgin Mary and the martyrs, hence the name of the church, Basilica of S. Maria ad Martyres. The Christian additions to the Pantheon are still visible in the structure today, including the Christian altar in the main apse, on axis with the entrance, the carved statues of the holy martyrs, the frescoes of saints on the niches of the building, and the Roman medieval painting of the Virgin Mary with Child on wood, that was given as a present to Pope Boniface IV along with the building. The Christianization of Pantheon spared it from being completely dispossessed, like any other antique monuments, and guaranteed an uninterrupted use of the building. Having undergone numerous transformations, the Pantheon becomes this element of continuity and, with all its historic layers, becomes a unique piece of the city of Rome. Careful research showed that the Christianization strategy was not enough to absolutely preserve the Pantheon. The complications that follow made it difficult to maintain, and the dispossession did not spare the extrados of