Impact of Roman architecture today
Introduction
Roman architecture has had a great impact on architecture from its creations to this day, its architectural style is used so far as models or references for more modern constructions, one of the most important Roman constructions that until now prevails is thePantheon of Agrippa, a colossal construction, which is one of the most important of the time and today, located in Rome.
Because of the great importance that we have worldwide in architecture we decidedwhich is the work that we decided to analyze in order to compare the similarities that these two can have both in design and construction and thus be able to draw a conclusion from the influence of the Pantheon of Agrippa for the creation of the Pantheon of Paris, since asThey were built in different times and thanks to their similarity, the above can be inferred.
In order to determine the influence of the Pantheon of Agrippa towards the Pantheon of Paris we will determine more specific aspects which may be related between the two works such as the purposes for which these two works were built, the basic geometric forms (s)The spatial organization of both constructions, also, the use of ornaments, entablatments and colossal elements of both structures, and finally, with that information which we obtain through relevant books about the subject and by articles, found on the Internet which speakSpecifically of each work that we will analyze, make the relevant comparison to be able to determine whether or not there was an influence on Roman architecture.
Developing
A Paris pantheon
As for the Pantheon of Paris, it occurs in the 18th century, its origins date back to 1764, with Louis XV, which seriously had promised to build a church in honor of Santa Genoveva if it managed to heal, and that was how in thePlace where the old abbey of Santa Genoa occupied, at that time in ruins, the construction of the pantheon by the architect Jacques-Germain Soufflot began. The building was finished during the French Revolution in 1790, in 1791 it was voted so that the building, which had not yet been consecrated as a church, served as a temple to house the bodies of men during that time, after 1791 to 1793Building was remodeled for Quincy Quatermere. Under the first French empire, the pantheon maintained its mausoleum function, but it was also a place of worship.
Pantheon of Agrippa
On the part of the Pantheon of Agrippa, it was built in 118 D.C. During the reign of Emperor Adriano. Called as the Pantheon of Agrippa, who had been an important minister of Emperor Augusto. This idea is due to the inscription of the entablature, which reflects the name of Agrippa. The works carried out by Agrippa under the mandate of Augustus are recognized in the entablator. It is unknown who was the architect author of the pantheon project. It is considered the hypothesis that Adriano himself participated in the design, since the emperor had strong restlessness and knowledge about architecture. The Pantheon of Agrippa is on the location of two previous temples that burned. Both temples were made during the period of Emperor Augusto and built, possibly, by Agrippa. As for its position within the city, the temple was in the central part of the Campo de Marte, following an axial and orthogonal disposition with respect to the pre -existing constructions. This orthogonal disposition of the pieces was typical of Roman urbanism.
- Purpose of its construction:
Both constructions were made with a specific purpose, the Pantheon of Paris, since its construction, has wanted to be an identity signal for the city and for the person behind its construction. But in its principles it was specifically made for religious reasons, and at the request of the King of France, Louis XV, was the construction of a new church dedicated to Santa Genoveva, due to circumstances that were lived at the time, I used it for different things thanspecifically a church, but its main purpose by which it was built was a religious end.
The Pantheon of Rome, or Pantheon of Agrippa, was made under the mandate of Emperor AdrianSet of Olympic deities, that is to say to the gods, in fact, the etymological definition of pantheon is ‘temple of all gods’. Due to this fact, 7 niches were horated in the cylindrical wall, in these niches were statues of each of the gods.
- Use of ornaments, entablatments and colossal elements:
In the pantheon of Paris every column of striated and order of Corinthian. On these columns rest an entablature in which there is an inscription: ‘Aux Grands Hommes La Patrie Reconnaissante’, (to the illustrious men of the grateful homeland). The porch is topped by a triangular pediment, decorated with a sculptural work by David D ́angers. This sculptural group is exalted by the personification of a woman like the Republic, located in the center of space. Some of those represented have been identified, such as Voltaire and Rousseau, who appear sitting on the left side. On the other side, we have prominent characters in the history of this country, and that represent the story. The side walls of the building are adorned at different points, by pillars attached to the wall, which play with the lights and shadows, giving a sensation of movement to the building. At the top of the walls, there is a band decorated by garlands.
In the Pantheon of Agrippa it is observed how inside it is fully covered by formal and ornamental elements in which it is taken to the slightest detail, it is an almost sculptural treatment, it begins to develop almost a scenographic space, on the contrary, abroad is totally disordipated, however, different hypotheses have been given in which the exterior if it was richly ornate
- Geometric form and spatial organization:
In the pantheon of Paris it is a hexastyl porch, the plant of the building is from Greek Cruz, although the head and feet are a little longer than the transcept. Inside, the freedom taken by the artist creating a gothic inspiration space, illuminated by a series of stained glass. As for the system that was used to cover the space of the arms, they were domes and semicircular arches. It is covered by a dome that measures about 83 meters high. This element is on a drum that has two parts: the first one is composed of a series of colonnats that support an entablature, the second part of the drum, it is the auction, constituted by a flashlight.
On the other hand, in Rome, the pantheon consists of three main elements, these elements follow pure geometric shapes whose interaction gives rise to the generation of the magnificent interior space. The roundabout formed by the cylindrical wall and crowned with the semi -shell dome;the classic porch that configures access to the interior;and the parallelepiped intermediate body that articulates the union between the two. This inner start of the dome is covered with a powerful continuous cornice, which marks the encounter between the dome and the cylindrical body.
- Comparison between both works:
Analyzing the two works, it is seen that, if there are similarities between them, for examples in both cases they are constructions for religious purposes, both commanded by their kings or rulers. In both cases there is a cylindrical body that works as a drum of an impressive hemispheric dome.
But while the architect Apolodoro de Damascus conceived his Roman work as a "simple" juxtaposition drum-cupula-nartex, Bouleé imagined his drum and the dome raised in the center of a large Latin cross.
Both share the choice of a prominent entablature that travels the entire inner perimeter and that is supported at least partially by rows of gigantic Corinthian columns. But these are not granted the same prominence in both cases. In the pantheon these could be confused with the pilasters that also travel the drum. The motivation to achieve a geometrically pure and colossally large work for the time was shared in both cases, as well as to overcome homologable buildings in two moments.
conclusion
In conclusion, analyzing the two works at specific points such as their purpose, form, ornaments, among other things, it can be assumed that the Pantheon of Agrippa if influence for the construction of the Pantheon of France, are not equal, but they have some similar aspects, as mentioned in development, for example, the use of ornaments, both constructed for religious purposes, among other things … implies that Roman architecture and beliefs were still an influence for the neoclassical era that was lived in France.
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