Pantheon

Interior of the Pantheon (Veduta interna del Panteon), “Views of Rome,” c. 1768, Etching on laid paper, Sheet/Page 47.78 H x 56.20 W cm (18 13/16 H x 22 1/8 W in), Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow), GW Collection (CGA.68.26.831)

By Krystin Kim

The Pantheon stands as the quintessential architectural marvel of the ancient Roman world, embodying an unmatched synthesis of engineering prowess, aesthetic harmony, and cultural significance. Built around 126 CE during Emperor Hadrian’s reign, the structure's unreinforced concrete dome – a feat unparalleled at the time – demonstrated Roman ingenuity in material science and construction. In Piranesi’s Interior of the Pantheon etching, the oculus at the dome’s apex floods the interior with natural light, animating the vast space below and creating an almost mystical ambiance that changes with the time of day. The Pantheon’s perfect proportions, combining a circular domed rotunda with a classical portico, harmonize geometric forms and monumental scale in a way that continues to captivate architects and historians. Believed to be a temple dedicated to all Roman gods, the Pantheon was later transformed into a Christian church, symbolizing its adaptability and timelessness. This enduring structure represents not only Rome’s architectural sophistication but also its lasting influence on architectural ideals across centuries.

Piranesi's Interior of the Pantheon etching vividly captures the grandeur and spatial dynamics of one of Rome's most iconic ancient buildings. The artwork meticulously depicts the Pantheon's coffered dome and oculus (the opening circle at the top of the dome). An inscription at the bottom explains the temple's history and transformations. It notes that while the original columns and lower level remain ancient and unaltered, the second level has been modified; due to structural concerns, Pope Benedict XIV oversaw the replacement of marble and porphyry with a stucco material. While Pope Clement XI reconstructed the main altar, the minor altars and the floor – composed of precious materials – remain preserved from antiquity.

Piranesi drew another depiction of the Pantheon in his View of the Pantheon of Agrippa piece, and his son Francesco Piranesi continued to portray the Pantheon in etchings such as Interior Section of the Pantheon and Demonstration of the Door of the Pantheon. Each print showcases a different perspective, the architecture behind the design, and the detail within the building. View of the Pantheon of Agrippa presents the front of the Pantheon and its full glory from an eye-level perspective. Giovanni Piranesi's creation of multiple renditions of the Pantheon speaks to his fascination with the monument and demonstrates a level of interest not invested in his etchings of other ruins.

The Pantheon’s revolutionary design, featuring a massive dome with an oculus at its apex, exemplifies the Romans' advanced engineering skills and their innovative use of concrete. Architects such as Andrea Palladio and Thomas Jefferson have drawn inspiration from the Pantheon’s harmonious proportions and its awe-inspiring interior space. Palladio incorporated plate moldings essentially identical to the Pantheon in his infamous rendering of Corinthian Hall. Jefferson mirrored the Pantheon’s portico in the design of the rotunda at the University of Virginia and the Jefferson Memorial. Piranesi’s fascination with the Pantheon extended beyond his general admiration for Roman architecture, as he saw in this temple a unique convergence of innovation, symbolism, and artistic mastery. The Pantheon’s immense, unreinforced concrete dome and central oculus embodied architectural resilience, marking it as a structure that had withstood centuries of shifting religious and political power. To Piranesi, this enduring quality symbolized an unbroken connection between Ancient Rome’s ideals and the contemporary world, a concept that aligned closely with his work’s ambition to link past and present.

Piranesi was equally captivated by the Pantheon’s spatial qualities—the way light filtered through the oculus, transforming the interior with each hour of the day. This interplay of structure, space, and light inspired his own etchings, in which he sought to evoke the building’s grandeur and atmospheric presence. The Pantheon represented a pinnacle of architectural achievement, with its harmonious proportions and symbolic resonance immortalized in Piranesi’s detailed depictions; each line within the etching emphasizes the structure's sublime and lasting significance. Thus, Piranesi promotes the Pantheon’s glory in his rendering, endorsing the monument to all those who view his etchings. 

Inscription in Italian

Veduta interna del Panteon. Questo tempio fabbricato da M. Agrippa e di forma rotonda, alto quanto il suo diametro. Il primo ordine è tutto antico. Le dodici colonne principali sono di giallo come le due della tribuna quali non sono state mai rimosse dalla primiera loro situazione. L'architrave e la cornice dono di marmo, ed il fregio di porfido di porfido. Il second'ordine è moderno a riserva della cornice di marmo che è antica. Le incrostazioni di marmo, di porfido, di giallo, e di serpentino che l’adornavano, furono tolte da PP. Benedetto XIV. Perché minacciavano ruina, e fu’adornato di stucchi come si vede al presente. L’Altar maggiore e moderno fabbricato da Clemente XI Li otto altari minori sono antichi, come ancora il pavimento composto di giallo, di granito, e di porfido.

English Translation by Andrew Gibson: 

This temple built by Marcus Agrippa is round in shape, as high as its diameter. The first level is all ancient. The twelve principal columns are gold like the two in the grandstand as they were never removed from their original situation. The architrave and the cornice are of marble, and the frieze of porphyry. The second level is modern except the ancient marble cornice. Encrustations of marble, porphyry, gold, and serpentine that adorned the room were removed by Pope Benedict XIV as they threatened ruin, and were adorned with stucco as seen today. The main altar was reconstructed by Pope Clement XI. The eight minor altars are ancient, as well as the floor, composed of gold, granite, and porphyry. 

Photos courtesy of Dr. Pollack. 

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