المعرفة

پانثيون روما

(تم التحويل من پانثيون، روما)
For other uses, see پانثيون.

الپانثيون Pantheon ( /ˈpænθiən/ أو الأمريكي /ˈpænθiɒn/;[1] لاتينية: Pantheon[nb 1])، هو مبنى في روما، إيطاليا، شيده ماركوس أگريپا في عهد أغسطس (27 ق.م. - 14 م)، وأعاد بناؤه الامبراطور هادريان حوالي عام 126 م،[2] ومنذ 609 AD, a Catholic church (Basilica di Santa Maria ad Martyres or Basilica of St. Mary and the Martyrs), in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus (27 BC – 14 AD). It was rebuilt by the emperor Hadrian and probably dedicated ح. 126 AD. Its date of construction is uncertain, because Hadrian chose not to inscribe the new temple but rather to retain the inscription of Agrippa's older temple, which had burned down.[3]

Pantheon
Pantheon (Roma) - Front.jpg
واجهة الپانثيون
الپانثيون is located in Rome
الپانثيون
الپانثيون
كما يظهر في Rome
المكانRegio IX Circus Flaminius
الإحداثيات41°53′55″N 12°28′36″E / 41.8986°N 12.4768°E / 41.8986; 12.4768
النوعمعبد روماني
التاريخ
البانيتراجان، هادريان
تأسس113–125 م (المبنى الحالي)

The building is cylindrical with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome.[4] The height to the oculus and the diameter of the interior circle are the same, 43 metres (142 ft).[5]

It is one of the best-preserved of all Ancient Roman buildings, in large part because it has been in continuous use throughout its history: since the 7th century, it has been a church dedicated to St. Mary and the Martyrs (لاتينية: Sancta Maria ad Martyres) but informally known as "Santa Maria Rotonda".[6] The square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a state property, managed by Italy's Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. In 2013, it was visited by over 6 million people.

The Pantheon's large circular domed cella, with a conventional temple portico front, was unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, and has been copied many times by later architects.[7]

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التسمية

 
داخل البانثيون

الپانثيون Πάνθειον تعني في اليونانية مجمع الأرباب (مجمّع = Pan ـ أرباب =Theos) وكان اليونان والرومان يخصصونه لجميع آلهتهم.[8] Cassius Dio, a Roman senator who wrote in Greek, speculated that the name comes either from the statues of many gods placed around this building, or from the resemblance of the dome to the heavens.[9] His uncertainty strongly suggests that "Pantheon" (or Pantheum) was merely a nickname, not the formal name of the building.[10] In fact, the concept of a pantheon dedicated to all the gods is questionable. The only definite pantheon recorded earlier than Agrippa's was at Antioch in Syria, though it is only mentioned by a sixth-century source.[11] Ziegler tried to collect evidence of pantheons, but his list consists of simple dedications "to all the gods" or "to the Twelve Gods", which are not necessarily true pantheons in the sense of a temple housing a cult that literally worships all the gods.[12]

Godfrey and Hemsoll point out that ancient authors never refer to Hadrian's Pantheon with the word aedes, as they do with other temples, and the Severan inscription carved on the architrave uses simply "Pantheum," not "Aedes Panthei" (temple of all the gods).[13] It seems highly significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods.[14] In fact, Livy wrote that it had been decreed that temple buildings (or perhaps temple cellae) should only be dedicated to single divinities, so that it would be clear who would be offended if, for example, the building were struck by lightning, and because it was only appropriate to offer sacrifice to a specific deity (27.25.7–10).[15] Godfrey and Hemsoll maintain that the word Pantheon "need not denote a particular group of gods, or, indeed, even all the gods, since it could well have had other meanings. ... Certainly the word pantheus or pantheos, could be applicable to individual deities. ... Bearing in mind also that the Greek word θεῖος (theios) need not mean 'of a god' but could mean 'superhuman', or even 'excellent'."[13]

Since the French Revolution, when the church of Sainte-Geneviève in Paris was deconsecrated and turned into the secular monument called the Panthéon of Paris, the generic term pantheon has sometimes been applied to other buildings in which illustrious dead are honoured or buried.[1] ثم أطلقت هذه التسمية في أوروپا على البناء الذي يضم رفات المشاهير الذين صنعوا مجد بلادهم.


التاريخ

 
الپانثيون والفونتا دل پانثيون.
 
The Pantheon dome. The concrete for the coffered dome was poured in moulds, probably mounted on temporary scaffolding. The oculus is the main source of natural light.
 
The Pantheon in 2013, with notes showing the several inscriptions on the pediment.

بُني عام (28-27 ق.م.) في عهد الامبراطور أغسطس، ويسمى پانتيون أگريپا على اسم الذي شيّده في ساحة مارس، وقد خُصص في بادئ الأمر لعبادة جوبيتر ثم اتُّخذ مجتمعاً للآلهة. استُخدم في بنائه الآجُرّ وكُسِيَ بالرخام: شكله دائري تعلوه قبة. يتألف رواق الواجهة من ستة عشر عموداً يعلوها شكل مثلثي. تعرّض بانتيون رومة لحريق عام 80م أتلف معظمه. فأعاد بناءه الامبراطور دوميسيان، وجدده الامبراطور هادريانوس (هادريان) الذي يعود إليه بناء القبة (ارتفاعها 43.40م) ثم أكمله أنطونيوس الورع (بيوس)، كما أعاد ترميمه وإصلاحه الامبراطور سبتيموس سيڤيروس. خرّب القوط الغربيون تزييناته حين اجتاحوا رومة في أواخر القرن الخامس للميلاد. وفي عهد البابا بونيفاسيوس الرابع حُوّل إلى كنيسة باسم سانتا مارية روتوندا، وجعل روتوندا مدفناً لشهداء المسيحية عام 609، ويعد في أهم الصروح القديمة ومن أحسن ما حفظ منها. ودفن فيه فيما بعد المصور رفائيل والملك همبر الأول (الطيب) ملك إيطالية (1878-1900) ووالده فيكتور عمانوئيل الثاني (1820-1878) وغيرهم. وفي روما أيضاً پانتيون الإلهة مينرفا ميديكا: شكله الهندسي مُعَشّر ولم يبق منه إلا الأطلال.[16]

العصور الوسطى

 
An 1835 view of the Pantheon by Rudolf von Alt, showing twin bell towers, often misattributed to Bernini.


 
One of the pilasters from the Pantheon in the British Museum

النهضة

 
Floor plan of the Pantheon from Georg Dehio/Gustav von Bezold: Kirchliche Baukunst des Abendlandes. Stuttgart: Verlag der Cotta'schen Buchhandlung 1887–1901.
 
The interior of the Pantheon in the 18th century, painted by Giovanni Paolo Panini.[17]



العصر الحديث

 
مدخل الپانثيون في 2011

البناء

پورتيكو

 
صورة من الجانب الشمالي الشرقي.



روتوندا

 
Cross-section of the Pantheon showing how a 43.3 m diameter sphere fits under its dome.
 
Beam in the dome of the Pantheon


المدخل

ڤيديو خارجي
 
  The Pantheon, Rome, (8:31) Smarthistory


 


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الإضافات الكاثوليكية

كنيسة القديس مريم الشهداء
Chiesa Santa Maria dei Martiri
Sancta Maria ad Martyres
 
قبر رافائيل
الدين
الارتباطالكاثوليكية الرومانية
الوضع الكنسي أو التنظيميبازيليكا صغرى، كنيسة Rectory
الزعامةMsgr. Daniele Micheletti
سنة البدء609
الموقع
الموقعروما، إيطاليا
الإحداثيات الجغرافية41°53′55″N 12°28′36″E / 41.8986°N 12.4768°E / 41.8986; 12.4768Coordinates: 41°53′55″N 12°28′36″E / 41.8986°N 12.4768°E / 41.8986; 12.4768
العمارة
النمط المعماريرومانية
اكتمل126
المواصفات
اتجاه الواجهةالشمال
الطول84 م
العرض58 م
الارتفاع (الأقصى)58 م
الموقع الإلكتروني
Official website

The present high altars and the apses were commissioned by Pope Clement XI (1700–1721) and designed by Alessandro Specchi. Enshrined on the apse above the high altar is a 7th-century Byzantine icon of the Virgin and Child, given by Phocas to Pope Boniface IV on the occasion of the dedication of the Pantheon for Christian worship on 13 May 609. The choir was added in 1840, and was designed by Luigi Poletti.

The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari (1686) painted by an unknown artist. The first chapel on the right, the Chapel of the Annunciation, has a fresco of the Annunciation attributed to Melozzo da Forlì. On the left side is a canvas by Clement Maioli of St Lawrence and St Agnes (1645–1650). On the right wall is the Incredulity of St Thomas (1633) by Pietro Paolo Bonzi.

The second niche has a 15th-century fresco of the Tuscan school, depicting the Coronation of the Virgin. In the second chapel is the tomb of King Victor Emmanuel II (died 1878). It was originally dedicated to the Holy Spirit. A competition was held to decide which architect should design it. Giuseppe Sacconi participated, but lost – he would later design the tomb of Umberto I in the opposite chapel.

Manfredo Manfredi won the competition, and started work in 1885. The tomb consists of a large bronze plaque surmounted by a Roman eagle and the arms of the house of Savoy. The golden lamp above the tomb burns in honor of Victor Emmanuel III, who died in exile in 1947.

The third niche has a sculpture by Il Lorenzone of St Anne and the Blessed Virgin. In the third chapel is a 15th-century painting of the Umbrian school, The Madonna of Mercy between St Francis and St John the Baptist. It is also known as the Madonna of the Railing, because it originally hung in the niche on the left-hand side of the portico, where it was protected by a railing. It was moved to the Chapel of the Annunciation, and then to its present position sometime after 1837. The bronze epigram commemorated Pope Clement XI's restoration of the sanctuary. On the right wall is the canvas Emperor Phocas presenting the Pantheon to Pope Boniface IV (1750) by an unknown. There are three memorial plaques in the floor, one conmmemorating a Gismonda written in the vernacular. The final niche on the right side has a statue of St. Anastasius (Sant'Anastasio) (1725) by Bernardino Cametti.[18]

On the first niche to the left of the entrance is an Assumption (1638) by Andrea Camassei. The first chapel on the left, the Chapel of St Joseph in the Holy Land, is the chapel of the Confraternity of the Virtuosi al Pantheon, a confraternity of artists and musicians formed by a 16th-century canon, Desiderio da Segni, to ensure that worship was maintained in the chapel.

The first members were, among others, Antonio da Sangallo the younger, Jacopo Meneghino, Giovanni Mangone, Zuccari, Domenico Beccafumi, and Flaminio Vacca. The confraternity continued to draw members from the elite of Rome's artists and architects, and among later members we find Bernini, Cortona, Algardi, and many others. The institution still exists, and is now called the Academia Ponteficia di Belle Arti (The Pontifical Academy of Fine Arts), based in the palace of the Cancelleria. The altar in the chapel is covered with false marble. On the altar is a statue of St Joseph and the Holy Child by Vincenzo de' Rossi.

To the sides are paintings (1661) by Francesco Cozza, one of the Virtuosi: Adoration of the Shepherds on left side and Adoration of the Magi on right. The stucco relief on the left, Dream of St Joseph, is by Paolo Benaglia, and the one on the right, Rest during the flight from Egypt, is by Carlo Monaldi. On the vault are several 17th-century canvases, from left to right: Cumean Sibyl by Ludovico Gimignani; Moses by Francesco Rosa; Eternal Father by Giovanni Peruzzini; David by Luigi Garzi; and Eritrean Sibyl by Giovanni Andrea Carlone.

The second niche has a statue of St Agnes, by Vincenzo Felici. The bust on the left is a portrait of Baldassare Peruzzi, derived from a plaster portrait by Giovanni Duprè. The tomb of King Umberto I and his wife Margherita di Savoia is in the next chapel. The chapel was originally dedicated to St Michael the Archangel, and then to St. Thomas the Apostle. The present design is by Giuseppe Sacconi, completed after his death by his pupil Guido Cirilli. The tomb consists of a slab of alabaster mounted in gilded bronze. The frieze has allegorical representations of Generosity, by Eugenio Maccagnani, and Munificence, by Arnaldo Zocchi. The royal tombs are maintained by the National Institute of Honour Guards to the Royal Tombs, founded in 1878. They also organize picket guards at the tombs. The altar with the royal arms is by Cirilli.

The third niche holds the mortal remains – his Ossa et cineres, "Bones and ashes", as the inscription on the sarcophagus says – of the great artist Raphael. His fiancée, Maria Bibbiena is buried to the right of his sarcophagus; she died before they could marry. The sarcophagus was given by Pope Gregory XVI, and its inscription reads ILLE HIC EST RAPHAEL TIMUIT QUO SOSPITE VINCI / RERUM MAGNA PARENS ET MORIENTE MORI, meaning "Here lies Raphael, by whom the great mother of all things (Nature) feared to be overcome while he was living, and while he was dying, herself to die". The epigraph was written by Pietro Bembo.

The present arrangement is from 1811, designed by Antonio Muñoz. The bust of Raphael (1833) is by Giuseppe Fabris. The two plaques commemorate Maria Bibbiena and Annibale Carracci. Behind the tomb is the statue known as the Madonna del Sasso (Madonna of the Rock) so named because she rests one foot on a boulder. It was commissioned by Raphael and made by Lorenzetto in 1524.

In the Chapel of the Crucifixion, the Roman brick wall is visible in the niches. The wooden crucifix on the altar is from the 15th century. On the left wall is a Descent of the Holy Ghost (1790) by Pietro Labruzi. On the right side is the low relief Cardinal Consalvi presents to Pope Pius VII the five provinces restored to the Holy See (1824) made by the Danish sculptor Bertel Thorvaldsen. The bust is a portrait of Cardinal Agostino Rivarola. The final niche on this side has a statue of St. Evasius (Sant'Evasio) (1727) by Francesco Moderati.[18]

معرض الصور

  • South east view of the Pantheon from Piazza della Minerva, 2006.

  • The dome of the Pantheon seen from the hill of Janiculum

  • The Pantheon by night

  • Pantheon 2013

  • Pantheon 2013

  • Pantheon 2013

  • Pantheon interior 2010

  • A model maker's interpretation of the Pantheon

  • Pantheon night view

أعمال مستوحاة من الپانثيون

 
روتوندا من تصميم توماس جفرسون في جامعة ڤرجينيا.


 
The Auditorium of Southeast University, Nanjing, China

انظر أيضاً

عام:

المراجع

  1. ^ Infrequently Latinized as Pantheum, as in Pliny's Natural History (XXXVI.38): "The Pantheon of Agrippa was embellished by Diogenes of Athens; and among the supporting members of this temple there are Caryatids that are almost in a class of their own, and the same is true of the figures on the angles of the pediment, which are, however, not so well known because of their lofty position," as translated by D.E. Eichholz (Agrippae Pantheum decoravit Diogenes Atheniensis; in columnis templi eius Caryatides probantur inter pauca operum, sicut in fastigio posita signa, sed propter altitudinem loci minus celebrata).

الهوامش

  1. ^ أ ب "Pantheon". Oxford English Dictionary. Oxford, England: Oxford University Press. December 2008.
  2. ^ MacDonald 1976, p. 9
  3. ^ MacDonald 1976, pp. 12–13
  4. ^ Moore, David (1999). "The Pantheon". romanconcrete.com. Retrieved September 26, 2011.
  5. ^ Rasch 1985, p. 119
  6. ^ MacDonald 1976, p. 18
  7. ^ Summerson (1980), 38–39, 38 quoted
  8. ^ Oxford English Dictionary
  9. ^ Cassius Dio, Roman Histories 53.27, referenced in MacDonald 1976, p. 76
  10. ^ Ziolkowski, Adam (1994). "Was Agrippa's Pantheon the Temple of Mars 'In Campo'?". Papers of the British School at Rome. 62: 271. doi:10.1017/S0068246200010084.
  11. ^ Thomas, Edmund (2004). "From the Pantheon of the Gods to the Pantheon of Rome". In Richard Wrigley; Matthew Craske (eds.). Pantheons; Transformations of a Monumental Idea. Aldershot: Ashgate. p. 17. ISBN 978-0-7546-0808-0.
  12. ^ Ziegler, Konrat (1949). "Pantheion". Pauly's Real-Encyclopädie der Classischen Altertumswissenschaft: neue Bearbeitung. Vol. XVIII. Stuttgart. pp. 697–747.{{cite book}}: CS1 maint: location missing publisher (link)
  13. ^ أ ب Godfrey, Paul; Hemsoll, David (1986). "The Pantheon: Temple or Rotunda?". In Martin Henig; Anthony King (eds.). Pagan Gods and Shrines of the Roman Empire (Monograph No 8 ed.). Oxford University Committee for Archaeology. p. 199.
  14. ^ Ziolkowski, Adam (1994). "Was Agrippa's Pantheon the Temple of Mars 'In Campo'?". Papers of the British School at Rome. 62: 265. doi:10.1017/S0068246200010084.
  15. ^ Godfrey, Paul; Hemsoll, David (1986). "The Pantheon: Temple or Rotunda?". In Martin Henig; Anthony King (eds.). Pagan Gods and Shrines of the Roman Empire (Monograph No 8 ed.). Oxford University Committee for Archaeology. p. 198.
  16. ^ محمد حسن عبيد. "البانتيون". الموسوعة العربية. Retrieved 2014-12-03.
  17. ^ Another view of the interior by Panini (1735), Liechenstein Museum, Vienna
  18. ^ أ ب Marder 1980, p. 35


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المصادر

  • Claridge, Amanda (1998). Rome. Oxford Archaeological Guides. Oxford Oxfordshire: Oxford University Press. ISBN 0-19-288003-9.
  • Cowan, Henry (1977). The Master Builders: : A History of Structural and Environmental Design From Ancient Egypt to the Nineteenth Century. New York: John Wiley and Sons. ISBN 0-471-02740-5.
  • Favro, Diane (2005). "Making Rome a World City". The Cambridge Companion to the Age of Augustus. Cambridge University Press. pp. 234–263. ISBN 978-0-521-00393-3.
  • Hetland, L. M. (2007). Dating the Pantheon. Vol. 20. pp. 95–112. ISSN 1047-7594. {{cite book}}: |journal= ignored (help)
  • King, Ross (2000). Brunelleschi's Dome. London: Chatto & Windus. ISBN 0-7011-6903-6.
  • Kleiner, Fred S. (2007). A History of Roman Art. Belmont: Wadsworth Publishing. ISBN 0-534-63846-5.
  • Lancaster, Lynne C. (2005). Concrete Vaulted Construction in Imperial Rome: Innovations in Context. Cambridge: Cambridge University Press. ISBN 0-521-84202-6.
  • Loewenstein, Karl (1973). The Governance of Rome. The Hague, Netherlands: Martinus Nijhof. ISBN 978-90-247-1458-2.
  • MacDonald, William L. (1976). The Pantheon: Design, Meaning, and Progeny. Cambridge, MA: Harvard University Press. ISBN 0-674-65345-9.
  • Marder, Tod A. (1980). Specchi's High Altar for the Pantheon and the Statues by Cametti and Moderati. Vol. 122. The Burlington Magazine Publications, Ltd. pp. 30–40. JSTOR 879867. {{cite book}}: |journal= ignored (help)
  • Marder, Tod A. (1991). Alexander VII, Bernini, and the Urban Setting of the Pantheon in the Seventeenth Century. Vol. 50. Society of Architectural Historians. pp. 273–292. doi:10.2307/990615. JSTOR 990615. {{cite book}}: |journal= ignored (help)
  • Mark, R.; Hutchinson, P. (1986). On the structure of the Pantheon. Vol. 68. College Art Association. pp. 24–34. doi:10.2307/3050861. JSTOR 3050861. {{cite book}}: |journal= ignored (help)
  • Ramage, Nancy H.; Ramage, Andrew (2009). Roman art : Romulus to Constantine (5th ed.). Upper Saddle River, N.J.: Pearson Prentice Hall. ISBN 978-0-13-600097-6.
  • Rasch, Jürgen (1985). Die Kuppel in der römischen Architektur. Entwicklung, Formgebung, Konstruktion, Architectura. Vol. 15. pp. 117–139. {{cite book}}: |journal= ignored (help)
  • Roth, Leland M. (1992). Understanding Architecture: Its Elements, History, And Meaning. Boulder: Westview Press. ISBN 0-06-438493-4.
  • Thomas, Edmund (1997). The Architectural History of the Pantheon from Agrippa to Septimius Severus via Hadrian. Vol. 15. pp. 163–186. {{cite book}}: |journal= ignored (help)
  • Wilson-Jones, Mark (2003). Principles of Roman Architecture. New Haven: Yale University Press. ISBN 0-300-10202-X.

وصلات خارجية

 
مشاع المعرفة فيه ميديا متعلقة بموضوع Pantheon (Roma).
تمّ الاسترجاع من "https://www.marefa.org/w/index.php?title=پانثيون_روما&oldid=2461437"