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74-557: The design of the present church is based on the Pantheon in Rome , has the third-largest unsupported dome in the world, and is Malta's largest and most famous church. The church narrowly avoided destruction during World War II when on 9 April 1942 a German aerial bomb pierced the dome and fell into the church during Mass, but failed to explode. This event was interpreted by the Maltese as

148-540: A miracle . Although Pietro Dusina recorded Mosta as a parish in his 1575 pastoral visit, the town actually became a parish in 1608. Plans to construct a new church began soon afterwards, and the church was built in around 1614 to designs attributed to the Renaissance architect Tommaso Dingli . This church was commonly called Ta' Ziri . By the 1830s, the town's population had become too big for this church to cater to. Giorgio Grognet de Vassé proposed rebuilding

222-501: A pasquinade (a publicly posted poem) that quod non fecerunt barbari fecerunt Barberini ("What the barbarians did not do the Barberinis [Urban VIII's family name] did"). In 1747, the broad frieze below the dome with its false windows was "restored," but bore little resemblance to the original. In the early decades of the 20th century, a piece of the original, as far as could be reconstructed from Renaissance drawings and paintings,

296-644: A church saved it from the abandonment, destruction, and the worst of the spoliation that befell the majority of ancient Rome's buildings during the Early Middle Ages . However, Paul the Deacon records the spoliation of the building by the Emperor Constans II , who visited Rome in July 663: Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for

370-519: 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. The name "Pantheon" is from the Ancient Greek "Pantheion" (Πάνθειον) meaning "of, relating to, or common to all the gods": (pan- / "παν-" meaning "all" + theion / "θεῖον"= meaning "of or sacred to

444-548: A god"). The simplest explanation for the name is that the Pantheon was a temple dedicated to all the gods. However, the concept of a temple dedicated to all the gods has been questioned. 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

518-443: A remembrance of the fact that, of all the men of his generation apart from Augustus himself, he was the only one to hold the consulship thrice." Whatever the cause of the alteration of the inscription might have been, the new inscription reflects the fact that there was a change in the building's purpose. Cassius Dio , a Graeco-Roman senator, consul and author of a comprehensive History of Rome , writing approximately 75 years after

592-444: A tensile strength of 1.47 MPa (213 psi) for this specimen. Finite element analysis of the structure by Mark and Hutchison found a maximum tensile stress of only 0.128 MPa (18.5 psi) at the point where the dome joins the raised outer wall. The stresses in the dome were found to be substantially reduced by the use of successively less dense aggregate stones, such as small pots or pieces of pumice, in higher layers of

666-536: A three-month prison sentence while his driving licence was suspended. In 2015, the parish requested to the Vatican to be reclassified to the status of a basilica . The church was elevated to a minor basilica on 29 July 2018 by decree of Pope Francis . The Rotunda of Mosta is built in the neoclassical style , and its structure is based on the Pantheon in Rome. Its façade has a portico with six Ionic columns, which

740-521: Is a semicircular recess covered with a hemispherical vault or semi-dome , also known as an exedra . In Byzantine , Romanesque , and Gothic Christian church (including cathedral and abbey ) architecture , the term is applied to a semi-circular or polygonal termination of the main building at the liturgical east end (where the altar is), regardless of the shape of the roof, which may be flat, sloping, domed, or hemispherical. Smaller apses are found elsewhere, especially in shrines . An apse

814-401: Is a semicircular recess, often covered with a hemispherical vault. Commonly, the apse of a church, cathedral or basilica is the semicircular or polygonal termination to the choir or sanctuary , or sometimes at the end of an aisle. Smaller apses are sometimes built in other parts of the church, especially for reliquaries or shrines of saints. The domed apse became a standard part of

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888-408: Is flanked by two bell towers . Being a rotunda , the church has a circular plan with walls about 9.1 m (30 ft) thick supporting a dome with an internal diameter of 130 ft (40 m). At one time, the dome was the third-largest in the world. The church's interior contains eight niches, including a bay containing the main entrance and a deep apse with the main altar. Before the church

962-554: Is reserved for the clergy, and was therefore formerly called the "presbytery", from Greek presbuteros , " elder ", or in older and Catholic usage "priest". Semi-circular choirs, first developed in the East, which came into use in France in 470. By the onset of the 13th century, they had been augmented with radiating apse chapels outside the choir aisle, the entire structure of apse, choir and radiating chapels coming to be known as

1036-525: Is still supported by all of the finds to date, including theirs; he expresses scepticism because the building they describe, "a single building composed of a huge pronaos and a circular cella of the same diameter, linked by a relatively narrow and very short passage (much thinner than the current intermediate block), has no known parallels in classical architecture and would go against everything we know of Roman design principles in general and of Augustan architecture in particular." The only passages referring to

1110-399: Is the only masonry dome to not require reinforcement. All other extant ancient domes were either designed with tie-rods , chains and banding or have been retrofitted with such devices to prevent collapse. Though often drawn as a free-standing building, there was a building at its rear which abutted it. While this building helped buttress the rotunda, there was no interior passage from one to

1184-607: Is uncertain. Finished by Hadrian but not claimed as one of his works, it used the text of the original inscription on the new façade (a common practice in Hadrian's rebuilding projects all over Rome; the only building on which Hadrian put his own name was the Temple to the Deified Trajan ). How the building was actually used is not known. The Historia Augusta says that Hadrian dedicated the Pantheon (among other buildings) in

1258-644: The Byzantine emperor Phocas gave the building to Pope Boniface IV , who converted it into a Christian church and consecrated it to St. Mary and the Martyrs on 13 May 609: "Another Pope, Boniface, asked the same [Emperor Phocas, in Constantinople] to order that in the old temple called the Pantheon, after the pagan filth was removed, a church should be made, to the holy virgin Mary and all the martyrs, so that

1332-476: The Sammut family. The rotunda took 28 years to build, being completed in the early 1860s. The old church was demolished in 1860, and the new church did not need to be consecrated since the site had remained a place of worship throughout the course of construction. The church was officially dedicated on 15 October 1871. During World War II , the town of Mosta was prone to aerial bombardment due to its proximity to

1406-474: The architect Baldassare Peruzzi . In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì . Filippo Brunelleschi , among other architects, looked to the Pantheon as inspiration for their works. Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for

1480-537: The 7th century, it has been a church dedicated to St. Mary and the Martyrs ( Latin : Sancta Maria ad Martyres ), known as "Santa Maria Rotonda". 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 six million people. The Pantheon's large circular domed cella , with

1554-527: The Assumption that was crowned later on 10 August 1975, thereby elevating the church to the title of Marian Sanctuary . On 2 May 1983, taxi driver Carmelo Aquilina voluntarily drove a Mercedes car into the Rotunda following a bet. He drove up the steps of the parvis, broke down the main doorway, and stopped within the church close to the altar. Following the incident, Aquilina was arrested and received

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1628-632: The Greek word θεῖος (theios) need not mean 'of a god' but could mean ' superhuman ', or even 'excellent'." 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. In

1702-727: The Honour Guard of the Royal Tombs of the Pantheon was originally chartered by the House of Savoy and subsequently operating with authorization of the Italian Republic, mounts as guards of honour in front of the royal tombs. The Pantheon is in use as a Catholic church, and as such, visitors are asked to keep an appropriate level of deference. Masses are celebrated there on Sundays and holy days of obligation . Weddings are also held there from time to time. The building

1776-460: The Island, will immortalize the architect, and draw towards the casal every visitor to Malta." The design was well-received upon completion, and it is regarded as Grognet's masterpiece . Pantheon, Rome The Pantheon ( UK : / ˈ p æ n θ i ə n / , US : /- ɒ n / ; Latin : Pantheum , from Ancient Greek Πάνθειον (Pantheion)  '[temple] of all

1850-501: The Pantheon's pronaos were quarried in Egypt at Mons Claudianus in the eastern mountains. Each was 11.9 metres (39 ft) tall, 1.5 metres (4 ft 11 in) in diameter, and 60 tonnes (59 long tons; 66 short tons) in weight. These were dragged more than 100 km (62 miles) from the quarry to the river on wooden sledges. They were floated by barge down the Nile when the water level

1924-425: The Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio appears to be the only near-contemporaneous writer to mention the Pantheon. Even by 200, there was uncertainty about the origin of the building and its purpose: Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it

1998-461: The Trajanic-era bricks from his brick-stamp study. Her argument is particularly interesting in light of Heilmeyer's argument that, based on stylistic evidence, Apollodorus of Damascus , Trajan's architect, was the obvious architect. The form of Agrippa's Pantheon is debated. As a result of excavations in the late 19th century, archaeologist Rodolfo Lanciani concluded that Agrippa's Pantheon

2072-744: The aftermath of the Battle of Actium (31 BC), Marcus Vipsanius Agrippa started an impressive building program. The Pantheon was a part of the complex created by him on his own property in the Campus Martius in 29–19 BC, which included three buildings aligned from south to north: the Baths of Agrippa , the Basilica of Neptune, and the Pantheon. It seems likely that the Pantheon and the Basilica of Neptune were Agrippa's sacra privata , not aedes publicae (public temples). The former would help explain how

2146-481: The airfield of RAF Ta Kali . At about 16:40 on 9 April 1942, the Luftwaffe dropped three bombs on the church, and two of them deflected without exploding. However, one 50 kg (110 lb) high-explosive bomb pierced the dome and entered the church, where a congregation of 300 people was awaiting early evening Mass. The bomb did not explode, and a Royal Engineers Bomb Disposal unit defused it and dumped it into

2220-405: The arched vault of the heavens. The oculus at the dome's apex and the entry door are the only natural sources of light in the interior. Throughout the day, light from the oculus moves around this space in a reverse sundial effect: marking time with light rather than shadow. The oculus also offers cooling and ventilation; during storms, a drainage system below the floor handles rain falling through

2294-494: The attic level was redone according to Neoclassical taste in the 18th century. 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

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2368-707: The building could have so easily lost its original name and purpose (Ziolkowski contends that it was originally the Temple of Mars in Campo) in such a relatively short period of time. It had long been thought that the current building was built by Agrippa, with later alterations undertaken, and this was in part because of the Latin inscription on the front of the temple which reads: or in full, " M[arcus] Agrippa L[ucii] f[ilius] co[n]s[ul] tertium fecit ," meaning " Marcus Agrippa , son of Lucius , made [this building] when consul for

2442-428: The building was struck by lightning, and because it was only appropriate to offer sacrifice to a specific deity (27.25.7–10). 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

2516-521: The centuries – for example, capitals from some of the pilasters are in the British Museum . Two columns were swallowed up in the medieval buildings that abutted the Pantheon on the east and were lost. In the early 17th century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers (often wrongly attributed to Bernini ) called "the ass's ears", which were not removed until

2590-561: The church on a neoclassical design based on the Pantheon in Rome. Despite opposition from Bishop Francesco Saverio Caruana , the design was approved, and construction of the church began on 30 May 1833. The new church was built around the old church, which remained in use throughout the course of construction. The residents of Mosta helped in building the church, taking part in construction work on Sundays and public holidays. Since Grognet had never received any formal architectural training, he received consultation services from an architect of

2664-495: The church plan in the early Christian era. In the Eastern Orthodox Church tradition, the south apse is known as the diaconicon and the north apse as the prothesis . Various ecclesiastical features of which the apse may form part are drawn together here. The chancel (or sanctuary), directly to the east beyond the choir , contains the high altar, where there is one (compare communion table ). This area

2738-499: The commemoration of the saints would take place henceforth where not gods but demons were formerly worshipped." Twenty-eight cartloads of holy relics of martyrs were said to have been removed from the catacombs and placed in a porphyry basin beneath the high altar. On its consecration, Boniface placed an icon of the Mother of God as ' Panagia Hodegetria' (All Holy Directress) within the new sanctuary. The building's consecration as

2812-449: The concentric circles of square coffers in the dome. Each zone of the interior, from floor to ceiling, is subdivided according to a different scheme. As a result, the interior decorative zones do not line up. The overall effect is immediate viewer orientation according to the major axis of the building, even though the cylindrical space topped by a hemispherical dome is inherently ambiguous. This discordance has not always been appreciated, and

2886-456: The construction site. In the walls at the back of the Pantheon's portico are two huge niches, perhaps intended for statues of Augustus Caesar and Agrippa . The large bronze doors to the cella , measuring 4.45 metres (14.6 ft) wide by 7.53 metres (24.7 ft) high, are the oldest in Rome. These were thought to be a 15th-century replacement for the original, mainly because they were deemed by contemporary architects to be too small for

2960-667: The decoration of the Agrippan Pantheon written by an eyewitness are in Pliny the Elder 's Natural History . From him we know that "the capitals, too, of the pillars, which were placed by M. Agrippa in the Pantheon, are made of Syracusan bronze", that "the Pantheon of Agrippa has been decorated by Diogenes of Athens, and the Caryatides, by him, which form the columns of that temple, are looked upon as masterpieces of excellence:

3034-467: The design adjustments by suggesting that, once the higher pediment had been constructed, the required 50-foot columns failed to arrive (possibly as a result of logistical difficulties). The builders then had to make some awkward adjustments to fit the shorter columns and pediments. Rabun Taylor has noted that, even if the taller columns were delivered, basic construction constraints may have prevented their use. Assuming that each column would first be laid on

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3108-408: The dome. Mark and Hutchison estimated that, if normal weight concrete had been used throughout, the stresses in the arch would have been some 80% greater. Hidden chambers engineered within the rotunda form a sophisticated structural system. This reduced the weight of the roof, as did the oculus eliminating the apex. The top of the rotunda wall features a series of brick relieving arches , visible on

3182-464: The door frames. Later analysis of the fusion technique confirmed that these are the original Roman doors, a rare example of Roman monumental bronze surviving, despite cleaning and the application of Christian motifs over the centuries. The 4,535-tonne (4,463-long-ton; 4,999-short-ton) weight of the Roman concrete dome is concentrated on a ring of voussoirs 9.1 metres (30 ft) in diameter that form

3256-427: The emperor Hadrian and probably dedicated c.  AD 126. 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. The building is round in plan, except for the portico with large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment . A rectangular vestibule links

3330-457: The floor in a workable configuration, regardless of sequence." Specifically, the innermost row of columns would be blocked by the main body of the temple, and in the later stages of construction some already-erected columns would inevitably obstruct the erection of further columns. It has also been argued that the scale of the portico was related to the urban design of the space in front of the temple. The grey granite columns that were used in

3404-436: The floor next to its pediment before being pivoted upright (using something like an A-frame ), there would be a space requirement of a column-length on one side of the pediment, and at least a column-length on the opposite side for the pivoting equipment and ropes. With 50-foot columns, "there was no way to sequence the erection of [the columns] without creating a hopeless snarl. The shafts were simply too long to be positioned on

3478-615: The fortification of Castel Sant'Angelo , with the rest used by the Apostolic Camera for other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica , though the archaeologist Carlo Fea discovered from the Pope's accounts that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice . Concerning this, an anonymous contemporary Roman satirist quipped in

3552-401: The gods') is a former Roman temple and, since AD 609, a Catholic church ( Italian : Basilica Santa Maria ad Martyres or Basilica of St. Mary and the Martyrs ) in Rome , Italy. It was built on the site of an earlier temple commissioned by Marcus Vipsanius Agrippa during the reign of Augustus (27 BC – AD 14); then, after the original burnt down, the present building was ordered by

3626-517: The gods. The only definite pantheon recorded earlier than Agrippa's was at Antioch in Syria, though it is only mentioned by a sixth-century source. Cassius Dio , a Roman senator who wrote in Greek, speculated that the name of the Pantheon comes either from the statues of many gods placed around this building, or from the resemblance of the dome to the heavens. According to Adam Ziolkowski, this uncertainty strongly suggests that "Pantheon" (or Pantheum)

3700-476: The late 19th century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior has largely survived, although with extensive restoration. Since the Renaissance the Pantheon has been the site of several important burials. Among those buried there are the painters Raphael and Annibale Carracci , the composer Arcangelo Corelli , and

3774-534: The later rebuildings, Ziolkowski complains that their conclusions were based entirely on surmise; according to him, they did not find any new datable material, yet they attributed everything they found to the Agrippan phase, failing to account for the fact that Domitian , known for his enthusiasm for building and known to have restored the Pantheon after 80 AD, might well have been responsible for everything they found. Ziolkowski argues that Lanciani's initial assessment

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3848-538: The name of the original builder (Hadr. 19.10), but the current inscription could not be a copy of the original; it does not tell us to whom Agrippa's foundation was dedicated, and, in Ziolkowski's opinion, it was highly unlikely that in 25 BC Agrippa would have presented himself as "consul tertium." On coins, the same words, "M. Agrippa L.f cos. tertium", were the ones used to refer to him after his death; consul tertium serving as "a sort of posthumous cognomen ex virtute,

3922-428: The oculus, while the downward thrust of the dome is carried by eight barrel vaults in the 6.4-metre-thick (21 ft) drum wall into eight piers. The thickness of the dome varies from 6.4 metres (21 ft) at the base of the dome to 1.2 metres (3.9 ft) around the oculus. The materials used in the concrete of the dome also vary. At its thickest point, the aggregate is travertine , then terracotta tiles, then at

3996-427: The oculus. The dome features sunken panels ( coffers ), in five rings of 28. This evenly spaced layout was difficult to achieve and, it is presumed, had symbolic meaning, either numerical, geometric, or lunar. In antiquity, the coffers may have contained bronze rosettes symbolising the starry firmament. Circles and squares form the unifying theme of the interior design. The checkerboard floor pattern contrasts with

4070-439: The ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary], which at one time was called the Pantheon, and had been founded in honour of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople. Much fine external marble has been removed over

4144-427: The other. Upon entry, visitors are greeted by an enormous rounded room covered by the dome. The oculus at the top of the dome was never covered, allowing rainfall through the ceiling and onto the floor. Because of this, the interior floor is equipped with drains and has been built with an incline of about 30 centimetres (12 in) to promote water runoff. The interior of the dome was possibly intended to symbolize

4218-405: The outside and built into the mass of the brickwork. The Pantheon is full of such devices – for example, there are relieving arches over the recesses inside – but all these arches were hidden by marble facing on the interior and possibly by stone revetment or stucco on the exterior. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft), so

4292-512: The pediment. On the intermediate block between the portico and the rotunda, the remains of a second pediment suggests that the existing portico is much shorter than originally intended. A portico aligned with the second pediment would fit columns with shafts 50 Roman feet (14.8 metres) tall and capitals 10 Roman feet tall (3 metres), whereas the existing portico has shafts 40 Roman feet (11.9 metres) tall and capitals eight Roman feet (2.4 metres) tall. Mark Wilson Jones has attempted to explain

4366-499: 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. The height to the oculus and the diameter of the interior circle are the same, 43 metres (142 ft). 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

4440-681: 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

4514-447: The same, too, with the statues that are placed upon the roof," and that one of Cleopatra's pearls was cut in half so that each half "might serve as pendants for the ears of Venus, in the Pantheon at Rome". The Augustan Pantheon was destroyed along with other buildings in a fire in 80 AD. Domitian rebuilt the Pantheon, which was burnt again in 110 AD. The degree to which the decorative scheme should be credited to Hadrian's architects

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4588-469: The sea off the west coast of Malta. This event was interpreted as a miracle by the inhabitants, and a replica of the German bombshell is now displayed in the sacristy at the back of the church, under the words Il-Miraklu tal-Bomba, 9 ta' April 1942 (meaning "The Bomb Miracle, 9 April 1942"). On 12 December 1973, Pope Paul VI issued a decree of canonical coronation of the titular painting of Our Lady of

4662-486: The statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens. In 202, the building was repaired by the joint emperors Septimius Severus and his son Caracalla (fully Marcus Aurelius Antoninus ), for which there is another, smaller inscription on the architrave of the façade, under the aforementioned larger text. This now-barely legible inscription reads: In English, this means: In 609,

4736-464: The third time." However, archaeological excavations have shown that the Pantheon of Agrippa had been completely destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan , four years after it was destroyed by fire for the second time (Oros. 7.12). She reexamined Herbert Bloch's 1959 paper, which is responsible for the commonly maintained Hadrianic date, and maintains that he should not have excluded all of

4810-526: 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. Apse In architecture , an apse ( pl. : apses ; from Latin absis , 'arch, vault'; from Ancient Greek ἀψίς , apsis , 'arch'; sometimes written apsis ; pl. : apsides )

4884-482: The very top, tufa and pumice , both porous light stones. At the very top, where the dome would be at its weakest and vulnerable to collapse, the oculus lightens the load. No tensile test results are available on the concrete used in the Pantheon; however, Cowan discussed tests on ancient concrete from Roman ruins in Libya, which gave a compressive strength of 20 MPa (2,900 psi). An empirical relationship gives

4958-449: The whole interior would fit exactly within a cube (or, a 43.3-m sphere could fit within the interior). These dimensions make more sense when expressed in ancient Roman units of measurement : The dome spans 150 Roman feet; the oculus is 30 Roman feet in diameter; the doorway is 40 Roman feet high. The Pantheon still holds the record for the world's largest unreinforced concrete dome. It is also substantially larger than earlier domes . It

5032-589: 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

5106-477: Was constructed, there was some opposition to Grognet's design, since some regarded a Roman temple as an unsuitable model for a Catholic church building. However, others praised the design, and an 1839 book written while the church was being built describes it as "certainly the most magnificent, extensive and solid modern building" in Malta. This book further states that "when finished, [the church] will be an ornament to

5180-586: Was high during the spring floods, and then transferred to vessels to cross the Mediterranean Sea to the Roman port of Ostia . There, they were transferred back onto barges and pulled up the Tiber River to Rome. After being unloaded near the Mausoleum of Augustus , the site of the Pantheon was still about 700 metres away. Thus, it was necessary to either drag them or to move them on rollers to

5254-581: Was merely a nickname, not the formal name of the building. 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). 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,

5328-423: Was oriented so that it faced south, in contrast with the current layout that faces north, and that it had a shortened T-shaped plan with the entrance at the base of the "T". This description was widely accepted until the late 20th century. While more recent archaeological diggings have suggested that Agrippa's building might have had a circular form with a triangular porch, and it might have also faced north, much like

5402-403: Was originally approached by a flight of steps. Later construction raised the level of the ground leading to the portico , eliminating these steps. The pediment was decorated with relief sculpture, probably of gilded bronze. Holes marking the location of clamps that held the sculpture suggest that its design was likely an eagle within a wreath; ribbons extended from the wreath into the corners of

5476-658: Was recreated in one of the panels. Two kings of Italy are buried in the Pantheon: Vittorio Emanuele II and Umberto I , as well as Umberto's Queen, Margherita . It was supposed to be the final resting place for the Monarchs of Italy of the House of Savoy , but the Monarchy was abolished in 1946 and the authorities have refused to grant burial to the former kings who died in exile ( Victor Emmanuel III and Umberto II ). The National Institute for

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