Overview
The Pantheon stands in the Campus Martius in the historic centre of Rome. An earlier temple on the site was built by Marcus Agrippa, son-in-law of Augustus, around 27 BCE; the inscription across the portico still credits him — "M·AGRIPPA·L·F·COS·TERTIVM·FECIT" — even though the building visible today is a complete reconstruction undertaken by the emperor Hadrian, dated by brick stamps to roughly 113–125 CE. Hadrian, characteristically, retained Agrippa's original dedication rather than inscribing his own name.
The building has two sharply contrasting parts. The front is a conventional Greek-style temple portico of sixteen monolithic Corinthian columns, each a single shaft of Egyptian granite about 12 metres tall and weighing some 60 tonnes, quarried at Mons Claudianus in the eastern desert and shipped across the Mediterranean. Behind the portico, however, lies the revolutionary element: an immense circular rotunda capped by a coffered concrete dome. The interior is geometrically perfect — the diameter of the dome (43.3 metres) exactly equals the height from floor to oculus, so the interior space would contain a perfect sphere.
The dome remains, nineteen centuries after its construction, the largest unreinforced concrete dome in the world. Roman engineers achieved this by varying the composition of the concrete: heavy basalt aggregate at the base, progressively lighter aggregate — travertine, tufa, and finally porous volcanic pumice — toward the crown, reducing the dead weight where the structure is most vulnerable. The dome's thickness tapers from about 6.4 metres at the base to 1.2 metres at the rim of the oculus. The five rings of 28 sunken coffers further lighten the shell. At the summit, the oculus — an unglazed circular opening 8.8 metres across — is the building's only source of light, casting a moving disc of sunlight that tracks across the interior through the day.
The Pantheon's exceptional preservation is owed to its conversion: in 609 CE the Byzantine emperor Phocas gave the building to Pope Boniface IV, who consecrated it as the church of Santa Maria ad Martyres. As a functioning church it was maintained rather than quarried for stone, the fate of most ancient Roman buildings. It still serves as a church and contains the tombs of the painter Raphael and of two kings of Italy.