A Parting Look at Rome's Art: The Pantheon
A final thought about Roman art: many of Rome’s monuments and buildings fall comfortably into the category of “art.” Some, most prominently the Pantheon, are at the highest level of art by any standard. A few images remind us of the colossal brilliance of its design, both as a functional structure and as one of the great aesthetic treasures of the world. Our visit was too short to revisit Rome’s other great monuments and structures, apart from some drive-by viewing (e.g., the Colosseum). But re-entering the Pantheon was a reminder that the “early” Roman builders (the Pantheon was completed in 126-128 AD) knew what they were doing technically and aesthetically. It might seem a stretch to characterize its vast interior as “intimate.” But despite its volume, the space as rendered is inviting and friendly, perhaps because of its geometrical perfection, the harmonious coffers arrayed around the “ceiling,” and the benign – even heavenly – presence of the open oculus far overhead.
Approaching the Pantheon's dome from behind, one first meets Bernini's elephant, circles around to the entrance, confronted by the pillars, and sees on entry the incredible coffered ceiling stretching high overhead, the oculus an ever-present source of light and solace, while puzzled visitors try to figure out how to best capture meaningful images. Underfoot are the original marble floor stones, wonderfully fitted. Departing, one can study the column bases and the exterior drum for the entire structure.
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And elsewhere in Rome there are many other examples of situational art, including the fountain below the Spanish Steps (by Bernini), marble floors, and - more recently - memorials honoring Italian war dead. They are readily accessible and always enjoyable even if a visit is cruelly time-limited.
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After a lifetime of mainly expressing myself with words, my postings here will mainly rely on images. They will speak for themselves to some extent, but I'll usually add a few comments of explanation. I've taken photographs for decades, since the 1950's, inspired in part by my father's photographic skill. Four years of photo assignments and quality darkroom time eventually gave way to decades of casual and family picture-taking. I re-immersed myself when I left film and turned to digital.