After Raphael chose to be buried inside S. Maria ad Martyres in Rome (the church estabilished in the Pantheon from 608 AD), many other artists took his lead. In this essay the whole story is analyzed in 6 chapters: 1. Raphael in the Pantheon, 1520; 2. Desiderio di Adiutorio and the Confraternity of Saint Joseph of the Holy Land, 1541-46; 3. From the cult of Raphael to the cult of Arcangelo Corelli, 1653-1713; 4. Bust without burials, 1780-1799; 5. Canova’s Pantheon, 1802-1820; 6. Epilogue: the story of two skulls, 1833. The author enphasizes how, from XVI to XIX century, artists’ burial practices were motivated by different ideas and programs; each program had a different impact on the interior of the building and on the appearance of its architecture. As historian of architecture, Pasquali enphasizes all phisical transformations – today almost totally lost - undervent inside the Pantheon.
From the pantheon of artists to the pantheon of illustrious men: Raphael's tomb and its legacy
PASQUALI, Susanna
2004
Abstract
After Raphael chose to be buried inside S. Maria ad Martyres in Rome (the church estabilished in the Pantheon from 608 AD), many other artists took his lead. In this essay the whole story is analyzed in 6 chapters: 1. Raphael in the Pantheon, 1520; 2. Desiderio di Adiutorio and the Confraternity of Saint Joseph of the Holy Land, 1541-46; 3. From the cult of Raphael to the cult of Arcangelo Corelli, 1653-1713; 4. Bust without burials, 1780-1799; 5. Canova’s Pantheon, 1802-1820; 6. Epilogue: the story of two skulls, 1833. The author enphasizes how, from XVI to XIX century, artists’ burial practices were motivated by different ideas and programs; each program had a different impact on the interior of the building and on the appearance of its architecture. As historian of architecture, Pasquali enphasizes all phisical transformations – today almost totally lost - undervent inside the Pantheon.I documenti in SFERA sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
