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Raphael and the Pantheon’s Interior: A Pivotal Moment in Architectural Representation

In: Architecture and Mathematics from Antiquity to the Future

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  • Kristina Luce

    (Western Washington University, Department of Art)

Abstract

Raphael’s drawing of the interior of the Pantheon is situated halfway between the forms of perspective and section. Yet, in a time when neither of these drawing categories was stable, what does this liminal positioning actually explain? This paper re-examines Raphael’s sketch and suggests that the Pantheon’s interior presented a complex problem for the representational conventions of the time. Raphael’s drawing adheres to no known graphic or projective system, and yet it shares qualities with orthography, perspective and cartography. It mediates between conflicting systems of architectural knowledge and seeks a resolution between the geometry of representation and the geometry of architecture. Further, in light of Raphael’s avocation in 1519 for the combined use of plan, section and elevation in his letter to Pope Leo X, I argue that the drawing marks the moment when architectural representation began its transformation from image to system: when it grew out of its role as a tool of execution and became architecture’s conceptual medium.

Suggested Citation

  • Kristina Luce, 2015. "Raphael and the Pantheon’s Interior: A Pivotal Moment in Architectural Representation," Springer Books, in: Kim Williams & Michael J. Ostwald (ed.), Architecture and Mathematics from Antiquity to the Future, edition 127, chapter 0, pages 43-56, Springer.
    • Handle: RePEc:spr:sprchp:978-3-319-00143-2_3
    DOI: 10.1007/978-3-319-00143-2_3
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