The Pantheon is a former Roman temple, now a Catholic church, in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus. It was completed by the emperor Hadrian and dedicated about 126 AD, 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, which had burned down. The building is cylindrical with a portico of large granite Corinthian columns under a pediment. A rectangular vestibule links the porch to the rotunda, under a coffered concrete dome, with a central opening to the sky. 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 43 metres. 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 and, since the 7th century, the Pantheon has been in use as a church dedicated to "St. Mary and the Martyrs" but informally 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; the Pantheon's large circular domed cella, with a conventional temple portico front, was unique in Roman architecture. It became a standard exemplar when classical styles were revived, has been copied many times by architects; the name "Pantheon" is from the Ancient Greek "Pantheion" meaning "of, relating to, or common to all the gods":. Cassius Dio, a Roman senator who wrote in Greek, speculated that the name comes either from the statues of many gods placed around this building, or from the resemblance of the dome to the heavens, his uncertainty suggests that "Pantheon" was a nickname, not the formal name of the building. In fact, the concept of a pantheon dedicated to all the gods is questionable; the only definite pantheon recorded earlier than Agrippa's was at Antioch in Syria, though it is only mentioned by a sixth-century source.
Ziegler tried to collect evidence of panthea, but his list consists of simple dedications "to all the gods" or "to the Twelve Gods", which are not true pantheons in the sense of a temple housing a cult that worships all the gods. Godfrey and Hemsoll point out that ancient authors never refer to Hadrian's Pantheon with the word aedes, as they do with other temples, the Severan inscription carved on the architrave uses "Pantheum". Not "Aedes Panthei", it seems significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods. In fact, Livy wrote that it had been decreed that temple buildings should only be dedicated to single divinities, so that it would be clear who would be offended if, for example, the building were struck by lightning, because it was only appropriate to offer sacrifice to a specific deity. Godfrey and Hemsoll maintain that the word Pantheon "need not denote a particular group of gods, or, indeed all the gods, since it could well have had other meanings....
The word pantheus or pantheos, could be applicable to individual deities.... Bearing in mind that the Greek word θεῖος 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 the aftermath of the Battle of Actium, Marcus 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, the Pantheon, it seems that the Pantheon and the Basilica of Neptune were Agrippa's sacra privata, not aedes publicae. The former would help explain how the building could have so lost its original name and purpose in such a short period of time.
It had long been thought that the current building was built by Agrippa, with alterations undertaken, this was in part because of the Latin inscription on the front of the temple which reads: M·AGRIPPA·L·F·COS·TERTIVM·FECITor in full, "M Agrippa L f cos tertium fecit," meaning "Marcus Agrippa, son of Lucius, made when consul for the third time." However, archaeological excavations have shown that the Pantheon of Agrippa had been 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, she reexamined Herbert Bloch's 1959 paper, responsible for the maintained Hadrianic date, maintains that he should not have excluded all of the Trajanic-era bricks from his brick-stamp study. Her argument is interesti
Corridors of Power is the second solo studio album by Irish guitarist Gary Moore, released in 1982. The album contains a cover of the Free song "Wishing Well"; the track "End of the World" features Jack Bruce of Cream sharing lead vocals with Moore. Moore would join with Bruce again on the Bruce-Baker-Moore project in 1993; the first 25,000 vinyl copies of Corridors of Power came with a bonus EP featuring three live tracks recorded at the Marquee, London on 25 August 1982. Japanese rock singer Mari Hamada covered "Love Can Make a Fool of You" on her 1985 album Rainbow Dream; as a nod to Corridors of Power, American guitarist Jeff Kollman named his 2012 solo album Silence in the Corridor, the title track of, a tribute to Moore. All tracks are written except where indicated. Gary Moore – lead and rhythm guitars and backing vocals Tommy Eyre – keyboards Neil Murray – bass guitar Ian Paice – drums, percussion Additional musiciansJohn Sloman – backing vocals Jack Bruce – co-lead vocals on track 6 Bobby Chouinard – drums on track 6 Mo Foster – bass guitar on track 5 Don Airey – keyboards track 5ProductionJeff Glixman – producer Steve Prestage – engineer, mixing Nigel Walker – engineer Ian Cooper – mastering
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