ROME — The Pantheon is one of the most iconic and best-preserved ancient structures in the world.

Located in the heart of the Italian capital, this architectural wonder has stood the test of time as both a testament to the grandeur of Roman architecture and also a site of profound religious transformation.

Over 2,000 years later, the Pantheon stands as a remarkable bridge between two worlds: The pagan Roman Empire and the Christianized West. Its architectural brilliance, cultural importance and religious significance make it one of the most fascinating landmarks in Rome and a must-visit for so many Catholics who are traveling to Rome for the Vatican’s Jubilee year.

The Pantheon was originally built during the reign of Emperor Augustus in 27 B.C.E. by the general Marcus Agrippa as a temple to the Roman gods. Its name, derived from the Greek words pan (meaning “all”) and theos (“god”) reflects its dedication to the diverse deities that were worshipped by Roman society.

However, the structure that stands today is not the original but a rebuilding commissioned by Emperor Hadrian in the year 126 C.E. after the previous building was destroyed by two fires. It has remained largely intact ever since.

What sets the Pantheon apart from most Roman buildings is its unique architectural design and use of reinforced concrete. The most striking feature is its massive, unreinforced concrete dome, which was the largest in the world for over 1,300 years. The dome’s oculus, an opening at the top, allows light inside, a symbol of the connection between the temple and the heavens.

The portico — with its 16 towering Corinthian columns — adds to its awe-inspiring appearance and remains a tribute to the strength and sophistication of Roman engineering.

Wikipedia Commons photos

As a temple dedicated to all gods, the Pantheon served as a central location for public religious ceremonies. The Roman Empire recognized a vast array of deities. The Pantheon was the symbol of this religious pluralism, housing altars and statues for multiple gods.

Visitors to the temple would pay homage to these deities and one of Rome’s most sacred spaces.

William MacDonald, in his book “The Story of the Pantheon,” offers a detailed history and analysis of the monument. He has called the structure “one of the grand architectural creations of all time.”

Connection to Christianity

The Pantheon’s transformation from a pagan site to a Christian church is one of the most fascinating aspects of its history. In 609 C.E., Pope Boniface IV consecrated the building as a Christian church and renamed it Santa Maria ad Martyres (St. Mary and the Martyrs). This decree was part of a larger Christianization of ancient Roman temples and was seen as a way to integrate the faith into the existing Roman religious landscape.

The Pantheon’s new role as a Christian church was not just a strategic move but a reflection of the way Christianity embraced Roman heritage while superseding its pagan roots.

“The long history of the Pantheon in the Middle Ages is inextricably bound up with the decision made during the pontificate of Boniface IV to transform the ancient building into a Christian church,” said art historian Erik Thuno, author of article “The Pantheon in the Middle Ages,” which appears in the book “The Pantheon: From Antiquity to the Present.”

Thuno added: “Because Rome was under Byzantine control during this period, the pope had asked the emperor under Phocas in Constantinople for permission to appropriate the building for the church. The contemporary account of the life and donations of Pope Boniface mentions briefly that ‘he [Boniface] asked the emperor Phocas for the temple called the Pantheon, and in it he made the church of the ever-virgin St Mary and all the martyrs; in this church the emperor presented many gifts.’”

The Pantheon’s connection to Christianity — and specifically Roman Catholicism — is also visible in its interior. Since the Renaissance, the Pantheon has been the site of several important burials. The tombs of several Italian kings, including King Victor Emmanuel II and Umberto I, are housed inside, reinforcing its status as a place of Christian reverence. The tomb of the famous Renaissance artist Raphael is also located here, further underscoring its dual significance as both a symbol of Rome’s pagan past and its Christian present.

The present high altars and the apses were commissioned by Pope Clement XI in the early 1700s and designed by Alessandro Specchi. Enshrined on the apse above the high altar is a seventh century Byzantine icon of the Virgin and Child, given by Phocas to Pope Boniface IV on the occasion of the dedication of the Pantheon for Christian worship. Last year, the Madonna of the Pantheon, a rare Byzantine icon housed in the Pantheon, was meticulously restored, shedding light on a significant chapter in Christian history.

The great Renaissance painter Michelangelo famously called the Pantheon "the greatest temple ever built by human hands." His admiration for the building was largely due to its innovative architecture of the time. The Pantheon served as a model for later buildings like St. Peter's Basilica in Vatican City and the U.S. Capitol.

In the 17th century, Pope Urban VIII, a member of the Barberini family, ordered significant material to be taken from the Pantheon, including the bronze adorning the portico’s ceiling. This is where the popular Roman saying, “What the barbarians did not do, the Barberini did” comes from.

These days, Catholic Masses are celebrated there on Sundays and during the church’s holy days of obligation. Weddings are also held there.

The Pantheon is the most visited heritage site in Italy — attracting around 9 million people each year.

As both a symbol of ancient Roman religion and a testament to Christian adaptation, the Pantheon continues to inspire awe, offering visitors a glimpse into the past while serving as a place of worship and reflection today.

Clemente Lisi is the executive editor of Religion Unplugged. He previously served as deputy head of news at the New York Daily News and a longtime reporter at The New York Post. Follow him on X @ClementeLisi.