The Philosophy of Fine Art, volume 3 (of 4): Hegel's Aesthetik — Georg Hegel — John Shaqi
The Philosophy of Fine Art, volume 3 (of 4): Hegel's Aesthetik
Georg Hegel · en
In _Roman_ architecture, then, as stated, the arch-construction and
vaulting is of very common occurrence, or rather we have certain
remains which we can only attribute to the age of the Roman kings, if
we may fully believe the evidence of later times. Of this type are
the catacombs and cloaca, which were vaulted, but must be regarded
as works of a more recent restoration. The most probable discoverer
yet suggested of the vault is Democritus[103], who occupied himself
in a variety of ways with mathematical problems and is held to be the
discoverer of lithotomy.
One of the most famous buildings of Roman architecture, in which the
circular arch appears as fundamental type is the Pantheon of Agrippa
dedicated to Jupiter Ultor, which, in addition to the statue of
Jupiter, contained colossal images of gods in no less than six other
niches, namely, Mars, Venus, the deified Julius Caesar as well as three
others whose identity we cannot fix with accuracy. In either side of
these niches stood two Corinthian columns, and the whole was vaulted
with one majestic vault in form of the half globe and corresponding
to the vault of heaven. With reference to the material of this vault
we may note that it is not a stone one. In other words the Romans, in
the majority of their vaultings, in the first instance carried out a
construction of wood, and covered the same with a composition of chalk
and puzzolana cement, which was made of the dust of a light kind of
tufa and broken tile shards. When this composition was dry the whole
was formed into a mass so that the wooden scaffolding could be removed
and the vaulting, by virtue of the lightness of its material and
the stability of its consolidation, exercised only an insignificant
pressure on the walls.