contemporaries, and with the greatest opposition from Michael Angelo , whose criticism was that it was broken into too many parts, and with an infinity of columns would convey the idea of a Gothic building rather than of an antique or Classical one (Letarouilly 100).
At Sangallo’s death, in 1546, the control of the works fell into the hands of Michael Angelo; and although he did not and could not alter either the plan or general arrangement of his predecessors to any material extent, he determined at once to restrict the church to the form of a Greek cross, as proposed by Peruzzi and Raphael, and he left everywhere the impress of his giant hand upon it. It is to him that we owe certainly the form of the dome, and probably the ordinance of the whole of the exterior (Wittmann 111). The only part of his design which he left unfinished was the eastern portico.
During the pontificate of Paul V. it was suggested that the building should be restored to the form of a Latin cross, as originally suggested by Bramante. This idea was finally carried into effect by Carlo Maderno , a very second-class architect, in the beginning of the seventeenth century, who designed the entrance (Gorman 155). Thus, construction of the basilica was completed in 1615.
Thus, we can see that many architects worked on construction of St. Peter’s Basilica proposing their own design and constantly changing the structure of the building. Unlike St. Peter’s Basilica, the Pantheon has been designed under supervision of Emperor Hadrian who rebuilt the old building using the main elements of the plan of the Pantheon developed by Agrippa.
The Pantheon was innovative for its time. It is the first temple to combine concrete construction with