The second temple of Mars, positioned on the west side of the Tiber at the foot of the Vatican Hill, sits within a hexagonal area labeled Apparatorium Triumphatorum -- the place of preparation for the triumphal march. In front of the temple and place of preparation is the decagonal Area Martis, which an euripus (canal/moat) encloses on two sides, and it is here that Piranesi indicates the beginning of the Triumphal Way. Besides the obvious ceremonial importance of the Area Martis, this place is also distinct within the Ichnographia: its ten-sided perimeter is the only such shape throughout the entire large plan. Significant also is the plan of the Templum Martis, whose ichnography resembles male genitalia. The deliberate connection between Mars and overt masculinity is unquestionable. Moreover, the Templum Martis, the Area Martis, and the beginning of the Triumphal Way together establish a principal axis, one of the three major axes present within the Ichnographia. This axis extends from the top of the Vatican Hill straight down to the bank of the Tiber across from the tomb of Augustus, and is not only great in length, but also rich in symbolism. Represented here is the mighty thrust of Mars, the dominance of Romulus, and hence the source of Rome and its unparalleled pride.
The Templum Martis (top) is surrounded by a hexagonal place reserved for the preparation of the triumphal march. The Area Martis (below) is a large space in front of the Templum Martis and the place where the Triumphal Way begins (indicated in red).
The long axis running through the Templum and Area Martis (center) extends from the Nympheum Neronis atop the Vatican Hill (upper left) down to another Nymphaeum on the west bank of the Tiber (lower right).
buildings of Alexander Severus
The building projects of Alexander Severus as described within the The Scriptores Historiae Augustae.
...the Porticus Alexexandri Severi is in a totally incorrect position at the end of the Equiria, however, Piranesi may be making a suggestive link between Alexander Severus and the military. The small aedicule Isidis on the Equiria across from the Porticus may also be a reference to Alexander's devotion to his mother--Isis is the premiere mother goddess.
...the baths, aqueduct and his grove all comply correctly within the Ichnographia.
...the Domus (Palace of) Alexandri Severi is mentioned in the Historiae text, but it is not described, and my theory is that Piranesi placed Alexander's (house) Palace along the Triumphal Way (in the reverse mode) because he favored Christianity and the Golden Rule. The Domus Alexandri Severi is also exactly like the description of Elagabalus' Palace near the Porta Maggiore. Could Piranesi be weaving some complicated message which refers to both the reigns of Elagabalus and Alexander (which did follow each other, and they were cousins), where Alexander successfully undid the corruption of Elagabalus and began to turn Rome toward a more Christian and morally sound city and empire?
...not yet sure, but I think Alexander Severus' name is attached to more buildings within the Ichnographia second only to Nero.
eros et thanatos
homo ludens and the Ichnographia
There are certain passages within Homo Ludens that relate to Piranesi's "play" of the Ichnographia Campus Martius, especially with regard to reenactment, the Scenographia, and the double theater. There are also connections between ritual and play that relate to the Triumphal Way.
Pagan - Christian - Triumphal Way
the arch, the trope, and the reenactment
I first 'found' the notion of reenactment within ancient Rome's Triumphal Way, which is itself an oft reenacted reenactment of something Romulus did after his victory over the Sabine men. The funeral of Princess Diana is the most recent reenactment of Romulus' parade. (Yes, because of the "turn" of Paganism into Christianity the Triumphal Way "troped" into elaborate, albeit highly meaningful funeral processions, however, it remains that still only heroes, and finally heroines as well, get the Triumphal Way treatment.)
With the Triumphal Way then came first the Triumphal Gate and then several Triumphal Arches. The Triumphal Gate was the gate within Rome's wall (and sacred boundary) through which the victor's entered the city after first assembling within the Campus Martius. Over time, special victories sometimes added a Triumphal Arch somewhere along the route of the Triumphal Way (e.g., the Arch of Titus, the Arch of Constantine, etc.).
4 September 1997 and today
Sometime in 1998 I learned of the Eugene J. Johnson article "What Remains of Man--Aldo Rossi's Modena Cemetery" in The Journal of the Society of Architectural Historians (March 1982), where Johnson adroitly demonstrates how Rossi's cemetery design closely compares with Piranesi's Bustum Hadriani as delineated within the Ichnographia of the Campo Marzio. What Johnson does not point out however, is that Rossi essentially reenacted the Ichnographia's axis of death which actually intersects the Ichnographia's demarcation of ancient Rome's Triumphal Way. Piranesi's plan delineations of the intersection of the axis of death and the Triumphal Way themselves manifest a reenactment of the ancient Roman camp/urban planned crossing of a cardo and decumanus.
Piranesi's Continual Double Theaters
not Tampa, Florida anymore
I'm glad you found some useful information, and I hope it helps toward some resolution to how you see that reenactment (potentially) relates to predestination and psychology. I haven't been coming to reenactment from that angle, so I don't even understand exactly what you're seeing. (But that doesn't at all mean that I think what you're seeing is somehow wrong or misinterpreting.)
I'll try to briefly outline (reenact) how I came to see a strong relationship between reenactment and (some but certainly not all aspects of) design.
I began redrawing Piranesi's Campo Marzio plan with CAD in 1987. I've been fascinated with this plan since the late 1970's, and I saw the opportunity to utilize the automated drawing/drafting capabilities of CAD in (re)drawing all the complicated individual plans of the Campo Marzio, which comprise many repetitive units, and manipulating repetitive units is precisely one of the things CAD is very good at facilitating.
In the early 1990s I begin an intensive redrawing of the plan, and at the same time I became reacquainted with Susan Dixon, a friend from my college days who went on to get a Ph.D. in Art History, and her dissertation was on Piranesi's archaeological publications, of which the Il Campo Marzio is one. Together (via phone conversations) Susan and I begin speculating as to what the meaning of the Campo Marzio plan might be. Many theories were speculatively put forth, but reenactment was never one of them.
The second week of August 1997 I split my energies between doing research on the Campo Marzio and research on the philosophy of history as it might relate to my theory of chronosomatics. In Encyclopedia Britannica (edition 1969) under "Philosophy of History" there is a passage explaining Vico which, while reading it, made me think of Piranesi's Campo Marzio. There is also a list of 20th century philosophers of history and the titles of the works. Collingwood's The Idea of History is among these. I go to Barnes and Nobles that same day and buy Vico's New Science and Collingwood's The Idea of History. I read the passages in The Idea of History that deal with reenactment. It dawns on me that I've been doing a kind of reenactment by redrawing Piranesi's plan.
Thursday, September 4, 1997 (coincidentally the day architect Aldo Rossi died) I find Plattus's "Passages to the City: The Interpretive Function of the Roman Triumph" in Ritual (1983). I finish reading the essay Friday night. Saturday morning I watch Diana's funeral, and it quickly hits me that I am watching exactly what I just spent the last two nights reading about. Since Piranesi himself delineated the path of the Triumphal Way through his plan of the Campo Marzio, I begin to wonder whether Piranesi too was playing some kind of reenactment game in his redrawing of the large urban plan.
It is after this point that much of the prior ten year's work begins tightly piecing together, and the notion of reenactment also aids in better understanding what information I collected further in research.
For me, reenactment was a learning tool, albeit for the most part a tool I didn't even know I was using. For Piranesi, however, (and this is what I've come to understand) reenactment was a design tool, specifically an urban design tool, whereby he generated an entirely new rendition of Rome. A Rome, moreover, that is essentially a conglomeration of many specifically themed environments, i.e., themed environments that relate exactly the history of the very places where Piranesi positioned his new designs. This is why I say Piranesi's Campo Marzio is not a reconstruction, rather a reenactment. By all indications, Piranesi was very conscious of the play of degrees of separation that reenactments involve.
Piranesi also (re)designed the city of Rome as a double (history) theater, namely the double theater of Rome's Pagan and Christian existence.
Thanks for sending a copy of the Piranesi essay. I haven't read it all yet, but I like the fullness of the histories provided. A couple corrections are necessary, however.
The complex behind Hadrian's tomb includes the Circus Hardiani and the Circus Domitiae, which is a circus made-up by Piranesi and named for Domitia, Nero's great aunt who once owned much of the property that is delineated upon--Nero got the property and added it to the Imperial holdings. Note also that Piranesi labels the area Horti Domitiae, which was the name of the place once upon a time.
Traditionally, the Triumphal Way prepared /started in the Campo Marzio and made its way to the Triumphal Arch, where the procession entered the city proper. There are no archeological remains of the Triumphal arch/gate, thus some believe it was either closed until a triumph or that an opening in the Severian Wall was manifest with each triumph. Piranesi has the triumph preparing in the Vatican Valley, thus playing with the inverting history of the Triumphal Way when, after Christianity was Imperially sanctioned, the processions ended at St. Peter's. [The whole double sided nature of Piranesi's delineation of the Triumphal Way within the Ichnographia was addressed in "Inside the Density of G.B. Piranesi's Ichnographia Campi Martii," the paper I presented at Brussels, 1999.]
As to the double nature of Piranesi's delineation of the Triumphal Way, my take on what Piranesi did is that he purposefully made/designed it to be both pagan and Christian because that is exactly the history of the Roman Triumph. Piranesi knew the whole history, and he cleverly rendered all of it within the Ichnographia. What appear to be mistakes within the Ichnographia are more sign-posts of issues to paid closer attention to.
in the thick of reenactment season
I purposefully walked from the front door of the Philadelphia Museum of Art down the Benjamin Franklin Parkway to the far side of Logan Circle and then back to the Art Museum. I did this to get a real sense of the scale of the virtual axis of life within Piranesi's Ichnographia Campus Martius.
In reality I was walking across the forecourt of the Philadelphia Museum of Art, then down the steps that Rocky made famous running up, then across Eakins Oval, where the largest painting in the world once was, then down a tree covered allee along the south side of the Parkway stretching for three long blocks, then around Logan Circle, and then back in the direction I came although this time along the north side of the Parkway.
In virtuality I was walking through the Nympheum Neronis high on the Vatican Hill, through the Porticus Neronianae, through the Templum Martis (Temple of Mars), through the Area Martis where the Triumphal Way begins its "march" (this is around where the Rodin Museum is on the Benjamin Franklin Parkway, and, as luck would have it, where the route of many of today's Philadelphia parades begin), then I walked around Hadrian's tomb, and then I walked back.
The whole walk took about 40 minutes, and if I had gone all the way to the LOVE sculpture at JFK Plaza across from City Hall, the walk back and forth would have taken just about an hour. ... I made mental note of most of the memorials on and along this stretch of the Parkway--Washington Memorial, Civil War Memorial, WWI Memorial, a plaque in the cement on axis at Logan Circle states that the trees along the Parkway were planted on honor of the soldiers of WWI, and a Shakespeare Memorial in front of the Free Library.