changing history's


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changing history
A couple of days ago it occurred to me that "changing history" is the title of the 'book' I'm going to write on the Ichnographia Campus Martius. Right now I don't even recall how the idea occurred to me. I might have been washing dishes and thought of the archinect post from 2005 where I wrote about how the discovery that there are two Ichnographia was an act of changing history. I have my doubts whether Changing History is the complete title. Alternatives are: CH: ICM; CH and Piranesi's ICM; CH: Piranesi's ICM. Right now I'm leaning toward keeping it just Changing History.
I'm imagining writing the whole thing like Deboy's Lequeu--a series of chapters that are informative as much as they are enigmatic (and biting). I could do it because there are quite a number of characters and topics (including Helena, Eutropia and Constantine) and discoveries (unique to me). I might as well just make a list now: Kahn, Scully, Tafuri. Eisenman, Bloomer, Allen, Fasolo, Nolli, Lauf, Wilton-Ely, 2 Ichnographias, eros et thanatos, equirria, porticus Neroniani/ St. Peter's, porticus Neroniani/compass, Bufalini, inverse triumphal way, Kwinter and Aurelia, the full picture with the other maps, axes of love and war, garden of satire, porticii as streets, altar of Mars/St. Agnes, "changing history: a reenactment"?, labyrinth/puzzle.

beginning of Changing History
It starts with the sarcophagus of Maria engraving and the story behind it and how Piranesi changed it. With its story comes the "Catalogo," Robert Adam, Breakspeare (Hadrian IV?), end at the beginning, life of Maria and Honorius, position of Rome at that time, Obituary of Theodosius(?), and its position in the Ichnographia, where is St. Peter's basilica?, Temple of Apollo attached to the Circus of Nero and Caligula, two states of the Ichnographia and how and why I made the discovery. There is a lot of existing data (EI, etc) that relates to all this, and that's what I start organizing--I need to set aside a place where I start composing these pages, but I'm not sure where that is yet. The work space will be in the same directory as the finished pages, just toward the end, however.
The next subject is the two states and an exposition of how the two states differ. Then comes the case for which state came first, and a possible explanation of why Piranesi made the changes--he created a double theater where one theater is the inversion of the other. There is that one final aerial perspective of two inverted theaters, but the changed circus(es) (may) reference from pagan munus circus to Christian grave site basilica. Here the story of Melania the Younger and the Horti Valeriani, which leads to the Porticus Neronianae being the X that marks the spot of the barbarian camp and the first sack of Rome.
But there are also two--Porticus Neronianae and Porticus Neroniani--another double inversion, and here we find St. Perter's basilica in disguise (another interted double). From here comes the story of the garden of Nero and the pagan/Christian Triumphal Way.
I'm just now realizing that the cad ichnographia I work with should be the same orientation as the printed Ichnographia.



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