Points of Departure

1


1998.01.07
Points of Departure   2527f
...Piranesi's cribbing of the Porticus Aemilia for the Septa Julia may actually represent Piranesi's scale for the entire Ichnographia. It could be that Piranesi very purposefully installed the Forma Urbis fragment of the Porticus Aemilia into the Ichnographia for the precise purpose of demonstrating more of the actual scale (and gigantism) of ancient Rome (--it is as if Piranesi is here illustrating his own quote about how one just has to look around at Rome and Hadrian's Villa to see the examples he emulates.) Piranesi was not being deceptive or misleading, nor was he acting out of ignorance of the fragment's true identity. Piranesi used the Porticus Aemilia as evidence and example.

1998.01.07
Points of Departure   2586
I have decided to put together a critical essay regarding my interpretations and disputations of the contemporary existing texts on the Ichnographia. It will be called "Points of Departure"...
...this combined presentation technique may also follow Piranesi's methodology, thus offering the possibility of a further "re-enactment".
In thinking of the typologies... ...regard to Tafuri's comments of the Ichnographia being a sample book and something unknowable. ...the [scale] comparison between St. Peter's and the Bustum Hadriani is a perfect place to start, although I could also compare the Ichnographia plans to other ancient Roman plans, particularly the large baths. Such drawings would refute Tafuri's and Bloomer's statements regarding the smallness (and seemingly insignificantly treated Pantheon and tomb of Hadrian).
...Piranesi's cribbing of the Porticus Aemilia for the Septa Julia may actually represent Piranesi's scale for the entire Ichnographia. It could be that Piranesi very purposefully installed the Forma Urbis fragment of the Porticus Aemilia into the Ichnographia for the precise purpose of demonstrating more of the actual scale (and gigantism) of ancient Rome (--it is as if Piranesi is here illustrating his own quote about how one just has to look around at Rome and Hadrian's Villa to see the examples he emulates.) Piranesi was not being deceptive or misleading, nor was he acting out of ignorance of the fragment's true identity. Piranesi used the Porticus Aemilia as evidence and example.

1998.01.07
Campo Marzio: "points of departure"   5027
I have decided to put together a critical essay regarding my interpretations and disputations of the contemporary existing texts on the Ichnographia. It will be called "Points of Departure" and it will appear in NOT THERE. In order to move quickly, I may try and be as experimental as possible with the format and layout of my text(s). This may or may not work, but this will be the best place to experiment. I will try to make use of all the various devises available with html, including marquees. I may also experiment with animated gifs or some other special graphics--although at this point I have nothing special in mind.
I just now thought that I could introduce illustrations that are not necessarily related directly to the critical text, but rather carry their own supplemental meaning. This reminds me of the approach that Stanley took in his essay, and this combined presentation technique may also follow Piranesi's methodology, thus offering the possibility of a further "reenactment" on my part.
The images themselves could be of a number of different types: typologies, contiguous elements, land use, 3-D extrusions, genealogy of the plans, symbolism of the plans, and maybe even some types of drawings that I haven't even thought of yet. In thinking of the typologies, I now see that the inclusion with the critical text is perfect, especially with regard to Tafuri's comments of the Ichnographia being a sample book and something he considers being unknowable. I just thought of scale comparisons as another type of illustration, and the comparison between St. Peter's and the Bustum Hadriani is a perfect place to start, although I could also compare the Ichnographia plans to other ancient Roman plans, particularly the large baths. Such drawings would refute the Tafuri and Bloomer statements regarding the smallness (and seemingly insignificantly treated Pantheon and tomb of Hadrian).
Just now I also thought of how Piranesi's cribbing of the Porticus Amelia for the Septa Julia may actually represent Piranesi's scale for the entire Ichnographia. My hypothesis is that Piranesi very purposefully installed the Forma Urbis fragment of the Porticus Amelia into the Ichnographia for the precise purpose of demonstrating more of the actual scale (and gigantism) of ancient Rome. (I can better elaborate on this when I have the plan in front of m --it is as if Piranesi is here illustrating his own quote about how one just has to look around at Rome and Hadrian's Villa to see the examples he emulates.) In no way was Piranesi trying to be deceptive or misleading, nor was he acting out of ignorance of the fragments true identity. More than anything, Piranesi used the Porticus Amelia as evidence and example (like an "exhibit" in a court of law [(2011.06.24) and like Collingwood's view of "scientific" history requiring evidence]).

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