9 January 1778 Friday
Vases, Candelabra, Grave Stones, Sarcophagi. Tripods, Lamps and Ancient Ornaments volume I
Title page in two plates to be joined together; each 70×49. Above, part of the frieze and architrave of the Temple of Antoninus and Faustina; below candelabra, oil lamps, vases, and a colossal statue of the River Reno; in the centre, above a slab garlanded and decorated with tragic masks, the title in relief: Vasi Candelabri Cippi Sarcofagi Tripodi Lucerne ed ornamenti antica disegn. and inc. of the Cav. Gio. Batta Piranesi Published in the year MDCCLXXIIX. Volume One.
A Part of the Frieze and Architrave of the Temple of Antonino and Faustina in Campo Vaccino.
B Lustral vase found among the excavations of Villa Adriana in the year 1771. by Mr. Cav. Dom.co de Angelis Tivolese: It can be seen with Mr. Cav. Henry Blundell in England.
C Ancient metal candlestick owned by His Eminence Duke Gaetani.
D Tile, and Frieze E ancient, which can be seen in the Museo del Cav. Piranese.
F Lamp of terra cotta, and another G of metal, which are kept in the Kircher Museum. no
H Ancient Lucerne, which can be seen near S. E. Mr. Cav. Hamilton Ambassador of England in Naples.
I Colossal statue of the Reno River, which once stood in the ancient Forum of Mars in Campo Vaccino, and nowadays exists in the Campidoglio located in the Courtyard of the Museum.
K Ancient vase owned in England by Mr. Riccardo Hayward.
9 January 1783
Sections of the theater, and stable scene substitutes, and of the wooden machine, which supported the painted canvases of the hall, and curtain
Figure I. Section view of the theater and substituted stable scene
Figure II. Demonstration of the profile of the Fornix, and Curtains
Figure III. Section along the Stage from the part that concerns the face of the Theater, which shows the wooden Machine of the Auléo, and the Fornix for the Curtains.
Fig. I. A. Other side of the Cavea del Teatro, opposite the one already described in Table IV. Fig. II. with corresponding parts indicated in med. B. Supplement of the top, which enclosed the precincts of the Gradini, and supported the Velario. C. Poles of the Vele winches. D. Lungo of the Statue of Appius Claudius Pulcro, AP can be read on the base still in place. CLAVDIUS. C. F. PVLCHRO. IMP. COS. ERCVLANENSES. POST. DEATH. This Statue, like the other one by Nonius Balbo indicated in Plate IV. Fig.II. P exists in the courtyard of the Museum of Portici. E. Porta dell'Orchestra, above which the inscription referred to in Table IV is repeated. Fig. II. I. Added under the name of the Architect P. NVMISIVS. P. F. AR...TEC both in the South Courtyard or P. Scena stably substituted.
Figure II. A. Profile of the classroom. B. Other of the Fornix, and Sipario. C. Profile of Teloni before the stable scene. D. Timber stage, where the Operators set up the Machines for Curtains, Telons, and more. Figure III. A. Proscenj with Sale del Coragio, Portici, and its substituted parts, already described in Tables I. and VI. Fig. II. B. Armature of wood, which supported the painted Canvases of the Auleo, dé Sipari, and other. C. Stage for the Operators, who activate the Machines, who descended into the Scene. D. Fornix, which formed the oculus of the scene.
Francesco Piranesi dis. and inc.
9 January 1812 Thursday
Morning clear, wind NW, therm. 29° rose only to 32° at midday--a very cold ride to Meeting. Dr. Moore gave a pathetic discourse enquiring how many of us could say, not mine but Thy Will be done--exhorting us to self examination and to avoid judging one another. On our return we found S and SL here. They had suffered little leg cold. We had an excellent family dinner at which I hope some of our hearts were thankful at being together in good health. Evening clear and cold.
9 January 1999
Re: Quondam's agenda
Regarding archeology and archeological reconstructions, Quondam is already doing the architectural community a huge service in presenting the first full scale analysis of Piranesi's Ichnographia Campus Martius, a plan that unfortunately most of the architectural and art historical world today believes to be, because of the writings and teaching of Tafuri, a fragmentary cacophony of architectural meaninglessness. It turns out that Tafuri was, as far as the Campo Marzio is concerned, almost entirely wrong, and therefore much of his polemic, which fuels a large portion of today's architectural theory and higher education, is seriously questionable.
9 January 2008
IQ mirror copy plans
9 January 2018
9 January 2021
book spread painting 012
9 January 2023 Monday
Presentation of Piranesi's Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi, commences today, featuring one plate a day, and that will go on until the beginning of April. This is part of what is known of Piranesi's 1778 production, beginning with Vasi, candelabri, cippi, sarcofagi... and ending with Différentes vues de quelques Restes de trois grands Edifices qui subsistent encore dans le milieu de l'ancienne Ville de Pesto autrement Posidinia qui est située dans la Lucanie, Different views of some of the remains of three great edifices that still exist at the center of the ancient city of Pesto, or Posidonia [Paestum], which is situated in Lucania. Before Différentes vues de quelques Restes de trois grands Edifices... came the new circus plans within the Ichnographia Campus Martius; and before that the new Circus Maximus plan within the Plan of the Roman Forum. Then the last Vedute, the ancient arch in Naples; then the Circus of Caracalla plan with dimensions; then the Circus of Caracalla plan without dimensions; then back at the beginning with Vasi, candelabri, cippi, sarcofagi...