3 June 1778 Wednesday
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32 y.o. Francesco Piranesi 1 August 1790
Raccolta de'Tempj antichi, Vol. II.
Elevation of the Pantheon supplied with its ornaments
A. Ancient plan line of the Area in front of the Temple. B. Substitute pedestals enclosing the steps of the staircase. C. Plinth that turns inside the Temple now buried under the modern plan of Rome. D. Portion of the Temple which was veneered with marble E. Parts of the Temple covered with stucco plastering and decorated by us according to Palladio. F. Pietre where perhaps the supplied tents were recommended in number according to Palladio. G. Substitute skylights that covered the slits of the stairs that led from below to above the Temple with doors that communicated with said stairs. H. Bronze bas-relief statues and marble pedestals, all supplied according to the opinion of various authors. I. Inlay of the ord.e of the pronaos and its marble frontispiece. K. Red Oriental Granite Columns. L. Interior of the Pronaos supplied with mixed marble veneer
Cav. Francesco Piranesi drawn and engraved 1787
3 June 1812 Wednesday
Morning without cloud, wind NW very fresh, temperature 69. Wind blows very fresh and cool. Temperature rises slowly only to 74°. Weather unpleasantly cool for our change of Raiment[?], begins 31st ulto.[?] S and SL came out this evening bringing the papers of the day. The awful suspense of peace or war yet continues as heretofore and nothing but conjecture can be made of the reports of the present state of Congress.
3 June 1984
3 June 2006
Unknowing
The genre enacted in One Hundred Years of Solitude is of course magic realism. The energies shaping that genre's procedures are no less political than aesthetic. Magic realism's swerve from realism operates, as Kumkum Sangari and others have argued, as a critical revision of realism. This is critically charged reseeing, not sentimental escape from seeing. "Metaphor is turned into event," Sangari writes, "precisely so that it will not be read as event, but folded back into metaphor as disturbing, resonant image." Metaphor shows, Utopianly, what is missing in the real. In Amaryll Canady's terms, magic realism "challenges realistic representation in order to introduce poiesis* into mimesis**." The correspondence model fueling both realism (positively) and modernism (negatively) is eclipsed.
--Philip Weinstein, Unknowing: The Work of Modern Fiction (2005), p. 241-2.
It could be said that Piranesi's Ichnographia Campus Martius is precursive of the magic realism genre.
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*It seems logical that no reenactment occurs without an enactment occurring first...
**reenactment's most inescapable limit is that it can never be as original as that which it reenacts.
3 June 2007
Archinect @ Postopolis!
I'd say a de-territorialized critic is even more dangerous.
3 June 2017
zero four five
3 June 2022 Friday
What I've presently come to realize is that all of my research so far solely involved a search for images and then a continual study of the images because there simply are no texts that can explain the subject matter. The six key drawings of Piranesi's final project are now known, three pairs of plan drawings that each exist in two differing versions. Piranesi's intention was for himself to execute the second state of each plan, but he died leaving a good bit of unfinished work behind. That's the core of the story of Piranesi's final project.
3 June 2023 Saturday
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