The Smoking Gun Slides : 1. Gruppo di Colonne Prima Parte di Architettura e Prospettive 2.

Carcere oscura con antenna pel Suypplizio di Maleforti 3. Carcere VI There is a profound consistency in the quantity and kinds of details and additions Piranesi chooses to make to his Carceri plates from their first to their final (typically fifth or sixth) state that are consistent with his self putative, architectural thinking process. By drawing attention to this aspect of the engravings I am diverting from the consistently historiographic preference for a psychological interpretation of the Carceri of which even Huxley and Yourcenar become a part eventually. Instead, by choosing to emphasize Piranesi’s ill fated duplicitous architectural mind, I would like to suggest that the Carceri must also be considered a deliberate diversion in architectural impertinence, undertaken to present highly self conscious, scenographically arranged and seductively gristly interiors. I propose seeing the Carceri as an alternate, strictly graphic description of space as “disjunctive” and uncapturable and time as non linear and unreliable. Considering the Carceri along these parameters, would make them seem an elaboration of Piranesi’s contemporaneous preoccupation with the repetitive, redundant and self-generative, interiors, exteriors and urbanism he so brazenly presented in his Prima Parte. That publication was never intended to manifest the professional angst evoke by the Carceri, and remained focused on the depiction of the architectural container and its human contents with the decorum of an acceptable formality. The Prima Parte continues to be explained only was Piranesi’s hop