III. Entièrement

III. Entièrement

So much unchanged currency, before a lunette of incised leather’s extreme
And apportioned means, Anthestêria held annually for three days—Caught in the rope,

The belaying Solstice’s three full moons, of death’s proxies—This urge to disembed cross
Fragments, stovepipe hats of a visiting patriarch, on scored plaster—Piero della Francesca’s
Third day Resurrection (1463) guards wanting legs—Meshes of the Afternoon (1943)—
Their dividers reeling vanishing points into ancestral libraries of Rimini and Urbino

With drawn shades of a jar opening, as a son sewn into his father’s thigh, Federico of Urbino—
Is dispatched to Venice as his brother’s bond (1433); intended as a hired sword—At the crescent lagoon’s extreme

Eastern vantage; here, an ostrich egg stirs the sand’s trapdoor or nest as a stone the builders, rushing toward the afternoon,
Rejected—By then 15, Sigismondo Pandolfo Malatesta is Rimini’s lord (1432)—Roping
The destined cedar staked by the third son into his father’s craw—The wolf in the crossing
Transepts, Sigismondo espied Uccello’s English warlord at Santa Maria Maggiore (1436)—Envisioning Piero della Francesca

Maker of his graven image; Alberti’s blind arcades on a Gothic barn—Piero della Francesca’s
Plaster cured in one of three apses of Tempio Malatestiano (1451) as Federico of Urbino
Enlists in the service of Pius II—Meshes of the Afternoon; four scenes funneled through a cylinder crossing
Sigismondo, the vanishing point, whose hands were strained to prayer—Glutted hounds, extreme
In their rapacity; their elected god, Augustus, banned leaving stray children for dogs—One afternoon,
Sitting for his portrait in oils, Piero; five years his elder, yet not in life, submitted a miasma of murder for roping

The unnamed tyrant—The sitter asked after the prospects of Borgo as he, a son of Caesar roped
Solar obelisks, sunken proportionate to their loads, and oversaw construction of the Pantheon—Piero della Francesca
If living, will say he witnessed in Rimini; Fellini's hometown—Maya Deren unsettles this afternoon
Cooking oil, by her loaf knife's incidental discrepancy of a flower—Federico, Duke of Urbino
Resented most this screen memory, of a legionnaire’s silver eagle carrying Caesar’s soul to heaven crossing
Their disbanded triumvirate in his ascendancy—Sigismondo and he were too alike not to posture as extreme

Enemies—Threshold gods migrating the third night up eternal staircases, up bluffs shielding Urbino from extremity—
Two scenes indifferent to their unfolding—Piero’s Flagellation of Saint Jerome (1455) roped

The resources of his beneficent patron’s translations of Euclid, Archimedes; the bestiary, crossing
Paths with an eggshell on which is engraved the world—For 12 frescoes in Arezzo, Piero della Francesca
Charged Constantine Augustus’s conical tent without imperatives of vanishing points; after an afternoon
Of channel crossing, his mother, an ex-barmaid, freezes before the splintered Milvian bridge crosswise to Byzantine—Federico of Urbino

Stocked his library with its codices; Piero returned there to commemorate Federico of Urbino’s
Birth of a son (1472) four years after Sigismondo took up his ensign to Rome, to strangle the Pontiff—His extremity
Succumbing to a septic coil of intestine, or a ragged heart valve (1468)—The key, in Meshes of the Afternoon,
Resoundingly lost; a needle traces a groove of H.D.’s menagerie of three, the blind grasping a rope
Of an elephant’s tail—Greek ecstasy reclaims forever (1931), and it is an auspicious margin crossing
Chi-rho, an immobile sepulchral stone rolled away before women and their oils—Piero della Francesca’s

Montefeltro altarpiece, with an ostrich egg in the keystone position; Piero’s genuflection of the broken-nosed, monocular Federico of Urbino—
Like veins of silver ore, unraveling an afternoon’s braided rope—
The redoubling of Chronos glistens hints of a dashed Orphic Egg when set to defeat extremities, Orpheus. Eurydice. of crossing over ourselves—