Piranesi, Juvarra, and the Triumphal Bridge tradition

(14.) The designs by Thomas Sandby for an ideal bridge on the site of the modern Waterloo Bridge, London, used to illustrate his lectures as professor of architecture at the Royal Academy from the 1770s, is exceptional in retaining the Piranesian title "Bridge of Magnificence" rather than "Triumphal Bridge." Modern writers usually conflate the magnificent bridge with the triumphal bridge; du Prey, 1982 (as in n. 12), 80, for example, includes Palladios bridge in the category of the triumphal bridge. Sandbys drawing was exhibited at the Royal Academy in 1776 and would have been known to Soane. Thomas Sandby, Perspective View of a Design for a "Bridge of Magnificence, 1793, watercolor within ruled pen border, 11 by 25 3/4 in. (280 by 655 mm),Sir John Soane's Museum; see Sir John Soane's Museum, Soane: Connoisseur and Collector: A Selection of Drawings from Sir John Soane's Collection (London: Sir John Soane's Museum, 1995), cat. no. 37. Sandby's and Soanes designs also participate in a related, but nevertheless distinct, theme, the "inhabited bridge." See the special issue of Rassegna 13, no. 48 (Dec. 4, 1991): 10-89; and Living Bridges, exh. cat., Royal Academy of Arts, London, 1996.

(15.) Maria Tagliaferro Boatwright, Hadrian and the City of Rome (Princeton: Princeton University Press, 1987), 165- 66.

(16.) Valentini and Zucehetti, vol. 1 (1940), "Il Catalogo delle quattordici regioni di Roma," 63ff.; see "Curiosum urbis Romae regionum XIIII cum Brebiariis Suis,' 89ff., with the bridges (Aelius, Aemilius, Aurelius, Molbins, Sublicius, Fabricius, and Cestius et Probi) on 149-50, and "Notitia Urbis Romae Regionum XIII Cum Breviariis Suis," 164ff., with the bridges (Aelius, Aemilius, Aurelius, Mulvius, Sublicius, Fabricius, and Cestius et Probi) on 183. Valentini and Zucchetti, vol. 1,26 n. 7 (also J. Le Gall, Le Tibre, fleuve de Rome dons l'Antiquite [Paris: Presses Universitaires de France, 1953]), identified the Pans Neronianus with the bridge named after Emperor Probus, who would thus have been responsible for restoring it, and in this are followed by Cesare d'Onofrio, Il Tevere: Lisola Tiberina, le inondazioni, i inolini, i porti, le rive, i muraglioni, i ponti di Roma (Rome: Romana Societa, 1980), 226. Vittorio Galliazzo (I ponti romani, 2 vols. [Treviso: Canova, 1995], vol. 2, 24-25) rejects this ident ification, identifying the bridge of Probus with remains downstream of the Pans Sublicius. For other discussions of the bridges, see J. Jordan, Topographie der Stadt Rom im Alterthum, vol. 1 (Berlin: Weidmanische Buchhandlung, 1878), 393 ff.

(17.) D'Onofrio (as in n. 16), 226, notes that in the mirabilia of 1144 it appears as "ponte di Nerone" (Neronianus); in Graphia, of a century later, as "ponte di Nerone in Sassia" (Neronianus ad Sassiam); and in the Tract at us of 1411 as "Ponte di Nerone, cioe ponte Rotto, presso S. Spirito in Sassia." Ernest Nash, A Pictorial Dictionary of Ancient Rome, 2d ad., 2 vols. (London: Thames and Hudson, 1968), vol. 2, s.v. "Pans Neranianus," notes the names Pans Ruptus in Sassia, Pans Vaticanus, and Ponte d'Orazio, the last from Flaminia Vacca. In a modified version of the Regional Catalogues attributed to Pampania Leta ("Descrizione interpolata della quattordici regioni di Roma," in Valentini and Zucchetti, vol. 1, 193ff., 251-52) the "Pans Vaticanus" is inserted among the usual list of bridges minus the Pans Probi (Molvius, Aelius, Vaticanus, Ianiculensis, Fabricius, Cestius, Palatinus, and Aimilius qui ante Sublicius).