Piranesi, Juvarra, and the Triumphal Bridge tradition

(52.) Another illustration for Panvinio is found in the 1681 edition of De ludis circensibus, dated 1580, and titled "Ornatissimi trivmphi vti l Pavllvs de Rage Macedonum Perse capto, P. Africanus Aimilianus de Carthaginiensibus excisis, C.N. Pompeius Magnus, ax oriente Julius, Augustus, Vespasianus, Traianus, et alij Imperatores Romani Triumpharunt ex vetustis lapidum, nummorum, et librorum monumentis accuratissima descriptio. Onuphrjj panuinij Veronensis inventoris opera et aeneis formeis Venetijs. Anno salutis [M]DLXXX. [Gre..sup.o]. XIII. Papa Cum Priuilegijs pontificis, Caesaris Regum, Reipublicac Venetiae, et ducum." This is presumably the basis for de Rossi's plates, as many of the figure groups are the same. It is oriented in the reverse direction, with the Ports Triumphalis and the adlocutio and sacrifice at lower left, culminating at the Temple of Jupiter Optimus Maximus Capitolinus at upper right.

(53.) Frutaz, vol. 2, piants XXI, 1573. A derivative is Giacomo Lauro, Antiquae urbis, engraving, from Lauro's Antiquae Urbis Splendor (Rome, 1612-28), p1. 7.

(54.) Frutaz, vol. 2, pianta XXII. Frutaz (vol. 1, 68) notes that Duperae made his 1574 map after examining the fragments of the Severan map and the other maps published earlier, including Ligorio's. He may have been in contact with Fulvio Orsini.

(55.) Claridge, 153.

(56.) Henry A. Millon and Craig Hugh Smyth in collaboration with Francesca Consagra, "The Project for the Castel Sant' Angelo in the Dyson Perrins Codax," in Architectural Studies in Memory of Richard Krautheimer, ed. Cecil L. Striker (Mainz: Philipp von Zabern, 1996), 111-17. There were also proposals considered during the reigns of Pius IV or Pius V and Sixtus V.

(57.) Ibid., 111. For the Dyson Pen-ins Codex, see Rudolf Wittkower, Le antiche ravine di Rome nei disegni di Du Perac (1960; Rome: Amilcare Pizzi and Silvana, 1990).

(58.) Lauro (as in n. 53), 61. It is entitled "Ponte. et. Ports. Trivmphali. in. Vaticano." The winged figure of Fame blows a trumpet from which is suspended a banner with a coat of arms displaying a tree and three stars. An inscription beside it reads, "Fama tubam Lauri defert ut Roma triumphos / Lauren quos decorat cantet in orbe tuos" (Fame holds Lauro's trumpet in order, O Rome, to sing throughout the world your triumphs which she decorates with Laurel [I am grateful to Caroline Elam Roger Scott for help with the translation]). This is presumably an allusion to Lauro himself, and perhaps the arms--with a laurel tree--are his as well. The caption refers to Biondo and Ligorio, but unlike Ligorio, and like Panvinio, whose opinion evidently had prevailed, Lauro placed a triumphal arch on the Vatican bank (labeled "in Vaticano"), but it is not aligned with the bridge, from which it is separated by a broad riverbank. His structure is a three-arch type with large roundels in the attic reminiscent of the Arch of Constantine. The outer spandrels seem to bear reliefs of trophies, while on the attic are statues terminating the pilasters and a quadriga with a laurel-crowned victor holding a (laurel?) branch. The bridge itself rises to a peak and has four visible arches, possibly implying six in all. There are round flood openings and statues on pedestals on the piers. In the distance are various buildings, not readily identifiable. One is a round building in two tiers. Interestingly, in a derivation in G. de Rossi, Ritratto di Roma Moderna (Rome, 1645), one of the buildings on the bank is more recognizably the Pantheon, which is topographically correct.