Seite - 820 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2

Chapter 15820 Figures 15.29–15.30 A spurious coin of Hadrian, probably a sixteenth- century imitation, showing the Pons Aelius, compared to Strada’s drawing of the type in his Vienna Series, önb-hs, ms. 9414, f. 33. Figure 15.31 The Pons Aelius, now Ponte Sant’Angelo, in Rome (second century ad, balustrade and sculptures seventeenth century). his own drawings of coin reverses elsewhere in the albums; the figures in the niches, however, seem to derive from contemporary example, such as the stuc- co reliefs designed by Polidoro da Caravaggio. As discussed in Chapter 2, Strada first learned to document antiquarian material in the immediate circle of Giulio Romano, on the basis not only of Giulio’s own splendid numismatic collection, which is cited as the source of many coins described in Strada’s Dιασκευη, but also of Giulio’s own reinterpre- tation of such sources. A good example is Strada’s reconstruction of the Pons Aelius in Rome, now known as Ponte Sant’Angelo [Fig. 15.31]. Though osten- sibly based on a Hadrianic coin type, which in fact appears to have been a Renaissance invention [Fig. 15.29], Strada’s drawing [Fig. 15.30] owed a lot to Giulio’s reconstruction of that monument in the background of his Vision of