[17] With the Arch of Augustus, the Ponte di Tiberio is considered one of Rimini's defining symbols,[18] appearing on its public seals and coats of arms since the medieval era.

[19][18] Notable artists that have depicted the Ponte di Tiberio include Giovanni Bellini,[3][20] Sebastiano Serlio,[3] Antonio da Sangallo the Younger,[21][22] Giovan Battista Piranesi,[23] Richard Wilson,[3][24] Robert Wallis, and Florent Fidèle Constant Bourgeois.

An underwater wall on the river's right bank intersects the bridge, which local historian Giovanni Rimondini has suggested may have been the supporting structures of the port.

In the ensuing battle, Usdrila was killed, and Narses crossed Rimini using a fleet of ships that was following his army along the Adriatic coast.

[11] Though he intended to demolish other arches, he was assured by Odet of Foix, Viscount of Lautrec, that his troops would enter Rimini from by other entrance.

[20] In 1680, under the direction of amateur Ferrarese architect Agostino Martinelli,[3][11] the final arch was restored using similar materials from the Ponte di San Vito,[7][15] a collapsed Augustan bridge located seven Roman miles along the Via Aemilia,[35] and new stones from Venice.

[11] The bridge was restored again in 1735 under the orders of Giulio Alberoni,[7][36] as remembered on an inscription on the first pier towards the city,[7] again using stones from the quarry at San Vito.

[36] During the War of the Austrian Succession, Spanish troops passing through Rimini in support of the Papal States placed two rakes "on the Ponte di Augusto, which was then greatly damaged".

[40] According to the post-war account of a soldier involved in the detonations, the poor wire connections were intended by Trageser,[41] who had also defied orders to demolish the Arch of Augustus.

[10] On 29 January 1957,[40] during maintenance works,[39][41] undetonated sticks of ammonal were found on the bridge, which was temporarily closed to ensure their safe removal.

[16] In 2014, the bridge's bimillennium had been the subject of an issue of Ariminum, the bimonthly history and culture journal of Rimini's Rotary Club.

[45][24] The exterior cladding, with an average thickness of 40 centimetres (16 inches),[46] is of white limestone from the Roman quarry in Aurisina,[7] known as Istrian stone.

[46] Extant brickwork on the bridge's downstream-side on the city end are remains of the medieval San Pietro gate, which was demolished in the 19th century.

[7] The bridge features five semicircular arches,[28][25] in Doric style,[28][1] made of white Istrian stone,[28][25] with an average span length of c. 8 metres (26 feet).

[4][7] Rather than foundations, the piers rest on insulated wooden rafts supported by piles of oak, equipped with breakwater spurs to accommodate the flow of the river's current.

These piles were rusticated,[1][3] shaped like a boat by the river current, with a prow facing upstream and a rounded stern downstream,[1][3] preventing the formation of whirlpools that could threaten the bridge's stability.

As noted by Andrea Palladio's study, the piers are inclined relative to the road axis to offer less resistance to the Marecchia.

[46] After some cracks emerged following the removal of gravel, the 1970s interventions added tie-rods, at two-thirds the piers' height, to provide structural support for the bridge.

[1][3] Finally, on the upstream side, the keystone with the patera relief is bookended with a lituus, a curved wand used by augurs to mark templa.

[1][8] The five remaining arches likely had other symbols relating to religious colleges presided by Augustus,[1] possibly including a simpulum, a ladle-shaped vessel used for libations, and an apex, the hat worn by flamines, priest of the ancient Roman religion.

[8] Each spandrel between arches is decorated with the façade of a Doric entablature and pediment, a quasi-aedicula,[1] which is 20 centimetres (7.9 inches) deep and empty inside.

[3] The papal legations of Ravenna and Forlì, who were responsible for the bridge, refused to finance further expenditures, which would have to wait until the unification of Italy.

[34][46] Contracted to ICLES, a company from Verucchio, the 19th-century granite slabs were lifted and then reinserted in their original place after the subfloor was evened.

[10] With the Arch of Augustus, the Ponte di Tiberio is considered one of Rimini's defining symbols,[18] appearing on its public seals and coats of arms since the medieval era.

On 2 May, the Italian Istituto Poligrafico e Zecca dello Stato released two million postage stamps, designed by Rita Fantini, depicting the Ponte di Tiberio.

On 21 June, the Sammarinese Azienda autonoma di Stato filatelica e numismatica [it] unveiled a €10 proof coinage in Rimini's Museo della Città, which depicted the bridge on the reverse face.

[3][24] A boccale jug made of local majolica and paste, and therefore likely dating to the mid-14th century, depicts a stylised version of the Ponte di Tiberio; it was recovered from Borgo San Giuliano, which was known for its taverns and wine merchants.

[51] In St Jerome in the Desert (c. 1480), preserved in the Uffizi, Giovanni Bellini painted the Ponte di Tiberio alongside Ravenna's San Vitale and the Mausoleum of Theodoric and Verona's Sant'Anastasia.

[21] Among the earliest sketches, Cyriacus of Ancona, Michele Fabrizio Ferrarini [fr], and Giovanni Sallustio Peruzzi recorded the bridge's epigraph.

[21] In 1526, Antonio da Sangallo the Younger drew a sketch of part of the bridge on the same sheet as the Arch of Augustus, also preserved in the Uffizi.