Along the stretch of the covered arcade were rooms dedicated to the exposition of art and other works collected by Pompey during his campaigns.

The curia is infamous as the place where Julius Caesar was assassinated by Brutus and Cassius during a session of the Senate on 15 March 44 BC.

If any inspiration came from the theatre there, it must have been largely reworked or discarded, as Rome's urban geography made such a project unadaptable.

[14] Clodius Aesopus, a renowned tragic actor, was brought out of retirement in order to act in the theatre's opening show.

[8] The showing of Clytemnestra proved an opportunity for Pompey to restage his triple triumph from 61 BC, representing himself both as Alexander the Great and as Agamemnon.

[8] Octavian, in 32 BC, renovated the theatre and moved the statute of Pompey at which Caesar was murdered from the curia to the scaena.

There were further restorations under Septimius Severus; one Quinus Acilius Fuscus is noted by inscription as procurator operis Theatri Pompeiani.

[28] Nevertheless, the concrete core of the building remained standing in the 9th century AD, as a pilgrim guidebook from that time still listed the site as a theatrum.

In 1150, Johannes de Ceca is reputed to have sold a trillium, or round structure (i.e. the theatre curve) to an ancestor of the Orsini family.

[29] Later in the Middle Ages, the square of Campo de' Fiori was built and the remaining parts of the theatre were quarried to supply stone for many newer buildings which still exist in modern Rome.

[30] And while the theatre itself is no longer discernible, the imprint of the building itself can still be detected; the structure’s semicircular form can today be traced by walking east from the Campo de' Fiori through the Palazzo Orsini Pio Righetti.

The path of the Via di Grotta Pinta, near the Via dei Chiavari, also roughly follows the outline of the theatre's original stage.

Deep within the recesses of basements and wine cellars of buildings located in the Campo de' Fiori, arches and fragments of the theatre's walls and foundations can still be seen.

[32] The arches that were left after the theatre’s abandonment even led to the name of the aforementioned Santa Maria di Grotta Pinta (i.e. the "painted grotto").

This illustration suggests that the only remnants of the once-great structure in the 18th century were portions of the seating closest to the orchestra, or the ima cavea.

This illustration, facing the south-east, postulates that the remaining ima cavea was split on the Western side, where the ancient stairs to the Temple of Venus would have been located.

[35] Piranesi seems to have been basing his drawings largely on what he could imagine, as in the legend for "A Demonstration of the Current Remains of the Theatre of Pompey", he explicitly mentions that these etchings illustrate what the theatre would look like if modern structures were removed from the site (protratta secondo il giro delle moderne fabbriche situate sullo rovine della medesima).

This area, located behind the stage and within an enclosure, was used by patrons between acts or productions to stroll, purchase refreshments or just to escape to the covered porticoes from the sun or rain.

Long arcades exhibiting collections of paintings and sculpture as well as a large space suitable for holding public gatherings and meetings made the facility an attraction to Romans for many reasons.

[30] The remains of the east side of the quadriporticus, and three of four temples from an earlier period often associated with the theatre can be seen on the Largo di Torre Argentina.

[41] Vaults from the original theatre can be found in the cellar rooms of restaurants off this street, as well as in the walls of the hotel Albergo Sole al Biscione.

However, Roman theatres have specific differences, such as being built upon their own foundations instead of earthen works or a hillside and being completely enclosed on all sides.

By dedicating the theatre to Venus Victrix and building the temple central within the cavea, Pompey made the structure a large shrine to his personal deity.

He also incorporated four Republican temples from an earlier period in a section called the "Sacred Area" in what is today known as Largo di Torre Argentina.

Temple D is the largest of the four; it dates back to the 2nd century BC with Late Republican restorations, and was devoted to Lares Permarini, but only a small part of it has been excavated (a street covers the most of it).