This article shows how, from the time of its construction up until late antiquity and beyond, written sources reflected and perpetuated the fama of Pompey's theatre. Such was its reputation as the Roman theatre par excellence that, even after its absorption into the fabric of medieval Rome, in the earlier fifteenth century Italian proto-antiquarians were prompted by what they had read to attempt to locate it. A key figure in the process of sifting and applying the ancient sources was Biondo Flavio (1392–1463). Roughly contemporary with the early stages of Alberti's De re aedificatoria, but probably preceding the blueprint of the Roman theatre in that work, Biondo's pioneering ‘theatre-made-of-words’ in his Roma instaurata presented a newly accurate understanding of its structure and use (clearly distinguishing it from the amphitheatre) which proved influential in inspiring further topographical and antiquarian interest and research in the early sixteenth century.
