The area of land under investigation is situated in the south western part of the city and presents excellent potential for the study of the urban plan and architecture of Aquileia. In fact, it lie in the heart of the monumental “quartiere degli spettacoli”, in the space between the Great Baths to the south and the _decumanus_ of _Aratria _ _Galla_ and the so-called Byzantine walls to the south. The area’s scientific interest primarily lies in the hypothetical presence of the Roman theatre, placed here by Luisa Bertacchi based on significant structural finds in 1968-1969, followed by geophysical surveys in 1978 and 1984. This scholar’s interpretation also makes use of the analysis of architectural elements found on the site and a number of medieval toponyms. This hypothesis was accepted by other scholars, but for a long time no investigations were undertaken on the ground in order not only to confirm the actual existence of the building but also to define the size, plan, architectural characteristics, decorative scheme, the phases of foundation, use and abandonment, and possible existence of earlier structures. Indeed, a single radial wall, attributed to the substructures of the _cavea_, a series of parallel walls in correspondence with the stage building and several structures centred on a paved area to the rear were all that was known of the theatre and supposed _porticus_ _post_ _scaenum_ . In 2015, the University of Padova began a first campaign of excavations and survey, preceeded and followed by a series of geo-electric surveys. The excavations involved a vast area roughly corresponding with the presumed middle sector of the theatre’s _cavea_. Two trenches were opened in order to make a fast and reliable identification of the building: the first placed to the north (trench 1), in the proximity of the area investigated last century; the second (trench 2) further south, where the geo-electric surveys indicated the presence of the largest number of structures. Bertacchi’s intuition now seems to be confirmed by the identification, in trench 2, of a length of curved wall from which a series of radial wall branch-off, structures attributable to the theatre, probably smaller than previously suggested. The excavations in trench 1 revealed important evidence for the post-antique occupation of the area and the removal of large architectural elements from the monumental complex. The archaeological excavations are also closely linked to the Archaeological Superintendency of Friuli Venezia Giulia and the Fondazione Aquileia’s declared interest in proceeding with a programmed intervention to safeguard the structural remains and enhance this area of State-owned property.

Further confirmation regarding the hypothesis about the position of Aquileia’s Roman theatre in correspondence with the State owned ex Comelli-Moro property was provided by the 2016 excavations. Indeed, the fieldwork, both geophysical survey and excavation, made it possible to define the presence of a monumental Roman building (not yet dated by stratigraphical evidence), characterised by a succession of long, substantial radial walls, arranged alternately in two concentric rows divided by an intermediate curved wall. Considering the particular characteristics of the radial structures’ plan and dimensions, they can probably be identified as the substructures for the theatre’s _cavea_. The stratigraphic excavations were concentrated in four trenches: two extending those opened in 2015 (trenches 1 and 2), and two new ones (trenches 3 and 4). In trenches 3 and 4, two base blocks from the terminal pillars of the respective radial walls were found, their position making it possible to define the perimeter of the _cavea_. In trenches 1 and 4, a series of overlying beaten floor surfaces were exposed relating to the area outside the building. This area appeared delimited by an enclosure that followed the theatre’s curved line. In addition to these Roman structures, only partially preserved because cut by widespread robbing of the building materials, there were interesting stratigraphic sequences relating to the use of the building for large scale dumping of metal working waste, stone and marble fragments in the late antique and early medieval periods. Further build-ups of material attest the later occupation of the area in the post antique period. The robbing episodes appeared quite recent.

The 2017 excavations produced new data relating to the plan and substructures of the _cavea_ of the Roman theatre at Aquileia, identified in 2015 in the archaeological area in the ex Comelli-Moro property, recently granted to the Fondazione Aquileia. Based on the recent investigations, the width of the _cavea_ can be reconstructed at about 95 m. The building appears to be situated c. 25 m further south-east from the position previously suggested by L. Bertacchi. As in previous years, this season’s excavations took place in topographically distinct sectors. In the northern sector (trench 3), the beginning of the curved wall was uncovered that divided the radial structures of the external series from those of the second innermost series, probably corresponding with the substructures of the _summa_ and _media_ _cavea_. This intermediate structure began from a substantial radial wall partially excavated by Bertacchi last century, which continued without interruption between the two sectors. A series of apertures present in the curved wall provided access to the spaces of the inner substructures. In the opposite direction, towards the exterior, the radial walls abutted large pillars built of stone blocks. Overall, four were investigated (two in this trench, one in trench 4 and one in the new trench 5). There was no evidence of a peripheral tunnel for the movement of people behind the facade of the _cavea_. In the central sector (trench 2), the extension of the excavation towards the interior of the building, made it possible to investigate the large solid structure that supported the _ima_ _cavea_, constituted by a series of overlying cast layers of stone chips bonded with lime mortar. A diagnostic core sample was taken in order to check the substantial thickness of this base structure. At its eastern edge the well-preserved profile of fours steps, whose original function was to house the first rows of seats in the _cavea_, that were later removed. At the base of these steps, there was a surface of stone slabs, its inner edge bordered by a curved gutter, beyond which must be the orchestra (not yet excavated). As seen in previous campaigns, there were numerous traces of the secondary use of the _cavea_ substructures, even in the post-antique period. The episodes of robbing appear much later. Lastly, excavation took place outside the building (trench 4), where a vast open area was investigated, including several overlying beaten floor surfaces, the result of successive rebuilds, showing traces of cart wheels and other activities.

The mains aim of the 2018 campaign was to complete the investigations in the eastern sector of the building (trench 4), where a vast open area was identified, characterised by the presence of several overlying beaten earth floor surfaces. Continuation of the excavation next to the perimeter arcade of the theatre revealed the original stone paving that ran around the external curved perimeter of the _cavea_, in continuity with the thresholds of the entrances leading to the substructures already identified both in trench 4 and nearby trench 5. There was a manhole cover in the paving connected to a _cloaca_ below for rainwater drainage. The paving was obliterated in antiquity by a sequence of new floor levels. Similar rises in floor level were also documented in the substructure spaces between the radial walls investigated in trenches 4 and 5. The latest floor level outside the theatre was constituted by an extensive beaten earth floor that was very compact and bore traces of the passage of cartwheels and other activities. Interesting new evidence regarding the building’s plan emerged from the completion of the excavations in trench 2 and the opening of new excavation area: trench 6 in the eastern sector of the building and trench 7 in the northern sector. In trench 2, a substantial portion of the stone-slab floor was completely excavated at the base of the lower steps of the _cavea_; the paving covered a _cloaca_. The paving surrounded the orchestra space, in which a part of a later floor was uncovered. An area of the same floor, including a wall built of reused materials on the opposite side, was also identified in the nearby trench 6. At present, the structure of the original orchestra floor remains unknown. Further east, the stage area was identified, which was largely occupied by numerous architectural elements that had survived the widespread robbing in the post-antique period, and the remains of a stretch of the substantial wall of the _scenaefrons_, razed to an almost uniform height. In trench 7, what was probably the northern _aditus_ _maximus_ was identified, of which the lateral walls and original floor were preserved, overlying a _cloaca_ probably linked to the one in trench 2, which ran around the orchestra. The study of the large amount of metalworking waste and of several walls uncovered in previous years, associated with the results of a recent geophysical survey, made it possible to clarify that the external substructures were occupied for a long period after the theatre went out of use. This occupation was mainly connected with metalworking activities.

Nell’estate 2019 si è svolta la quinta campagna di scavo presso il teatro romano di Aquileia. L’intervento più esteso ha riguardato il settore dell’orchestra e dell’edificio scenico, lungo l’asse mediano del teatro (saggio 6). Nell’area dell’orchestra le lastre pavimentali individuate nel 2018 sono risultate poggiare su potenti livelli di scarico ricchi di componente organica, inclusi macroresti vegetali. Al di sotto sono emersi i resti di almeno due ripavimentazioni dell’orchestra, ottenute con lastre di reimpiego. Queste sistemazioni avvennero una volta rimossa la pavimentazione originale, di cui si conservano solo due lastre in marmo bianco allettate su una malta di preparazione particolarmente tenace. Della frons pulpiti originaria non restano tracce, fatta eccezione per lo zoccolo modanato in marmo bianco; il resto della struttura individuata, scandita da nicchie decorative rettangolari e semicircolari, è riferibile invece a un rifacimento successivo. La frons pulpiti, che conserva labili tracce di intonaco dipinto a imitazione del marmo, presenta i segni di ulteriori adattamenti. Tra il muro del pulpito e il muro di frontescena è iniziata la rimozione parziale dei riempimenti dell’iposcenio, contenenti una mole ingente di blocchi, frammenti di colonne e altro materiale architettonico di grandi dimensioni. La profondità del palcoscenico (non conservato) può essere ricostruita nella misura di 6,8 m. Più ad est lo scavo ha permesso non solo di documentare una fase di occupazione posteriore all’asportazione dei rivestimenti delle strutture del teatro, ma anche di riconoscere la profondità complessiva del muro di frontescena (circa 8,25 m) e di ipotizzarne l’articolazione planimetrica. Sui resti della struttura, quasi interamente rasata alla base dell’alzato, sono state identificate infatti le tracce di quella che doveva essere una grande nicchia centrale, avente un raggio approssimativo di 6 m, con la concavità rivolta ad ovest e l’asse collocato lungo l’asse mediano dell’edificio; al centro della grande nicchia semicircolare si apriva un passaggio rialzato interpretabile probabilmente come valva regia. Altri due interventi di carattere più puntuale sono stati condotti in corrispondenza del perimetro esterno del teatro. Il primo si colloca lungo lo stesso asse mediano dell’edificio, nello spazio compreso tra due muri radiali (saggio 4), dove sono state documentate ulteriori evidenze relative al riuso delle sostruzioni della cavea per attività artigianali legate alla lavorazione di metalli. Il secondo è ubicato invece all’inizio dell’aditus maximus settentrionale (saggio 7), in corrispondenza dell’entrata monumentale del teatro. L’interferenza di una grande fossa di spoliazione ha permesso di riconoscere le fondazioni dei due pilastri laterali dell’arco di accesso, la pavimentazione dell’aditus con il sottostante canale di scolo (proveniente a quanto pare dall’orchestra), la sistemazione all’esterno dell’edificio e una poderosa struttura rettilinea in appoggio alla fronte nord del pilastro orientale. Su questo lato dell’aditus si apre un ampio spazio, non ancora indagato, interpretabile forse come basilica. Nell’estate 2019 si è svolta la quinta campagna di scavo presso il teatro romano di Aquileia. L’intervento più esteso ha riguardato il settore dell’orchestra e dell’edificio scenico, lungo l’asse mediano del teatro (saggio 6). Nell’area dell’orchestra le lastre pavimentali individuate nel 2018 sono risultate poggiare su potenti livelli di scarico ricchi di componente organica, inclusi macroresti vegetali. Al di sotto sono emersi i resti di almeno due ripavimentazioni dell’orchestra, ottenute con lastre di reimpiego. Queste sistemazioni avvennero una volta rimossa la pavimentazione originale, di cui si conservano solo due lastre in marmo bianco allettate su una malta di preparazione particolarmente tenace. Della frons pulpiti originaria non restano tracce, fatta eccezione per lo zoccolo modanato in marmo bianco; il resto della struttura individuata, scandita da nicchie decorative rettangolari e semicircolari, è riferibile invece a un rifacimento successivo. La frons pulpiti, che conserva labili tracce di intonaco dipinto a imitazione del marmo, presenta i segni di ulteriori adattamenti. Tra il muro del pulpito e il muro di frontescena è iniziata la rimozione parziale dei riempimenti dell’iposcenio, contenenti una mole ingente di blocchi, frammenti di colonne e altro materiale architettonico di grandi dimensioni. La profondità del palcoscenico (non conservato) può essere ricostruita nella misura di 6,8 m. Più ad est lo scavo ha permesso non solo di documentare una fase di occupazione posteriore all’asportazione dei rivestimenti delle strutture del teatro, ma anche di riconoscere la profondità complessiva del muro di frontescena (circa 8,25 m) e di ipotizzarne l’articolazione planimetrica. Sui resti della struttura, quasi interamente rasata alla base dell’alzato, sono state identificate infatti le tracce di quella che doveva essere una grande nicchia centrale, avente un raggio approssimativo di 6 m, con la concavità rivolta ad ovest e l’asse collocato lungo l’asse mediano dell’edificio; al centro della grande nicchia semicircolare si apriva un passaggio rialzato interpretabile probabilmente come valva regia. Altri due interventi di carattere più puntuale sono stati condotti in corrispondenza del perimetro esterno del teatro. Il primo si colloca lungo lo stesso asse mediano dell’edificio, nello spazio compreso tra due muri radiali (saggio 4), dove sono state documentate ulteriori evidenze relative al riuso delle sostruzioni della cavea per attività artigianali legate alla lavorazione di metalli. Il secondo è ubicato invece all’inizio dell’aditus maximus settentrionale (saggio 7), in corrispondenza dell’entrata monumentale del teatro. L’interferenza di una grande fossa di spoliazione ha permesso di riconoscere le fondazioni dei due pilastri laterali dell’arco di accesso, la pavimentazione dell’aditus con il sottostante canale di scolo (proveniente a quanto pare dall’orchestra), la sistemazione all’esterno dell’edificio e una poderosa struttura rettilinea in appoggio alla fronte nord del pilastro orientale. Su questo lato dell’aditus si apre un ampio spazio, non ancora indagato, interpretabile forse come basilica.