At the time the Notitia was compiled, the number of seats had diminished from 40,000, as given by Pliny, to 27,580 or even less, and the theatre was therefore probably in a ruinous state when the last mentioned restoration took place. The building naturally suffered much in the Gothic wars, and we find that it was again restored by Symmachus in the time of Theodoric, after which it is again mentioned under the right name of Theatrum Pompeii by the anonymous writer of Einsiedlen in the 9th and by the Ordo Romanus in the 12th centuries; but in the 13th the Orsini family had occupied it, and so changed the building that at the beginning of the 14th century it is called in the Mirabilia, Palatium Pompeii. The Florentine Poggio saw the ruins of the outer wall still standing in the Campo di Fiore in the 15th century, but the name of Pompey was then no longer connected with them, until Marliani, Fulvio, and Fauno the topographers of the 16th century revived the right designation. Canina, in his work on the buildings of the ancients, has taken the greatest pains to give a full description of the ruins now left, and it is from him that most of our information is derived. [Sidenote: Ponte S. Sisto.] The bridge now called Ponte S. Sisto, near the ruins of the Theatre of Pompeius, stands on the site of an ancient bridge, which was most probably the one named Pons Aurelius in the Notitia. There is no conclusive proof that this was the Pons Aurelius, but the situation of none of the other bridges seems to suit this name, while it is peculiarly applicable to the bridge in question, because it was the principal passage over the Tiber to the Porta Aurelia and the Aurelian road along the coast to Civita Vecchia. The name frequently given to it by topographers, Pons Janicularis, appears to be a mere invention, as it is not found in any trustworthy authority; and another name Pons Antoninianus, by which we find it called in the Middle Ages, seems to have arisen from the mistaken name Theatrum Antonini, formerly given to the Theatrum Balbi, which is not far distant, and also from the well-known fondness of Severus and Caracalla for the trans-Tiberine pleasure grounds. Marliani gives an inscription which is said to have existed formerly upon this bridge commemorating its restoration under Hadrian by Messius Rusticus, the Conservator of the Tiber. The bridge must therefore have been originally built before Hadrian’s time, and cannot be a work of the Antonines. CHAPTER VI. PANTHEON, COLUMN OF MARCUS AURELIUS, MAUSOLEUM OF AUGUSTUS, MAUSOLEUM OF HADRIAN, AND NEIGHBOURHOOD. [Sidenote: The Septa.]