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We have already seen that the excavators removed many flimsy late-antique and early-mediaeval walls. The same fate befell a number of late blockings of doorways and windows. Under the direction of Guido Calza collapsed walls, sometimes weighing tons, were often re-erected, but sometimes destroyed - the excavators argued that they would have disintegrated anyway through the action of water and heat. When walls were reconstructed with fallen chunks of masonry, ancient bricks were used to fill the gaps. New bricks were only used when insufficient ancient material was present, for example in the large-scale reconstruction of the lower part of the theatre. Here the new bricks are almost identical to the ancient ones. The interior was restored in 1913 and 1926, the exterior in 1938-9. All masonry from the later periods was removed, even including remains that were related to a late-antique modification, that made it possible to flood the orchestra.

The excavation of arches that probably supported a branch of the aqueduct, to the east of the Terme del Foro (late 1930's).
Photograph: SAOA B2394.

The arches as they appear today, after restoration.
Photograph: Jan Theo Bakker.

Restoration of the balcony on the south-west corner of the Horrea Epagathiana (1938-1940).
Photograph: SAOA B2274.

Fragments of the porch of the Horrea Epagathiana.
Photograph: Becatti 1941, fig. 8.

The restored porch of the Horrea Epagathiana. Photograph: Melissa Sellers.

Restoration of the western entrance of the Macellum (1938-1942).
Photograph: SAOA B2299.

The entrance as it appears today. Photograph: Jan Theo Bakker.