of the various archival data summarised above, Stefano Patuzzi (the Director of Research for the Teatro San Cassiano Group Ltd) prepared a table (in Venetian feet and inches, with related conversions in centimetres) of the measurements of both the ‘old’ and the ‘new’ Teatro San Cassiano. Using this data, Atkin and Patuzzi then collaborated closely with Jon Greenfield (Hamson Barron Smith and the reconstruction architect of the Sam Wanamaker Playhouse, London) to produce the first ever historically-informed architectural plans for the theatre of 1637. These later formed the precise criteria for 2D and 3D renderings of the theatre, as well as wooden models and CGI reimaginations of the original theatre (again, for the first time in history). The data provided by the quantified measurements of the plot of land for the original site, the total number of 153 boxes, the precise measurements of the boxes and the stage recorded by Bognolo for the 'Teatro di S. Cassan vecchio' (thus dating back to 1696 or further to 1670) are all perfectly compatible with one another and further confirm the possibility that, since 1637, the general structure of the theatre was precisely five tiers with a total of 153 boxes, as attested in the notarial document of 1657 more veneto. Moreover, these solutions evidently capitalise on the commercial possibilities dictated by the size of the original plot of land: the clear aim of such a public theatre being to maximise the number of boxes (both vertically, in terms of the number of tiers, and horizontally with regards the width and depth of the boxes) with the ultimate goal and financial reality of optimising the commercial return. It is therefore as evident in 1637, as it would be today, that it was a question of creating as many boxes as possible so as to maximise revenue via the sale of as many entrance tickets as possible. While adhering absolutely to all archival data and measurements, the project (from a methodological point of view) aims primarily at a ‘reimagination’ of the Teatro San Cassiano of 1637, which thus follows the precedence established by both London models, namely the Shakespeare’s Globe and the Sam Wanamaker Playhouse. Despite the term ‘reimagination’, the project does not intend in any way to indicate an arbitrary or subjective process of invention; on the contrary, it intends to underline how archival sources and other primary sources, obviously of fundamental importance,