Palazzo Abatellis is home to the Galleria Regionale della Sicilia, the Gallery of Art for the Sicilian region.
The palazzo, an example of Gothic-Catalan architecture, was designed in the 15th century by Matteo Carnelivari, at the time working in Palermo at the palazzo Aiutamicristo. It was the residence of Francesco Abatellis (or Patella), port master of the Kingdom of Sicily.
The regional gallery is home to many works acquired when several religious orders were suppressed in 1866. The ground floor contains 12th century wooden works, 14th and 15th century works including some by Antonello Gagini, painted maiolica from the 14th-17th centuries, the 15th-century Bust of a Gentlewoman by Francesco Laurana and painted panels of wooden ceilings. The large fresco of the Triumph of Death (most likely dating to 1445), is exhibited in the former chapel.
On the first floor is the museum's most famous work, the Virgin Annunciate, by Antonello da Messina (15th century), considered among Italy's best Renaissance paintings. Also present are three panels with St. Augustine, St. Gregory the Great and St. Jerome also by Antonello, once part of a polyptych now destroyed, and Vouet's Saint Agatha's Vision of Saint Peter in Prison. The museum contains the Netherlandish Malvagna triptych by the Early Netherlandish painters Jan Gossaert and Gerard David, and a Deposition by Jan Provost. It also houses a depiction of Moses by Pietro Novelli.
References:The Roman Theatre of Mérida is a construction promoted by the consul Vipsanius Agrippa in the Roman city of Emerita Augusta, capital of Lusitania (current Mérida). It was constructed in the years 16 to 15 BCE. One of the most famous and visited landmarks in Spain, the Roman Theatre of Mérida is regarded as a Spanish cultural icon and was chosen as one of the 12 Treasures of Spain.
The theatre has undergone several renovations, notably at the end of the 1st century or early 2nd century CE (possibly during the reign of Emperor Trajan), when the current facade of the scaenae frons was erected, and another in the time of Constantine I (between 330 and 340), which introduced new decorative-architectural elements and a walkway around the monument. Following the theatre"s abandonment in Late Antiquity, it was slowly covered with earth, with only the upper tiers of seats (summa cavea) remaining visible.