Among the limestone banks that characterise the area there are two low outcrops placed side by side with a slightly sloping rock face, in which a Necropolis (the Sardinian Domus de Janas) was carved. One outcrop houses the Tombs I-II, while the other houses the Tombs III-IX. Depending on the morphology, the entrances are preceded by short dromoi, that is corridors dug into the rock, sometimes leading to a pavilion (Tombs II, VIII, IX), where the access door opens. The tombs are all multicellular, mainly characterised by a “T-shaped” plan; some asymmetries suggest that expansion works have been carried out.
Among the nine tombs, the Tomb VIII stands out for the refinement of the decoration effects. It can be accessed from a raised dromos that leads to a quadrangular vestibule, without ceiling, that shows now only traces of cornices and pilasters. The antechamber has a tabular ceiling with the representation of a wooden roof; the back wall is characterised by a door framed on either side by lowered mirrors and cornices on the model of the wooden structures of domestic architecture which is symbolically imitated in the style of funerary architecture. The walls still preserve dual horn-shaped engravings, of the “boat-shaped” type. In the larger chamber there is a gable roof characterised by a central beam and seven joists per side; in the walls it is possible to see the wainscot at the base and pilasters reproducing the stakes of the supporting wooden structure of the huts. At both sides of the entrance it is possible to see “band” curved horns and the same pattern is repeated along the back wall, which is carved with a fake door, a kind of porta inferi (the door to the underworld). The remaining chambers do not show any decoration. In the adjoining Tomb IX, on the wall of the dromos, it is possible to see two juxtaposed hemispherical cupels.Outside the Tomb VII, there are two menhirs and a flat slab, probably symbols of the funeral area that included the Tombs VIII-IX.
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.