The Holy chamber of Oviedo (Cámara Santa de Oviedo) is a pre-Romanesque church built next to pre-romanesque Tower of San Miguel of the city's cathedral. Nowadays, the church occupies the angle between the south arm of the cathedral transept and a side of the cloister.
It was built during the 9th century as a palace chapel for King Alfonso II of Asturias and the church of San Salvador of Oviedo. Apart from acting as royal chapel, the Holy Chamber was built to house the jewels and relics of the cathedral of San Salvador in Oviedo, a function it continues to have 1200 years later. Some of these jewels were donated by the Kings Alfonso II and Alfonso III, and represent extraordinary gold artifacts of Asturian Pre-Romanesque, brought from Toledo after the fall of the Visigothic kingdom.
Consequently, the cathedral of Oviedo was also called Sancta Ovetensis; owing to quantity and quality of relics contained in the Cámara Santa. The Holy Chamber remains as the only sample of the early medieval complex. It was built as a relics' room to keep the different treasures associated with the Kingdom of Asturias (Cross of the Angels, Victory Cross, Agate box, Arca Santa and Sudarium of Oviedo), brought from Jerusalem to Africa, and after several translations was finally deposited at Oviedo by Alfonso II of Asturias.
It was declared a World Heritage Site by UNESCO in December 1998.
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.