Fiskars is the best known of a number of ironworks villages that were established in the early 17th century to the Pohja area. A crushing mill was established by the lower rapids in 1649, with a blastfurnace on the opposite bank. The founder of Fiskars ironworks was the Dutch businessman Peter Thorwöste, who was allowed by Queen Christina of Sweden to manufacture cast iron and forged products, with the exception of cannons.
The Russian occupation of Finland (the Great Wrath) affected also Fiskars. Nearby was a center of Russian civilian and military administration, and in 1713 the ironworks at Fiskars and Antskog were plundered and wrecked by the Russians.
The heyday in the history of Fiskars began in 1822 when it was bought by Johan Julin (1787-1853). Under Julin, work at the ironworks focused on refining iron. The ironworks and the village of Fiskars started to grow quickly. In 1850 there were about 500-600 employees and the total number of inhabitants was approximately 1400. Throughout the period from into the 1960s, Fiskars purchased several works and companies in the steel business. In the 20th century the industrial operations required more up-to-date facilities, production was moved to Billnäs.
Today there are many workshops and boutiques providing Finnish handicrafts, arts and design thoughout the Fiskars village and visitors can spend time just wandering around in the beautiful ironworks area.
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.