The earliest church on this location in Tofta was probably built during the end of the 12th century. The oldest part of the presently visible church is the tower. The nave and choir both date from the middle of the 14th century. The church walls display fragments of medieval frescos that were found during a restoration in 1958-1959. A few medieval stained glass windows are likewise preserved in the church.
Of the furnishings, the baptismal font is the oldest, dating from the 12th century and richly sculpted. It was probably made for the earliest church. The high altar has a retable from the 14th century, probably made in Lübeck. Two other wooden sculptures from the same century are also preserved in the church, one of the Virgin Mary and one of St. Olaf. An unusually well-preserved medieval bench also stands in the church. In the floor of the choir is a gravestone, made for a farmer and his son who were beaten to death in 1340. The pewsand the pulpit date from the Baroque era.
In 2004, an extremely well-preserved mail coif was discovered in a room in the tower during cleaning of the church. Reputedly it is one of the most well-preserved mail coif ever found in Europe, second only to a similar one displayed at the National Museum of Scotland. It may be connected to a civil war that was fought on the island in 1288. The mail coif is now displayed inside Tofta church.
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.