Hotel Rambla Emérita, Mérida. 20.30.
The starlings have finished their shift for the night and turned in their timecards. The yappy dog has taken over the night shift and is busy barking at every car that goes past. What the appeal may be in such scrappy scamps I cannot guess. If I worked in a profession that allowed me the time to have a dog, I’d want one that looked like… well, a dog, I guess. A wolf, moreover. Like a sheepdog, a collie or a wolfhound.
I’m thinking out loud. But that, I guess, is what blogging is for. Anyway. Here’s my account of Mérida, capital city of Extremadura, former heart of the Roman province of Lusitania, and the seat of the king in my novels.
As you leave the bus station on the south bank of the Guadiana River, you’ll notice almost right away a cryptic row of sculptures on the riverbank. At first glance, they seem to spell out a word, but a closer look reveals that they aren’t letters at all, but rather figurative depictions of thrones (if they were letters, I suppose they might spell out “CEIOHAD”, which – besides looking more like Irish than Spanish – is about as easy to understand as the Muqattāt of the Qur’an).
They are the work of local sculptor Rufino Mesa, native son of Valle de Santa Ana, and they pay homage to one of Mérida’s most cherished legends: that of the Seven Chairs that once stood outside the city.
According to legend, these enormous block of stone were the seats of seven Muslim princes (or kings, depending on the teller), who sat upon these ancient thrones to discuss matters of state. Given the fractious nature of the various Berber tribes who occupied the Iberian peninsula during the period of the Muslim conquest and the ensuing Taifa period when Al-Andalus splintered into a network of warring states, it’s perfectly possible that such a drama might have played out at least once here.
Until the start of the 20th century, these seven chairs were still a visible feature of the city, sitting in a field a short distance from the edge of town: a strange but not entirely ignored feature of the city. The ring of stone had seen use as a bullring in the 18th century, and the story of the seven kings had evolved into legends of buried treasure, though no major excavation took place until the archaeological endeavours of Maximiliano Macías and José Ramón Mélida in 1910.
At the time, the site looked very different to how it does today:
Digging deep, Macías and Mélida uncovered the roots of the seven chairs, revealing an enormous Roman theatre that had lain hidden beneath the earth for around fifteen hundred years. Its remains had long since been scavenged by the Visigoths and their Muslim successors for use in other constructions – such as the Grand Mosque of Córdoba, where there can be little doubt that many of its original pillars may be found – but the greater part of the foundations remained preserved beneath the earth.
It’s not quite as well-preserved as the Roman complex at Jersey, but then, Mérida sits on the bank of a great river – the Guadiana – and has been the site of battles both ancient and modern since the Teatro Romano was first built, and has therefore been a frontline city for much of its existence.
The modern reconstruction is an impressive feat, but more impressively still, it has been partially restored as a working theatre, hosting the Festival del Teatro Romano every summer. I’ve yet to see the festival with my own eyes, so it remains a bucket list item.
I spent nearly two hours wandering around the remains of the Theatre and Amphitheatre. I’ve been here before, of course – twice, at least, as I seem to recall a brief visit with IES Meléndez Valdés – but this place loses nothing in the rediscovery.
I caught myself touching one of the ancient slabs of stone and wondering what it would be like to be hurled backwards in time to the moment it was first laid there. I’m sure I’m not the first to have had that thought and I know I won’t be the last. The plethora of books both fiction and non-fiction on the Romans are proof of our ongoing fascination with the Roman Empire – even if it does come at the detriment of our interest in any of the other periods that followed (seriously, I’ve been to several bookshops now and I can’t find even one book on Mérida’s history between the fall of Rome and the Civil War).
I’ve more stories to relate, but I think I’ll keep split them up – Mérida has more than one story to tell. As the Córdoban scholar Mohammed Ar-Razi once put it:
No hay hombre en el mundo que cumplidamente puede contar las maravillas de Mérida.
So I won’t try to do so in a single blog post – or several. Instead, like the Visigoths, the Muslims and nearly a hundred generations of Spaniards before me, I’ll take what I can and use its bricks and mortar as the foundations for my own stories. BB x
The Book of Barnabas 