RESUMENSt: prekntan los result ados de la cxcavación de un conjunto arquitectónico dc la segunda mitad dd siglo 111 a.e. compuesto por dos estancias que se comunican con una de las torres del recinto fort ificado. En una de dichas estancias se han documentado dos depósilos impermeabilizados y estancos donde se procedía al enriado de la planta del lino para extraer la fibra . Este articulo fue re milido en 5U versiÓn final el tO-VI -94 . ABSTRACf

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In the framework of the study of Christian buildings in the ruins of amphitheaters, theaters, stadiums and Roman circuses, becomes appropriate to develop some reflections mainly aimed helping to explain the symbolic dimension acquired by the ludic background in which a far from negligible part of the Christian martyrdoms took place, as outlined on the preserved sources. Although this ludic substrate is not the only factor to be considered, it's the one that allowed the hagiographers composing stories-some with more historical veracity than others-with architectural settings charged with symbolism, where the victory of the martyrs as "athletes of Christ" was equated to the victory in secular games. All this greatly contributes to explain the subsequent relationship between Christian building and playful architecture occurred from the late 4th and early 5th centuries, and detected in the late antique and early medieval topography of some Roman cities. However, this issue has gone relatively unnoticed for Archeology, and when the two key elements-building and church-appear, with few exceptions, they are considered separately in case of being subjected to some kind of study.

Resumen: La presentación pública del Cristianismo durante la Antigüedad tuvo uno de sus más importantes escenarios en los edificios lúdicos, donde los seguidores de Cristo eran ejecutados en el marco de unos espectáculos de masas que buscaba la máxima crueldad posible, lo que paradójicamente otorgó un halo de heroicidad a los mártires que contribuyó a la expansión de la nueva religión. Una parte importante de estos mártires de las arenas la conformó el estamento episcopal, pero fuera de todo pronóstico, después del giro Constantiniano, sus sucesores en la mitra se convirtieron en los ‘señores de los anfiteatros’, coincidiendo con el establecimiento de un nuevo paradigma político, social y religioso. A partir del bajo Imperio y en los siglos finales de la Antigüedad el obispo, ya no es solo un líder religioso respetado e influyente, sino también el nuevo patronus, gestor y responsable último de muchas ciudades tardoantiguas, y como tal debía decidir entre el mantenimiento o el desmantelamiento de los edificios públicos que permanecían desatendidos por los curiales desde la crisis del siglo III. Así, se documenta cómo bajo mandato episcopal parte de las maltrechas infraestructuras públicas se transformaron, arquitectónica y simbólicamente, mediante la erección de edilicia cristiana. Naturalmente, los edificios de espectáculos, por su simbolismo como antiguos escenarios martiriales, fueron lugares paradigmáticos de esta transformación urbana.Abstract: The public presentation of Christianity during antiquity had one of its most important stages in the ludic buildings, where the followers of Christ were executed in the framework of mass shows that sought the maximum possible cruelty. This paradoxically gave a halo of heroism to the martyrs who contributed to the expansion of the new religion. A salient part of these martyrs of the arenas were bishops and, after the Constantinian turn, their successors in the mitre became the 'lords of the amphitheatres', coinciding with the establishment of a new political, social and religious paradigm. From the late Roman Empire and in the final centuries of antiquity the bishop is no longer just a respected and influential religious leader, but also the new patronus, manager and ultimate chairman of many late-antique cities, and as such he had to decide between maintenance or the dismantling of public buildings that remained neglected by the curials since the crisis of the 3rd century. Thus, It is documented how under episcopal mandate some of the battered public infrastructures were transformed, both architecturally and symbolically, through the erection of Christian edilice. By their symbolism as old martyrdom scenes, the spectacle buildings were obviously paradigmatic places of this urban transformation.Palabras clave: Obispo, martirio, edificios de espectáculos, edilicia cristiana.Key words: bishop; martyrdom; mass entertainment buildings, Christian edilice.