The Tombeau de la Chrétienne figured by Bruce is well known to all visitors to Algiers. It is one of three somewhat similar edifices, one of which is found in each province of Algeria, the other two being the Medrassen, or Tomb of the Numidian Kings in Constantine, and El-Djedar in Oran.
This, however, is the only one mentioned by any ancient author. Pomponius Mela, in his work ‘De Situ Orbis,’ written about the middle of the first century, after the death of Juba II., but before the murder of his son Ptolemy, mentions both Cæsarea (Cherchel) and Icosium (Algiers), and states that beyond the former is the monumentum commune regiæ gentis.
This at once decides the nature of the building, which, though intended to be seen far and near, is yet entirely concealed from view at Cherchel by the mountain of Chennoua, the presumption being that the king would not care to have constantly within sight of his royal residence, the tomb which he had caused to be constructed for himself.
The resemblance to the Medrassen, or Tomb of the Numidian Kings, from whom Juba was descended, is another presumption that it was erected by him in imitation of his ancestral mausoleum.
Bruce’s illustration ([Plate I.]) of this monument is the only inaccurate one in the whole series. Until long after his time the podium was so encumbered with débris that it was impossible to make out the architectural details, and he has represented this portion of the edifice rather as what he imagined it to be than as it actually existed.
Juba II. married Cleopatra Selene, daughter of the celebrated Egyptian queen by Marc Antony, and there is every probability that this monument served only as his tomb, and that of his wife, who died before him. It is hardly likely that the remains of his son Ptolemy, the last of his race, could have been transferred from Rome to Africa.
The tomb must have been violated at a very early period in the search for hidden treasure. A careful examination of the accumulated earth and dust within revealed traces of successive races, who had visited the place, some of whom had even made it a place of residence, but none whatever of the bodies for whose reception it had been erected.
It is called by the Arabs Kubr er-Roumiah, tomb of the Roman, or rather Christian woman, the word Roumi (fem. Roumiah) being used commonly by Arabs all over the East to designate strangers of Christian origin.
Various explanations are given of this name. Marmol mentions a tradition, that under it were interred the mortal remains of the beautiful daughter of Count Julian, over the story of whose misfortunes the muse of Southey has shed so strong an interest.
Shaw[14] states that amongst the Turks it was known by the name Maltapasy, or Treasure of the Sugar Loaf; and the belief, that it covered some great accumulation of riches, has exposed it to attacks, by which it has been much ruined, and before which a less solid structure would have altogether disappeared. Marmol adds: