The Maltese Islands are rich in late Roman and Byzantine burial sites, a good concentration of which can be found in the Rabat area, and the Abbatija tad-Dejr site is one such example. The site was excavated first by Sir Temi Zammit between 1926 and 1927 and then in 1933 by Sir Louis Upton Way.

The apparent remains of an early Christian church have also been excavated at the side of the Tad-Dejr catacombs.

The significance of this lies in that the earliest surviving churches in Malta are cut out of the rock, which would therefore suggest that built churches probably have just as long a tradition. The Abbatija tad-Dejr consists of four hypogea (chambers) tunnelled next to each other in the rock face.

Hypogeum I is the main hypogeum, reached by three descending steps, with the main doorway giving access to a rectangular antechamber, which leads into the hypogeum.

A cult-image showing the Archangel Michael was painted on the wall between the first two cavities of the portico. However, only the halo and the red border that framed the picture survive. Eight crosses, of the Greek and Latin type and filled with red paint, can still be seen incised in various parts of the vestibule walls.

The vestibule also contains an apsed niche with remains in red paint of two figures in a Siculo-Byzantinusque style, possibly dating back to the early 14th century. The figure in the centre is the haloed head of a saint, possibly a monk, while in the left hand corner there is a blessing Christ.

The portico at the back of the vestibule leads to an impressive hall with 16 free-standing baldacchino-tombs (tombs consisting of a platform with a canopy reaching up to the ceiling) organised in rows dividing the hall in three long corridors criss-crossing at right angles with narrow passages.

The baldacchini are linked by carved flying arches and have troughs. Two child arcosolia (an arched niche cut out of the wall) can also be found in the north-east corner of the cemetery.

This hypogeum contains a chapel, that has a doorway with lamp holes on each side and an engraved Greek cross in a circle above the lintel. A rock pillar supports the roof and an apse can be seen at the eastern end, flanked by the remains of low, carved stone benches. One of the most important aspects of this church is the painting that was found in the carved niche, that shows three figures: a Crucifixion in the middle with the Virgin on one side and the Archangel Gabriel on the other.

This painting has been lifted and can now be seen at the National Museum of Fine Arts. Other painted remains in the catacombs are negligible, making this painting one of the earliest existing in Malta, possibly datable back to the 14th century.

Hypogeum II consists of two flat-arched niches flanking a rectangular area with another shallow arched niche at the back of the wall. To the left of this wall is a rock platform, or table tomb, and to the right, two child loculi (a hollow gap cut out of the wall) can be found. Although the doorway has been considerably damaged, remains suggest the presence of a pivot door.

Like hypogeum I, Hypogeum III can be reached by three descending steps from the forecourt and there is also evidence of the possible existence of a pivot door. On entering, one is faced by an agape room with carved exedrae flanking the central corridor, both of which have been seriously mutilated. The east exedra contains two child loculi and the western one has three window tombs. The back wall of the central opening leads to a burial chamber containing a roughly executed window-tomb, an adult loculus, a floor tomb and a number of child loculi.

Hypogeum IV was excavated at the bottom of a shaft and leads to a passageway with a triclinium on the left enclosing a mutilated circular agape table. A child loculus, flanked by two window tombs, can be found in the exedra. To the right of the corridor is a small porch which leads to a hall containing three window tombs.

At the rear end of the corridor, an arched doorway leads to another short passage with a bipartite window tomb. This was excavated in the corner of an apsed recess with corner pilasters bearing plain capitals.

The strong links between the Maltese cultural identity and Christianity is evidenced in these catacombs, with the earliest archaeological evidence of Christian burial rites dating back to the fourth century AD. The Abbatija Tad-Dejr site is the latest of these Christian catacombs to be excavated during the shifting phase from underground to above-ground. The remaining architectural motifs that used to decorate it, such as the palm fronds and the scallop shells (both associated with victory over death), roundels with the chi-rho monogram (a Christian monogram and symbol formed from the first two letters – “X” and “P” – of the Greek word for “Christ”) and the fish-scale decoration, all indicate Christian beliefs.

Although it has a perimeter structure and an entry gate, the site has not been properly protected and for a long time has been the subject of numerous attacks by vandals.

It has not only suffered from deliberate, man-made damage, but also from the damaging effects of weathering and erosion. Nevertheless, there have been surveys and investigations, as well as the occasional clean-up.

However, now it is Abbatija tad-Dejr’s turn for some serious care, and Heritage Malta and Din l-Art Helwa have joined forces with the aim of rehabilitating this unique and important site, with the following objectives in mind:

Conservation: Safe-

guarding the Abbatija tad-Dejr catacombs for the enjoyment of future generations.

Access: Making the Abbatija tad-Dejr catacombs accessible for the appreciation of different audiences.

Rehabilitation: Contrib-uting to the improvement of cultural heritage found within Malta’s urban areas.

Management: Broadening and increasing archaeological appreciation and understanding of the Early Christian and Byzantine periods within the Maltese Islands.

Because the site is situated in a social environment, inclusion and participation by the local community is vital. The rehabilitation project has been very well-received by Rabat local council and the local community in general,which will ensure that the site is developed in a holistic manner and that the project is successful.

Article provided by Heritage Malta and Din l-Art Helwa