The temple of Ħaġar Qim stands on a hilltop overlooking the sea and the islet of Fifla. At the bottom of the hill, only 500m away, lies another remarkable temple site, Mnajdra found above the Southern cliffs. The surrounding landscape is typical Mediterranean garigue and spectacular in its starkness and isolation.
First excavated in 1839, the remains suggest a date between 3600 – 3200 BC, a period known as the Ġgantija phase in Maltese prehistory. Ħaġar Qim was in fact never completely buried as the tallest stones, remained exposed and featured in 18th and 19th century paintings. The site consists of a central building and the remains of at least two more structures. The large forecourt and the monumental facade of the central structure follow the pattern typical of Maltese Prehistoric Temples. Along the external wall one may find some of the largest megaliths used in the building of these structures, such as a 5.2m high stone and a huge megalith estimated to weigh close to 20 tonnes.
The building itself is made up of a series of C-shaped rooms, known as apses. Walking through the main entrance, one finds a central paved space with an apse on each side. These apses are more firmly screened off than is usual at other temple sites using walls and slabs with square shaped portholes cut through as doorways. During excavations a slab bearing a pair of opposing spirals in relief and a free-standing pillar decorated on all four sides were found in the area. These have been replaced with replicas on site and the originals can be found at the National Museum of Archaeology.
Through the inner passage one finds an apse on the right and a large space on the left. The apse on the right has a curious setting of low stone slabs forming an inner enclosure. At the rear of this apse is a small elliptical hole. The rays of the rising sun on the first day of summer, the Summer Solstice, pass through this hole and illuminate one of the low slabs.
The large space on the left holds three high so-called ‘table altars’ and a doorway to an additional chamber reached by three steps. Three more chambers form part of this building but these can only be reached through doorways along the outer wall. Much of interest has been unearthed at Ħaġar Qim, notably stone and clay statuettes of obese figures which are also found at the National Museum of Archaeology in Valletta.
Ħaġar Qim is a UNESCO World Heritage Site, inscribed as part of ‘The Megalithic Temples of Malta’ in the World Heritage List.References:
Tyniec Benedictine abbey was founded by King Casimir the Restorer probably around 1044. Casimir decided to rebuild the newly established Kingdom of Poland, after a Pagan rebellion and a disastrous Czech raid of Duke Bretislaus I (1039). The Benedictines, invited to Tyniec by the King, were tasked with restoring order as well as cementing the position of the State and the Church. First Tyniec Abbot was Aaron, who became the Bishop of Kraków. Since there is no conclusive evidence to support the foundation date as 1040, some historians claim that the abbey was founded by Casimir the Restorer’ son, King Boleslaw II the Generous.
In the second half of the 11th century, a complex of Romanesque buildings was completed, consisting of a basilica and the abbey. In the 14th century, it was destroyed in Tatar and Czech raids, and in the 15th century it was rebuilt in Gothic style. Further remodelings took place in the 17th and 18th centuries, first in Baroque, then in Rococo style. The abbey was partly destroyed in the Swedish invasion of Poland, and soon afterwards was rebuilt, with a new library. Further destruction took place during the Bar Confederation, when Polish rebels turned the abbey into their fortress.
In 1816, Austrian authorities liquidated the abbey, and in 1821-1826, it was the seat of the Bishop of Tyniec, Grzegorz Tomasz Ziegler. The monks, however, did not return to the abbey until 1939, and in 1947, remodelling of the neglected complex was initiated. In 1968, the Church of St. Peter and Paul was once again named the seat of the abbot. The church itself consists of a Gothic presbytery and a Baroque main nave. Several altars were created by an 18th-century Italian sculptor Francesco Placidi. The church also has a late Baroque pulpit by Franciszek Jozef Mangoldt.