10/4/24: Valletta's Fat Lady Sculptures

On our first full day in Valletta, Steven and I also toured the National Museum of Archaeology which was housed in the impressive Auberge de Provence. 

There we learned that after the central Mediterranean island of Malta was permanently settled nearly 8,000 years ago, agriculture and social organization gradually became more complex. Collective burials in rock-cut tombs were introduced in the Zebbug phase some 6,000 years ago and continued for about 1600 years. Small chambers hewn out of rock were accessed through an entrance hole at the bottom of a shaft and used for many generations. 

The tomb served as both a burial place and an ossuary. The remains of previously buried individuals were pushed to the back and sides of the tomb chamber to create space for new burials. Sometimes, the clearing of bones followed distinct patterns, with skulls and long bones grouped in some order so several burials could be accommodated in one space over a long span of time. Following burial rituals, the chambers were sealed with slabs. Initially, only one or two rock-cut chambers were used, but that morphed into monumental cemeteries.

The tombs were decorated with ochre paintings and rock carvings. Sometimes, pottery and even jewelry accompanying the deceased were found in the tombs. These archaeological finds led scientists to believe that the people believed in an afterlife. The collective burials were found in the closing centuries of the fifth millennium BC on the island of Malta and the neighboring island of Gozo.

Figure from Malta's Temple Period, 4000-2500 BC:

These two colossal statues were found broken under the soil at two of Malta's megalithic temples, which we'd explore the following day. The large statue on the left occupied a prominent position upon entering Tarxien Temple, so its role must have been of great importance. Whole, it would have stood nearly 3m tall! Its marks indicate it was likely damaged by a farmer plowing his field. It's possible that the marks or scars on the smaller statue resulted from intentional mutilation. 

The corpulent statues found at the Hagar Qim Temples date to 4000-2500 BC and were previously referred to as the Fat Lady, Mother Goddess, or Goddess of Fertility, though the figures are now regarded as asexual. The female inference was generally attributed to the statues' portrayal of large thighs, usually associated with postpartum women. Some think the figures' corpulence might have indicated abundance and fertility. For these prehistoric societies, fertility equaled abundance. 

In some instances, a carved hole replaced the head, which meant the head was probably interchangeable. Scientists have queried the meaning of the arms' positions, with one arm lying under the breast and the other by the side. However, most standing statues from this period and even from different sites were represented in this manner.  Look at the tiny doll-like hands and feet!

More of the 'fat lady' sculptures: 

The Sleeping Lady depicts a female figure lying sideways on a couch or bed that appears to be sagging under her weight. The figure has traces of red ochre, and the lower part of her body is covered with a pleated skirt. If you look very closely at the detail at the base of the couch, you can appreciate how finely it was crafted. Because the figure is depicted in an underground burial chamber, it may well represent eternal sleep or death. 

This exquisite creation has become the symbol that represents the Maltese prehistoric period. The beautifully rendered figure was discovered in a pit in one of the painted galleries of the Hal Safflieni Hypogeum. Wasn't it staggering that such detail was wrought in a figure just 12.2 centimeters or about 4 inches long and fewer than 7 centimeters or 3 inches high?

Only one of the heads carved out of stone or molded with clay found near temples fit into the corpulent statues' empty sockets. The heads' distinct features were their almond-shaped eyes. The predominant hairstyle was likely a short bob, although some heads showed long hair with braids or ponytails. 

These two stone slabs were excavated in the first left-hand side apse at the entrance to Tarxien Temples during the 1915 explorations. The apse was the most elaborately decorated, with a variety of cubical and elongated carved slabs engraved with spirals and animals. The upper surface of one slab showed signs of burning, suggesting that it was used for animal sacrifice. 

When we later explored Tarkien Temple, we spotted reliefs on the megaliths of two bulls, which in prehistoric societies were seen as a symbol of fertility. I learned that the fertility of the land, of their animals, and of themselves played an important role.

The Venus of Malta from Hagar Qim was a remarkable representation of the female figure. In the second photo, the statue's back shows realistic shoulder blades, reflecting a high level of clay modeling. Once again, the figure was minute, measuring 10cm or under 4 inches tall. 

The smallest statue in the showcase was discovered at Tarxien Temples. I found it remarkable that, despite its tiny size, it was still molded in such a natural position. Remember that the "tall statue" was under 4 inches by comparison!

The most romantic piece in the museum's collection was this Embracing Couple, which dates to about 3200 BC and was also found at Tarxien Temples. The figure, clearly showing two people hugging with their faces very close to each other, is the only artifact from the Maltese Neolithic period that demonstrates human emotions immortalized in artistic expression. The 'timeless embrace' was less than ONE INCH tall!

The Hagar Qim Altar, carved from a single limestone block during the Temple Period from 3600-2500 BC, was found in the temple's first central court. Its decorations consisted of many small holes bored next to each other. This pitting was considered the earliest form of decoration. Some hypothesize that the altar was a pot with leaves or bull horns stacked on top of each other and resting on a container.

It is believed that these decorated megaliths, most found in the first apses at Tarxien Temples, had various functions. They may have been eye-catching artistic creations in the temple interiors, sacrificial or votive altars, or screens and barriers to secure internal spaces. The megaliths were moved to the Museum between 1956 and 1957 to counter the weathering process that threatened their preservation. 

The most common designs in Maltese megalithic art were the pitted holes seen above on the Altar and the spiral design, which was used later. The spiral design is recognized worldwide as a symbol of the beginning and end of life or eternity. However, its presence in temple decoration, ceramic design, and other artwork suggests that the image was common in the Maltese islands. 

Before our visit to Valletta's National Museum of Archaeology, I had no idea where Malta's rich archaeological history stood in comparison to the rest of the world's stone wonders. Malta's temples date to 3600 BC compared to:

The Great Pyramids from 2530 BC,

Stonehenge from 2000 BC,

Palace of Knossos in Crete from 1700 BC,

The Acropolis from 600 BC,

The Great Wall from 214 BC, 

The Colosseum from 70 AD,

The Hagia Sophia from 563 AD,

The City of Copan in Honduras from 725, 

The Moai statues on Rapa Nui or Easter Island from 1100,

Notre Dame Cathedral from 1163,

The Great Zimbabwe Ruins from 1300,

St. Peter's Basilica from 1506, and 

The Taj Mahal from 1632!

Imagine Malta's temples as the forerunners of such august world wonders! When I read the list, my mouth was agape.

Next post: Touring two of the Three Cities around Valletta.

Posted on February 25th, 2025, from another 'false spring' day in Colorado's Rockies. We're all saying we'll enjoy this gorgeous weather as long as it lasts! Please take care of yourself and your loved ones wherever this finds you.