An art-historical analysis and hypothetical reconstruction of the San Niklaw Cave Church, Mellieħa

Abstract

The fertile valley of San Niklaw at Mellieħa is about 450m long and consists of more than 3 hectares of terraced fields that are dedicated mainly to crops and fruit trees of which at present one can still find fig trees, capers, fennel, pomegranate, prickly pears, citrus, carob, almonds, olives, apple, loquat, wild berries and mulberries, together with parsley and other wildflowers. Overlooking these agricultures fields, far out on the northern cliff-face of the valley is a neglected cave known today as Għar il-Ħamiem (The Pigeons’ Cave) which is occasionally re-utilised for agricultural activities. Historically, part of this cave served a much holier purpose for at some point on the eastern side, a small space was enclosed with a rubble wall and converted by troglodytic settlers into a sacred space. A space where liturgical practices and functions could be carried out, and where the faithful could gather for refuge and solace: a cave-church. It was also known by a different name: Għar San Niklaw. Several factors, including limited and over-grown accessibility, the distance from the main settlement and the absence of a strong folkloristic tradition aided in the neglect of the San Niklaw cave-church – unlike the Sanctuary of the Virgin at Mellieħa Valley. As a result of this, the site has led to a lack of maintenance and care, and the artistic and architectural context has suffered significant deterioration over time. However, despite the passage of time, features that attest to the liturgical function of the church have been preserved, thus providing important information about the site's architectural and artistic context. Among the various features is a rockhewn curved wall containing fragmentary traces of wall paintings, which are today enclosed by a few courses of dry-rubble wall. These remains evoke a sense of wonder and intrigue and offer a moment for the viewer to glimpse into the artistic and cultural expressions of the time, thus underscoring the importance and valuable information that the site provides for research and preservation purposes. Several scholars gave this site its due attention and placed it within a proper historical context, however, a nuanced assessment of the material evidence within the premises of the cave-church was compiled by Keith Buhagiar in 1997. Almost 30 years later, this study aims to supplement, enhance and provide a valuable addition to the limited research relating to the site. It will enable a more comprehensive understanding of its art historical significance, using new technological techniques. Keith Buhagiar’s research was also analysed thoroughly as a starting point for this research in order to assess if any significant changes or new developments took place on the site since 1997. Indeed, it was observed that certain sections of plaster detached to expose additional pigment, whilst also contributed to the loss of wall paintings and their erosion. In this unfortunate situation, from the two superimposed layers of mortar coatings, both of which, according to Buhagiar contained painted pigments, the subsequent layer of paint that would have covered the previous decoration is no longer visible. The findings obtained from the digital surveys confirmed the site’s archaeological significance. The GPR survey identified anomalies with in the parameter of the cave-church, that indicate potential areas in the church linked with the liturgy, such as the presence of an altar and features such as the dukkien, trenches and other anomalies that can be recognised only through archaeological excavations. Similarly, the results of the XRF survey yielded valuable insights into the analysed pigments and enabled an intriguing comparisons between the San Niklaw cave-church and the Sanctuary of the Virgin at Mellieħa. By employing a multidisciplinary approach, this study endeavours to restore and shed light on the cultural and artistic significance of the San Niklaw cave-church. The use of 3D photogrammetry for instance, has enabled for an immersive and interactive experience of the: a) terraced fields b) cliff-face c) caves d) cave-church and e) wall paintings at San Niklaw. A hypothetical reconstruction of the cavechurch’s interior and exterior based on scans is also being presented, further enhancing knowledge about the site. This approach does not involve any physical contact with the artwork and thus, no harm or alterations have been done during the process. A digital restoration is an important tool that offers the opportunity to create visualisations that allow researchers and the public to appreciate artworks that have not yet benefited from proper conservation works. The Superintendence of Cultural Heritage (SCH) was also continually informed about the project.