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Madaba stands as a testament to the enduring beauty of history and culture. With its mosaic-clad churches, the mesmerizing Madaba Map, and the tranquil Mount Nebo, this city offers a captivating blend of the past and the present. Whether you’re an art enthusiast, a history buff, or simply seeking a unique travel experience, Madaba is undoubtedly worth the visit, promising memories that will linger long after you’ve left its storied streets.
Nestled in the heart of Jordan, the ancient city of Madaba beckons travelers with its rich tapestry of history, intricate mosaics, and religious significance. For those pondering whether Madaba is worth a visit, the answer is a resounding yes. This city, with its unique blend of archaeological wonders and cultural charm, offers an unforgettable journey into the past and an opportunity to immerse oneself in the vibrant culture of Jordan.
At the heart of Madaba’s allure lies the renowned Madaba Map, a mosaic masterpiece that dates back to the 6th century. Depicting the Holy Land with astonishing detail, this ancient map provides a visual glimpse into the region’s past, making it a compelling reason to explore the city. As you stand before this intricate mosaic in the Greek Orthodox Church of St. George, you’ll be transported to a time when cartography was a form of artistry.
Beyond the map, Madaba boasts a treasure trove of mosaic-adorned churches and archaeological sites. The Church of St. George itself is a marvel, adorned with mosaics that tell stories of faith and tradition. Wander through the Madaba Archaeological Park, where centuries-old mosaics vividly narrate the city’s evolution. And for those seeking a spiritual experience, a visit to Mount Nebo, believed to be where Moses saw the Promised Land, offers not only historical significance but also breathtaking vistas that stretch to the horizon.
Madaba’s appeal extends beyond its historical significance, inviting visitors to engage with local culture. Sample authentic Jordanian cuisine, explore bustling markets, and engage with friendly locals to truly grasp the essence of this charming city. Additionally, Madaba’s strategic location makes it an ideal launching point for adventures to nearby attractions like Petra, the Dead Sea, and Wadi Rum, adding to the city’s allure.
To check in Madaba
Entrance at Abu Bakr As-Siddiq St. to the eastern section of the Archaeological Park.
The oldest mosaic found in Jordan, dated to the end of the 1st century B.C., a fragment from the bath of the fortress of Machaerus which was built for Herod the Great ( 73 – 4 B.C.)
Arcade construction for the mosaic exhibition, designed by Ammar Khammash
Shelter building for the Hippolytus Hall and Church of the Virgin Mary, designed by the Jordanian architect Ammar Khammash
The floor mosaic of the Hippolytus Hall in front of the Church of the Virgin Mary.
The western part (in the foreground) had been found in 1905 by Sulayman Sunna, then the property owner. In 1982, the eastern section was was located by Michele Piccirillo under the floor of the vestibule of the Church of the Virgin Mary.
The mosaic decorated a rich mansion of 6th century Byzantine Madaba. Due to stylistic parallels it was dated to the Justinian period (527-565).
The church and its first mosaic pavement can be dated to between the end of the 6th and the beginning of the 7th centuries. The well-preserved later mosaic was constructed during the Umayyad period when the church was restored.
The church has an internal vestibule, a round nave and an elongated, apsed presbyterium which is supported by two underground rooms with barrel vaults. The facade opens into a narthex and from there, two pairs of columns flank the entrance to the nave of the church which is a circle measuring 9.7 m in diameter.
The main pavement is a re-making of a mosaic floor which had been laid at the time of the construction of the church (end of the 6th/beginning of the 7th cent.). The well-preserved mosaic was constructed during the Umayyad period when the church was restored.
The mosaic consists of a square frame decorated on the outer edge by a series of serrated points. In the center are a round medallion and an inscription which are enclosed in a guilloche. In turn, two interwoven squares, which form a star, surround the central design which lies inside another circle. Finally, all of this is enclosed in a circular border made up of interlaced smaller circles.
In the spaces between the square frame and the circular composition are two pairs of geometric-floral motifs. Next to each one of the eastern pair, which are in the form of rosettes, there is a tray of fruit with a knife.
A square containing a Solomonic knot in a circle is superimposed on the grid at the entrance from the west. Flowers, leaves, stylized fruit and diamonds fill the empty spaces of the mosaic’s white background.
An eight-line dedicatory inscription lies in a tabula ansata [tablet with handles] in front of the chancel screen of the sanctuary, separated from the step by florets and diamonds:
“At the time of our most pious father, Bishop Theophane, this most beautiful mosaic work was realized in the glorious and venerable house of the holy and immaculate queen … Mother of God.
Thanks to the zeal and ardor of the people who love Christ in this city of Madaba, for the salvation, and assistance, and remission of sins of those who have made offerings, and of those who will make offerings, to this holy place. Amen, O Lord. Finished by the grace of God in the month of February in the year -74, of the fifth indiction.”
The metric inscription of the central medallion is noteworthy for the elegance and precision of the theological formulae employed to express the maternity of the Virgin Mary and the universal kingship of Christ, her son. It was addressed to the faithful who entered the church to remind them of the spiritual purity necessary for proper veneration of the church’s icon of the Virgin Mother. The actual icon, made of fresco or mosaic, probably covered the interior of the apsidal wall.
The inscription reads: “If you want to look at Mary, virginal Mother of God, and to Christ whom she generated, Universal King, only Son of the only God, purify [your] mind, flesh and works! May you purify with [your] prayer the people of God.”
Remains of the Roman temple beneath the church are reused as a crypt. The church with its round nave is supported by two underground rooms with barrel vaults and arches.
The street would originally have crossed Madaba from east to west, leading to gates in the city walls which have since vanished. It was paved with large flagstones and flanked by columns. The street was covered by a layer of beaten earth during the Byzantine/Umayyad period. Many of the columns were reused in later structures, both in antiquity and in more recent times.
Today most of the Roman street is covered by the modern town but two sections, bisected by a modern street, have been excavated.
The large building is the shelter for the Hippolytus Hall and Church of the Virgin Mary, designed by A. Khammash. On the left, the entrance to the Crypt of St. Elianus.
Located beneath the destroyed Church of the Prophet Elias. Paved at the time of Bishop Sergius who was also called the Priest of Saint Elianus, in 595 – 596.
On the photo, a tree laden with fruits on the south side of the stairway.
Originally established as the Madaba Mosaic School in 1992, converted into the MIMAR in 2007. A regional center of excellence for preserving mosaics, and providing skilled and professional graduates for employment in the restoration and production of mosaic art and stone presentation. The Institute offers the only diploma program specialized in scientific methods of restoration and conservation, as well as the artistic aspects of mosaic art and development in the region.