In a mountainous region in the heart of Ethiopia, 400 miles from Addis Ababa, stand eleven medieval monolithic churches carved out of rock. Their construction is attributed to King Lalibela, who was the emperor of Ethiopia from the late twelfth to the early thirteenth century.
The layout and symbolism
The buildings are clustered into two groups, one representing the earthly Jerusalem, the other the heavenly. Running through the center of the complex is a channel, which symbolizes the Jordan River where Jesus was baptized. The landscape of the churches and surrounding religious sites all reference the Holy City.
The Earthly and Heavenly Jerusalem
On the north side of the channel are Biete Medhani Alem (House of the Savior of the World), Biete Mariam (House of Mary), Biete Meskel (House of the Cross), Biete Denagel (House of Virgins), and Biete Golgotha Mikael (House of Golgotha Mikael).
On the south side stand Biete Amanuel (House of Emmanuel), Biete Qeddus Mercoreus (House of Saint Mercoreos), Biete Abba Libanos (House of Abbot Libanos), Biete Gabriel Raphael (House of Gabriel Raphael), and Biete Lehem (House of Holy Bread).
The eleventh church, Biete Giyiorgis (House of Saint George), stands apart from the others on the north side, but is connected by a system of trenches. The last of the eleven to be built, it has been dubbed the “Eighth Wonder of the World”.
While the churches form a complex, each one has its own unique characteristics and treasures.
Biete Giyorgis
Biete Giyorgis (also spelled Bete Giyorgis) translates to “House or Church of Saint George” in Amharic. Widely considered the last of the iconic eleven monolithic rock-hewn churches built in Lalibela, it is one of the most remarkable and historically significant.
Origin Myth & Tradition
There are two popular traditional stories about the construction of Biete Giyorgis: divine commission and memorial.
St. George is one of the most venerated saints in Ethiopian Christianity. He serves as the protector of the realm and a symbol of righteous kingship. Tradition states that King Lalibela felt he neglected St. George while building the rest of the complex. This church is believed to have been constructed to correct his oversight. Building Biete Giyorgis was an act of repentance and seemingly a reaffirmation of Lalibela’s divinely sanctioned kingship. Yet another tradition claims the church was constructed after Lalibela’s death (around 1220) by his widow as a memorial to him.
Design
Biete Giyorgis was not built in the conventional sense — it was carved entirely out of solid volcanic rock in situ. Engineers believe the builders began each church by digging a trench around what would become the structure’s perimeter. This created a single block at the center, which was then further chiselled out. Rooms, floors, arches, vaults, windows, and columns were formed as the workers carved inward. This subtractive process remains astonishing, particularly given the tools available at the time.
An extensive system of drainage ditches, trenches, and ceremonial passages connects Biete Giyorgis to the rest of the complex. The outer wall even has openings for hermit caves and catacombs.
Hermit Caves and Catacombs
The inclusion of hermit caves highlights Ethiopia’s monastic tradition. This tradition emphasized solitude, prayer, and a life removed from worldly distractions. Historically used by hermits, monks, and ascetics, the spaces often contained simple sleep niches. Some caves were used for temporary retreat, while others were used for lifelong habitation. Pilgrims and monks continue to use some of these spaces, especially during religious festivals.
Catacombs carved in the outer walls of some churches were used as burial chambers or ossuaries for priests, monks, saints, or royalty. To be buried in or near sacred places, such as catacombs, was considered a high honor or mark of spiritual prestige and reverence. Burial in a church catacomb often required an ascetic lifestyle, social or religious status, wealth, or royal connections.
While we cannot be sure what purpose these catacombs in the outer wall of Biete Giyorgis served, it was quite interesting to view the contents of one when we visited.
Cruciform Plan
Cruciform-shaped Biete Ghiorgis is topped with an etched Coptic cross visible from the escarpment surrounding the church. The design symbolizes Christian devotion and visually distinguishes it from the other churches at Lalibela.
The structure sits within a pit roughly 40 feet deep (about 12 m), placing its roof at nearly ground level. A series of trenches and tunnels provides access to the space and links it to the rest of the Lalibela church complex.
Theological Symbolism
The symmetrical Greek cross carved into living rock represents salvation and divine truth. The placement of the carving is also significant, as the roof is the part of the structure most visible to the heavens. The carving of St. George from a single block reflects the Orthodox idea of unity between heaven and earth. The sunken position rising upward visually represents death, resurrection, and eternal life.
Access to the church requires descent into a deep trench before entering the sanctuary. This mirrors Christ’s descent into suffering, death, and Sheol before the resurrection. Worshippers do not stand before the cross; they enter into it, reenacting union with Christ.
Up Next: Harar
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