Malta’s olive city, rooted deeply in history just like the trees it’s named after.

The town’s name comes from the Sicilian Arabic zaytun, meaning ‘olive’, a nod to its ancient groves.

Granted the title Città Beland in 1797 by Grand Master Ferdinand von Hompesch, Żejtun still carries a calm pride. Perched on a hill overlooking Marsaxlokk, St Thomas Bay and Marsascala, it feels close to the sea in every direction, with the horizon keeping watch.

St Catherine’s and the Parish Museum I begin my walk near the parish church dedicated to St Catherine of Alexandria, a baroque masterpiece by Lorenzo Gafà, who also designed St Paul’s Cathedral in Mdina. Its warm limestone glows beneath the sun, the façade rising in ornate symmetry. Inside, the scent of candle wax lingers and light filters through the windows, illuminating marble and gilded altars.

My next stop is to the Oratory of the Blessed Sacrament, recently restored to its former glory, which sits right next to the church. Its façade, framed by columns and angels carved in stone, is pure baroque drama. Inside hang six paintings by Francesco Zahra, each alive with colour and movement and marked by Neapolitan influence. In the adjoining museum, I finally get to admire a painting of St Catherine’s beheading from the School of Caravaggio.

In the Heart of Żejtun every town and city, no matter how small, has its own areas. In Żejtun, Bisqallin (the Lower Village, known as Ir-Raħal t’Isfel), Ħal Bisbut (the Upper Area, known as Ir-Raħal ta’ Fuq), il-Ħerba, Ta’ Tablin, Ħabel ix-Xgħir, Ħal Tmikki, Ħal Bajda and Ħal Ġwann are all hamlets, clusters of buildings in the old centre.

Just beyond the main square, the narrow lanes of Bisqallin twist like ribbons. This is the oldest part of Żejtun. The walls are thick, the corners sharp, and the doors painted in soft greens and blues. A man sweeping his doorstep nods as I pass. Further on, an elderly woman leans from her window to chat with a neighbour across the alley. Every few metres, a niche holds a small statue of a saint, the paint slightly faded but the glass still polished with care.Not far away, the restored Villa Cagliares glows behind high walls. Built in 1620 by Bishop Baldasare Cagliares as a country residence, it embodies Żejtun’s architectural dialogue between strength and grace. In one corner stands the Vendôme Tower, built in 1715 by Philippe de Vendôme, a Knight of the Order of St John. Today, it is a private residence. It stands near the church of Ta’ Sant Anġ, close to Testaferrata Palace. From its position, it appears to have been intended to guard the entrance to the Raħal Ta’ Fuq.

The streets narrow once again as I enter Ħerba, a quarter whose name means ‘ruin’. The area takes its name from ħirba, an old house long abandoned and left to decay. The limestone here is weathered and soft, its centuries etched in every grain. Wandering through Żejtun, I pass the Jesus of Nazareth Institute, home to orphans after World War II. Every Christmas, its mechanical crib comes to life, papier-mâché figures moving gently through scenes of the Nativity, a tradition that still draws crowds from across the island. Not far stands the Church of the Holy Spirit, another of Gafà’s creations, where the Daughters of the Sacred Heart once ran Żejtun’s first school.

As I continue, I come across Circolo Musicale Sancta Caterina, known locally as tal-Laċċi. It is the city’s second oldest band club, founded in 1892. I think of the generations who have practised and performed here, and how something as simple as a band club can hold a community together for more than a century.

I discover that Grand Master Perellos also had his summer residence here. Casa Perellos was built in 1710 so that from its balcony he could enjoy the procession dedicated to St Gregory. A little further along St Gregory's Street, I notice a building that once belonged to Bishop Ferdinand Mattei, the first Maltese to serve as Bishop of Malta under British rule. Today, it houses Juventutis Domus, a youth club with its own theatre and a chapel dedicated to the Holy Family. Stepping inside feels like entering another world, one for which words can hardly do justice. Theatre Juventutis Domus, built in 1820 and recently renovated, is used on a regular basis.

St Gregory’s Church and Adjoining Cemeteries at the end of Triq San Girgor, on the edge of Żejtun, stands a stone statue of Saint Gregory the Great. Sculpted by Salvatore Dimech, one of the notable Maltese artists associated with the Nazarene Movement, it was installed in the early 1830s. I have admired this statue since childhood, along with the old parish church, which resembles a fortress. Each time I pass by, I feel compelled to stop and admire the beauty.The old parish church, dedicated to Saint Catherine of Alexandria but popularly known as Saint Gregory’s, owes its familiar name to a traditional procession held annually on the first Wednesday after Easter Sunday. Pilgrims make their way along Saint Gregory Street, which is regally lined with noble houses, and walk towards the church to honour Saint Gregory the Great. The tradition concludes with the first swim of the year, which follows the pilgrimage, and which is usually enjoyed at the coastal village of Marsaxlokk. Built on the site of an earlier chapel, the church was once among Malta’s eight mother churches. Its dome, one of the oldest on the island, rises simply yet commandingly. I enjoy passing by, and each time I look at the impressive dome and fortress-like structure of the church complex, I feel as if I am stepping back in time, like in a scene from a movie. The church stands beside Żejtun’s three cemeteries, dedicated to St Rocco, St Augustine and St Catherine, with St Rocco’s being the oldest. In the middle of Misraħ San Girgor stands proudly the statue of Pope St Gregory the Great. At the San Girgor Cemetery, overlooking the square, I paid homage to my late grandfather, a moment of reflection, appreciation and gratitude, thinking of life, time and reverence.

Gardens, Monuments and Olive Trees Leaving the church behind, I follow a quiet path past Luqa Briffa Garden, formerly known as Ġnien tal-Kmand. It was one of several public gardens commissioned between 1802 and 1805 by Sir Alexander Ball during British rule in Malta. It is a peaceful haven, shaded by old trees, with the scent of citrus hanging in the air. I am alone, lost in nature, and I feel as if I am wandering through a secret garden.The San Girgor Garden next door provides respite for locals who sit for hours beneath its olive and carob trees. Men play cards, arguing good-naturedly over a hand, while children chase a football along the path. The garden is scattered with bronze busts and monuments honouring folk singers (għannejja), who honoured Żejtun. Nearby stands the Millennium Monument, its olive tree a symbol of peace and heritage. Beneath it lies an old cannon that once defended the city.

Roman Villa As I walk near a secondary school, I come across the remains of an agrarian Roman villa uncovered in 1961. The site appears to have been used for olive pressing, a reminder of how long Żejtun has been connected to olive cultivation. It is one of over 30 Roman villas in Malta that combine residential and industrial areas. Beneath its ruins, traces of Punic-era wine production have also been found.

Twilight in Żejtun the afternoon light starts to fade. I continue to wander through the town, looking at façades in the amber glow. Doors close softly and the smell of dinner drifts through open windows. At the edge of the town, I turn back for one final look. The olive tree in the square is catching the last rays of the sun. Its leaves shimmer, whispering a story that began centuries ago. In Żejtun, the past does not linger like a shadow. It breathes quietly, like the roots of the trees whose name the city bears.

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