The shopping street of Valletta, bathed in the hot Maltese sun, illustrates the Bible with its appearance. This impression is due to the incongruous, although customary over many centuries, juxtaposition of the main city church and the space filled with trays in front of its entrance. Around the Cathedral of St. John, a noisy market has been in full swing since early morning. Dozens of shops with glass windows vied with each other to lure passing tourists.
The small area in front of the facade was chosen by street vendors, who laid out their simple goods under bright umbrellas. Hastily put together stalls, pitiful consumer goods, a diverse crowd, shopkeepers with sly faces looking as if they had just been expelled from the temple by Christ. However, in the capital of Malta this happens every day: at noon, when the bell on the cathedral tower is heard, the square quickly empties.
The main temple of the country is traditionally located in the center of the capital. Endowed with cathedral status, St. John's Cathedral became the main sanctuary of the Order of Malta. The splendor of its interiors contrasts sharply with the austerity of the exterior. Being the most significant monument of the island, today it is equally interesting from the point of view of history, art and architecture. The majestic building stuns with its size, Gothic forms and especially exquisite decoration of the walls, covered with stucco-like stone carvings. A huge and solemn temple reigns over the entire area, distracting attention from the bustle of the world.
St John's Cathedral
Valletta Cathedral has always been a source of pride and tireless care for the knights. Giving rich gifts and replenishing his treasury was considered the duty of the newly elected grandmaster and every knight after taking a vow or promotion in rank. Contemporaries noted the special generosity of the great masters who ruled one after the other, the brothers Raphael and Nicola Cotoner; their symbolism adorns the walls of the cathedral in abundance. Thanks to the Grand Master Gregoire Carafa, an altar made of marble and bronze appeared in the temple. The luxurious gift was made in 1685, and then its value was more than 4 thousand gold escudos. Raymond de Perellos ordered tapestries from Holland based on the works of the great painters Peter Paul Rubens, Nicolas Poussin and Mattio Preti. One can only wonder how the servants were able to preserve all these things, as well as those brought from Rhodes, in the presence of invaders. The value of the treasures accumulated over three centuries was so great that at one time the Malta Cathedral was called one of the richest Catholic churches.
The temple was designed and built by Gerolamo Cassar with funds provided by Grand Master Jean de Lascaris-Castellar. In the winter of 1573, the building was solemnly consecrated. At first, the monastically modest facade was decorated with a single elegant detail - a balcony hanging over the entrance and resting on Corinthian columns. In the times of the order, the portal served as a tribune from where the grand masters addressed the people during church holidays, and the heralds loudly informed the people about the election of a grandmaster. Each of the two square turrets on the facade was once crowned by a thin octagonal spire, which gave the church a castle-like appearance. Now the toppings are gone, because the priests removed them immediately after the first German air raid, when not only the parts, but the entire building were in danger.
The temple acquired its present appearance many years after construction. Using drawings and the help of Italian craftsmen, the residents themselves decorated the sacred house, covering the smooth stone walls with patterns. Visitors to the main temple of Malta, as well as any Catholic cathedral, are required to have a certain appearance. For example, bare legs and bare shoulders are not allowed, although women are allowed trousers, bare heads and short-sleeved blouses. Locals are familiar with these rules, and tourists can change shorts to skirts, issued by attendants at the entrance. Being true Maltese, the priests took care of the guests, providing each of them with a guide, completely free of charge.
The magnificent decoration of the cathedral expressed not the individuality of the architect, but the common character traits of gentlemen from different languages. Decorating their chapels allocated by the chapter in 1604, they clearly competed in wealth. Works of art were collected throughout Europe and were so perfect that they satisfied the most demanding tastes. However, the greatest value is the masterfully executed sculptures decorating the tombstones of the great masters. All the heads of the order are buried in the Cathedral of St. John, with the exception of the traitor Gompes, who surrendered Valletta to the French.
The central hall of the temple is surrounded by chapels - chapels, or chapels, distributed among nations according to seniority. Each of them is dedicated to a saint, recognized as the patron saint of a given language. Small rooms intended for private prayer and storage of relics belong to brothers from Provence, Auvergne, France, Italy, Aragon with Catalonia and Navarre, England, Germany, Castile, Leon and Portugal. The one closest to the altar has long been called the Chapel of the Madonna Filermo. In the old days, one of the relics of the order was kept here, an ancient Byzantine icon taken from Rhodes. In fact, no one knows where the Hospitallers got such an ancient image, but it was revered on a par with the hand of the Holy Forerunner. Legends say that the picturesque Madonna saved many Maltese from the plague during the terrible epidemic of 1592. Lost after the departure of the knights, this icon gave way to another, slightly less valuable, but also depicting the Virgin Mary. It formerly belonged to the Italian language and was donated to the Maltese branch of the order by the relatives of Gregoire Carafa.
The chapel of the Madonna of Filermo is distinguished by its rich decoration: jewelry made of gold and silver are an excellent setting for sacred relics. The large silver gate is fraught with many legends, and one of them is associated with Napoleonic times. As you know, the French were so actively engaged in looting churches that they did not notice how the locals one day got ahead of them. The Maltese, of course, did not intend to desecrate their church, but only tried to protect its treasures. Having learned about the upcoming raid, they arrived before the soldiers and managed to paint the precious doors with black paint overnight, making them look like cast iron.
In the Aragon Chapel there is the most spectacular monument of the cathedral - the tomb of the Grand Master Nicola Cotonera. Executed by the sculptor Domenico Guidi in Rome, the composition was transported to Malta. A marble pedestal with a bust of the grandmaster rests on full-length figures of two half-naked men, made of white marble. Atlanteans bend under the weight of cannons, weapons and war trophies. Behind the head of the main character rises a pyramid, on both sides of which are depicted soaring angels, one of them holding the coat of arms of the Cotoner family.
The left figure attracts attention with its unusual appearance for this area. The sculptor depicted a muscular man with a smoothly shaved head and a long forelock. This hairstyle was once worn by the Cossacks, to whom the Hospitallers had nothing to do. According to experts, the model for the left Atlantean was the Polish prince Radziwill, who was captured by the Turks, and then freed by the knights and lived for some time in Malta.
Michelangelo da Caravaggio. Death of Mary. Fragment, 1605–1606
The largest chapel of the cathedral, the Oratory, is currently a museum. Its structure is associated with the creation of the right wing, where meetings of knights were held from the beginning of the 18th century. Discussions of current affairs took place to the sounds of one of three organs: the other two instruments were originally located above the altar. In addition to the rich decoration, the chapel displays the only painting masterpiece of Malta - the painting “The Beheading of John the Baptist” by Michelangelo da Caravaggio. The hero of the picture was revered by Christians as the predecessor of Jesus Christ, who heralded the coming of the messiah. The order began to exist under the sign of this saint, and it is no coincidence that the knights dedicated their first large temple to him.
The unique style of the great Italian was reflected in the works of not only Italian, but also Western European masters. In the 17th century, his art became synonymous with free creativity, although the life of the artist himself depended on patrons and circumstances. Caravaggio's creative maturity is characterized by monumental paintings painted for the Roman church of San Luigi dei Francesi. The central canvas reproduces the most significant event in the life of the Apostle Matthew - the calling, which in Caravaggio’s painting takes place in a gloomy basement with bare walls and a wooden table. By placing people from the street crowd next to the saint, the author boldly violated the canon, but created an emotional, deep in meaning and excellent technical work. The unusual drama of the painting forced us to take a different approach to the familiar gospel legend: by making the common man a participant in the sacrament, Caravaggio showed the intrusion of the light of truth into the very bottom of life.
The canvas “St. Matthew and the Angel” was rejected by customers who were offended by the plebeian appearance of the apostle. Later, experts appreciated the master’s ability to find the balance between pathos and defiant naturalism in detail.
The harmony of seemingly incompatible elements is one of the characteristics of Caravaggio's original style. An equally harmonious combination is present in the mournful altar composition “Entombment”. The deliberately rough, common appearance of the heroes here emphasizes the depth of dramatic pathos. The scene of the death of Mary reproduced by Caravaggio in the painting of the same name was also rejected by the holy fathers, but at the suggestion of Rubens, it was bought by the Duke of Mantua.
High pathos and stunning pictorial energy distinguish the artist’s latest works. The composition “The Beheading of John the Baptist” was painted in 1608 for the Valletta Cathedral, where it remains to this day. The palette of the painting “The Burial of St. Lucia” created next is dominated by dark tones, which arose under the influence of the artist’s equally gloomy feelings. Almost the entire space of the canvas is occupied by a group of people gathered near a stone wall to perform a mournful ritual - to bury the body of a tortured woman, who will later be declared a saint. Unfortunately, the canvas was poorly preserved, but the unique handwriting of the great Italian can be seen quite clearly.
Michelangelo da Caravaggio. Burial of Saint Lucia, 1608
Caravaggio rarely turned to the portrait genre, although the characters in his paintings were always drawn from life and represented individual, deeply thought-out images. One of the few works of this genre was the image of grandmaster Alof de Wignacourt in full knightly garb. Contrary to expectations, the artist presented the head of the Order of Malta not as a wise ruler, but as a smug, cruel man, who turned his well-fed face away from the viewer, not sanctified by reason.
Caravaggio's paintings infuriated the holy fathers, delighted young artists and aroused the envy of respectable nobles who had everything except talent.
Michelangelo da Caravaggio. Portrait of Alof de Wignacourt, 1608
The master arrived in Malta in 1607, having been forced to leave Rome after killing a ball-playing opponent. Having exchanged the patronage of Cardinal del Monte for the favor of the Grand Master Alof de Vignacourt, Caravaggio did not stay long on the island. Hungry youth, failures, the sorrows of his mature years, the consequences of a stupid duel hardened his character. Incredibly talented, but too temperamental and daring, he easily made enemies for himself; He often started quarrels and could insult his opponent on the playing field with caustic ridicule, regardless of positions and titles. Indiscretion played a cruel joke on him in Rome, and something similar happened in Malta, where success initially awaited the brilliant painter. The title of Knight of the Order of Malta, the patronage of a grandmaster, an abundance of orders - all the benefits were lost after a quarrel with an influential envious man. Persecution by enemies led Caravaggio first to prison and then forced to flee to Sicily. Fleeing from hired killers, he wandered through the cities of Southern Italy for more than a year until he received assurance of the help of patrons who promised to beg for the pope's forgiveness. Having found hope, the master headed towards Rome, but on the way he fell ill with a fever and died, ending his earthly journey in the provincial town of Porto d'Ercole.
In 1661, another remarkable artist arrived in Malta - Mattio Preti, who by that time had a reputation as the best specialist in wall painting in Italy. Having offered the order to paint the vault of the temple with his own money, he not only received the order, but was also knighted.
The famous Italian lived in Valletta for 38 years, devoting all this time to painting the cathedral. The divided vault of the nave was painted with scenes from the life of the order; At the same time, sketches were created for the magnificent carved ornament of the Chapel of Our Lady. Out of respect for the merits of El Calabrese, as the ministers called the artist, the bishop agreed to deviate from the rules and bury him in the temple, to the left of the main entrance. Today, the Valletta Museum of Fine Arts houses a permanent exhibition of works by Mattio Preti, among which the painting “The Martyrdom of St. Catherine” stands out.
The Order of the Hospitallers consisted of 8 languages, symbolically reflected in the endings of the Maltese cross. The same analogy can be seen in the number of chapels in the cathedral. In each of them a lamp is constantly burning, illuminating a large picture and a monument to one or more great masters who came from a given language.
Currently, the cathedral houses the graves of 356 knights. The tombs of illustrious members of the order are under slabs of colored marble. Like the ceiling, the floor of the cathedral has both historical and artistic value. In this place, it is completely covered with mosaic paintings depicting funeral processions, naval battles, cypress trees over the graves, prisons where the deceased languished during life, skulls, frolicking cupids and angels holding laurel wreaths in their hands. Above each tombstone is a knight's coat of arms with an eight-pointed cross and a motto written in beautiful gold letters.
Locked with a huge lock, a cast-iron grate blocks the path to the crypt, where 26 of the 28 heads of the Order of Malta are buried. Two of them, Didier de Saint-Gails and Ferdinand von Gompesch, died outside Malta. However, the latter, due to betrayal, would not have found peace next to his worthy predecessors, even if he had died in his homeland. At the same time, the honor of being buried in the cathedral was earned by the simple knight Oliver Starkey, the only untitled dead person located here. The right to sit after death among the grand masters was granted to him by the council of the order, which appreciated the courage of Secretary La Valletta during the Great Siege.
According to medieval tradition, the graves of grandmasters are located in the crypt, which occupies a basement room with a low vaulted ceiling. One of the many sculptural tombstones installed in it reproduces the appearance of the legendary de la Valletta. The funerary monument of the founder of the capital of Malta is made of black marble. It is unknown what exactly the sculptor wanted to express by depicting a lying knight with a raised hand, but the monument evokes a gloomy feeling. When looking at him, one involuntarily imagines a picture of a procession of people carrying the body into the crypt in the dim light of torches.
All real and miraculous stories are well known to the servants of the cathedral. Priest guides often accompany legends with stories about their own lives, willingly show photographs and always end the tour with the phrase: “I would accept a small donation...” (“I will accept a small donation”). Visitors who are far from Catholicism are confused by such a sharp transition from goodness to the sad truth of life. Many people hastily retreat at these words, but the majority do not spare a few lire, realizing that generosity is far from the worst human quality, and by showing it in the temple, a person will certainly be rewarded.
Museum exhibitions occupy almost all the secondary rooms of the cathedral. Open and glass display cases display tapestries, mostly of Italian work, church utensils and clothing from different periods. The luxurious robes of Catholic priests still shine in white, black and crimson colors. Against the backdrop of bright colors, golden patterns that repeat the patterns of the cathedral walls look impressive. Among the intertwined ribbons and rosettes, double-headed eagles, Maltese crosses, and cotton bushes clearly stand out as a symbol of the Cotoner family, the patron saint of the order.
In one of the halls you can see ancient notes written with signs in the form of large rectangles. Few of the guests bend over them, although music lovers are attracted to these things much more than gloomy monuments like the pile of human skulls built in the courtyard of the temple. If a guest decides to spend the whole day visiting the exhibition, then by the evening his efforts will be rewarded with a pleasant rest. Masses in the main church of Malta are held regularly, and are often read personally by the archbishop, whose sermon is accompanied by the sounds of an organ and the singing of a choir.
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St. John's Cathedral in Valletta (Malta) - description, history, location. Exact address and website. Tourist reviews, photos and videos.
- Last minute tours Worldwide
St. John's Cathedral in Valletta is one of those attractions that it would be a pity to miss, for several reasons: the cathedral is very well preserved, there are a lot of quirky things, it hasn't been rebuilt since the 16th century - and simply because it is very beautiful building.
The knights who owned Malta formed the knightly order of St. John, so they began to build a cathedral dedicated to their patron almost immediately after they were established on the island - it was erected between 1573 and 1578. Later, the interiors of the cathedral were redone in the Baroque style and little was changed after that - they only renovated the decoration, and even then very limitedly, so this magnificent Baroque splendor of the 17th century has reached us practically without changes or losses. And since it was an ecclesiastical order, powerful and rich, the cathedral turned out to be impressive, with a huge amount of everything - and all of this can now be seen.
The entire building of St. John's Cathedral is like one huge museum.
The construction was planned by military engineer Girolamo Cassar. According to his idea, the building should have looked like a fort from the outside, and like Italian cathedrals from the inside. That's what they did: the main facade really looks like a fort. Its central part consists of an entrance decorated with columns and a superstructure, two square bell towers are located on the sides, and two wings of the building are visible behind it. It is all decorated with very modest borders, and in this part of the building it is completely invisible what riches are hidden inside.
The building has a very unusual shape: a rectangle, to which 13 almost symmetrical chapels are attached, and the room for the main altar is connected to the rest of the building by a rather narrow corridor. There are eight main chapels here - one for each lange of the Order of St. John (knights from different countries were accepted into it, so they were united in detachments-langs according to the country from which they came), a separate large chapel was built for a rare icon - the Virgin of Philermos (it is now in the museum), and several more - for others needs. All parts are decorated in the most complex way - here you can see everything that the Baroque style can boast of. All this was done by the best masters, so it actually turned out like nothing else.
The main nave is 53 m long. On either side of it are arched entrances to the chapels. The ceilings and partly the walls are painted with scenes from the life of St. John, and so skillfully that objects and figures seem three-dimensional. This is emphasized by carved elements that help create this effect. The paintings are very complex. The floor and walls are occupied by tombstones of the knights of the order. In the center of the altar there is a sculptural group “The Baptism of Christ” from the 17th century; also in the altar there are some gifts to the cathedral from the Grand Masters of the order; these are finely crafted church objects from the 15-18 centuries.
Be sure to go inside!
The first chapel on the right is the German Lang Chapel. It contains an altar in honor of the Epiphany with a rare painting in the center. The next chapel is Langa Italia, it is decorated with fancy gold ornaments on the walls, rare paintings and an altar dedicated to St. Katerina. The third chapel is the Langa of France, it was richly decorated with intricate wood carvings, but quite a large part of it (as well as the altar, originally dedicated to the Apostle Paul) was removed at the beginning of the 19th century. The surviving part is still very good. Next to it is the chapel of Langa Provence - the oldest of all, it is decorated with unusual stone carvings and paintings. The last chapel on this side is the chapel of the Anglo-Bavarian Lang, it was once used to store valuable religious objects belonging to the order. The objects were moved, but the decoration remained: carvings, paintings, and very beautiful small sculptures.
If you return to the entrance on the other side, then the first chapel at the altar is the Virgin of Philermos chapel, which is perhaps the most magnificently decorated: there are sculptures, gold patterns, fine mosaics and much more. The icon is now in the museum, and the one that is placed in the chapel now is another image of the Madonna, an Italian work, by the famous master.
The second chapel is the Langa Auvergne, there is an altar dedicated to St. Sebastian, golden flower garlands and beautiful bas-reliefs. The nearby chapel of Langa Aragon is dedicated to St. George and is decorated much more magnificently - there is a lot of stuff here, in the best traditions of Baroque. The last chapel of the Langa of Castile, Leon and Portugal, it is dedicated to St. John, patron saint of Spain, and decorated with carvings, gilding and linen by one of the Italian masters.
On both sides of the entrance there is a sacristy (decorated with paintings in the Baroque style) and an oratorio. The oratory is decorated with complex paintings and bas-reliefs, and there are valuable paintings and sculptures. An art gallery and an exhibition hall for permanent exhibition are attached to the oratory (the gifts of the order to the cathedral are kept here), here you can see collections of ancient books, tapestries, church objects, etc.
The cathedral houses many rare and precious items: paintings (including works by Caravaggio), sculptures, religious relics, etc. A separate attraction is the burials of knights.
This whole building is like one huge museum. The decoration of the cathedral was done by the best craftsmen, mainly Italian. The decor is very whimsical and complex, with an abundance of small details. You can look at it for a very long time, the level of preservation is simply rare.
Interior design
Practical information
Address: St John's Co-Cathedral, St John Street, Valletta. The most convenient way to see this part of the city is on foot.
Opening hours: “tourist” hours - Monday to Friday from 9:30 to 16:30 and Saturday from 9:30 to 12:30. On Sunday the cathedral is closed to tourists.
Prices on the page are for October 2018.
The way European civilization is structured is that almost every large or simply significant city has its own cathedral, which claims to be the “most”... tall, beautiful, gloomy, etc. etc., depending on your imagination. There is something to boast about in this regard, far from being the largest and perhaps not very economically and politically significant, but certainly one of the most interesting cities in Europe - the Maltese capital Valletta.
We are talking about the Cathedral of St. John the Baptist - the main Co-Cathedral of the Knights of Malta. A sophisticated tourist who has seen many European churches is unlikely to be impressed by the appearance of St. John's Cathedral: a massive structure, more reminiscent of a fortress than a place of worship. However, that's how it is.
The cathedral was founded in 1572, seven years after the Great Siege of Malta by the Ottomans. Surely the knights remembered well that they were saved from certain death by strong walls, the fortitude of the defenders and a little luck. Therefore, it can be assumed that they wanted to see their main church not only as a place where they would pray, but also as a place where they would take their last battle and die, so its construction was entrusted to the military architect Glorm Kassar. However, the course of history made its own adjustments: the sound of crossed swords, the screams of the defeated and the groans of the wounded were never heard by the walls of the Cathedral.
The flourishing of the Order of Malta and the influx of donations allowed the knights to generously compensate for the external modesty of their cathedral with internal Baroque “delights” and splendor. The best artists of that time painted the interior walls of the temple. The main part of the work was carried out by the painter Mattia Preti, whose brush belongs to the entire vault of the Cathedral, which is decorated with scenes from the life of St. John the Baptist, the altar of the Aragonese Chapel, which depicts St. George the Victorious, the altar of the Italian Chapel, dedicated to St. Catherine, and many other places in the temple.
A special place in the interior decoration of the Cathedral of St. John is occupied by two works by Carvaggio: “The Beheading of John the Baptist” and “St. Jerome,” which can be seen in the Oratory, built in 1602-1605. so that newly converted brothers can turn to God in it. As conceived by the leaders of the order, Carvaggio’s paintings were supposed to put worshipers in the right spiritual mood.
As for “the very best”... Only in St. John's Cathedral can you see the largest complete set of tapestries in the world. The collection consists of 29 panels: 14 of them represent scenes from the life of Christ and allegorical subjects, another 14 depict the Virgin Mary, Christ the Savior and the 12 Apostles. The area of each of these tapestries is an impressive 40 square meters. m. The last of the tapestries, whose area is half the size of the others, depicts the Grand Master Ramon Perellos and Roccaful. It was he who, when he was elevated to the rank of Grand Master in 1697, ordered the production of these tapestries to the Flemish master Judocus de Vos. The works of Peter Paul Rubens were used as sketches.
Many other gifts from the Grand Masters and ordinary members of the Order of Malta are displayed in the Cathedral itself and in its museum, located on the second floor. In particular, this is a magnificent collection of 13 liturgical vestments of the Grand Masters, embroidered with gold and silver threads, a gilded tabernacle that contained the relics of John the Baptist, a collection of choral books of the order and many other works of art.
Everyone who crosses the threshold of St. John's Cathedral literally begins to walk through the history of the Order of Malta, since its entire central part is lined with marble tombstones of those who actually created it - the knights of the order. Each of them is an independent work of art depicting the life and deeds of the deceased heroes, so visitors in high heels must be prepared to change into slippers, helpfully sold for 1 euro per pair.
In general, the Cathedral of St. John the Baptist in Valletta, without exaggeration, can be called one of the treasuries of historical and cultural heritage of global significance, without visiting which a visit to Malta cannot be considered complete.
Valletta's main cathedral and undoubtedly the most luxurious in Malta is the Cathedral of St. John, patron of the order of knighthood.
It was built by the Knights of Malta between 1573 and 1578. The facade of the building is unremarkable, but from the inside the cathedral amazes with its beauty.
On one of its towers there is a clock showing the time, date and month on three dials.
One can endlessly marvel at the talent of the great master Mattia Preti, who created this masterpiece in the Baroque style.
Lush rooms, decorated exclusively with gold, amaze with their luxury.
The cathedral was built as a monastery church for the knights of the Order of St. John.
Grand Masters and several knights donated gifts of enormous artistic value and made a significant contribution to enriching it with only the best works of art.
The cathedral is not only a temple of the Knights of Malta. This is a living witness to the history of Malta.
When the victorious Maltese troops entered Valletta in September 1800, ending the French occupation, they and their commanders gathered in the cathedral to offer thanks to God.
Ministers and members of the first independent Legislative Assembly prayed here in 1921 and held services after the lifting of the Second Great Siege.
During the Second World War, the Cathedral of St. John the Baptist was seriously damaged during the bombing of Valletta.
It was only by miracle that the cathedral survived complete destruction.
Today the cathedral is a place for cultural events and respectful visits by visitors to Malta.
The ceiling depicts scenes from the life of John the Baptist.
More than 300 marble slabs are placed here over the graves of Grand Masters, princes, clergy and other prominent people of Malta.
In the chapel of the cathedral (photography is prohibited, but we managed to secretly take it) a painting by the famous artist Caravaggio “The Beheading of John the Baptist,” painted back in 1608, is exhibited. This painting is one of the author's masterpieces and his only signed work.
Looking at this pearl of architecture - the Cathedral of St. John the Baptist, executed in the Baroque style, one can endlessly be amazed at the talent of the creator of this masterpiece - Glorm Kassar. Captivating the eye with its austere façade, the cathedral seems to convey its drama to the surrounding area.
In contrast to the laconic façade, the interior is particularly luxurious. It was designed by the Italian artist Mattia Preti.
It was in this temple, built between 1573 and 1578, that another genius, Michelangelo Merisi da Caravaggio, left his mark. His painting, recognized as a masterpiece, “The Beheading of John the Baptist,” combines in its realism the cruelty of death and the thread of salvation.
Cathedral of St. John was built as a monastery church for the knights of the Order of St. John. Here you can visit eight beautiful chapels, each dedicated to one of the patron saints of the Order of the Knights of Malta.
St Paul's Cathedral
St Paul's Cathedral is the pro-cathedral church of the Anglican Church, located in Independence Square in the capital of Malta, Valletta. It was erected on the site of the monastery house of the Knights Hospitaller between 1839 and 1844 in the neoclassical style on the initiative of Queen Adelaide of England, who, having visited Malta in the 19th century, did not find an Anglican church here.
The height of the cathedral, thanks to its upward-pointing spire, reaches sixty meters; its façade is magnificently decorated with Corinthian columns. The temple has a handmade organ brought from England.
Cathedral of Our Lady Victorious in Malta
The first stone of the Cathedral of Our Lady Victorious in Malta was laid by the Grand Master of the Johannite Order, Jean Parisot De La Valette, in honor of the victory of the Knights of Malta in the Great Siege of 1565. Under this stone, silver and bronze medals specially minted in honor of this event, as well as a sheet of parchment with a text intended for posterity, which indicates the date March 8, 1566. In the 18th century, the church was rebuilt in the Baroque style, and in 1753 a bell tower was added to it. In this form, the Cathedral of Our Lady of Victory has survived to this day.
