Among the most important duties of a museum are caring for its collections, making it available to the public, and studying and interpreting it in accordance with the highest standards. The conservation and study of the St John’s Triumph of the Eucharist tapestry set will be the highlight of the St John’s Co-Cathedral Foundation’s refurbishment and extension of the museum at the cathedral.

Apart from their overwhelming beauty, the story that eventually led to this tapestry set being woven for Malta renders them even more precious than simply aesthetic appeal.

The fascinating story started in 1622, when Isabella, Infanta of Spain and Sovereign of the Southern Netherlands, got together with her renowned artist and court painter, Peter Paul Rubens, to design a set of tapestries that would express the triumph of the Eucharist as an instrument to counter the onslaught of the Reformation. They were ordered for her favourite convent, the Descalzas Reales in Madrid.

The Triumph of the Catholic Church tapestry, measuring six by 6.65 metres.

The cycle of the Triumph of the Eucharist that Rubens designed was by far the most important and influential series of religious tapestries made in the Southern Netherlands. St John’s Co-Cathedral’s set of tapestries based on this series is a result of this influence. Few images were more extraordinary and instrumental in changing the realism of the early baroque artistic expression to one of exuberance and luxury.

More than half a century later, on his election in 1697 as Grand Master of the Order of the Knights of St John in Malta, Spanish knight Ramon Perellos y Roccaful conceived a plan to commission a full set of tapestries based on the same theme, as a gift to the conventual church of St John (now known as St John’s Co-Cathedral). It is the largest series of tapestries, consisting of 750 square metres woven out of wool and pure silk in the late 17th century, and one of the most impressive sets in the world. The ensemble was woven in Brussels, having been commissioned to Judocus de Vos, one of the leading weaving houses in the city.

The gift occurred because the statute of the Order dictated that on their appointment, newly-elected Grand Masters were bound to donate a gift, called a gioia, to the conventual church of the Order within the first five years of their magisterial position.

It is the largest series of tapestries, consisting of 750 square metres woven out of wool and pure silk in the late 17th century, and one of the most impressive sets in the world

Several grand masters gifted St John’s Co-Cathedral with artefacts of outstanding value. It is, however, the gift of Perellos which had the most significant effect on the magnificence that the Order bestowed on the church in the honour of God.

The St John’s tapestry set consists of 29 pieces made up of the series of allegories depicting the Triumph of the Eucharist and other scenes from the life of Christ chosen from among the major artistic feats of Rubens.

A tapestry under restoration.

Tapestries depicting Grand Master Perellos, the apostles, Jesus Christ and the Virgin Mary complete the set. They immediately display Rubens’s recognisable key characteristics – kaleidoscopes of ruby red satins, opulent gold brocades and sparkling sapphire blue skies.

The action-packed scenes have his signature whirlwind of twisting bodies and luxuriously plump females. They capture the force of expression and dramatic spirit of this great Antwerp artist. The overwhelming dimensions and the splendid character of the designs based on cartoons prepared by Rubens is recognised as one of the most spectacular interpretations of baroque art.

Tapestries being checked for repairs.

More significant to the Malta context is that the issue of the Eucharist remained important enough for Perellos, soon after his election, to commission a set of tapestries with a Eucharist theme to adorn the Knights’ conventual church. Like the Descalzas series they were hung during the feast of Corpus Christ and that of St John.

At the entrance, the full-length portrait of the Grand Master was displayed, the design of which he had taken a personal interest in. This is well documented in his correspondence with the general agent of the Order, Fra Charles de Fourneau, in Brussels between October 1699 and 1700.

The tapestries reached Malta in 1702 and were received with great majesty. The set was dazzling with its beauty as it lined the entire nave of the church.

Damage sustained by a tapestry, including loss of threads and open seams.

But time plays havoc with most things. After 300 years of use the tapestries showed signs of lost silk threads, damage caused by UV rays, and open seams resulting from distress caused by handling.

Remarkably, the colours retained their original brilliance and they defied the dangers of perishing, especially when taking into consideration their delicate nature, being woven out of wool and pure silk.

The action-packed scenes have Rubens’ signature whirlwind of twisting bodies and luxuriously plump females. They capture the force of expression and dramatic spirit of this great Antwerp artist

The foundation started a restoration programme in 2006 that will now ensure the tapestries’ survival. They are being restored in Belgium by the De Wit Restoration Laboratories.

The technical restoration being used is specific to ensure the conservation of the delicate fabric. Apart from cleaning the tapestries, losses and open seams are reinforced and lined is such a way that strengthens and supports the magnificent weavings so that they can hang again.

A tapestry depicting the portrait of Grand Master Ramon Perellos y Roccaful.

The avid promotion of the Eucharist turned out to be a symbolic reflection of the importance given by ruling religious monarchs to their Catholic values and right to rule. From the Middle Ages until the late 18th century, the courts of Europe lavished vast expenditure on tapestries made in precious materials, after designs by the leading artists of the day. Ostentatious gifts were powerful statements of those rights.

Yet, the art history establishment continued to misrepresent this medium as a decorative art of lesser importance. The display of the newly restored tapestries will change this perception, demonstrating that tapestry remained among the most prestigious figurative media throughout the 17th and early 18th centuries, prized by the wealthy for its artistry, and as a propaganda tool.

The awareness of the value of the St John’s Eucharist tapestry set makes it a national duty that the tapestries are cared for, studied and interpreted with the highest standards and made available to the public. Exhibited together as a set and as intended will be a unique experience.

To reach this objective, the restored tapestries will be conserved in a chamber on the first floor of the museum extension with the correct conservation environment. To preserve the tapestries they must not be subjected to natural light that contains UV rays, which harm the delicate silk threads of the woven tapestries; so the chamber will not have any windows or apertures to the outdoors.

The chamber will be reached by a staircase that will lead directly into its interior where visitors will be able to enjoy, not only the tapestries’ beauty, but be enlightened about the art of the 17th century, which was the art form that shaped Malta’s artistic heritage and engrained the baroque in many aspect of Maltese culture.

(Concluded)

Cynthia de Giorgio is the curator and museum project leader of St John’s Co-Cathedral.