The most amazing thing about Malta’s churches is that almost each and every one of them is a historical and cultural haven. Apart from being places of worship that are in active use, they are architectural gems, with almost all containing artistic riches that ought to be appreciated.

The titular painting by Stefano Erardi.

Indeed, these buildings are veritable works of art. Local and foreign craftsmen, artisans and artists adorned the inside and exteriors of these churches with intricate decorations, stone sculptures and paintings depicting saints, angels and sacred symbols. Above all, these churches are a reflection of the Maltese islands’ deep religious roots.

In the Three Cities of Cottonera, one must visit Senglea’s parish church, dedicated to the Nativity of the Blessed Virgin Mary, and be fascinated by the titular statue of Maria Bambina, sculptured in wood and donated to the parish in 1618. Devotees who visit this collegiate church are very often enthralled by the facial expression of the statue of Jesus the Redeemer, for centuries a major focus of national devotion. Many are charmed by the large amount of objets d’art in this basilica, such as sculptural works in marble, stone and wood, as well as paintings.

However, Senglea’s Porto Salvo church is another gem of artistic heritage. Although its red painted dome is very evident and dominates the Grand Harbour panorama, it is often overlooked by some and downgraded by others. But this building alone offers endless fascination to people who appreciate history, architecture, art, and culture.

St Julian’s church in Senglea was constructed in 1539, and the parish church was built in 1580. Just 15 years after it was declared a parish, Senglea witnessed the building of a third church in 1596. This new church, the subject of this feature, was dedicated to the visitation of the Blessed Virgin Mary to St Elizabeth, better known as Our Lady of Porto Salvo.

Although its red painted dome is very evident and dominates the Grand Harbour panorama, it is often overlooked

This Marian devotion was introduced in Malta during the second half of the 16th century and was exlusively centred on the Grand Harbour area, namely at Valletta and Senglea. Members of the Order of St John as well as other seafaring inhabitants in the area sought the special protection of Our Lady to guide them safely in harbour after the perils they had to face in the many sea voyages they had to face, as required by the Order’s Rule or to gain their daily sustenance.

One of a set of four freco paintings (two in each trascept), by an unknown artist, showing episodes from the life of St Philip Neri.

The founder of this church, built at the farthest end of Senglea, was Don Vincenzo Caruana, Senglea’s second parish priest. A significant number of local mariners contributed towards the building, which was large enough to hold four altars, besides the main altar.

Almost 100 years later, in 1670, the church was demolished and rebuilt, in the shape of a Latin cross, under the supervision of Senglea-born architect Carlo Vella. The four altars placed in the nave, all adorned by unique sculptured front elevations, were dedicated to Our Lady of Mount Carmel, St John the Baptist, St Leonard and St Michael respectively. The main altar of the right transept was dedicated to St Philip Neri and that of the left was dedicated to St Andrew. Due to the plague of 1675-1676, it took almost until 1690 to complete the construction work.

The church, which as from 1662 was administered by the Oratorions of St Philip Neri, was consecrated by Bishop Vincenzo Labini on April 22, 1781. It is adorned with interesting works of art. The main altarpiece is an impressive work by Stefano Erardi (1630-1716) painting around 1690. Valletta-born Stefano Erardi is Malta’s most important native-born painter in the period between the second half of the 17th century and the first two decades of the 18th. He started his artistic career in an outmoded late mannerist style, possibly by studying paintings in Maltese churches and collections.

Erardi, who was held in high esteem in both government and ecclesiastical circles, benefitted from various opportunities that helped his artistic talents to flourish. Furthermore, the connections between the Order and the Church with Sicily, Naples and Rome were crucial for Erardi’s formation.

In the titular painting, Our Lady of Porto Salvo is depicted pouring her blessings upon the Grand Harbour. In the painting, she is seen accompanied by four other saints: St Paul and St Agatha, patrons of Malta, and St Elmo and St Catherine of Alexandria, protectors of mariners. Indeed, the view of the Grand Harbour portrayed in the lower half of the painting, can be actually seen from the interior of the church when its main door is open.

The scene of the Nativity of Jesus Christ by Pietro Paolo Caruana.

Going down through the nave, the first altar on the right is dedicated to Our Lady of Mount Carmel. Here, Our Lady is seen together with St Anne, St Simon Stock, an early prior general of the Carmelite religious order, St Therese of Avila, a Carmelite nun who, as a reformer in the Carmelite Order, eventually led to the establishment of the Discalced Carmelites, St Ignatius of Loyola, founder the Society of Jesus and its first superior general, and St Francis Saviour, a companion of St Ignatius of Loyola and co-founder of the Society of Jesus, being one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris, in 1534.

This painting is the work of Alessio Erardi (1669-1727). Although his works are rather stiff, it appears Alessio understood the principles of the Neapolitan artistic trends of the 17th century. He was much better than Stefano, his father and mentor, and for some time, many of his works were attributed to the former. Alessio helped in preparing the ground for the more emotional and flamboyant Baroque style that was to develop later in the 18th century.

The second altar on the right of the nave is dedicated to the mystery of the Incarnation. The pala d’altare, which shows the Nativity of Jesus Christ, is by Pietro Paolo Caruana (1793-1852). Born in Valletta, Caruana started his studies with Michele Busuttil and Giorgio Pullicin. In 1819 he was sent to Rome on a government scholarship together with Giuseppe Hyzler. In Rome, he became a pupil and a close friend of Tommaso Minardi. On October 28, 1827 he returned to Malta for good. Caruana was the first Maltese to have a lithograph machine. Apart from being the first artist in Malta to print lithographs, Caruana left his hallmark as a painter.

In the titular painting, Our Lady of Porto Salvo is depicted pouring her blessings upon the Grand Harbour

The nativity scene found in Senglea’s Porto Salvo church, considered to be one of Caruana’s best paintings, takes its inspiration from the accounts of the birth of Jesus in the gospels of St Matthew and St Luke. At the centre of the painting is the infant Jesus. Radiant light emanates from the newborn child, illuminating everything around it – a symbol of the message he brought to the world. In fact, every single figure in the painting is affected by the light from the newly-born Christ.

Perhaps the most eyecatching feature is the expression on Mary’s face: she, the new mother, is completely engrossed in her tiny son, and seems unaware of anything else. Joseph gazes at the new life, full of promise. The shepherds crowd around and angels hover overhead. While one is holding a thurible with burning incense, another holds a banner that proclaims Gloria in Excelsis Deo (Glory to God in the highest).

It is worth noting that this altar was originally dedicated to St Leonard of Noblac, patron saint of those shackled in the bonds of slavery, which was indeed a common sight for all those who earned their living either through pirateering and similar exploits or as a result of their employment as sailors on the Order’s galleys. Definitely, the altar’s dedication portayed a social insight into the hardships of Senglea’s population.

Our Lady of Mount Carmel, painted by Alessio Erardi.

The first altar on the left of the nave is dedicated to St John the Baptist. It was built by Rocco Buhagiar (c.1725-1805). Together with Antoine de Favray and Giuseppe Grech, Buhagiar is one of the best exponents of Baroque art in its final phase in Malta. After spending some time in Rome, studying under Zoboli, he settled in Valletta. Although his art lacked imagination he was more competent than his master and much more prolific. This is evident in the numerous works found in Maltese churches. Being considered the most popular painter after the death of Senglea-born Francesco Zahra, Buhagiar spent his last days living with the monks of Santa Theresa in Cospicua. There he died, in poverty, on July 10, 1805, and was buried in the crypt of the same monastery.

In this pala d’altare, Jesus, clothed in white, stands in the river Jordan while John the Baptist, clothed in red, pours baptismal water on his head. The scene illustrated by the painting includes the figure of God the Father with open arms and the dove of the Holy Spirit with its wings widely spread. Two angels are holding Jesus’ clothes.

This depiction conforms to the biblical narrative of the baptism of Jesus found in the first three Gospels. While Christ was being baptised by John the Baptist in the Jordan, “the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him. And a voice from heaven saying, ‘This is my beloved son, with whom I am well pleased’” (Matthew 3: 16-17).

The second altar on the left of the nave is dedicated to St Michael, the archangel who acts as defender of the Church, the chief opponent of Satan, and assists souls at the hour of death. The painting, a copy of the original one paintied by Mattia Preti, is of an unkown artist.

To be concluded.