The most beautiful religious buildings Valette

Guarded by two sturdy bronze cannons, it's one of the city's masterpieces, for its historical and architectural value. And if you're only going to visit once, this is the one to choose. An inscription near the side entrance, through which the knights entered, reminds us mortals of the brevity of our passage on earth: "You who walk on the dead, remember that one day you will be walked on" Built between 1575 and 1577, St. John's Co-Cathedral was designed by Gerolamo Cassar. It is his masterpiece. It was financed by Grand Master Jean l'Evesque de La Cassière and dedicated to Saint John the Baptist, patron saint of the Order. At the time, Malta's cathedral was Saint-Paul de Mdina. In 1816, under English rule, Pope Pius VII granted it the status of co-cathedral, a remarkable status given that few dioceses have two cathedrals. Consecrated on February 20, 1578, it was enriched for two centuries by each of the grand masters, who were required to make a donation on election. The exterior is sober, with a simple, symmetrical façade and Doric columns framing the entrance.

Note the three clocks on the right pediment, indicating the day, date and time. Opposite the building is a small square, guarded by a bust of Enrico Mizzi, where you'll find it pleasant to lounge under a parasol after your visit.

While the exterior appears almost austere, the interior is sumptuous and extremely ornate, having been extensively decorated by Mattia Preti at the height of the Baroque period (carved stone walls, etc.). The high, majestic vaults and the marble floor under which the knights sleep give the cathedral an atmosphere of great solemnity... In all, over 400 knightly tombs in red, white and black marble, with skeletons and coats of arms.

The workmanship of the marble, imported from Italy, most often from Carrara, is impressive in the co-cathedral. Following the work, the marble tradition is still very much alive on the island, although this material, absent from Malta, is necessarily imported. Although it is no longer possible to be buried with the great masters in St. John's Co-Cathedral, it is still possible to have a marble tombstone made in Mdina Cathedral.

Oratory Museum. The Co-Cathedral Museum houses Caravaggio's famous painting, The Beheading of St. John (1608), on display in the oratory. The ultimate work of Malta's greatest painter, it is said to be the only painting to bear the artist's signature (visible in the blood of St. John).

The museum also features 28 Flemish tapestries from the ^17th and ^18th centuries. One series illustrates the story of Christ, the others are allegories. Based on designs by Rubens and a drawing by Poussin for The Last Supper, they were once used to decorate the interior of the cathedral. Only one tapestry depicts the man who commissioned them, Grand Master Perellos Roccaful, but all bear his coat of arms. All the gifts he made to the cathedral are recorded in embroidery. The museum also houses priestly vestments and silverware, which escaped Napoleonic plunder in 1798.

To visit the Hypogeum of Ħal-Saflieni is to plunge deep into the bowels of the island, and it really is a must when visiting archaeological sites. In fact, you'll have the opportunity to visit the oldest example of a prehistoric hypogeum in the world. In Europe, it's the only known example of such a complex, dating from 4000 to 2500 B.C., and its refined architecture and state of preservation make it an essential monument to the prehistoric era. As such, it was designated a UNESCO World Heritage Site in 1980. Entering this vast underground complex is bound to move you. Like a labyrinth, the hypogeum is a necropolis made up of rooms linked by passages and staircases. The site has lost some of its charm thanks to the modern facilities that have been installed, but it remains extremely interesting nonetheless. The tour lasts around fifty minutes and includes an audiovisual experience in two rooms, followed by an automated tour of the site. Multilingual audio guides are available, allowing you to follow the entire tour in French.
The site was discovered in 1902 by workers digging a well for a house built on the site. Between 1903 and 1906, Father Magri carried out intensive excavations of the site, but died before publishing his work. Investigations resumed in 1907 under the direction of Temi Zammit. We now know that it took years to build this underground complex. It was dug into the rock over 3 storeys using simple hardstone tools, and reached 11 metres below today's street level. Built between 4,000 and 2,500 BC, it served as a resting place for probably over 7,000 people. Those buried were accompanied by their jewelry and pottery.
The oldest, upper level (4,000 BC) may originally have been a natural cave that expanded over time. The other two lower levels were entirely dug out of the rock, with the chambers connected by passages, platforms and galleries. The features of the middle level closely resemble some of the elements found in contemporary aerial megalithic complexes. This intermediate level is captivating, with murals executed in red ochre and architectural elements carved in living rock. Numerous statuettes, amulets, vases and figurines have been discovered in the hypogeum. Among these is the Sleeping Lady, on display at the National Museum of Archaeology in Valletta. This is a unique and remarkable work of art, distinct throughout the European Neolithic.
It is clear that the Ħal Saflieni Hypogeum demonstrates a relationship between the society of the living and the afterlife. "On entering the Hypogeum, in the dim light of torches that reveal the tangle of caves and galleries, as well as the strange lines of this extraordinary architecture, one retains an impression of astonishment. An air of profound mystery pervades the place, and visitors feel the need to stop and get a general view of the walls of the wasps' nest before observing each cavity and passage in detail. When you get used to the darkness, you're immediately struck by the weirdness of the architectural style". Themistocle Zammit (1864-1935).

Its distinguishing feature is that it demonstrates the evolution of building techniques that is reflected in its architecture. It was excavated between 1915 and 1919, and it is thanks to the diligence of the excavation director, Sir Temi Zammit, that a wealth of information has been recovered from this site about the Neolithic of the Maltese Islands.

Access to the site is via the curved façade of the south building. Just before the entrance are some strange round stones which may have been used at the time of construction to transport and position the megalithic blocks chosen to erect the walls of the complex. The door to this building was restored in the 1950s, when a large number of megaliths were restored thanks to a grant from the Carnegie Association. Inside are carved friezes and animal reliefs, and a large statue of which only the feet and legs remain. Originally, this statue must have been almost 3 m high, making a very dramatic impression on anyone entering the building. In another part of the room is a stone block covered with spirals and surmounted by a niche. Animal bones were found in a hollow inside this block, which, along with other animal bones found in other parts of the complex, suggests that feasting took place in these buildings in the Neolithic period.

The south building leads to another building in the center of the complex. This is the largest, built later than the others. At its entrance are large blocks that originally housed a door or screen, beyond which is a central courtyard, in the middle of which is a fireplace. Fire was certainly important in these complexes, providing warmth and light, and probably used to cook shared food. In the inner chambers are large stones covered with beautiful spiral motifs. A small chamber also features reliefs of two cows or bulls and a sow with piglets.

An opening leads to the east building, beyond which the remains of the easternmost structure can be seen. The number of buildings, their size and the total extent of the complex, together with the discovery of other Neolithic remains in the vicinity of the Tarxien prehistoric complex, clearly show that the whole area was a center of activity in the Neolithic period.

This was the order's first conventual church, before the construction of St. John's co-cathedral. It stands on the site of a church built in 1090, during the reign of Roger ^I of Sicily.

With the arrival of the Order of St. John in 1530, it was enlarged, but burned down two years later. When the knights settled in Valletta in 1571, it became the church of the Inquisitors.

The present ^17th-century building was designed by Lorenzo Gafà.

Although the building suffered during the 1939-1945 war, it has been well restored. The façade features statues of St. Paul and St. Lorenzo, while the interior features paintings by Paladini. Above the altar is Mattia Preti'sMartyrdom of St. Lawrence, the largest painting he ever did. Saint Lawrence is celebrated on August 10.

It is the first Protestant church built in Malta at the request of Queen Adelaide in 1838, and it is built on the site of the former hostel in Germany. Built under the direction of two English architects, the first of whom committed suicide as soon as structural problems arose, and completed in 1844, it can accommodate 1,500 people. Its portal with Ionic columns and its 60m spire, which contributes to the beauty of the urban profile of the capital, are particularly noteworthy.

Built in the th century, this beautiful red dome church is due to Tomasso Dingli. The towers appear in the th century.

Its current state is the consequence of three centuries of construction and evolution that make it a real work of art. It is also called "the sanctuary" and the Maltese have been on pilgrimage from all over the island.

The capital's oldest church was built in 1566 by Jean de La Valette to commemorate the victory of the Great Siege of 1565. For many years, it was the city's parish church. The façade was completely rebuilt in the ^17th century. Visible above the entrance, the bust of Pope Innocent XI was donated by Grand Master Ramon Perellos y Roccaful, to thank the pontiff for settling his dispute with the Bishop of Malta. Indeed, the bishops of Malta - who represent religious power independently of the Order - are often in conflict with the latter. Like all Maltese churches, the interior of Notre-Dame-de-la-Victoire is richly decorated with three altars, which have been undergoing renovation since 2011. For the record, Jean de La Valette was buried there after his death on August 22, 1568, and remained there for 11 years before being transferred to the co-cathedral of Saint-Jean.

This church is the church of the Catholic-Catholic community of the island. This community, which is now very small, was born in 1530 when the knights settled in Malta with 4 000 Greeks. The building was severely damaged by the bombing, but the famous icon (above the altar) fortunately survived. If you arrive at the right time, the old priest will organise a small visit (in French) and will reveal the secrets of the site.

Saint Paul is considered the spiritual father of the Maltese people, which is why this collegiate church is one of the most important in Malta. It was designed by Cassar in the 16th century and is one of the oldest in the city. It was modified by the architect Lorenzo Gafà in 1629, who added a chapel dedicated to the Blessed Sacrament. Of particular note is the gilded wooden statue of Saint Paul, which was made by Melchiorre Gafà, the brother of the architect Lorenzo. It is in fact this statue that is walked around the city on February 10th, the feast of Saint Paul. St. Paul is the patron saint of the city. In the year 60, he was shipwrecked in Malta where he stayed for three months. He succeeded in converting Governor Publius, making Malta one of the first Christian lands of the Roman Empire. The interior houses other beautiful artistic works such as the magnificent main altarpiece by Matteo Perez d'Aleccio or the altar painted by Antoine de Favray. The ceiling frescoes, which depict the saint's stay in Malta, are by Attilio Palombi. You will also appreciate the paintings of Giuseppe Cali, a Maltese painter born in the mid-19th century. You can admire the sacred objects in gold or silver, the most remarkable piece of which is an 18th century silver throne, sometimes placed next to the altar. Finally, the church houses two precious relics, the bone of Saint Paul's left wrist and a piece of the column on which he was beheaded.

Led by the Dominican brothers, it is built on the site of a th century church. Completely destroyed during the war, it was rebuilt in 1960. Saint-Dominique, celebrated on the second Sunday in August, is one of the most important celebrations of Birgu.

At the end of the esplanade stands the most visible and imposing building in Floriana: the parish church of St. Publius.It was built in honour of Publius, governor of Malta during the Roman period. The latter had been converted to Christianity by St. Paul, then a prisoner, in 60 AD. He later became the first bishop of Malta and died as a martyr in Athens. He was chosen as patron saint by the people of Floriana who decided to build a church. The first stone was laid in 1733 by Grand Master A. de Vilhena. The nave was not completed until 1792. In 1844 Floriana became a parish. Two new wings were added, as well as the columned portico in 1890. The church also has a dome and two bell towers housing six bells, the largest of which was cast in Naples. The building was severely damaged during the Second World War and was quickly restored to its original appearance thanks to an almost immediate reconstruction. Its façade is composed of a neoclassical portico topped by a triangular pediment, and a statue of Christ stands at the top of the façade. Inside there is an altarpiece by Antoine de Favray, completed by his pupil Filippo Vicenzo Pace, which relates the martyrdom of Saint Publius. Other paintings depict the shipwreck of Saint Paul and his stay on the island. You can also admire the statue of Saint Publius, dating from 1811 and work of the sculptor Vincenzo Dimech, which is carried during the annual procession.

Near the square, you can stop off at St. Joseph's Oratory, an ^18th-century chapel run by two charming pensioners. La Valette is said to have come here to pray just before the Great Siege. Here you can see his battle sword and hat. This fighting sword should not be confused with the jeweled sword offered by Philip II of Spain as a reward for his courage, now on display in the Louvre. In the oratory, you'll find a portrait of La Valette, attributed to one of Caravaggio's pupils. The master may have made a few alterations.

Still in the oratory, enthusiasts will find ex-votos, religious paintings, cherubs, crucifixes, bells, as well as candlesticks that once belonged to the Order, the flags of the various inns and letters from knights written to their mothers asking for money! You'll also be interested in a card game dating back to 1609, with which the knights played on the galleys. Very long silver scissors enabled the priest to bring plague victims to communion without having to go near them. Magnificent flags from the old inns are also on display.

Originally designed to accommodate orphans, this large building is now held by Dominican sisters.

Its exact origin is unknown. It is enlarged in 1615 and then rebuilt in 1861, when the dome is added. It is now a place of religious education for children.

It was built in 1571 by the Knights of Saint John and renovated in 1765. Despite this restoration, most of the works of art that lie inside the church date from the church of origin.

Designed by Francesco Buonamici, it was founded by the Jesuits in 1592 to teach philosophy, literature and theology. The Jesuits were expelled from the island by the great master Emmanuel Pinto de Fonseca and recalled under the English occupation. The university then became public, and medicine and surgery were also taught there. By its shape and ornaments, it reminds us of the Jesuit church in Rome, and contains many paintings and liturgical objects. Today it is the setting for the solemn ceremonies of the University of Malta.

It was built in 1598 and completed in the 17th century by the great master Gregorio Carfa, whose coat of arms adorns the façade. The side extension is designed in 1920 by the Maltese architect E. Borg. This church is one of the first in the country to have designed the interior in the Baroque style. Paintings by Mattia Preti, Pietro Galiardi and Filippo Paladini can be seen here. Its dry, classical façade blends discreetly into the major axis that is Republic Street.

In the street of the same name (part of Victory Square), this church, built in 1651, then enlarged and expanded in 1779, was severely damaged in 1940. It will be restored in 1949.

This church was originally the church of a religious school for girls opened in 1692 by a Maltese Jesuit. Orphans or girls were placed in poor families.

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