The most beautiful religious buildings Malta

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.

A World Heritage Site, Ħaġar Qim stands on a hill overlooking the sea and the islet of Fifla, less than 2 km southwest of Qrendi. It is reached by a pleasant road, lined with oleanders, prickly pears, acacias and Pittosporum tobira, which passes over the cliff. There is a large parking lot which can be used by park visitors. A visitor center houses a small interpretation area, with information on these sites. The Ħaġar Qim site consists of a group of megalithic structures built around 5,000 years ago. It was excavated in 1839. Today, these buildings are generally referred to as temples. However, we know very little about what went on inside them. Its main building is unusual in that it has several doors facing in different directions. Archaeologists believe that the building originally had a roof. It was here that the figurine known as the Venus of Malta was discovered: a small statue measuring around twenty centimetres, with a heavy chest and narrow hips. You can admire it at the National Museum of Archaeology in Valletta. Ħaġar Qim was recently covered by a protective shelter and the contrast with the ancient stones is quite surprising... But don't be fooled by the artistic effect: the tent serves only to protect the site from the elements, helping to preserve it for future generations.

You begin your visit with the monumental façade of the complex. Concave in shape, it's made up of imposing monolithic blocks and features a monumental entrance in the middle, common to many of the island's Neolithic megalithic buildings. Once through the entrance, you'll find yourself in an inner courtyard. Note that the courtyard floor is made of megalithic flagstones. To the left of the walkway are a finely carved sculpture resembling a tree and a slab with spiral motifs. You can see the original slab with spirals at the Visitor Centre, while the other is on display at Valletta's National Museum of Archaeology.

On either side of the courtyard is a screen with a door carved from a single megalith. These doors lead into circular rooms or apses. Note how the doors are positioned so that, if you're in one room, you can't see across the corridor into the opposite room. Continuing along the path, on the right is a room that marks the solstice (first day of summer) in June. At sunrise, rays of light pass through a hole that opens onto this room and project a disk of light onto a stone slab at the entrance to the apse. Over time, the disc becomes a crescent, then elongates into an ellipse until it finally sinks out of sight as if into the ground. To the left, a space opens onto several other chambers. A group of seated stone figures was found here behind the modern steps nearby. You can see one of these statues at the Visitor Centre.
Perched atop the cliff, Ħaġar Qim offers a very pretty view of the sea. As you walk down the Mnajdra path, on your left, you'll see a commemorative plaque that recalls the memory of an English governor who was buried in the sea between this point and the islet of Filfla, as he wished.

A visit to the Hal-Saflieni Hypogeum takes you deep into the bowels of the island, and is a must when visiting archaeological sites. 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 BC, 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, enabling 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 dug entirely out of the rock, with the chambers linked 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).

Located on the Xagħra plateau, the Ġgantija archaeological complex is a UNESCO World Heritage Site. This complex is older than the pyramids of Egypt and consists of two structures built, approximately, between 3600 and 3200 B.C. They have the shape of two trefoils, one with five apses (the southern complex), the other with four (the northern complex), both enclosed by a common megalithic wall. For the most part, this monumental complex is built in locally sourced coral limestone, with a few exceptions, such as the doors and interior furnishings, which were built in softer globigerine limestone.
The southern complex comprises five rooms of unequal dimensions. In the first room, on the left as you enter, small fragments of plaster washed with red ochre were discovered on part of the wall. This indicates that the rough rocks visible today may have been covered in the past. A number of holes have been made in the original paving and although their purpose cannot be known, it is thought that they would have been used for specialized ritual activities. One of the most lavishly furnished apses still bears the remains of spiral reliefs that were elaborated to decorate the globigerine surfaces.
On both sites, most of the doors feature perforations. It is thought that these may have been used to place wooden pegs, but also, apparently, to block the entrance, if necessary. Note that the walls of the apses are not perfectly vertical, but slope slightly inwards, indicating the presence of a corbel that may have been part of the monument's framework. The sophisticated and complex architecture of this megalithic site testifies to the extraordinary level of ingenuity and creativity of the islanders in prehistoric times. Because of the monumental scale of the site, it was once attributed to the work of giants who, according to mythological tales, populated the islands in forgotten times. This is thought to be the reason for the site's name, since Ġgantija could be derived from the word giant or giantess. A visit to the archaeological park is made all the more enjoyable by a unique panorama highlighting the island's distinctive hilly relief. An interpretation center is located at the park entrance.

An impressive dome topped by a nipple, built without the aid of scaffolding, it is the pride of Maltese builders. And it's true that the Rotunda, Europe's fourth largest dome, is a pure marvel. The church, which can accommodate up to 12,000 people, took 27 years to build. Work was completed in 1871.

The people of Mosta contributed financially and physically to the building of the structure, some even offering up to 70% of their annual salary. The church was modelled on the Pantheon in Rome by architect Giorgio Grognet de Vassé, a Maltese nobleman whose bust can be seen inside. At the entrance, the olive-wood statue of Our Lady is the one carried around the village on procession days. Several of the murals are by Giuseppe Cali; the altar is by the Maltese Pasquale Buhagiar.

The gigantic dome is white, with sky-blue and gold rhombuses. Its diameter is almost 39 m. To avoid the need for scaffolding, a sort of stone spiral has been constructed, tapering in size and easily visible from the outside. The base of the spiral is 9 m wide. During the Second World War, at 4.40pm on April 9, 1942, a bomb fell on the church during mass, but failed to detonate. The episode became known as the "Mosta miracle", and a life-size reproduction of the bomb is still on display in the sacristy at the back of the church, on the left. For the festa on August 15, the feast of Our Lady of the Assumption and the national holiday, the interior of the church is covered in red hangings and the exterior is decorated with multicolored bulbs and statues.

Situated between Gharb and Ghammar, the Ta'Pinu church, with its separate bell tower rising like a minaret, dates from 1920. Behind the church, a small ^16th-century chapel was a highly venerated place of pilgrimage in the last century.

On June 22, 1883, Carmela Grima, a 45-year-old widow, heard a voice. The Virgin asked her to recite prayers for her during the three days of the Assumption feast; this miraculous message was repeated several times. According to local history, the Gozitans' prayers also prevented a plague epidemic from spreading to their island. With the influx of pilgrims, it was decided to build a larger church next to the chapel. A collection from all Gozo inhabitants enabled work to begin in 1920. The church, completed in 1931, was consecrated in 1932 by Pope Pius XI, before receiving the title of basilica.

The small miraculous chapel is integrated into the building at the back of the nave. Today, the Basilica of Ta'Pinu is a place of pilgrimage for the Maltese and Gozitans. It takes its name from a man named Pinu Gauci, who looked after the original small chapel.

It is interesting for its neo-Romanesque style: marble canopy, Byzantine cornices, mosaics, stained glass windows and Romanesque bell tower, as well as for its many souvenirs and offerings, in memory of the Virgin's miracles. Plaster legs, crutches and pins no longer needed, extraordinary newspaper articles, testimonials (from World Trade Center survivors, for example) and letters of gratitude and thanks to the Virgin adorn the walls of both wings of the church, from floor to ceiling. The whole is rather macabre, but instructive if you concentrate a little. Pope John Paul II himself came to pray in the chapel during his visit to Malta in 1990, and there are plenty of photographs to remind us of this.

Others show a monument dedicated to Ta'Pinu in Australia, the homeland of many Maltese. As for the widow Carmela Grima, she is in the process of being beatified.

A Way of the Cross has been laid out between the church and a nearby hill where a huge cross is planted.

The Carmela Grima Museum (2 Gharb Street), dedicated to the 45-year-old widow touched by the Virgin Mary's ultrasound, has reopened. It's well worth a visit, and audioguides in French are available. Visits from 9 a.m. to 4 p.m.

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.

The vertical block forming part of the entrance to the Skorba megalithic structure had been known since 1914. An exploratory excavation in 1937 revealed that the site deserved a thorough investigation, but as funds were not available at the time, this was postponed and finally carried out by David H. Trump between 1960 and 1963. The results of these excavations have proved very important for understanding the Neolithic of the Maltese islands. In addition to two megalithic structures, remains of domestic huts dating from different phases of the Neolithic were discovered. The earliest remains - an eleven-metre-long wall - date back to the Għar Dalam phase, circa 5,200 B.C. In addition, remains of domestic huts dating back to all Neolithic phases have been discovered, as well as remains dating back to the Early Bronze Age. Thus, the prehistoric sequence of the Maltese islands could be put on a solid footing. The remains associated with the Neolithic phases included sheep, goat and pig bones, as well as remains of wheat, lentils and barley. All of this provided a very interesting insight into the life of Neolithic communities.
Of the two megalithic structures, the one on the left is the older and consists of three semicircular rooms surrounding a central courtyard. The passageway to the courtyard is pierced by five holes cut into the rock. The purpose of these holes is unknown. On the step leading to the room on the right, you'll see a megalithic boulder with pitted decoration, similar to others found on other sites. The centerpiece of this structure was reused in the early Bronze Age, as materials from that period have been found here. The megalithic structure on the right was built later, and excavations revealed that a domestic hut had been removed to make room for this building.
At first glance, the prehistoric site of Skorba may appear small and unimpressive. However, the information this site has provided on the builders of the megalithic structures and their daily lives is ultimately very important. So much so that this site was inscribed on Unesco's World Heritage List in 1992, along with Ġgantija, Ħaġar Qim, Mnajdra, Ta' Ħaġrat and Tarxien. Several objects from this site are on display at Valletta's National Museum of Archaeology.

Construction of the basilica dates back to 1678, but it was subsequently severely damaged during the earthquake of 1693. Reconstruction is long, because costly. Thus the facade was completed in 1818, the wings and dome in the twentieth century. The basilica owes its decoration to Italian painters: Gian Battista Conti for the frescoes of the dome, Giuseppe Cali, as well as Mattia Preti for his Saint George and the Dragon and, finally, the sculptor Paolo Azzopardi for a representation of Saint George (1841).

Strings are available at the entrance if you have the shoulders discovered. With great luck, you can attend a mass. There are every hour at weekends!

The festival of Saint George takes place on the third Sunday in July.

The Carmelite community was established in Rabat in the 15th^century and moved to Mdina in the 1660s. The priory's cloister, designed by Lorenzo Gafà, is superb. Don't miss the baroque refectory and the reconstructed antique kitchen. Visit the church, also in Baroque style, and note its elliptical plan. It was in this church that the insurrection against the French occupiers began in 1800, just as the latter were about to seize the church's possessions and place them in Napoleon's coffers... As for the Carmelites, today they can be counted on the fingers of one hand.

It was built on the site of an old medieval chapel, damaged by the earthquake of 1693 which, from Sicily, destroyed part of the town of Mdina. The new chapel was built in 1694 according to the plans of the architect Lorenzo Gafà. This church is dedicated to Saint Agatha, one of the three patron saints of the city of Mdina, together with Saint Paul and Saint Publius. This saint is said to have found refuge on the island of Malta, while fleeing the persecutions of the Roman emperor Decius.

Located in the main square of Rabat, it is a baroque style church, designed by Francesco Buonamici and completed by Lorenzo Gafà in 1683. It was built in honour of Paul of Tarsus, who is said to have converted Malta's first Christians. From now on it is no longer included in the visit to the Wignancourt Museum and you will have to take advantage of the mass hours to notice in particular its altarpiece, by Stefano Erardi. But it is in July that she decorates herself for the holidays. The inner walls are then covered with red damask, braided with gold, the crystal chandeliers come out of their covers and all the golden statuettes of the saints are displayed on the altar. An exceptional opportunity to admire this sumptuous and seductive ensemble.

Located inside the citadel, dedicated to Our Lady of the Assumption and guarded by two cannons symbolizing the power of the Church, it was built between 1697 and 1711. When it was built, money ran out and the dome initially planned was replaced by a flat roof, with a very curious false dome painted in trompe l'oeil, made by the Sicilian master Antonio Manuele. Our Lady of the Assumption was built according to the plans of the Italian architect Lorenzo Gafà. Like that of the co-cathedral of Valletta, its floor is paved with marble tombs of bishops and priests. You will notice a Virgin who looks like a wax doll and a Christ carrying his cross. These naive paintings are executed in the purest tradition of Maltese religious paintings. The baptistery is made of onyx, a rare yet local material as it comes from Gozo. Every year, on August 15, the statue of the Virgin Mary leaves the cathedral and, carried by a dozen men, goes around Victoria. It is then that the central gate dating from 1956 is reopened (now walled up since the original gate to its right was rehabilitated during the renovation, a condition sine qua non for the inscription of the citadel to Unesco) to allow the monumental statue to pass through exceptionally. The Basilica of St. George is not to be outdone, and the two processions each carry their statue through the streets of the city. This pious competition sometimes gives rise to both comic and dramatic outbursts. One year, on the eve of the procession, the wings of the statue of St. George were stolen, and neither the wings nor the thief were found. Twenty years later, the story is still being told.

The museum. In addition to its collection of religious art, the museum displays a carriage and stones that were part of the cathedral's treasure. You can also see paintings by famous Maltese painters such as Giuseppe Hyzler and Michele Busetti, priestly vestments, as well as gold and silver objects of worship.

The ancient bells of the cathedral are displayed in a niche located in Mdina Door Street (the street that leads to the Craft Center). There are five of them, lined up neatly in order of size. A small sign indicates their date of manufacture (1639 for the oldest), the name of the person who cast them, the notes they play (D, F, A, D sharp, A sharp), their diameter (from 735 to 1,472 mm) and their weight (from 400 to 2,000 kg).

In this village, overlooking the bay of the same name, you can visit this church, which contains a beautiful painting of Giuseppe Cali, the Shipwreck of Saint Paul. At the back, in the chapel of the sanctuary of Notre-Dame, the oldest sanctuary of the island dedicated to the Virgin, the painting of the Madonna is attributed to the Evangelist Saint Luc who accompanied Saint Paul during his shipwreck in Malta. The place where the chapel is called the square of 26 May 1990, since its soil was foulé by John Paul II, came to pray. It is the oldest sanctuary on the island dedicated to the Virgin.

A small museum welcomes ex-voto and returns to the papal visit.

It is the main interest of the village. It is the largest church in Gozo and has a dome 75 m high, with an external diameter of 28 m and weighing 4,500 tons. The Gozitans, very proud of their dome, wanted it to compete with that of Mosta. Although slightly smaller in volume, it is truly imposing, and its considerable height makes it the^third largest unsupported dome in the world. Seen up close, this contemporary building (1951-1971), built in a classical style and to which a flowered alley leads, is even more impressive. The architect Joseph D'Amato and the chief mason Joseph Vella, who supervised the construction of the dome, both Maltese, were inspired by the famous Basilica of Santa Maria del Salute in Venice. Its construction was very expensive, and the villagers themselves emptied their woolen stockings to give themselves this fantasy destined to surpass the Maltese monuments. You will also notice the gigantic door of the building, which measures 10m by 5m. The floor is made of polished Carrara marble and the main altar is also carved in precious marble. In an interior museum, the church houses interesting sculptures from a former chapel. They were made by prisoner artists who, benefiting from immunity on the island of Gozo, used to thank the villagers with some original works. From the museum, an elevator allows access to the dome to enjoy panoramic views of Gozo.

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 first important church was built in 1640, at the location of a small chapel dating back to 1575, dedicated to the Conception of the Holy Virgin. At that time Msida depended on the parish of Birkirkara. The population of Msida becoming important, one decided to build a vast church between Msida and Ta'Xbiex. But finally, it is the current site that is chosen and the church was completed in 1894. Its pretty silhouette dominates the harbour.

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.