The Story of Malta

by Maturin M. Ballou

There are between thirty and forty churches in and about Valletta, none of which merit special attention for their appointments. It would seem as though there were more than the number named, since in wandering about the town one is constantly coming upon a fresh one, whose crumbling walls, however, are anything but "fresh." Two or three of these churches were founded by Roger, when King of Sicily and Malta, and were liberally endowed by him about the beginning of the eleventh century. There is also a Jewish synagogue of modern construction, to accommodate the followers of that faith, who, although not numerous, are still represented by considerable numbers in the city. The architecture of the churches is mostly of the Renaissance, presenting each a great dome flanked by two heavy towers. Besides these churches, there are several minor chapels within the fortifications. Particular interest attaches to one of the latter, which for many years was hidden by the débris of the fallen walls of St. Elmo. The episode which makes this small chapel so specially worthy of mention forms one of the bright, chivalric pages in the too often darkened career of the Knights of St. John.

When the capture of this fort by the Turks, in the famous siege of 1565, became at last inevitable, after months of stout defense and gallant fighting, the few surviving Knights who so bravely held the position against immensely superior numbers retired to this small chapel within the fort, where they received the viaticum, solemnly embraced each other, and then, although many of them were already grievously wounded, went forth upon the ramparts to die. In the general defense of the island it was all-important,—nay, imperative—that St. Elmo should hold out as long as was possible. Every hour that it delayed the enemy was of the greatest importance. Reinforcements from Italy were anxiously expected, and the fleet which should bear them might heave in sight at any moment. The walls of St. Elmo were already honeycombed by the shot of the enemy, but the idea of surrendering to the Turks did not even enter the minds of its brave though weary defenders. The Grand Master demanded of them, if it became necessary, to die sword in hand, fighting the infidels to the last gasp. This order was literally obeyed. Communication with the other forts was entirely cut off, so that it was impossible to reinforce those who were left within the crumbling walls, but the gallant defenders managed to send word to headquarters by employing an expert native, who made his way across the harbor in the night, swimming mostly under water, so that the Grand Master was informed of their exact situation. By the same means of communication, the order was sent to them, "Hold the fort, or die fighting," in obedience to which, every Knight faithfully laid down his life!

We know of no parallel case in warfare. Indeed, there are few more heroic pages in history than those which record the gallant defense of the Maltese fort of St. Elmo, before which, not only hundreds, but many thousands of frenzied Turks, the flower of the Ottoman army, were slaughtered in vain but savage assaults upon its walls. The few chivalrous Knights who constituted the forlorn hope left to the last in the fort sold their lives to the enemy at such fearful cost, killing so many of them outright,—quarter being neither asked nor given,—as to spread consternation among the whole army of besiegers, the remnant of whom not long after withdrew from the island in despair. The frenzied recklessness of the Turks was no match for the cool, determined purpose of men who had consecrated themselves, as it were, to death.

The leader of the infidel forces, Mustafa Pasha, when surveying the scene of the last terrible conflict, and realizing that more than half of his invading army had been sacrificed before the walls of St. Elmo, is reported as having said, while looking toward the other and greater forts still held by the Knights, "If the child has required the spilling of such rivers of blood and such myriads of lives to conquer it, what sacrifice will not the parent demand before yielding?" Nothing but Mohammedan frenzy, a wild, unthinking, religious zeal, infatuation pure and simple, could have sustained this long, destructive, and fruitless siege on the part of the Turks.

St. Elmo to-day is considered to be the most perfect and the most absolutely impregnable of all the fortified points of the Maltese capital. It requires two regiments of artillery and one of infantry to man the extensive walls of this fort in war time. It was, comparatively speaking, an infant in arms, in those early days. Now it is like a full-grown giant,—a man-of-war in size and strength. Its original form was almost exactly like a star, but ample additions have somewhat changed its outlines.

Speaking of the several churches of Valletta and its environs, the remarkable dome of Musta is recalled. It covers a Pantheon-like edifice, situated in a village a league or so from the capital. The church is visible from a lofty point in the city, and was built by the labor of the poor peasantry of the neighborhood, patiently and resolutely continued through a period of thirty years. Yet, speaking of these peasants, Mr. Henry Ruggles, a late American consul to Malta, says: "They are so poor that the most opulent has not sufficient income to purchase a goat." The Musta church was originally designed by a devout and conscientious priest, who inspired his helpers by his self-devotion to the purpose which he had conceived. But he did not live to see it finished. It is curious that the dome of this village church, on a Mediterranean island, should be a widespread, lofty structure, larger than that of St. Paul's, London. The span of the latter is ten feet less than that of the former. It is a round edifice, composed of the yellow Maltese stone, and of such majestic proportions as to be very pleasing to the critical eye. The church is dedicated to the Madonna. The extreme height from the ground to its apex is about two hundred feet, the walls being very thick. The diameter of the whole is about that of its height, which are the same proportions as the Pantheon at Rome, from which many of the features are evidently copied. It has a couple of large bell towers placed at either end of a Corinthian portico which forms the main entrance, but they are rather diminutive compared with the central dome.

This, as well as all the village churches in the group, is plentifully ornamented with images and paintings, the latter mostly of a very ordinary character. Occasionally a fine one arrests the visitor's attention, and such examples are generally attributed to some famous artist; whether correctly or not, it is impossible for any one but an expert to decide. The date of these works, the proximity of Italy, and the liberality of the people in artistic decoration of the churches render quite possible the originality claimed for many of the best paintings found in Malta.

Several legends are current as to the origin of this Musta temple, but they would hardly interest the average reader, though possessing a certain emphasis and fascination when related to one standing beneath the shadow of its lofty walls. When it was decided to erect the church, for some special reason it was particularly desirable to have the new edifice occupy the same site as the ancient structure already upon the ground. The question arose as to how this should be brought about. Knowing that the new temple must be years in course of construction, it was thought best not to destroy the smaller existing church until a new place of worship was completed. To meet this exigency, the one now bearing the grand dome was built outside and over the old one, the latter remaining undisturbed during the process. The dome, it is said, was thus constructed without raising any staging around it. When the walls and all of the new temple were finished, the old church was demolished and the débris promptly removed. This was certainly a remarkable architectural achievement.

There are a dozen domes within the city walls, of less size, in view from the same point which takes in the Musta Pantheon, as it is often called. Many of the edifices to which they belong are costly structures, but they are not elegant or attractive. There are a few fine paintings in these city churches. One by Guido Reni in the church of Santa Maria, representing Santa Ursula, is highly prized, and is often visited by connoisseurs in art. It is doubtless an original. Unless one has a considerable amount of leisure time to dispose of, after a thorough inspection of the grand church of St. John, there remains little in the same line worthy of attention in Valletta. A careful study of this structure and the cathedral of Città Vecchia will doubtless satisfy the average traveler.

There are said to be two hundred churches and chapels in the group, but this is, we should think, an exaggeration. Nevertheless, it is certainly true that a few less churches and a great many more schools would redound to the well-being of the inhabitants.