A new project titled ‘The New Light: Illuminating the Sacred’ has been launched at St John’s Co-Cathedral, introducing a state-of-the-art lighting system that brings out the beauty of its artworks while cutting energy use by more than half − a major stride towards greater sustainability and lower costs. A fitting investment in this island’s remarkable gem.
This set me thinking. Today, we take electric lighting for granted but, in its early days, this church was illuminated only by daylight from its windows and the soft glow of candles. Natural light was far from sufficient. Artist Mattia Preti once proposed enlarging the oval windows high along the vault to let in more light but his suggestion was ultimately rejected. His other suggestion to enlarge the façade window over the balcony, was, however, accepted.
When St John’s was built, glass windowpanes were not yet in use. Instead, openings were covered with oilskin, thick parchment or translucent cloth waterproofed with wax or oil, known as tela incerata. It is quite likely that St John’s was the first church in Malta to eventually feature glass windows.
When the German traveller Michael Heberer von Bretten arrived in Malta in 1588, he recorded a small but dazzling innovation that had just reached the island: glass windowpanes. Introduced the previous year by his friend Fra Philibert de Chamesson, who had them shipped from France for his Maltese palace, the transparent windows quickly became the talk of the town. Their clarity and brilliance were unlike anything locals had seen before.
So captivated was Grand master Verdalle (Verdala) by this new marvel that he personally commissioned a magnificent window for St John’s Co-Cathedral, complete with his own coat of arms, crafted by the same French glazier. Before long, glass panes spread rapidly across Malta. No one knows exactly where that first window at St John’s was placed but one can imagine the wonder it inspired as sunlight streamed through it for the first time.
Before the arrival of glass windowpanes, St John’s Co-Cathedral was shrouded in semi-darkness. To brighten its vast interior, hundreds of candles were lit each day and countless more during feast days and solemn ceremonies. One of the church’s key attendants was the candelaro, whose sole responsibility was to manage this precious source of light. Imagine the sheer number of candles that had to be maintained, replaced and relit daily. Nothing went to waste: the stubs and remnants were gathered, melted down and reshaped into new ones.
Today, we think of candles as decorative or atmospheric but in those days they were indispensable. If the candelaro ever failed in his duties, he was in serious trouble − and quite rightly so!
The introduction of electricity in all St John’s in 1921 has made us forget the vital role of the meek candle in the appreciation of art and beauty
The cost of the thousands of candles consumed each year at St John’s Co-Cathedral must have been considerable. Fortunately, there were generous souls who ensured the church would never be left in the dark. One such benefactor was Cesare Passalaqua, a former clerk of the Common Treasury who lived at 248–254, St Ursula Street, Valletta. A devoted supporter of the Order, Passalaqua had already donated much of his property during his lifetime. Then, in 1682, he went even further − gifting additional estates worth 20,000 scudi, which generated an annual rent of 600 scudi.
In his will, he decreed that these properties could never be sold and that the income should forever fund the purchase of candles and incense for St John’s. Passalaqua died in 1683 but his generosity continued to cast its light within St John’s for generations to come.
In 1637, the Castellano Maradas donated over 5,000 scudi, a large sum indeed, to set up a foundation for the supply of candles.
St John’s Co-Cathedral was the crowning glory of the Order of St John. Grand masters and knights vied to donate dazzling works of art, while others contributed generously to keep the church running; its upkeep was no small expense. A large share of the Order’s annual budget flowed into this sacred space.
Yet imagine, for a moment, St John’s without enough candles − the golden altars, intricate carvings and priceless paintings would have been swallowed by shadow, their brilliance hidden from view. It was the soft, flickering glow of countless candles that brought these masterpieces to life, illuminating both the art and the devotion of those who worshipped there.
A document of 1771-1773 states that the candelaro was nominated by the gran commendatore or his lieutenant and approved by the grand master himself. At that time, he received from the Passalacqua Foundation 586 white candles a year. Over and above this, the Common Treasury provided another 210 yellow candles. He also received separate payments every year for different tasks, for example, he received 52 scudi from the Langue of Italy to light six candles on the altar of St Catherine in the chapel of the Langue of Italy on certain feasts.
It was also his duty to provide candles to particular priests, deacons and sub-deacons on certain days, large candles for funerals of members of the Order, priors and grand crosses and small candles for daily masses and so on. A whole list of detailed duties.
The number of candles required for holy masses differed by time depending on the number of masses celebrated. We know that in 1579 there were 20 priests dedicated to the cult in St John’s. Subsequently, in 1698 there were at least 40 masses celebrated every day.
All this reminds me of the nobility of the meek and humble. The modest candle is the hero who saves giants. Without the candle’s contribution and self-denial by giving its very life, the beauty and greatness of the art in this sacred place would have been reduced to victims of the dark. The works of Caravaggio, Preti, Algardi, Favray, Ferri and Mazzuoli would have disappeared in obscurity.
The introduction of electricity in all St John’s in 1921 has made us forget the vital role of the meek candle in the appreciation of art and beauty.
