The Italian legacy in St John’s co-cathedral has left a very strong impact on what can be considered one of the most beautiful cathedrals in the world.
A large number of projects within the cathedral were financed by Italy through a financial protocol that, however, had to end when Malta became a member of the European Union.
The project that mostly influenced other projects was the Cappella d’Italia, which was inaugurated 20 years ago, on December 9, 2005.
The cathedral as we see it today was so much different when we started the Valletta Rehabilitation Project in 1987. There were great structural problems.
One of the belfries was leaning forward very dangerously. Rainwater came through the roof. No restoration projects had been carried out in years. The arch windows were mostly covered up in hardboard.
Our first efforts were, therefore, structural: the façade, the balcony with broken balustrades, the false ceiling, the very old electrical systems.
One of the first things we did was the removal of an arched scaffolding on the small cornice that had been there since the last restoration project of the wall painting in the 1960s.
We stopped the removal of the tombstones to Fort St Elmo and started restoring them in situ. We stopped the hanging of the tapestries after the visit of Pope John Paul II and started a restoration project.
We also started various restoration projects with the help of Italy, including the Gloria and the main altar.
One of my proudest moments was when we brought down the Algardi bronze from the façade and made a replica of it, even though many were against this.
Of course, the most important initiative was the restoration of Caravaggio’s painting of the Beheading of St John the Baptist in Florence. But the list is endless.
As the financial protocol was winding down, we had to decide on our final projects and went for the Cappella d’Italia and the Sicilian organ in the oratory.
The project was awarded to Sante Guido Restauri that had already carried out many projects in the cathedral. Sante Guido and Giuseppe Mantella gave us excellent results. The Italian government insisted that the Istituto Centrale del Restauro of Rome be our scientific advisers but I disagreed with their proposals on the regilding as they did not want to use real gold leaf.
To back me up, I formed an international scientific committee with the best restorers from Italy and beyond. The preparatory work was extraordinary and we eventually discovered many details that we were not originally aware of.
Prior to the project, we had an intensive programme on environmental monitoring and other research. Keith Sciberras was our historical adviser, while perit Konrad Buhagiar prepared a report on the zoccolo [which we then did in all the church].
A large team worked on the project – experts in gilding, marble and wooden restoration, and painting restorers. Original gilding was maintained and new gilding was done in a traditional manner. Special scaffolding was purchased [and then donated to the St John’s Co-Cathedral Foundation which had been set up in 2001 but all major projects continued to be done by the Valletta Rehabilitation Project up to 2007].
The Cappella d’Italia project served as the blueprint for the restoration of the other chapels and nave of the cathedral. The lessons learnt during that restoration were extremely valuable.
The project was inaugurated by then prime minister, Lawrence Gonzi, and the Italian undersecretary for culture, Nicola Bono.
The restored chapel, with its immense beauty, which has remained tale quale in past 20 years, opened the way for funding for the rest of the cathedral which today is admired by everyone, locals and visitors alike.
For me, it is one of the highlights of my long career in the field. A very voluminous book, prepared mainly by Guido and his team, was also published as part of the project.
Ray Bondin was the executive coordinator of the Valletta Rehabilitation Project 1987 to 2007.
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