Conservation of the 'Via Crucis' cycles in Ta’ Ġieżu churches in Rabat, Valletta
The first cycle was erected at the church of Santa Maria di Gesù, in Rabat, in 1727
The Via Crucis is represented by 14 stations each depicting a significant moment of Christ’s Passion on the path to Golgotha.
Traditionally placed within churches or along pilgrimage routes, each station offers the faithful a moment to pause, reflect and pray, retracing Christ’s suffering with reverence and repentance.
In Malta, the earliest Via Crucis cycles were introduced at the Ta’ Ġieżu churches in Rabat and Valletta, two Franciscan churches that played a key role in nurturing this devotion on the island.
These cycles, more commonly referred to locally as Via Sagra, hold significant historical and artistic value, not only for their religious meaning but also for the quality of their execution by some of the most important Maltese artists of the 18th century.
These early Via Crucis cycles also illustrate the broader Franciscan mission of bringing the Passion of Christ closer to communities far from Jerusalem.
Francesca Giovagnola during the integration of the gilding using 23.75 karat gold on one of the frames of the Via Crucis at Ta’ Ġieżu, Valletta, designed by Abramo Gatt.History
The Holy Land is one of the three most important pilgrimage sites of the Christian world, and it was entrusted to the Franciscan Minors as custodians of the sacred place of Christ’s Passion in the 13th century. The Via Crucis is called the Via Dolorosa at the Holy Land.
In the 15th century, alternative pilgrimage sites of the Via Crucis were created in different parts of Europe, replacing travelling to the Holy Land, mainly because of war, financial, health and logistical reasons.
Sacri Monti were built, with sanctuaries/chapels representing Christ’s footsteps of the Passion. Locally, one can find a modern Sacro Monte near the sanctuary dedicated to the Blessed Virgin of Ta’ Pinu, in Gozo.
Along the years, representations of the Via Crucis were erected in churches in various mediums. The number of stations varied from 22, and occasionally more or less, to seven.
It was in the 18th century, by the 1720s, that the institution of the Via Crucis as we know it today was formally established and propagated by the Franciscan St Leonard of Porto Maurizio (1676-1751).
Pope Benedict XIII (1650-1730) endowed the general minister of the Franciscan Minors the privilege to erect the 14 stations of the cross within Franciscan churches. In 1731, Pope Clement XII (1652-1740) issued an order that this devotion be erected in all other churches, provided that it is erected by a Franciscan friar delegated by the general minister of the Franciscan Minors.
Each station of the Via Crucis has an indulgence attached to it, and the most important representations of the Via Crucis were the 14 wooden crosses consecrated specifically by the Franciscan Order.
In 1969, Pope Paul VI added the 15th station, the Resurrection; however, since the basis remains the 14 stations, most churches still have this number.
The devotion of the Via Crucis in Malta was introduced a year after Pope Benedict XIII had established the Via Crucis, and the first cycle was erected at the church of Santa Maria di Gesù, in Rabat, in 1727. The Valletta church of Santa Maria di Gesù received its Via Crucis in 1731.
The devotion in Malta was established by Fr Costanzo Vella with the help of Fr Venanzio Fenech. Another Via Crucis cycle was erected in 1734 at St Benedict monastery in Mdina. The cycle at the chapel of the Franciscan Capuchins, in Floriana was erected in 1742. Other Via Crucis cycles followed later towards the last quarter of the 18th century.
Gio Nicola Buhagiar (1698-1752) was one of the most prolific artists between the 1720s and 1730s. Buhagiar was commissioned for the first Via Crucis cycles to be erected at the Ta’ Ġieżu churches at Rabat (1727) and Valletta (1731).
Some stations are definitely not by Buhagiar. Stations I, II, V, VIII XIII and XIV at the Valletta Ta’ Ġieżu church are attributed to Francesco Zahra (1710-1773), one of Malta’s major local artists of the mid-18th century. After restoration, Station XII exposed another artist, Johannes Gini, dated 1738.
It is noted that the commission of a Via Crucis station created an opportunity for artists to show their capability, thereby helping the patron (the Church) in deciding on commissioning them for larger altarpieces.
The frames in Valletta were especially affected by soot – likely the result of pollution from ships in Grand Harbour
Conservation and restoration
The conservation and restoration project of the Via Crucis paintings from the Ta’ Ġieżu churches in Valletta and Rabat was entrusted to Atelier del Restauro Ltd. Both cycles date back to the 18th century, although the decorative frames were replaced in the 20th century.
Station XII painting and decorative frame at Ta' Ġieżu church in Rabat after conservation.
Station IX at Ta' Ġieżu church in Valletta after conservation.
The gilded frames of the Via Crucis at Ta’ Ġieżu, Valletta were designed by the renowned Maltese artist Abramo Gatt (1863–1944), while those at Ta’ Ġieżu, in Rabat were designed by Angelo Muscat. The restoration of the Valletta cycle was completed in February of last year while the Rabat cycle is currently undergoing treatment.
Anna Rossi during the reconstruction of the broken mouldings of the decorative frame of one of the paintings at Ta’ Ġieżu, Rabat.
Restorer Marzia Projetto during the initial cleaning tests of one of the Via Crucis paintings at Ta’ Ġieżu, Valletta.
The meticulous restoration process began with detailed documentation of each painting and frame, using methods such as UV light examination to assess their condition. This documentation formed the foundation for a comprehensive conservation plan. Subsequent steps included anoxic treatment to eliminate insect infestations, followed by cleaning tests to determine the best methods for removing oxidised varnish, overpainting and wax deposits. The cleaning phase particularly revealed brighter colours.
During the infilling of the losses in the paint layer of Station XII at Ta' Ġieżu church in Rabat.
During the pictorial integration of one of the paintings at Ta' Ġieżu church in Valletta.
Areas of paint loss within the paintings were carefully consolidated, infilled and reintegrated using conservation-grade materials, restoring both structural stability and visual coherence. A final protective coating was applied to safeguard the artworks against future deterioration.
During the gilding intervention on one of the frames, using 23.75-karat gold leaf.The decorative gilded frames were also approached with a conservative methodology, particularly to preserve the original gesso layers and any areas of intact gilding. The frames in Valletta were especially affected by soot, with those closest to the doorway showing the heaviest accumulation – likely the result of historical pollution from ships in the Grand Harbour.
Once cleaned, damaged wooden carvings were reconstructed and areas of loss were regilded using the traditional water-gilding technique. Selective application of 23.75 karat gold leaf was carried out only where necessary, blending new gilding seamlessly with the old – a challenging task that required high precision.
Guardian Rev. Clive Camilleri OFM with restorers Valentina Lupo (centre) and Anna Rossi next to the first Via Crucis station restored at Ta’ Ġieżu, Rabat.Each stage of the restoration was thoroughly documented, creating a valuable resource for future researchers and conservators.
These sacred artworks, born of Franciscan spirituality and executed by some of Malta’s most important 18th-century artists, were conserved and restored through the combined efforts of the Franciscan community, dedicated sponsors and professional conservators.
The Via Crucis will continue to speak to the faithful – not merely as historic artefacts but as living witnesses of faith.
The restorers with members of the Malta International Airport Foundation at the inauguration of the paintings at Ta’ Ġieżu, VallettaAcknowledgements
The restoration of the Via Crucis at Ta’ Ġieżu in Valletta was an initiative of the Guardian, Rev. Ramon Farrugia OFM, and was generously sponsored by the Malta Airport Foundation. The Via Crucis at Ta’ Ġieżu in Rabat is an initiative of the Guardian, Rev. Clive Camilleri OFM, and is partly sponsored by the Good Causes Fund, with additional funds provided by the faithful.
Valentina Lupo
Georgina PaviaGeorgina Pavia is an art historian and her research forms part of her thesis titled The artistic development of the Via Crucis in Maltese parishes. Valentina Lupo is a conservator-restorer and director of Atelier del Restauro Ltd.