Among the many works of art that adorn the majestic temple, dedicated to God, in honour of St Lawrence, in Vittoriosa, one finds an artistic pulpit, which is a true reflection of the skills of the people of Vittoriosa, especially in carpentry. This masterpiece is one of the main attractions in this historic church located on the  waterfront.

Origin and use of the pulpit

Since ancient times, many places of worship had some form of platform from which readings were made or the congregation was addressed. The Greeks called this place ‘bema’, the Jews called it ‘bemah’ and the Muslims called it ‘minbar’ or ‘manbar’.

In the early days of Christianity, in the Christian basilicas, there was a slightly elevated place where the bishop’s chair (cathedra) was located, from where he preached, as well as the ambo, which served for reading lessons and the gospel. Over time, homilies and exhortations started to be delivered from the ambo as well.

Later, sermons began to be given from a high place called the pulpit. The word ‘pulpit’ comes from the Latin word pulpitum, which means platform. From a practical aspect, the gallery or pulpit chair was elevated so that the preacher, in a time when microphones and amplification systems did not exist, could be heard more clearly.

From a theological aspect, the fact that the chair is elevated symbolises the importance the Church gives to the interpretation of the Word of God. In fact, many believe that the pulpit is a symbol of the authority of the Word of God in a visible and tangible way. After Vatican Council II, the use of the pulpit decreased significantly, both because the ambo was reintroduced and because the council expressed a desire for the priest to be closer to the people during mass.

A new pulpit

When the apostolic administrator, Mgr Antonio Maria Buhagiar, visited the church of St Lawrence he noted that its pulpit was no longer adequate and, therefore, ordered that a new one be made. Consequently, Canon Francesco Marmarà commissioned the engineer and superintendent of the Malta Gas Works, Vittoriosa, native Giuseppe Soler, to design the new pulpit.

Under the theological direction and advice of Marmarà, Soler created a beautiful design that was well received by everyone. However, when Marmarà became aware of the cost, he was discouraged. But the dean of the chapter, Canon Antonio Pace, intervened and, thanks to him, not only was the work started but it was also completed according to Soler’s original design. No details were left out.

Master Vincenzo Vassallo, a skilled craftsman from Vittoriosa known as Ta’ Kristina, was commissioned to build the framework and general structure of the pulpit.

Other skilled craftsmen from Vittoriosa who worked on this marvellous pulpit include Alfons Maria Pace, who worked on it manually and as an assistant designer for the arabesque details; his brother, Giuseppe Pace, who meticulously worked on the inlay work; Francesco Ellul, who worked on the sculpture and assisted with the wood-cutting; Giuseppe Gonzi, who worked on the lathe work; and master

Vincenzo Serracino, who was responsible for the execution.

I must also mention three other Vittoriosa craftsmen who are, unfortunately, rarely mentioned: Rafel Fountain, Luigi Borg and Francis Cachia.

It should be noted that these three, along with Soler and masters Serracino, Alfons Maria Pace and Giuseppe Pace, worked voluntarily without any monetary compensation.

The four statues of the holy fathers and the symbols of the evangelists were cast in bronze by the De Poli foundry of Vittorio Veneto, Venice while the handrail is bronze work by Giuseppe Torpiano, who had a foundry in Valletta. Another person mentioned in the account books is a certain Giacomo Greco, who worked on un modello di creta (a clay model).

Purchasing the wood

According to the account book of the Veneranda Lampada, on November 1, 1889, correspondence was sent to Constantinople to purchase a number of Circassian walnut wood planks.

Fifteen days later, on November 16, 1889, a telegram was also sent from Malta regarding this purchase.

It appears that, with the assistance of Giuseppe Licari, who was in Constantinople, and a certain Fr Bonaventura, 30 walnut planks were purchased for the price of 30 pound sterling, 10 shillings and three pence.

As a gesture of appreciation for Licari’s assistance in the purchase and exportation of the wood to Malta, jeweller Francesco Meli was commissioned to make 10 gold cufflinks to be given to him as a gift.

It appears that the wood did not take long to arrive because, according to the account book, it was paid for on December 14, 1889 and, on December 20, 1889, master Vassallo began work on the pulpit.

Work begins

From the payments made in 1890, we note that turner Gonzi, who was the father of archbishop Michael Gonzi, and sculptor Ellul joined the project.

Between 1891 and 1892, Greco and Ellul worked on two models, possibly as samples. These were sent to the De Poli foundry in Venice in a wooden box in February 1892.

We do not know exactly which models had been sent, however, it is possible they consisted of the eagle, representing St John the Evangelist, and the statue of St Jerome. Noticing that the style of the figure of St Jerome is somewhat different from the other three adorning the pulpit, and the fact that, for many years, a copy of the eagle was part of the decorations of Canon Marmarà’s house on Santa Scholastica Street, makes this assumption more plausible.

The contract on behalf of the foundry was signed by Francesco de Poli on February 26, 1891, while Dean Canon Anton Pace signed on behalf of the Church, a few years later on March 6.

The amount due to the foundry was £86 and, according to the inscription on the statues of the holy fathers, it appears they were made in 1892.

A dream fulfilled

The pulpit took a little over four years to complete and it was inaugurated on Saturday, March 17, 1894. The following day, Canon Marmarà delivered a speech from it, in which he explained the theological symbolism that shapes the pulpit.

This work of art was praised in many newspapers of the time, including the Risorgimento of April 13, 1894, where it was described as “una brillante gemma nel tempio gia riformato da splendide decorazioni” (a brilliant gem in a temple already endowed with splendid decorations).

In the Gazzetta di Malta of March 19, 1894, we find: “Il visitatore messe il piede dentro il sacro tempio, si sente lo sguardo attratto come d’incanto a questo stupendo lavoro, e non puo fare a meno di esclamare grandioso” (when a visitor walks into the sacred temple, he is drawn as if by magic to this beautiful work and cannot but exclaim how grand it is).

A classical work

The carpentry and sculpture work, precisely crafted in Circassian walnut wood, the meticulously crafted marquetry in citron wood as well as the bronze figures and parts that shape the pulpit of St Lawrence of Vittoriosa make it one of the most beautiful on these islands.

The base of the pulpit is shaped like a 12-sided stilt and features a column that opens into four branches resting upon it. Standing on the column is the cátedra, which is round. This consists of five inlaid panels and four niches with the figures of the Church Fathers, St Gregory the Great, St Jerome, St Augustine and St John Chrysostom. On the cátedra, there are two columns of the composite order, each encircled by a citrus wood band. On these bands, the commandments of God are written in ebony wood.

In the centre of the arabesque designs, inlaid on the central panel between the columns, is the Occhio Divino. At the top, we find the Holy Spirit in the form of a dove and the bronze serpent, surrounded by branches of myrtle and palm.

The staircase of the pulpit is truly proportionate and crafted in such a way that it does not take up much space. Until World War II, there was a beautiful ivory crucifix on the cátedra, purchased from Rome by Canon Gianmaria Farrugia for the price of 30 pounds sterling and paid for by Lorenza Bosco. Since this crucifix disappeared after the war, on the initiative of Canon treasurer Lawrence Micallef, one was made in bronze.

Theological symbolism

In addition to its artistic beauty, the pulpit is rich in theological symbolism. Here is a concise explanation of its representations and symbolism.

• The base of the column is shaped like a 12-sided stilt, representing the 12 apostles on whom Christ built His Church.

• The cátedra, where the priest stands while preaching, is supported by a single column, symbolising one faith in one God.

• The gospel: The truth of faith was delivered to us through the Word of God (the Bible), especially through the four gospels. This is depicted with the symbols of the evangelists crafted in bronze, which are placed on the four branches of the column representing faith, as well as through a beautiful design on the central panel of the cátedra.

• Fathers of the Church: At the end of his gospel, St John writes: “But there are also many other things that Jesus did. Were every one of them to be written, I suppose that the world itself could not contain the books that would be written” (John 21:25). Therefore, much of the truth remained, so to speak, conserved in the treasures of the Church passed down orally from the apostles to their successors. These moral, doctrinal, disciplinary and ritual truths are called ‘Tradition’. For Tradition to remain intact and unblemished, holy and learned people were needed to record and pass on what they received from the apostles. These people, who came from both the West and the East, are called the Fathers of the Church or Church Fathers.

• Symbols of virtues: In his letter, St James says: “Faith without works is dead” (James 2:17). Therefore, the Church encourages Christians to strive to live a virtuous life. These virtues are represented on the pulpit by several symbols on the five panels forming the cátedra:

a) The panel above the door is inlaid with thorns and a cross, symbolising penance and repentance: “Unless you repent, you will all likewise perish” (Luke 13:3).

b) The panel between the door and the central one is inlaid with a branch of a tree, symbolising the kingdom of God, along with a torch symbolising the Divine Word that shines, illuminates, and ignites; “I came to cast fire on the earth, and would that it was already kindled” (Luke 12:49).

c) The central panel is inlaid with the book of the Gospel, with the sentence from St Mark: “Go into all the world and proclaim the gospel to the whole creation. Whoever believes and is baptised will be saved, but whoever does not believe will be condemned” (Mark 16:15-16). The same panel also includes the sun, symbolising the light given to us by the Word of God; the trumpet, "Their voice goes out through all the earth" (Psalm 19:4); and the sword, "The Word of God is living and active, sharper than any two-edged sword" (Hebrews 4:12).

d) The panel that comes after the central one is inlaid with an anchor and a lily. The anchor symbolises the theological virtue of hope: “Always be prepared to give an answer to everyone who asks you to give the reason for the hope that you have. But do this with gentleness and respect," (1 Peter 3:15). The lily is the symbol of purity. “You therefore must be perfect, as your heavenly Father is perfect” (Matthew 5:48).

e) The last panel is inlaid with a cross, a palm and roses. These recall a mystical harmony: from the cross to the light, from faith to love; from love to martyrdom.

• The Commandments: At the top of the cátedra, we find two columns of the composite order, each encircled by a band. On these two bands, the 10 Commandments are written in Latin. The Commandments found their place on the pulpit to remind us of Christ’s words when He said: “Do not think that I have come to abolish the Law or the Prophets; I have not come to abolish them but to fulfil them. For truly I tell you, until heaven and earth disappear, not the smallest letter, not the least stroke of a pen, will by any means disappear from the Law until everything is accomplished” (Matthew 5:17-18).

• Trinitarian symbols: In the middle of the large panel between the Commandment columns, we see the Divine Eye, a symbol of the Holy Trinity. This is set within a circle, symbolising that God is eternal, having neither beginning nor end. At the top of this panel is the Holy Spirit in the form of a dove, as if watching over and illuminating the preacher during his sermon from the pulpit. At the very top, there is a cross with a serpent, a figure of Christ: “Just as Moses lifted up the snake in the wilderness, so the Son of Man must be lifted up, that everyone who believes may have eternal life in him” (John 3:14-15).

During and after the war

When the dome of St Lawrence church collapsed in 1942, as a result of war tremors, the pulpit was miraculously left unscathed. But to prevent any damage, it was moved to the oratory of the parish church of Żebbuġ, except for the staircase that was kept in the convent of the Augustinians, in Rabat.

When the air raids ceased and the war in Malta ended, the pulpit was brought back to Vittoriosa on October 13, 1944. Since it had some damage, it was repaired and polished by master Manuel Buhagiar before being placed back in its position. When the construction of the new dome began in 1952, the pulpit was dismantled once again as a precaution. After the completion of the dome, the pulpit was reinstalled.

Restoration and conservation

In recent years, the pulpit suffered irreparable damage due to termites mainly at its lower reaches. If it were not for Archpriest Carmelo Busuttil and the Chapter, who embarked on its restoration and conservation, this masterpiece of art would probably have been lost forever.

To ensure this restoration and conservation intervention is not forgotten and out of gratitude to all those involved, here’s a list of the protagonists who worked on this ambitious project.

Masters Manuel Vassallo and Alex Gatt of Vittoriosa worked long hours over two years on its restoration and conservation, with skill and much love. Manuel was also instrumental in recreating some of the marquetry. Two others who worked on this project are the Sacco brothers, Charles and Giulio, who meticulously, as masters in carpentry, managed to recreate considerable parts in walnut wood.

Others who contributed to this extensive renovation work were craftsman Joseph Bugeja, who worked on the sculpture of the new parts, turner Lawrence Castagna and upholsterer Nicky Casha.

One should also mention the company Comtec, which took care of the fumigation of the infected woodwork; Pisani Marble Works, including its founder, the late Ronnie Pisani, who worked on the marble floor where the base of the pulpit rests; and Funderija Artistika Joseph Chetcuti of Luqa, which, together with conservator James Licari, worked on the restoration of the bronze.

Various volunteers were also involved in the pulpit’s dismantling and reassembly.

It is worth recalling that the first person to step on the newly restored pulpit on July 31, 2023, during the inauguration ceremony was Archpriest Carmelo Busuttil whose endeavours for its realisation were doubtlessly indispensable.  On the other hand, Fr Victor Paul Farrugia was the first preacher of the novena from the restored pulpit, and on the feast day of St Lawrence on August 10, 2023, Mgr Paul Carmel Vella delivered the panegyric.

Conclusion

I invite readers to admire this jewel of art and beauty during the feast of St Lawrence, which culminates on August 10.

The Vittoriosa community and all those who cherish our artistic heritage cannot but thank all those involved in this formidable restoration and conservation process, as well as the benefactors who provided financial support. Through their efforts, we can now appreciate the pulpit in all its glory, just as our forefathers did 130 years ago when it was first inaugurated.

APS Bank partly supported the restoration of the pulpit.