Ta’ Liesse. Malta’s Waterfront Shrine for Mariners 
Edited by Giovanni Bonello, Miller Distributors Ltd, Malta 2020.

The small church dedicated to Our Lady of Liesse, situated on the left-hand side going up the slope that leads to the Del Monte or Victoria Gate, is very often ignored and tends to go unnoticed. The locals rarely visit it and tourists never do unless they have some specific interest in the church that was the official church of the French langue.

And yet, as this lush book makes abundantly clear, it has a fascinating history of its own. Ta’ Liesse. Malta’s Waterfront Shrine for Mariners is lush not only for its pictures where Daniel Cilia has once again showed his mastery of his art.

Though the photography is the first aspect that catches and dazzles the eye, the book includes 10 essays written by some of our foremost authorities (and one foreign author) that delve deep into the various elements making  this church a small gem crying to be discovered.

The devotion to Our Lady under the appellation of Liesse (French for ‘joy’) goes back to early medieval times when four French Hospitaller knights were allegedly released from captivity in Egypt and miraculously transported to their native Picardy in their sleep accompanied by a statue of Our Lady which had been crafted by angels.

In France, the cult originated from the veneration of a black Madonna in Liesse-Notre-Dame, a town in Picardy, north-east of Paris. The story behind the sanctuary and its widespread devotion is dealt with at length in an informative essay by Carmen Depasquale which describes the lasting and widespread devotion which is to be found in countries with a French heritage, including Canada. One of the ex-votos in the church is a model of a warship donated by a knight of Malta whose life had been saved by the intercession of Our Lady. Originally erected in 1620, the church in Malta lay close to the waterfront, where the first and last church travellers coming to or leaving the island would meet. It retained its importance even among the harbour employees, even after the centre of operations in the Grand Harbour moved deeper nearer Marsa. Today it is the seat of the Apostleship of the Sea and the priest’s residence next to it has been turned into a hostel for needy mariners.

Nicholas Joseph Doublet discusses the development of the cult by the Order in Malta which was obviously closely connected with its French brethren. The church holds a small statue of the Virgin and Child which is traditionally believed to be a copy of the original one destroyed during the French Revolution as well as a fine altarpiece by Enrico Arnaud. The Order celebrated the feast on two different days in May and in July respectively.

Giovanni Bonello, the editor of the book, again opens his treasure chest of information to share with us the history of the two churches built on the site. The first is said to have been built in 1620 and was paid for by the Picard Grand Master Alof de Wignacourt’s nephew while the second, and present one, was erected in 1740. This last is one building that can, on Bonello’s research, be definitely assigned to Andrea Belli (1703–72) who took over after the entrepreneur Clemente Zahra ran into difficulties. Belli was paid 40 gold zecchini.

The church suffered extensive bomb damage on April 19, 1941, and the façade was unfortunately rebuilt with pedestrian alterations. The addition of some aluminium fittings has not added to its charm.

Thomas Freller delves into the church’s history using various travellers’ accounts. In it was buried the heart of the prince of Beaujolais whose monument graces St John’s. References to the church abound, even though most of them are but short accounts, especially since its position made it impossible to miss for all who came to the island.

A well-researched essay by Christian Mifsud and Mevrick Spiteri throws new light on the changing of the topography and history of the wharf area beneath the church which was the heart of maritime trade of the new city. The opening of the tunnel by Grand Master Lascaris in 1642 further increased the importance of this side of the harbour for Valletta and with it the relevance of Ta’ Liesse church for harbour employees and users.

Ta’ Liesse church on the main Marina road leading to Valletta. Victoria Gate, which replaced Porta del Monte, is on the right.

The 18th century saw further extensive development and utilisation of the harbour which was greatly transformed following the growing commercial importance of the island.

The paintings of the Liesse legend cycle in Malta and beyond are discussed by Theresa Vella.  One of the earliest cycles is a wood engraving dating to the end of the 16th century. The earliest-known local surviving cycle is to be found in the corridor leading to the grand master’s bedroom in the palace in Valletta. Six episodes are also embroidered on a set of vestments presented by Grand Master Lascaris to St John’s. Other cycles, to be found in convents, churches, and private collections, attest to the local popularity of the cult.

Roger de Gaetano, on the other hand, writes about drawings of the legend, especially some fine sketches by Mattia Preti and others by Stefano Erardi from the Wignacourt Museum in Rabat.

The titular altarpiece by Enrico Arnaud (1692–1764) is the subject of Amy Sciberras’s essay which covers interesting details about its conservation and restoration which has done it full credit. Well-meaning past attempts were not always well advised. Sciberras herself was closely connected with the work done on the work of art. Cilia’s before-and-after pictures make it much easier to appreciate the extent of the restorer’s precious interventions.

Eric Fenech Sevasta discusses one of the paintings in the church: St Maurus Healing a Sick Child, signed and dated 1623 by Giulio Cassarino (1588–1637). The identity of Cassarino is slowly emerging from the artistic shadows but much remains unknown and much of the present information may one day change. This painting needs extensive restoration as well, which may make its qualities more visible.

Even the five bells of the church get their due mention in an essay by Kenneth Cauchi. The oldest surviving bell dates to 1810.  The bells form no particular musical chord but still ‘form a pleasant peal when rung simultaneously’.

There is still another worthy aspect to this publication. The publishers have most generously offered all their services of sales and distribution free of charge so that all the money derived from its sale will go to the church preservation fund.