In this second part of this feature, we continue to examine Joseph Mallia’s five other tableaux at the Senglea basilica.

Bubonic plague periodically infected Malta. In fact, before the 19th century there had been at least four previous outbreaks – in 1592-93, 1623, 1655 and 1676. The plague broke out again between March 1813 and January 1814 in Malta, and between February and May 1814 in Gozo. The epidemic was declared officially over in September 1814.

This was a time when Malta’s Grand Harbour was the centre of a wide network of communications with many Mediterranean ports. Consequently, the harbour towns of Valletta, Senglea, Vittoriosa and Cospicua were the first to be touched by the plague, from where it spread inland. It resulted in approximately 4,500 deaths, about five per cent of the Maltese islands’ population at the time.

In Mallia’s fifth tableau, we see the Maltese islands in the dark, representing the grim and painful experiences the inhabitants endured. The plague meant death, frequently imagined as a personified force. It is here seen soaring over the island with a scythe ready to sever the last ties between the body and the soul, and to guide the deceased to the afterlife, without any concern over when or how the victim dies.

The people of Senglea, besides doing all that was humanly possible to avoid succumbing to the disease, did not fail to wholeheartedly trust in heaven’s protection. They incessantly beseeched the intercession of the Blessed Mother of God. And miraculously, while death ruled supreme and unchecked all around, contrary to all expectations, Senglea remained unscathed. In the tableau, Maria Bambina is seen looking on from the sky, showering her protection, and a ray of hope streams upon Senglea which is seen lit, in contrast with the rest of the island.

Ever since its providential arrival in Senglea, the faithful had gathered to pray in front of the Bambina and, while raising their thoughts to her, they caught sight of the merciful Mother of God, always willing to grant persistent supplications.

Recalling Senglea’s devastation during World War II.

On various occasions, the statue was at the core of special religious gatherings as well as parochial and national pilgrimages. As examples of the deep esteem and profound veneration with which it was held, suffice to just mention the two penitential pilgrimages, both held when Malta was hit by a severe drought. One was held in 1718 to the sanctuary of Our Lady known as ‘Tal-Ħlas’ in Qormi, and the other was held in 1732 to the church of Our Lady of Graces in Żabbar. In both, the Bambina was carried shoulder high all the way.

The year 1921 saw the culmination of the widespread veneration towards this statue. On account of the deep devotion with which the Bambina was revered throughout the island, the chapter, clergy and people of Senglea, led by Archpriest Giuseppe Adami, asked Pope Benedict XV to grant them the privilege to solemnly crown the statue. The rescript for this crowning was issued by the Holy See on April 25, 1920. Preparations for the unique celebration were immediately taken at hand.

The much-anticipated day was September 4, 1921. In the evening, Dom Mauro Caruana OSB, Archbishop of Malta, assisted by Auxiliary Bishop Angelo Portelli, OP, and Gozo Bishop Giovanni Maria Camilleri, OESA, solemnly placed a gold crown, studded with precious stones, on the head of this cherished miraculous effigy. This memorable event is immortalised in Mallia’s sixth tableau.

Many significant events happen throughout a city’s history, but they end up like figures written in sand, erased by the slightest of breezes, like leaves shed from trees. Not so the coronation of the Bambina. Impressive was the scene, more impressive was the enthusiasm, and much more impressive was the devotion seen at the Senglea Marina during that evening.

Miraculously, while death ruled supreme and unchecked all around, Senglea remained unscathed

In the tableau depicting the event, Mallia inserts the moment of the coronation itself in the lower right-hand corner, while along the left side, he presents the portraits of the  five central personages tied to this occasion and to the bestowal of the title of basilica to the Senglea collegiate on January 3, 1921. These are, seen from the top down: Pope Benedict XV, Cardinal Antonio Vico, prefect of the Sacred Congregation of Rites, Archbishop Dom Mauro Caruana, OSB, Archpriest Canon Joseph Adami, Dom Mauro Inguanez, OSB, and Canon Goffredo Lubrano.

Marking the solemn coronation of the statue of Maria Bambina in 1921.

Just 20 years elapsed and this blissful scene and festive experience was reversed into the tearful episode when Malta and Senglea underwent the horrendous ordeal of World War II. The war was to turn Malta once again into an island fortress. But this time, the Knights’ fortifications would provide no defence against the aerial warfare waged by the enemy.

Senglea suffered repeated heavy bombardments which devastated most of the city, including the basilica, and killed 81 of its citizens.

January 16, 1941, was the unforgettable day when the Luftwaffe blitzed HMS Illustrious, docked at the nearby Corradino. In the evening, as the smoke and dust of the battle settled, Senglea lay in ruins, stark, macabre and washed with the blood of those who became the enemy’s innocent victims; it was also bathed with the tears of survivors who lifted from amid the collapsed buildings the lifeless bodies of their loved ones. Death had struck a great blow!

The eighth of September had long been a joyful anniversary for the city. It was a day of thanksgiving, reminded each generation of their ancestors’ victories. Significantly, this special day was to mark the end of a long affliction in 1943: Fascist Italy’s unconditional surrender. Since air attacks had become rare, it was decided to bring the statue of Our Lady back to its home town. During the procession with the Bambina through the streets of war-torn Senglea, Canon Emanuel Brincat, Archpriest of Senglea, received the much welcomed message that Malta was now safe and free – one more instance manifesting Our Lady’s assistance and protection.

The final tableau focuses on the 50th anniversary celebrations of the coronation of the Bambina in 1971.

In his seventh tableau, Mallia presented all this with much attention to detail. While on the left half, he pictures Victory Street in ruins, a Luftwaffe aircraft is seen hovering over the right half, dropping two bombs with Mussolini’s and Hitler’s faces on them. However, the violence is laced with peace, manifested in a rainbow and a dove; affliction is woven with joy, expressed in the ‘V’ sign.

Seemingly hugged by the ‘V’ is the British Admiral symbolically giving the news of Italy’s surrender to Archpriest Brincat, while the procession with the Bambina (on its right) was going through Senglea’s Marina. On the left, Mallia inserts an image of the letter, dated April 15, 1942, and addressed to Lieutenant-General Sir William Dobbie, Governor of Malta, in which King George VI communicates his decision to award the George Cross to the island of Malta to “bear witness to the heroism and devotion of its people” during the siege they underwent.

A year later, on June 20, 1943, King George himself visited war-ravaged Senglea. He alighted from his car and, accompanied by Canon Brincat, went on foot together with his retinue, casting a long, sad gaze on the ruins of demolished houses of character and magnificent palaces.

In the eighth tableau, the demolished basilica is depicted rebuilt. On August 24, 1957, it was consecrated by Archbishop Michael Gonzi, and the following day, amid ecstatic joyful celebrations, the statue of Maria Bambina was transported to its new sanctuary. Thus, after a hiatus of almost 16 years, the basilica resumed normal functioning.

In 1946, due to the post-war circumstances, the 25th anniversary of the solemn crowning of the Bambina could not be properly celebrated. However, in 1971, wanting to make up for that shortfall, the people of Senglea, encouraged by their enthusiastic Archpriest Canon John Sladden, held fitting and merited celebrations.

That year was inaugurated with apt celebrations to commemorate the 50th anniversary of when Pope Benedict XV issued the decree Ad perennandam memoriam with which he adorned Senglea’s collegiate church and parish with the title and dignity of basilica.

Celebrating the rebuilding and consecration of the Senglea basilica in 1957.

Benedict XV’s image is seen just above the yellow and red stripes. An insignia of the basilica is the Umbraculum, a large, bell-shaped umbrella, made of alternating yellow and red silk stripes. These colours refer to Rome and the papacy, and signify the link between the basilica, the Holy See and the papacy; thus recalling respect and submission towards the Pope.

The culmination of the festivities held in 1971 is expressed in the ninth tableau. At the centre of the painting is a hand wearing a sleeve with the emblem of the city, implying that Senglea’s population was presenting a gold sprig to Maria Bambina. Cardinal Giacomo Lercaro, Archbishop Emeritus of Bologna (above the sleeve), presided over a solemn concelebrated mass held at the basilica on September 4, 1971, assisted by Archbishop Gonzi (portrayed wearing the biretta), and five other bishops.

Towards the end of the celebration, accompanied by Archpriest Sladden (at the bottom left), Cardinal Lercaro placed the gold sprig at the foot of the statue of Our Lady. In July 1971, the sprig was taken to Rome by Mgr Emanuel Gerada, Auxiliary Bishop of Malta (seen top right, in tondo) to be blessed by Pope Paul VI (painted on the right, next to the statue of the Bambina).

On September 5, 1971, these nine tableaux were carried shoulder-high in a défilé through the main streets of Senglea with the participation of L’Isle Adam Band and Count Roger Band, both of Rabat. Afterwards, they were displayed, appended to the balconies, in September 4 Square till the end of those memorable festivities.

Concluded. The first part of this feature was published on August 8.