The Candlemass Oratory stands next to the Infant Mary Basilica and has an intimately linked story. Indeed, a handful of years following the completion of the initial Isla Parish Church in 1581, this site started being used as a cemetery for the internment of the casualties of epidemics, particularly during the plague outbreak of 1592-3. A church in honour of St Roche, the main saintly protector against infectious diseases, was built in due course. Its titular painting showed St Roche and St Sebastian, whereas the use of the available burial plots was no longer restricted to victims of epidemics.

Likewise, the early 17th-century parochial community of Isla witnessed the establishment of the Confraternity of Onorati. Initially, its members congregated in St Julian’s Church, but within a few years their seat was moved to St Roche Church, adopted Sts Roche and Sebastian as patrons, and took over the entire graveyard. This paved the way for the demolishing of the then St Roque Church and the construction of a more spacious church in honour of the Purification of Our Lady (popularly known as Candlemass) in 1622. The new church doubled up as an Oratory for the Confraternity of the Onorati.

The Oratory’s Fabric

The enlargement project of the Parish Church and the building of the Holy Crucifix Oratory on the opposite side triggered the redevelopment of the then Candlemass Church. To this effect, the 1622 building was demolished in 1730 with the aim of crafting an adequate Oratory for the Confraternity of the Onorati. As with the Parish Church and the Holy Crucifix Oratory, the designs were entrusted to Claudio Durante, whereas master mason Francesco Zerafa and sculptor Pietro Paolo Zahra were responsible for the execution of the works.

Once completed, this Oratory complemented that of the Holy Crucifix. Its apse was demarcated by an imposing sculptural composition, whereas the pilasters serving as dividers between the bays were raised on high bases. The ceiling of the vault was decorated by intricate painted motifs, whereas the walls were embellished by fine canvases. These included Gian Nicola Buhagiar’s main altarpiece and four episodes from the life of Our Lady by Rocco Buhagiar. As expected, the lower section of the wall elevations was aligned by ornate wooden benches and cathedra for the Confraternity’s members and officials, respectively.

The Oratory was destined to share the unfortunate fate of the Parish Church. Enemy bombing razed it to the ground in 1942, and the people of Isla had no other option but to construct it anew during the aftermath of World War II. Durante’s volumetric proportions were somewhat replicated, but the respective sculptural elements were never reinstated. Furthermore, the war ordeal decimated the Confraternity of the Onorati and the original purpose of this Oratory was lost once and for all. Indeed, this was first used as a store for the street decorations of the parochial feast, and eventually repurposed as Parochial Hall.

Exterior

The present façade vaguely echoes the pre-1942 composition, even if Giuseppi Caruana and Giuseppe Mallia Milanes opted to fully integrate the extant elevation with that of the abutting Basilica. To this effect, the design is appreciably restrained. Besides, the framed portal and overlying pediment follow the composition and detailing of the Basilica’s side doors. Equally prominent is the bulky cornice and overlying belltower. The latter rests on a pilastered base characterised by three small window openings.

Milestones

1592-3: burial of plague outbreak victims and eventual construction of St Roche Church

early 17th century: handing over to the then newly founded Confraternity of Onorati

1622: demolition of St Roche Church and construction of new church in honour of the Purification of Our Lady

1730: reconstruction of Oratory

1886: also hosting the ‘Institute of Christian Education’ and the ‘Children of Mary’

1942: sustaining of heavy damages by enemy bombings

after 1945: reconstruction

1993: repurposing as Parochial Hall and restoration of several works of art salvaged from the war debris, particularly the four paintings by Rocco Buhagiar, presently kept in the Basilica Sacristy