St John the Almoner Church is sandwiched between the Cottonera and Santa Margherita Lines, namely St John Curtain and St John the Almoner Bastion respectively. Likewise, the neighbourhood is named St John the Almoner who lived between 556 and 619, served as Bishop and Patriarch of Alexandria, and worked tirelessly to help the poor. Indeed, the Maltese appellative ‘t’għuxa’ seems to imply subsistence giving, as his charitable work is believed to have sustained many unfortunate compatriots.
Orginally, this church was planted further afar from the urban footprint of Bormla, but had to be demolished and built in its present site to make way for the Cottonera Lines. The antiquity of the old church is attested by an emblem of Antonio Vulpano, Bishop of Malta during the course of the 14th century. It was also endowed by several works of art including a large wooden statue which was at some stage relocated to the Relics Chapel at St John’s Co-Cathedral.
The extant edifice dates back to 1682, and was sponsored by Fra Pietro Vian, a facultuous member of the Order of St John. He also built an adjoining palace which was badly damaged by enemy bombing during World War II and eventually razed to the ground.
Exterior
Composition wise and proportion wise, the façade is an interesting essay in the classical idiom. This is particularly true of the pillars, entablature and triangular pediment. Furthermore, the cornice is echoed in the side walls by a stringcourse, thereby reinforcing the overall classical volumetricity. The space in between the pillars is divided in three segments, namely a central portal and flanking blank panels. The door comprises an elegant cornice, whereas the overlying wall section features a square planel and a centrally-placed 8-pointed cross. A corresponding cross sits on the summit of the pediment. St John the Almoner Church is further fronted by a modest parvis.
Interior
Having a rectangular plan, the internal volume is roofed over by a barrel vault. Its solitary altar boasted of an altarpiece and overlying sopraquadro by Mattia Preti. Presently, these are on permanent display at MUŻA, the national community art museum. As expected, the main canvas shows St John the Almoner in prelates’ vestments and handing out alimony to the poor, whereas the sopraquadro portrays God the Father holding a globe. The cornice of the altarpiece is enriched by sculpted palm fronds and a crown, and looks to have been flanked by two smaller paintings.
Milestones
14th century: building of first church in honour of St John the Almoner
1592: establishment of Tarxien Parish, which extended all the way to Santa Margherita Lines and thereby incorporated St John the Almoner Church; parish confines changed again following the completion of the Cottonera Lines
1682 building of present church and adjoining palace
1940s: infliction of heavy damage by enemy bombing and eventual clearance of remaining sections
1991, 2017: multiple restoration interventions
