Neo classic funerary monument to the last Grand Admiral, Angelo Emo by Vincenzo Dimech, erected in 1802. Emo died in Malta while on a naval campaign and his heart is conserved here while the rest of his mortal remains are conserved in Venice.
Altar of St Liborius, Bishop of Paderborn, painting by Ermenogildo Grech, 1795. The five stones are symbols of his bishopric but he is also reputed to be patron saint of those suffering from gallstones.
Czech statuette of the Infant Jesus of Prague, Protector of the unborn child. This copy of the venerated statuette at Our Lady of Victories Church in Karmelitska, Prague, was donated in 2006 by the Maltese Association of the Order of St John.
Altar of St John the Evangelist seen writing his revelations on the island of Patmos. His symbol, the eagle, is carved overhead and seraphims decorate the sides.
1912 wooden Processional Statue of Christ, the Good Shepherd. The Order of the Good Shepherd taught Christian doctrine to the children of Valletta in this church.
The high altar, erected in 1752 by the Bailiff of Majorca, Fra Gerolimo Ribas de Montelieu, whose coat of arms can be seen inlaid in the marble on either side.
Fine mannerist 16th Century painting depicting the Nativity of the Virgin held to be the painting that stood above the original altar of Victory Church.
The Byzantine Silver Icon of Our Lady of Victory, said to have been donated to the church by Grand Master Alof de Wignacourt.
Two Triptych panel fragments of St John, (left) Patron Saint of the Order of St John, and of St Paul, (right) Patron Saint of Malta.
Two early paintings on wood, St Anthony Abbot, (left) St Anthony of Padua, (right) brought to Malta from Rhodes by the Order of St John in 1530
Altar of St Philip Neri, 1648, erected after a petition to Grand Master Lascaris de Castellar, donated by the Grand Prior of Germany, Fra Philipp Wilhelm, Count of Nesselrode Reichenstein whose heraldic arms can be seen on the ledge. St Philip Neri, depicted in the painting above this altar, experienced intense spiritual revelations which were so strong they inflamed his heart. For this reason he enjoys much devotion from those who are afflicted from heart disease.
‘Our Lady and Child’ a painting donated by the Bailiff of Brandenburgh, Fra Philip Wolfgang von Guttenberg, a great devotee of the Virgin. His coat-of-arms can be seen at the bottom of the painting.
Oval paintings by followers of Francesco Zahra, depicting St Camillo de Lellis (left) and St Francis de Paola (right).
The historic crypt lies before the confessional and pulpit. This is the first burial place of Grand Master Jean Parisot de Valette who was laid to rest here after his death on the 22nd August, 1568.
Altar of St John of God erected by the Chaplain of Obedience, Fra Domenico Scerri in 1745 at the request of Grand Master Emanuel Pinto de Fonseca. St John of God was chosen as the patron of the Donats of the Order of St John who had the right to be buried in this church.
Donats are people who are associated with the Order without being full members in any of its grades. The Order’s eight-pointed cross, without the upper arm, symbolizes the Donat’s stature. See it on one of the two marble tombstones in the central aisle.
Over the sacristy door: ‘St Jerome in the Desert’, an oil painting by the school of Mattia Preti seen in the desert resisting temptation, depicted with his traditional attributes, the stone with which he beat his breast, the horn overhead signifying the voice of God.
In the two wall niches: a statue to St Philip Neri (left) and a composition of the Mater Dolorosa (right)
Traditional spiral stairs to the organ loft and the 1716 Alessio Erardi vault paintings. Please ask the Custodian for access. Pay attention as you ascend and descend.
The Treasures of the Sacristy are on display in the annexe known as the Rector’s House.
Executed in monumental baroque style by the Maltese artist Alessio Erardi between 1716 and 1718, these magnificent paintings depict episodes from the life of the Virgin. They were commissioned to the artist by Grand Master Ramon Perellos y Roccaful in continued devotion to the Blessed Virgin.
The paintings suffered neglect, damage from water infiltration and early inappropriate interventions. Conservation by the Courtauld Institute of Art, London was initiated in 2004 by the Valletta Rehabilitation Committee and since 2012 by Din l-Art Ħelwa, Malta’s National Trust. Press the restoration tab for more images.