In the introduction of a new book about Gozo’s Golden Basilica, editor Fr. Charles Cini SDB observes, “Why the Basilica of St George? This is no ordinary church. It brings together artistic treasures and a unique ambiance conducive to both spirituality and creativity. We wanted to take a classical approach, and allow our subjects to speak for themselves, directly and indirectly.”
Fr. Charles had been dreaming for several years about producing a book about his parochial church. Last year, soon after the successful production the book A Temple to Our Lady, Ta’ Pinu Basilica, Fr. Charles approached Archpriest Pawl Cordina and proposed a similar book about St George’s Basilica through the publishing arm of the Salesians of Don Bosco (Malta).
The idea was received enthusiastically and photographer Daniel Cilia started covering the activities during the July Feast of St George, in Rabat. Throughout the last 12 months Cilia photographed the paintings, treasure, sculpture and architecturally the Basilica itself, and also covered assiduously the Holy Week ceremonies.
It was decided to divide the book in four main chapters, History, Art, Holy Week, and the Feast of St George. Four expert authors, all from the parish of St George, were approached to write in the book.
Paul George Pisani wrote the history chapter, Mark Sagona the art chapter, Godwin Vella covered the Holy Week, whilst the feast chapter was penned by Marion Zammit.
For the history chapter Pisani researched through many books, manuscripts and old notarial deeds to uncover new information about the history of the church. Besides reproductions of some of the actual plans for the church extensions between 1906 and 1940, old photographs of the church were then used to illustrate the text.
In his chapter dedicated to the art treasures of the church, Mark Sagona discusses the most important works of art in the collection of St George’s Basilica within their artistic and historical context, in a way that makes the reader understand the relevance of the work under discussion. Although many paintings are well-known, the section includes a number of new attributions. It also features a number of works which have never been published. The chapter also takes into consideration, for the very first time, the works of silver and other items of church furniture and liturgical objets d’arts. Sagona adds that his chapter is only a summary of an exhaustive subject. Hopefully in the near future, once the new Basilica Museum opens up, there might be an opportunity to produce a specific tome on the many art objects of the Basilica.
The Good Friday procession of the Basilica is one of the oldest of Malta and the first one of Gozo. It is still observed in its traditional unostentatious, if somewhat solemn appearance. Vella covers the subject writing about the background story of the cult behind Holy Week after the Council of Trent (1545-63) and the introduction to Gozo of the Holy Week activities by St George’s parish.
The highlights of the year are definitely the festi of St George because the Basilica celebrates its patron saint twice: on 23 April, the liturgical feast of St George, and on the main feast during the third week of July. Zammit talks about the background history of the feast and the musical legacy associated with the said feast. The chapter is enriched with a photo essay by Cilia of the highlights of the festa week.
All in all, the book is a valid confirmation of what a small parish on a small island can achieve with the hard work and sincere dedication of its parishioners towards their mother church and patron saint. St George, the Golden Basilica is a testimony of these accomplishments.
The 31 x 22 cm, 192 pages hardbound book is in full colour and printed in Italy. It has more than 320 photographs and can be obtained at a prepublication price of €35 from the Basilica during the festa week.