General Information
Welcome to the Augustinian priory dedicated to St Mark. This dedication stems from the fact that the chapel which stood here before the construction of the church, located adjacent to this priory, was dedicated to St Mark.
Saint Augustine and the Augustinian Friars
Saint Augustine of Hippo (345–430) was a bishop and monk who lived in North Africa during the early days of the Church. He remains renowned for the wisdom found in his writings, as well as for the holy life he led. The Order of Saint Augustine, the Augustinians, was established under the auspices of Pope Innocent IV in 1244. The first Augustinians to arrive in Malta came from Sicily around the year 1383. Their first priory was situated right here in Rabat, outside the bastions of Mdina.
The Augustinians in Rabat
The early Augustinians sought to establish themselves close to the old capital city, Mdina. It is a confirmed fact that they lost their priory and all their possessions during the Turkish siege of 1429. They built their second priory ‘a stone’s throw from the walls of Mdina’. This priory was demolished by the Maltese in July 1551 amidst the threat of another Turkish siege of Malta; because the priory was too close to the city walls, there was a fear that the Turks might use it for military purposes to attack Mdina.
On 28 August 1555, the Cathedral Chapter granted this land, where we stand today, to the Augustinian friars. The site included a small chapel dedicated to Saint Mark and a few ruined houses adjacent to it. They oversaw the construction of the church that still stands today, as well as what became the third Augustinian priory in Rabat. They commissioned Girolamo Cassar (c.1520–c.1592) to prepare the plans for the church, which still stands today, as well as for what became the third Augustinian priory in Rabat.
The fourth Augustinian priory in Rabat
In 1739, the need arose for a larger priory to better serve the requirements of the Augustinian community. During the convent chapter held on 15th March 1739, the decision was taken to demolish the third priory building and reconstruct it. Construction began on 26th August 1740, and the foundation stone was laid on 5th October 1740. The architect behind the structure was the Maltese-born Andrea Belli.
The building is a magnificent example of the Maltese Baroque style. Over time, it was accorded the title of conventus maior (major convent) and described as a domus celeberrima (highly renowned house) for the observance of religious life. Its motto is vetustior glorior (I boast of greater antiquity), as its age bears witness to its glory throughout the ages.
The Benefactor
Grand Master Manuel Pinto da Fonseca (1681–1773) was a benefactor for the construction of this priory.
The Cloister
In medieval monastic architecture, great importance was placed on areas of the monastery that fostered a spirit of recollection and contemplation among the monks. The cloister, the central space around which the entire building is arranged, serves this very purpose.
Thus, the cloister offers not only practical benefits, such as air and light, space for planting fruit trees and vegetables, and necessary water wells, but also a setting for spiritual recollection. Here, the religious can withdraw into silence and tranquillity, occasionally accompanied by the singing of birds.
At the centre of the cloister stands the wellhead, crafted from limestone. The Augustinian coat of arms atop it serves as a reminder to both the religious and the visitor that the search for God is the true rest for the human heart, and that Christ is the source of living water.
The Museum
Among the various artworks housed in the Museum, the panels forming a polyptych (a painting divided into several sections) stand out. This polyptych consists of five panels, though one of them is lost. The central panel depicts the Madonna of Grace, seated on a throne and nursing the infant Jesus. The other panels feature images of Saint Paul, Saint Augustine, and Saint Catherine of Alexandria, traditionally regarded as the patroness of studies within the Augustinian Order. Painted on wood, this polyptych is considered a work of high artistic merit. It is believed to be of Sicilian origin, created around the year 1400.
The Refectory
The refectory is the place where the community gathers daily; here, the brethren share their meals, the fruits of God’s providence and their own labour. At the centre of the refectory stands a lectern from which daily readings were delivered during meals. As Saint Augustine indicates in the Rule he wrote for his religious community, just as the body requires food, so too must the ears receive the Word of God; thus, while the body is nourished, the soul is also sustained.
Fasting and abstinence, observed on numerous days throughout the year, serve to train the spirit in spiritual discipline.
Scala Regia
The main staircase leading to the upper floor is one of the finest on the islands Malta. At its base stands a stone statue of Saint Augustine of Hippo, clad in the Augustinian habit, complete with the girdle (cincture) worn by the friars as a sign of their consecration. On the ceiling above the statue, one finds various symbols associated with Saint Augustine as a doctor (teacher) and shepherd of the Church. In the early 20th century, the staircase was clad in marble and inscribed with texts; the intention was that, as the religious friar ascended to the upper floor and read the inscriptions along the way, he would be reminded of the Christian virtues that elevate the soul towards contemplation and a blessed life in God.
The Porter’s Lodge
Here, we find ourselves between two doors: the outer door and the inner door. The porter’s lodge is the space separating ‘outside’ from ‘inside’, the external world from the inner reality known as the clausura (cloister), the enclosed area reserved for members of the religious community.
One of the friars, usually a lay brother, would serve as the porter; he was responsible for welcoming those who knocked at the priory door, summoning the person the visitor wished to speak with, or relaying messages. Today, the original coat of arms of Grand Master Pinto can be seen here, alongside a copy of the polyptych housed in the priory museum.
Augustinian Cloister Foundation
The Augustinian Cloister Foundation was established to promote the heritage of this unique building and to foster dialogue with society. It organizes various activities and concerts held in both the priory and the church.
The Façade
The priory’s façade is dominated by a central portico and the balcony above it. This grand entrance signifies an equally warm welcome, reflecting the spirituality of Saint Augustine. Beneath the balcony, we find representations of the virtues of Charity (the figure with the cornucopia) and Justice (the figure with the sword), offering a vision of Augustinian Christian life. Between them lies the coat of arms of Grand Master Pinto, a benefactor who supported the construction of this priory. Above the balcony doorway, we find the coat of arms of the Augustinian Order: a burning, pierced heart, symbolizing the fire of love that consumed Saint Augustine’s heart upon his conversion, when it was pierced by the Word of God.
General Information
Welcome to this church, dedicated to Saint Mark. Prior to this church there was a chapel, also dedicated to Saint Mark. In 1555, the land upon which the church stands was granted to the Augustinian friars. They oversaw the construction of this church and what was to become their third priory in Rabat.
Church of Saint Mark
The architect of this church was the Maltese Ġlormu Cassar (c.1520–c.1592). He was the architect for the Order of Saint John and oversaw much of the construction of Valletta from 1566 onwards. The foundation stone of this Renaissance-style church was laid in 1556, though construction appears to have taken place between 1571 and 1588.
This building served as a prototype for another important church designed by Ġlormu Cassar: Saint John’s Co-Cathedral in Valletta. This influence is evident in the proportions, layout, and architectural elements. Over time, the interior was decorated in the Baroque style. The church façade was rebuilt following the earthquake of 1693.
General Overview
The building consists of a nave with a barrel vault and six large side chapels. The central ceiling design features an eagle, the symbol of Saint Augustine, and two dates: 1588 (when construction was completed) and 1957 (when the stucco ceiling decoration was executed based on a design by Ġużeppi Galea). The church currently houses a high altar, a choir altar, and six side altars.
The Organ
The organ gallery is situated above the church’s main entrance. The organ was installed by the Italian firm Mascioni in 1959. Beneath the gallery lies a niche containing the statue of the Augustinian Saint Nicholas of Tolentino (1245–1305), patron of holy souls. He is recognizable by the star on his chest and the lily he holds in his hand. The head and hands, made of wood, are attributed to the artist Melchiorre Gafà (1636–1667) from Birgu, while the body was crafted from papier-mâché by the Gozitan statuary Wistin Camilleri (1885–1979) in 1914.
In the other niche stands a statue of Saint Augustine (345–430), work of Charles Micallef in 2006. It is displayed here temporarily, as its permanent location is in the chapel at the upper floor of the priory.
The Side Chaples
The church is flanked by six chapels, each featuring an altar dedicated to a specific saint.
The first chapel on the right is dedicated to Saint Jerome (347–420), who, like Saint Augustine, lived during the early days of the Church; he is renowned for translating the Holy Scriptures from their original languages into Latin. The painting, which depicts Saint Jerome praying in the desert, dates back to the early 17th century.
The first chapel on the left is dedicated to the Holy Spirit. This space formerly housed the old chapel dedicated to Saint Mark, which had been granted to the Augustinian friars. The painting found in this chapel, created in 1719 by the Maltese artist Alessio Erardi (1669–1727), depicts the Descent of the Holy Spirit upon the Apostles on Pentecost. In the niche stands a papier-mâché statue of the Risen Christ, the work of the Tarxien-born sculptor Renzo Gauci (1959–2018), dating to 2006.
The second chapel on the right is dedicated to the Augustinian saint John of Sahagún, Spain (1430–1479). The painting shows the saint displaying Eucharistic symbols; Saint William and Saint Barbara are also depicted. This painting is attributed to Mattia Preti and bottega (his workshop).
The second chapel on the left is dedicated to the Augustinian saint Nicholas of Tolentino (1245–1305). The painting depicts the Blessed Virgin Mary handing a small loaf of bread to Saint Nicholas while he was suffering from an illness; through this, he regained his health. Consequently, the tradition of blessing Saint Nicholas’s small loaves has endured. In this chapel, we also see the statue of Our Lady of the Girdle (Madonna taċ-Ċintura), a work created by the sculptor Ġużeppi Cilia in 1913. In 1953, the sculptor Ġlormu Dingli was commissioned to restore this statue; however, beyond the restoration, it underwent some alterations, most notably to the head of the Infant Jesus.
The third chapel on the right is dedicated to Our Lady of Consolation, also known as Our Lady of Solace or, popularly, Our Lady of the Girdle. Here, we find a beautiful painting by Stefano Erardi (1630–1716), executed in 1637. It depicts the Madonna with the Child Jesus, Saint Augustine, and his mother, Saint Monica. It is worth noting that, in addition to the girdle, the Madonna holds a staff in her hand; this signifies another Marian title, Our Lady of Succour (referring to deliverance from trouble and danger). Below the main painting lies a devotional image of Our Lady of Good Counsel, created in 1755 by the Maltese artist Arrigo Reno, though his name was probably Enrico Regnaud (1692–1764).
This chapel also houses the statue of Saint Rita (1381–1447/57), the Augustinian nun known as the Saint of the Impossible. The statue is a papier-mâché work by Ġużeppi Cilia, dating to 1913.
The third chapel on the left is dedicated to the hermit Saint Anthony the Abbot (c. 251–357). The life of Saint Anthony had a profound influence on the conversion of Saint Augustine. The altarpiece is the work of Alessio Erardi (1669–1727).
This chapel also houses an artistic statue of the saint, carved in wood in 1806 by the sculptor Xandru Farrugia (1791–1871) from Żejtun.
The High Altar
The high altar was consecrated on 9th October 1869 by the Bishop of Malta, the Augustinian Gaetano Pace Forno OSA, and again on 26th June 1906, this time by the Bishop of Gozo, the Augustinian Giovanni M. Camilleri OSA. In 2006, to mark the centenary of the church’s consecration, a marble altar and ambo were installed, followed later by the celebrant’s chair, to better serve the liturgy in accordance with the reforms of the Second Vatican Council.
The Choir
This choir, the area where the religious community gathers to praise God together through the praying of the Psalms, was constructed in 1855. The architectural design of the choir area was created in 1893 by the artist Giovanni Galdes and approved by the architect Emanuel Luigi Galizia (1830–1907). Here we find the titular painting of Saint Mark the Evangelist, by an unknown artist of the 16th century Roman school; it may date to 1604 and be the work of a disciple of the artist Girolamo Muziano.
Beneath this painting stands a marble statue depicting Saint Augustine contending against heresies through his sermons and writings. Created in 1894, this statue is the work of the Italian artist Paolo Triscornia (1853–1936).
The Sacristy
The sacristy is furnished with 18th-century furniture featuring faux-marble graining. Dominating the room is a painting depicting Saint Augustine, divinely inspired to combat heresy. This work, dating to 1694, is by the renowned Italian Baroque artist Mattia Preti (1613–1699).
On the opposite side, one can admire an artistic papier-mâché crucifix bearing the date 1705. The four paintings surrounding the sacristy depict four Maltese Augustinian friars who left their mark on the history of the Augustinian Order, both in Malta and abroad. They are:
Msgr Gaetano Pace Forno (1809–1874), Bishop of Malta (1857–1874); Msgr Giovanni Maria Camilleri (1843–1925), Bishop of Gozo (1889–1924), painted by Edward Caruana Dingli;
Msgr Pawlu Micallef (1818–1883), Prior General of the Augustinian Order (1859–1865) and Archbishop of Pisa (1871–1883);
Card. Prospero Grech (1925–2019), painted by Raymond Pitré.
The Bell Tower
Nicknamed the “King of Rabat”, this bell tower greets you as you make your way up towards Saqqajja. This is the third bell tower. The first was the work of Ġlormu Cassar. Following the earthquake of 1693, a second bell tower was built, this time designed by Lorenzo Gafà (1639–1703).
The current bell tower, that is the third one, was built in 1911 based on the design of architect Adeodato Francesco Sammut. It was Friar Nikola Mula Sciberras OSA who spearheaded the effort to have this tower constructed. At its summit, one finds various symbols associated with Saint Augustine and the Augustinian Order. The tower houses four bells. The function of any bell tower is to serve as a sign of Christian presence and, through the ringing of the bells, to call the people of God to prayer.