St. Paul’s Cathedral (1697) Of all the churches on the islands, St. Paul’s Cathedral is the finest and most mature example of Maltese Baroque; not fussy and ornamental but the work of an articulate pen imbued with all the influences – Roman, Sicilian and Italian – from which the idiom evolved. From all perspectives, this monumental church with its bold swathes takes charge: at the screen facade, from a distance, in silhouette and from inside. Tradition states the cathedral is built on the site of the villa belonging to the Roman governor, Publius, where the shipwrecked St. Paul healed Publius’s father and converted the grateful governor himself to Christianity. (Publius later became the first bishop of Malta and was martyred in Greece.) The simple 12th-century Norman structure of Count Roger was enlarged in 1419, and the present cathedral was built following the earthquake of 1693 which destroyed much of Malta. A new cathedral had been talked about before the earthquake; Lorenzo Gafa had added a new choir in 1679 and after the earthquake he was commissioned to create the new building. The site on the northeast corner of Mdina must have flattered Gafa’s inspiration (this domed cathedral would be seen from afar) and the structure went up rapidly: five years after the foundation stone was laid in 1697 it was consecrated. St. Paul’s Cathedral sits on a low podium at the end of the eponymous rectangular square. The near-square facade with its three cleanly divided bays gives it a light but solid air. The Corinthian order of pilasters below the composite ones span the entire facade without interruption, leaving above the two side doors brave expanses of honey-coloured masonry. The bellj-towers – each with six bells – are squat, adding to the facade’s heaviness, but with Gafa’s deft touch they appear lighter, for the twin clocks nudge into the lower lip of the cornice. Note, in relief at the top of the bell-towers, St. Paul’s viper twists out of the flames. Above the main door ion the left is the escutcheon of Grand Master Perellos (during whose reign the cathedral was built) and on the right that of Bishop Palmieri, who consecrated it in 1702 two years before the dome was completed. In front are the obligatory cannons, part of the knights’ ordnance: to the left a Dutch cannon from 1681 and to the right, bearing the coat of arms of the Duke of Savoy, the Duke’s gift cannon to commemorate the knights’ defence of Rhodes. Finally, sneaking out from under cover of the towers and pediment, is Gafa’s dynamic swansong, the light octagonal dome, with eight stone scrolls above a high drum leading up to a neat lantern. Similar in design to St. Catherine’s in Zejtun, it is best studied from inside or from a distance. The Interior Gafa’s plan for the church is a Latin cross with a vaulted nave, two aisles and two small side chapels. Space under the rich tessellated floor of extravagant and macabre tombstones is reserved for Maltese nobles and high-ranking clergy, unlike at St. John’s in Valletta, where only knights of the Order could be buried. The Sicilian white marble baptismal font was a gift from Bishop Valguarnero in 1495 and survived the earthquake. The statue of St. Publius and the two lecterns of St. John and St. Luke by the main altar are by Guiseppe Valenti, who also made the statue of Queen Victoria in Republic Square, Valletta. The frescoes in the cross-vaulted ceiling were painted by two Sicilian brothers, Antonio and Vincenzo de Manno, in 1794 and depict the Life of St. Paul. The beautiful carved door to the sacristy is made of solid Irish oak and was the main door to the original cathedral which somehow survived the 1963 earthquake. In the side chapel of the Annunciation is Mattia Preti’s unconvincing image of St. Paul hysterically chasing the Saracens away from the City’s bastions during a brief siege in the early 1400s. In the chapel of the Blessed Sacrament, the icon of the Madonna, bejeweled and shrouded in reverential grime, is alleged to have been painted by St. Luke. (Sadly there is no evidence to support this or the notion that he painted a similar icon in the Sanctuary in Mellieha.) The silver tabernacle is Roman and dates from the early 18th century. The main altarpiece, the Conversion of St. Paul, the side panels and the marvelously graphic rendition of St. Paul’s shipwreck in the apse were all painted by Mattia PReti in the late 17th century; they too survived the earthquake intact. The Royal Arms of Spain hang at the apex of the arch in remembrance of the Emperor Charles V who gave the islands to the Order in 1530. The two Italian oval portraits by the front pillars are marble mosaic compositions of photographic clarity depicting St. Peter and St. Paul and date from 1873. Rarely on display is the silver cross brought by the knights from Rhodes. A weak supposition states that Godfrey de Bouillon carried it into Jerusalem in the First Crusade in 1099. The two thrones ar

Collins described her as enigmatic. His hero, Hartright, remembers her as beautiful but terrified and solitary. The world knows her as The Woman In White. I first read this penned mastery of mystery when I was 13 and more than 2 decades later, I am yet again enthralled by what is widely regarded as one of the first (and finest) in the genre of 'sensation novels'. It was only fitting, therefore, to weave a textile ode to the wordsmith Collins was, incorporating my private design narratives and create a top befitting a modern day literary heroine. This Vintage Pale Grey Top came into my possession already beaded with Faux Pearls and showcasing those swirly trails of Silver Sequins. In creating something worthy of Anne Catherick of the 21st Century, I fashioned my signature asymmetrical sleeve constructed from a Vintage White Half Slip. Atop this sits a sheer Vintage Scarf featuring ethereal swirls of Chocolates and Blues, bringing to mind the ambience in which Hartright first met Anne, that fateful night in London. Decadent pintucks of Pure Italian Silk in Silvery Grey adorn both shoulders, and are held firmly in place by FANTASTIC Vintage Black Sequins that look like Leather. Just brilliant. These same Sequins trail along the neckline and down the bodice on one side. And since we're talking about contemporary heroines, I added a touch of swish swish with Vintage White Enamel Chains on the left sleeve. A final touch of opulence manifests itself around the bottom hem. This is an exquisite Victorian Art Deco Tissue Trim which has been heavily embroidered with Metallic Gold Thread. Go ahead, kick some ass, and look good doing it. * VITAL STATS * Bust - up to 34" Waist - up to 28" Length - approximately 28" All fabrics and findings used in Sheela Goh Couture designs (unless indicated otherwise) are antique and over 100 years old. In fact, some bits are authentic Edwardian and Victorian. Seriously. So please, do wear her with care and respect. OOAK. To wash, very gently hand dip (separately) into cold water. Hang dry, out of direct sunlight. Do not iron. Stitched entirely by hand, with needle and thread. ©2009 Sheela Goh (that means absolutely NO copying of my work or my style of writing, thanks very much).