The dazzling result was the largest complete tapestry series in the world. Made with wool and silk and threaded with gold and silver, they still hang in the cathedral and are considered some of the most treasured artefacts on the island. They also represent an unlikely connection between Malta and Flanders.

Between the 15th and 19th century, tapestries were the sumptuous decoration par excellence in countless European churches, palaces and other wealthy residences. Works of art, they also offered protection from the cold and drafts. Tapestries reflected the self-image and socio-economic status of the patrons and instructed and entertained everybody who could afford them.

At the time, tapestries were like big budget movies today: sweeping storylines, spectacular production values, with a mass appeal across the western world. And, like Hollywood now, Flanders was the capital of tapestry creation. The Malta order was the tapestry blockbuster of the age.

Why Malta?
As for Malta, it had become a crossroads for commerce and culture. In 1530, the Knights Hospitaller - also known as the Order of St John, or the Knights of Malta - established themselves on the island. They would stay there until 1798, when Napoleon threatened to invade Malta: the order surrendered without resistance, and the Knights scattered across Europe.

But during their time on Malta, the Knights transformed what they called "merely a rock of soft sandstone" into a flourishing island with mighty defences. Their efforts included founding Valletta and building the city's St John's Co-Cathedral.

Built between 1573 and 1578, the structure was originally the conventual church of the Order of St John of Jerusalem. The name co-cathedral refers to its later, dual role: in the 1820s, the Bishop of Malta, whose seat was at Mdina, was allowed to use St John's as an alternative see.

It was initially a bare, austere construction, reminiscent of a military fort. But while the exterior has barely changed, the interior became increasingly ornate, decorated with Baroque finishes and expensive artwork (including "The Beheading of Saint John the Baptist" by Caravaggio, who was briefly himself a Knight).

The key authority amongst the Knights was the Grand Master. Tradition required that, upon his appointment, he would present the church with a gift or gioia. The collection of Flemish tapestries was the gift of the Aragonese Grand Master Ramon Perellos y Roccaful, elected in 1697.

What did he order?
By 1701, the set of Flemish tapestries arrived in Malta. The entire collection consists of 14 scenes measuring 6 x 6 metres, depicting the life of Christ and allegories, and 14 woven panels measuring 1.80 x 6.6 metres representing the Virgin Mary, Christ the Saviour and the Apostles. They are divided into two seven-piece cycles and are all modelled on drawings by Rubens, with the exception of the Last Supper, which was from a Poussin.

Amongst the large horizontal Rubens are scenes from the life of Christ: the Annunciation, the Adoration of the Magi; the Last Supper; and the Crucifixion and Resurrection. Others cover allegorical scenes, identified as "Time Exploring and Unveiling Truth"', "The Four Evangelists", "The Destruction of Idolatry" and "The Triumph of Charity". Additional oblong panels are hung as fillers between the principal square panels and majestically depict the disciples, the Virgin Mary and Christ. The collection also includes a regal portrait of Grand Master Perellos y Roccaful.

"This grand set portrays the principal and fundamental divine truths of the Catholic faith and were intended to convey a message: the supremacy of the Catholic Church and the fame and grandeur of the Grand Master and the Order," says St John's curator Cynthia de Giorgio.

The tapestries were originally hung from the main cornice along the nave of the church during important occasions, like the feasts of Corpus Christi and St John the Baptist. Now they are brought out only for special occasions; the last was Pope John Paul II's visit in 1990. But they remain on display in the cathedral museum.

What's in store for the tapestries now
Today, the cathedral is working on two projects for their grand collection of Flemish tapestries. The first is to find more space for them. Only a part are on display at any one time, so plans are being developed to open new rooms for them within the St John's complex. There are even suggestions that the cathedral purchase and restore a palazzo nearby or dig up the square in front of the cathedral in Valletta to build an underground museum to showcase some of the tapestries.

"The tapestries actually deserve a museum in their own right," agrees de Giorgio. "You need the length of the nave of St John's Co-Cathedral if you are to exhibit them properly, and we are in the process of identifying a space for them. The foundation has future plans to have an appropriate chamber to house the tapestries, with controlled lighting, humidity and temperature."

The other project is an ongoing restoration of the valuable works. At least two are sent every year to the De Wit Laboratories in Mechelen – the Belgian Ministry of Defence arranges the transport – as part of a project that will take at least eight years to complete and will cost about €1 million.

The restoration, partly sponsored by the King Boudewijn Foundation, started two years ago with those that suffered most as a result of the passage of time and neglect. Every large tapestry takes about a year of delicate and demanding work by trained experts.

But once the restoration is complete, the tapestries should be returned to their former glory. And visitors will be able to marvel at these pieces of Flemish cloth that have weathered the centuries to become beloved Maltese treasures.

www.stjohnscocathedral.org