Paintings by Mattia Preti and his bottega for the side chapels of Mdina Cathedral

Abstract

This dissertation deals with the six altar paintings that were executed by Preti and his bottega for the side chapels in the Mdina Cathedral during the time frame of c.1690 to c.1702. Although these altar-paintings have been previously researched and analysed by various scholars, this dissertation aims to reveal further information regarding the formation of the chapels when the entire structure transformed from the medieval church into the Baroque Cathedral. Information on the patrons who commissioned the altar paintings is also provided through the help of archival research. Furthermore, the study uses a technical and stylistic analysis to investigate each altar painting. The introduction sets a general overview on a) the cause of the earthquake; b) the building process of the Baroque Cathedral and its chapels; and finally c) the context on Preti’s late years and his bottega. Chapter 1 deals with the social and historical context of the medieval church and the consequences it suffered from the earthquake of 1693. Archival research is made to trace the stepby-step process on the rebuilding of the Cathedral focusing on the side chapels. At the same time, the actions taken by patrons who were quick in acquiring the side chapels in the new Cathedral were investigated and heavily emphasised on, in order to support my research and provide an accurate historical presentation Chapter 2 analyses Mattia Preti’s later years and discusses the possible bottega members involved in the commission for the altar paintings in the Mdina Cathedral. Technical and stylistic analysis are also made through visual analysis on each painting in order to determine the work either being Preti and bottega, or bottega of Mattia Preti. Chapter 3 focuses on catalogues entry for each of the altar paintings, where a stylistic, technical and analytical approach is taken on the separate paintings alongside their historical context. Both chapter 2 and chapter 3 delves on the detailed photographical prints of the paintings which helped my study in distinguishing brush strokes between the work of Mattia Preti and the work of his bottega. They also provide themselves as a point of departure to anyone who would be willing to delve into the subject of bottega painting in the near future, before or after their restoration.