https://www.um.edu.mt/library/oar/handle/123456789/5003 2026-05-13T15:58:48Z 2026-05-13T15:58:48Z https://www.um.edu.mt/library/oar/handle/123456789/10540 2018-12-11T12:37:44Z 2015-01-01T00:00:00Z

Title: Imagines ad Maiorem : principis et cardinalis gloriam : an analysis of the decorative programme of Verdala palace, Buskett, Malta Abstract: In what is possibly the first visual biography recounting the journey of a Cardinal Grand Master’s rise to supremacy within the Order of St John, in Malta, the primary aim of this study is, thus, to undertake a profound iconological analysis of the wall paintings in the ground-floor rooms of the late sixteenth-century summer residence, known as Verdala Palace, in the limits of Rabat, Malta. Although their conception and subsequent history is of fundamental importance, it is the ideological and political context of the patron, Cardinal Grand Master Hughes Loubenx de Verdalle (1531-1581-1595), and the artistic formation of the Tuscan-born painter, Filippo Paladini (c.1544-1614), that the study seeks to explore, where the intention is, ultimately, to show the iconographic authenticity of the decorative programme, despite the stylistic changes incurred over time. The subjects of the wall paintings of the ground-floor of the summer residence range from a series of historical events from the life of the Cardinal Grand Master, allegorical personifications, representations of virtues and several divinities from Roman mythology, and a number of biblical scenes inspired from the Old Testament. These have, however, stylistically suffered from a turbulent history and are nowadays, largely the product of a period of neglect and successive restoration interventions in the nineteenth and twentieth centuries. The complex iconographic programme has, in contrast, been largely retained. Yet, it is still under-valued for its potential in providing insights into late sixteenth-century artistic patronage under the rule of the Order of St. John, and more particularly in affirming the authority and ideology of the patron, and role of an artist-galley slave, Filippo Paladini. Description: M.A.HIST.OF ART

2015-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/8039 2019-06-11T08:06:14Z 2015-01-01T00:00:00Z

Title: Ecclesiastical architecture in Gozo (1810-1910) : the works of Can. Salvatore Bondì (1790-1859) and Don Giuseppe Diacono (1847-1924) Abstract: In compiling this study I have taken care to contextualize the works within the period in which they were produced. This first chapter provides a detailed overview of the island’s situation prevailing at the time under study. The main topics that are discussed are the impact of British colonial rule over the islands, focusing on Gozo. Another important event that is featured is the attainment of a separate diocese for Gozo in 1864, and how it affected the island. Corresponding to the establishment of the diocese was the setting up of a Seminary on Gozo. This considerably raised the level of education on the island. A sub-section deals with the rural divisions of the island and their demographic aspects, which in turn resulted in the formation of new parishes and villages. Another subsection evaluates the socio-economic climate prevailing in Gozo during the relative period and the dire conditions in which the inhabitants lived. In many ways Chapter One forms the basis of the subsequent chapters as the entire artistic discussion of the period is to be understood within the chapter’s contextual parameters. In addition, Appendix I is an important tool as it contains tables showing figures related to demographic statistics, daily wages, different occupations, and a money and land measure conversion list. Chapter Two and Chapter Three deal with the artistic achievements of Can. Salvatore Bondì and Don Giuseppe Diacono respectively. The first paragraphs of either chapter chart the family origins and social-academic background of the two protagonists. The architectural corpus of each of the two clerical architects/designers is identified and critically analysed. Sources of inspiration are singled out together with the styles that impacted on each architectural work. Artistic idiosyncrasies and eclecticisms are also evaluated. Documents, which up to now have never been published, were sourced from a number of archives. These helped in the identification of other architectural works that before this study had not yet been attributed to either of the two priests. During the time under study there were hardly any laws regulating the architectural profession. Within the industry there existed a small group of persons who described themselves as periti agrimensori. These performed more the role of land surveyors than anything else. In addition, there were a number of stonemasons who provided all the craftsmanship needed in the field. The master masons’ involvement was considerable and is crucial in understanding how the churches were completed. In this regard Chapter Four affords an overview of the architectural environment and working practices that existed in the period under examination. The contribution of the periti agrimensori is evaluated within this context, as well as the architectural styles that existed prior to 1800 and whether the introduction of new styles in nineteenth century Malta had any effect in Gozo. Chapter Four also discusses the contribution of Can. Bondì and Don Diacono to the development of ecclesiastical architecture in Gozo. Patronage is important for the creation of all forms of art. Chapter Five explores the mechanics of patronage that were in place at the time so that architectural works could be realised. Each of the architectural works under study has its own story of its patronage to tell. Persons involved ranged from politicians, ecclesiastical prelates and members of the Gozitan middle and upper classes. Still, the vast contribution of ordinary people cannot be underestimated. The aim of all patrons was always the same: the church they wanted constructed was to be a manifestation of their deep-rooted religious beliefs, as well as to serve the whole community. The study investigates how permits were applied for and finally obtained, and the difficulties that were encountered during the building of each edifice. In this sense Chapter One again brings everything into perspective for the reader to appreciate how a small community inhabiting such a miniscule island succeeded to build such imposing churches. The dissertation also compiles a catalogue of the works of Can. Salvatore Bondì and Don Giuseppe Diacono. Besides furnishing historical and background information, every entry critically evaluates each of their architectural works basing the analysis on stylistic influences, comparative works, adherence to original plans, interference from patrons or master masons, and eclectic idiosyncrasies manifested in the finished works. It should be emphasised that the catalogue is complementary to Chapter Two and Chapter Three respectively. In this sense, the investigative analyses of the architectural works in Chapters Two and Three and their corresponding entry in the Catalogue were written with the aim so as to form a holistic understanding of each work. As such it is suggested that the works in both chapters and their respective catalogue entries are to be read concurrently. The study of nineteenth century ecclesiastical architecture in Gozo has largely been ignored. Probably it was thought that no architectural works of any significance had ever been produced in Gozo; an island which during the period under study was in social and political terms on the extreme periphery of its larger sister island and hence away from the centre of artistic creativity. The only material that has been published on this period relates to brief historical commentaries in festa periodicals. As such many of these articles lack any artistic and aesthetic analyses of the buildings and are more of a laudatory nature. Besides, many writings are fraught by misconceptions both regarding the works and the personalities that produced them. On the other hand, a few of these works have received only brief mentions in academic publications. To date, there is no publication that examines and catalogues the architectural achievements of Can. Salvatore Bondì and Don Giuseppe Diacono. Contrastingly, the philanthropic activities of Don Giuseppe Diacono have been thoroughly researched and published. Description: M.A.HIST.OF ART

2015-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/6190 2020-11-04T12:50:48Z 2015-01-01T00:00:00Z

Title: The knight artist Lucas Garnier : his role in mid-seventeenth century painting in Malta Abstract: The aim of this dissertation is to analyse the French servant-at-arms of the Order of St John of Malta, Fra Lucas Garnier, as a case study of the knight artist concept within the Maltese seventeenth century context. Thus, the main objectives of the research undertaken are: to provide a detailed understanding of the seventeenth century social elevation to knighthood that some of the most talented artists of the period experienced, while concurrently taking into consideration fully-approved members of the nobility who were also both knights and artists; and to analyse the life and works of Lucas Garnier through a critical study of the mechanics of patronage, his technical and stylistic competence and his reputation in relation to his membership with the Order of St John. On a larger scale, this study is based on the connection that once existed between artistic skills and knighthood during the Baroque period. New information regarding this subject that was brought to light during the past couple of years was greatly beneficial to this study, and was an important basis on which consequent research with the aim of providing a detailed analysis of the knight artist concept was based. Lucas Garnier, the painter on whom this study of the knight artist concept is primarily based, was also largely unstudied. Although he should have been the most important up-and-coming artist during the mid-seventeenth century, the artistic period that directly succeeded his death was so unfavourable due to Mattia Preti’s arrival that he faded into oblivion before his artistic contributions were even appreciated properly. The fact that his membership as a servant-at-arms with the Order of St John would have contributed to his artistic success was also not given due attention, and the connections that were made between his role as a painter and the public image he would have held as a knight artist were few. Due to the nature of the topic, the point of departure for the study is mainland Italy, more specifically Rome, where Garnier seems to have been amid the evolving artistic Baroque grandeur before arriving in Malta a short while later. The Maltese artistic context is also duly analysed, especially the inferior native style that Garnier would have witnessed upon his arrival. Additionally, the statutes of the Order of St John are also carefully defined since they provide the background structure of the knight artist concept which is then consequently analysed and discussed with numerous case-studies. Garnier’s biography, most of which is being presented here for the first time, is an integral part of the study. Although descriptive in essence, it serves as an important link between the knight artist concept and Garnier’s artistic activity on the island. Subsequently, Garnier’s role as an artist is also discussed in detail. Due to close to nothing being known about his early training, the analysis is focused on the nature of his commissions, and on his works for Malta. And finally, the catalogue entries added at the end include the full details of each commission. Research for this dissertation, especially with regards to the life of Lucas Garnier, was primarily carried out in two main archives; the Notarial Archives and the Archives of the Order of Malta, both in Valletta. Despite the accessibility of these archives, the onset of research proved to be quite daunting, especially since existing information provided few (and sometimes inaccurate) directions in which to initially proceed. However, my perseverance led to a number of new findings which then became important focal points in the study. Due to the fact that all of Garnier’s known works were produced for churches, the tracing of archival documents relating to each commission was slightly more complicated. Not all Church archives were made accessible, and those that were, were often in a state of deterioration that made the handling of the documents rather challenging. Yet, the consultation of pastoral visitation reports narrowed down some recurring inaccuracies in dating, and confirmed other minor details that facilitated the reconstruction of a timeline of works. A number of hindrances were encountered throughout the course of this study. The first one was the numerous lacunae found in seventeenth century archives, which meant that when primary sources proved impossible to trace, I had to rely on a number secondary sources that were not always correct or complete. Additionally, as mentioned above, the state of some of these documents meant that many of them were difficult to decipher and understand, and their meaning was not always very straightforward. The study of paintings was also hampered by numerous problems. The most distressing issue was the condition in which the majority of Lucas Garnier’s works are in. Apart from the fact that many of them are not in a good state of conservation, an even larger number are over painted in several areas. Some of these have so many additional layers of paint and yellowing varnish that an appropriate complete stylistic analysis was impossible to carry out. Another minor issue was the location of the works. Since most of them are still in their original altar, the proper visual inspection on site was at times slightly hampered due to the height at which the work was suspended and the lack of proper lighting. Although I have managed to present a lot of new information in this dissertation, it is beyond doubt that much more exists. Much about Lucas Garnier’s early life prior to his arrival in Malta remains unknown, and other works of art are yet to be discovered. Despite the fact that the archives consulted were exhausted within the limited amount of time during which my research was carried out, it is certain that a good amount of information has not yet been unearthed, especially at the Notarial Archives. Ideally, the references given here would be the point of departure for future research on the artist. Ultimately, this dissertation finds its fulcrum in shedding light on both the knight artist concept and on Lucas Garnier as being indispensable to the study of seventeenth century artistic patronage and developments in Malta. Previously inadequately understudied, their inclusion into this context allows the reconsideration of the period by providing a new perspective which does not only contribute to the study of history of art in Malta, but also to the Baroque international context as a whole. Description: M.A.HIST.OF ART

2015-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/5188 2015-09-24T01:03:24Z 2015-01-01T00:00:00Z

Title: The filial Churches of Qrendi : history, architecture and works of art Abstract: The aim of this thesis is to analyse the filial churches of Qrendi from an artistic and historical point of view. The broad nature of the subject, while challenging at times, has allowed me to view a cross-section of small church art and architecture in Malta using Qrendi as a case study. Information about the churches is often limited in secondary sources, sometimes only being mentioned in a single sentence and very often the same information is repeated. The recent publication by Frans Ciappara Religion, Kinship and Godparenthood as Elements of Social Cohesion in Qrendi: a late eighteenth century Maltese has proved very useful in putting the churches in their context even though his study is limited to the eighteenth century. The Church of Tal-Ħniena, one of the filial churches in Qrendi, on the other hand, has been the subject of two theses presented to the University of Malta. These are that, Alexandra Scicluna submitted in 2002 in the Department of History of Art, and that by Joseph Magro submitted in 2004 in the International Institute of Baroque Studies. In addition, a Masters thesis by Isabelle Borg on the ex-voto tabellas was submitted in the History of Art Department in 1994 in which she went into substantial detail about the ex-voto collection of the church. In Scicluna’s thesis all the works of art related to Tal-Ħniena are catalogued and detailed plans and elevations of the church are included, which is why they have been omitted from this study. Instead, the present thesis includes, catalogue entries for works that have been restored since 2002. Also included are old photographs taken by Prof. Mario Buhagiar when the church still had works of art displayed on its wall; which were not included in previous studies but shed light on what the church looked like. My research was not limited to secondary sources, I also consulted a number of pastoral visitation reports which helped me form an idea of how the churches changed and evolved throughout the years. The local Parish Archives were not very useful, since they were not properly taken care of and a lot of the material has been lost. A recent reorganisation exercise has begun which will help better understand its contents. My introduction intends to set the context for the churches, both within Qrendi and within the whole of Malta. There is a brief history of Qrendi as well as the Parish Church. I then attempt to analyse the development of small church architecture in Malta. In following chapters, I analyse the small churches individually, discussing their history, architecture and works of art. I also have a number of appendices. The first Appendix is a collection of old photographs of the churches. The second Appendix is a catalogue of the restored ex-votos associated with the church of Tal-Ħniena. The third Appendix contains catalogue entries of all the works of art associated with the churches. The final Appendix includes plans for the churches, for which I would like to thank Joseph Magro. Description: B.A.(HONS)HIST.OF ART

2015-01-01T00:00:00Z