https://www.um.edu.mt/library/oar/handle/123456789/70441 2026-04-09T12:17:20Z 2026-04-09T12:17:20Z https://www.um.edu.mt/library/oar/handle/123456789/101110 2022-08-26T10:37:02Z 2000-01-01T00:00:00Z

Title: Roman Baroque sculpture for the Order of Malta Abstract: The purpose of this thesis is to study the mechanics of the patronage of Roman Baroque sculpture for the Order of St John in Malta. Its aims at quantifying the extent of this patronage and at qualifying the importance of the commissioned works within the wider context of Roman Baroque sculpture. It attempts to synthesize the variety of commissions into a coherent picture and to place them in the broader political and social context of seventeenth and eighteenth century Malta and within the financial framework of the Order. Important contributions on the subject were presented by Jennifer Montagu, who defined the parameters for Alessandro Algardi in Malta, and by Hanno Walter Kruft who was instrumental in presenting a case for Ciro Ferri. Edward Sammut reconstructed the general outline for Melchiorre Cafa's work for the Order, whilst Klaus Lankheit's seminal work on Massimiliano Soldani-Benzi and Florentine Baroque sculpture for Malta has virtually exhausted research work on the subject. This notwithstanding, a comprehensive analysis of Roman Baroque sculpture for Malta and a number of works discussed in this thesis were often ignored in the general discussion of Roman Baroque art. Some works, of considerable importance for the study of Baroque art, were unattributed and very little was known about them. This thesis also aims at identifying the authors of these works. There has similarly been no attempt to define the way in which the Convent's commissions were undertaken and little was known of the personages who took care of the Order's artistic affairs in Rome. Moreover, the methods for the transport of the work of art, so essential to the general history of the art of the period were never before studied and little was known of the technicalities for bringing Roman Baroque sculpture to Malta. This thesis is an attempt to fill these lacunae. I have tried to avoid making the sculptures an excuse for narrative excursions but have concentrated on analysing the historical and religious context that brought the need for the works of art, which have been studied in their technical and stylistic context. The introduction contains new material on the Convent's admiration for the work of Rome and discusses the context that aroused, and maintained, such an admiration. It is followed by a chapter that synoptically discusses the frameworks of its artistic patronage and identifies its procedures. The succeeding chapters, each a study of a separate theme, divide the bulk of the works in the three major impetuses that created the need for quality sculpture. These were the glorification of the Order's patron and protector St John the Baptist, the funerary commemoration of the Grand Masters, and the service and adoration of the Eucharist. The chapters are not isolated studies, but are united by a basic idea that is referred to in the title. The study is based on extensive archival and stylistic research, carried out primarily in Malta, Rome, and Naples. The archival references quoted in the main text have, however, been intentionally limited and selective. Original texts have only been reproduced where they are essential for the understanding of the commission, and where translations would have not worked out. Extracts from other documents, mostly hitherto unpublished, have been reproduced in the notes where specifically necessary. Important documents have, moreover, also been transcribed in full and presented in an Appendix. [...] Description: PH.D.HISTORY OF ART

2000-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/82176 2021-10-14T07:22:07Z 1996-01-01T00:00:00Z

Title: Portrait painting in Malta from the late nineteenth century to 1950 Abstract: Portraiture is a genre that deals with people, the intentions of people and the image they would like to project. It also speaks about the social set up of the time, the relation between the sitter and the artist, and about the artist himself. My desire to know more about these facts, has led me to this research and to record it in a coherent and chronological order as much as possible. The aim of my research has been to present the various styles of portrait painting that were practiced from the late nineteenth century to 1950. This phase in Maltese history is significant in that it was a period when Maltese artists began to emerge individually, as opposed to the previous centuries when the painter worked in a bottega or followed a particular school. Signatures and dates on paintings, together with clearer forms of documentation, make personal styles and trends more distinguishable. All chapters are divided in chronological sequence and wherever possible, the paintings have also been presented in that way. The first two chapters deal with Cali and Pisani whose artistic output spans before and after the turn of the century. The art of the Caruana Dingli artists, together with the importance of the School of Art, are discussed in the next two chapters. The last part of my presentation deals with the artists of the so-called Modern Movement who were possibly, the first true radicals in Maltese art. Limiting the choice has been an important decision on my part; the choice, both in terms of the period selected and the portraits discussed. It would have been interesting to include the portraits that belong to private collections, but very often people prefer not to disclose information about their possessions. Besides, there would have been too much material to discuss, considering that when dealing only with the pubiic collections, more than half the photographs were not even presented. These have been included in the appendix since so much added information would have otherwise been omitted. In fact, the rest of the photographs are all available for any further consultation or reference. The difficulties I encountered throughout my research were quite a few. Snapping photographs indoors, sometimes in dark parish vestries with very high ceilings, has not been easy. When it came, then, to Government departments and other public institutions, appointments, (postponed appointments), papers, signatures and telephone calls were endless. In spite of all the obstacles I came across, which at times were discouraging and caused delay in my research, there were also fruitful moments which were very revealing and exciting. Description: B.A.(HONS)HIST.OF ART

1996-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/82169 2021-10-14T07:32:00Z 1998-01-01T00:00:00Z

Title: The development of Maltese church doorways from the late medieval to the early modern Abstract: Maltese church doorways are generally the synopsis of the church in its totality. They are often a reflection of economic and social stability which however in most towns and villages fluctuated from time to time. Their style varied from vernacular to academic, particularly with the presence of foreign architects who were commissioned to work in the Maltese Islands by the Hospitallers of the Order of St. John. The aim of this study is to follow a chronological evolution of Maltese church doorways between the late Medieval and early Modern period. It includes an investigation of the traditions and the various influences that affected the Maltese production. Presently there are only sporadic case studies of church doorways which are generally treated as part of the church as a whole. The purpose of this analysis, therefore is to give more light to the development of church architecture through the study of its doorways as a separate entity. This study is chronologically divided into three phases. The first regards the earliest type of built church doorways in Malta. It incorporates the Norman late Medieval tradition influenced via the Sicilian experience. The second considers the early Knights' period and its impact on the development of the Maltese traditions. It will examine the importation of new styles, particularly those of the Italian Renaissance, the Spanish tastes and the Sicilian provincial influences. The emerging tradition of Maltese scalpellini and Capo mastri and their indefinite role in Maltese building industry of the time, makes it more difficult to attribute doorway designs and the actual execution. The last important period taken into consideration is the development of the Baroque mentality as expressed through the articulation and decoration of church doorways. A number of foreign architects have contributed directly in shaping the Maltese typology. Their production reflected their derivation and formation, whilst local architects absorbed the foreign influence and adapted it to their vernacular traditions. In conclusion, a set of prototype doorways are presented to highlight the essential features and characteristics of the different periods and phases. Their articulation and decoration formed the evolution of the Maltese church doorway from the late fourteenth century to the middle of the eighteenth century. The major disadvantage that such a study encounters is the lack of archival buttressing. The attributions for most of the doorways under study are taken from previous publications assuming that the architect of the church is also the designer of the doorway, save those for which an attribution is attempted following stylistic comparisons. In this case a number of drawings and diagrams will be included to support arguments. The general visual aspect is mainly based upon photographic reproductions. This study mainly concerns main west doorways of Maltese Parish churches, marking the general trend and development. However, a number of Monastic and Conventual churches as well as a limited number of minor church doorways are also taken into account when considered sufficiently important. Description: B.A.(HONS)HIST.OF ART

1998-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/81926 2021-10-12T06:36:52Z 1997-01-01T00:00:00Z

Title: Vincenzo Bonello as a pioneer in Maltese art history and criticism Abstract: The aim of this long essay is to discuss Vincenzo Bonello's (1891 - 1969) contribution to Maltese art history. It is based mainly on an analysis of his writings which span more than half a century (1911 - 1969) and which amount approximately to a hundred and fifty. Writings in the local press constituted a very large proportion of Bonello's literary and journalistic output The daunting task of identifying such writings has been greatly alleviated by the invaluable help of Vincenzo Bonello's son, Dr Giovanni Bonello LL.D, who has made available a list of his writings on art, including those that appeared under a nom-de-plume. This index does not claim to be complete. A compilation of Bonello' s writings, based on the contents of this card-index as well as my own research is included as Part (1) of the Bibliography at the end of this long essay. The likelihood of other art writings by Bonello being discovered in future is not to be dismissed. Vincenzo Bonello' s activity extended far beyond research and interpretation. He was deeply involved in restoration, conservation museum and exhibition organisation. The Minutes of the Antiquities Committee and other documentation relating to the National Museum, preserved in the Archives of the Museums Department, have provided a rich source of material in this respect Bonello' s authority in the sphere of fine arts and antiquities, particularly before World War Il, meant that his name was ubiquitous in the records of artistic ventures in Malta at that time. The possibility of studying Vincenzo Bonello in his various facets is vast, yet I feel that for the scope of the title of this essay. I have consulted sufficient material to enable me form a good idea of the man, s contribution to Maltese art history. This essay therefore does not include a detailed analysis of Bonello's role as artistic advisor to the Local Government after World War II, his great influence in decisions concerning commissions for ecclesiastical art in the 1950's and 60's, and his purely artistic dimension in terms of his architectural designs, designs for church pavements, church furniture, and miscellaneous other projects of an artistic and graphic nature. I feel that all this provides ample scope for future study. Bonello's political aspect, although certainly not ignored, has not been examined in depth. I am aware that he held strong political ideologies and affiliations with the Partito Nazionale particularly before the War since he was a very ardent adherent of ltalianita '. Yet I feel that in this essay I may concentrate on Bonello's actual achievements and contributions to art scholarship in Malta and other art-related disciplines. Only when politics might have conditioned his activity in the arts do I make a note of it, yet overall I feel that his contribution was weighty enough to deserve to be studied self-sufficiently. Description: B.A.(HONS)HIST.OF ART

1997-01-01T00:00:00Z