https://www.um.edu.mt/library/oar/handle/123456789/7252 Mon, 20 Apr 2026 16:16:59 GMT 2026-04-20T16:16:59Z https://www.um.edu.mt/library/oar/handle/123456789/7258 Title: Count Saverio Marchese (1757 - 1833) : art history and artistic preferences in later 18th and early 19th century Malta Abstract: This dissertation aims to discuss the role of Count Saverio Marchese as an art cognizant and as a man of letters. The analyses of this gentleman will help to obtain an understanding of the artistic scene in the late 18th and early 19th century, with regards to intellectual illuminist circles and art collectors. After an introduction to the developments in art theory in Europe and an overview of the arts in Malta at the end of the 18th century, this study will focus on the formation of Marchese and what led him to be an art connoisseur. The influence of his father and of previous men who had studied history and art is discussed. Marchese’s role as a member of the Accademia dell’Arcadia is also analyzed, with particular attention to the kind of intellectual acquaintances Marchese could make through this institution. His connections in the art world, including artists and dealers are also mentioned. Chapter 2 will be related to the manuscript Uomini Illustri di Malta. Its origins and inception are suggested as well as possible sources of influence. Marchese’s annotations and other contributions, as well as his criticism are detailed. An in depth study of Marchese’s library will reveal what were his sources of information. In chapter 3 the role of the press in keeping the literary cultured circle up to date on current events in the art world in discussed, as well as its role in influencing preferences and the art historical information it provided. Chapter 4 is dedicated to Marchese’s collection of paintings, drawings and prints. The study of this collection reveals the artistic tastes of the Count, primarily for the works of the Great Masters. His capture of art history is also made evident through the scope of his collection. The last chapter will deal with what contemporary foreign visitors thought about Malta and its artistic production, both past and current. It will also discuss the rising interest in gathering art historical information. Description: M.A.HIST.OF ART Sun, 01 Jan 2012 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/7258 2012-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/7235 Title: The sea in the nineteenth centuary painting in Malta Abstract: Malta is an island nation and the sea is so influential in the lives of the Maltese that it features in a number of artworks. The aim of this thesis is to study how the sea has impinged itself on the art scene in nineteenth century painting in Malta: a time when Malta became Britain's naval base and evolved into an important trading port. The artworks that are discussed in the text are nineteenth century Maltese topographical views; ship portraits; and religious works, in which the sea is portrayed. These works are paintings produced in the oil; watercolour; gouache; tempera and fresco painting medium. Drawings and lithographs will only be of mention as they fall out of the parameters of this research. The paintings concerned are placed in their rightful, historical, social, political, economic, religious and artistic context, both within the International scene and, more importantly, the local scene, for the reader to obtain insight on possible influences and delve into what provoked the production of such paintings. This study seeks to instill further interest on the major local and foreign artists during the stipulated period. A distinction will be made between the representation of calm waters and those of rough seas and a discussion on the difference between the interpretations of foreign and local artists in paint is delved into. A constant intriguing quest throughout this research, while analyzing topographical views, was to observe what was taken from reality and what was simply a fraction of the artist's imagination. The chapters are divided by theme and the paintings are largely discussed in chronological order. Maritime paintings have attracted the attention of a number of scholars and art collectors who published books, exhibition catalogues and artic These authors include Nicholas de Piro with his much sought after publication The International Dictionary of Artists who Painted Malta, which served as a good starting point for my research; and the Maltese maritime historian Joseph Muscat who produced a number of publications particularly relating to the ex-voto tabelle on the Islands. ii Varied samples of the works of art relating to this thesis have been taken up for examination. These artworks are integrated within the text with an in depth description of the artworks' contents; an explanation of the use of the medium and its restrictions and otherwise relating to the forms represented; and the brushwork. These factors will be noted as they are of great importance for the creation of particular effects in a painting and possibly tell the hand of the artist involved when the artwork is unsigned. Reference will always be made to important forms of documentation. In conclusion, the reader will be transported into the twentieth century in order to obtain a brief insight into the continuous influence of the sea in art. Description: M.A.HIST.OF ART Sun, 01 Jan 2012 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/7235 2012-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/7159 Title: The sacrificial consecration of the victim : priesthood of Christ in the letter to the Hebrews Abstract: 'I will raise up for myself a faithful priest, who shall do according to what is in my heart and in my mind' (1 Sam 2, 35a). The writing of this Long Essay, The Sacrificial Consecration of the Victim Priesthood of Christ in the Letter to the Hebrews is intended to bring out the depth and hidden significance of the author's statement that Jesus is 'a merciful and faithful high priest in the service of God, to make a sacrifice of atonement for the sins of the people'. (Heb 2, 17b). The essay will explore the sermon structure and philosophical background, the symbolism and Jewish typology that the author adopted and used in his expression as a sermon in order to bring out his thesis: that of Christ being our 'merciful and faithful high priest'. This will be reflected by delving into the author's understanding and the transposing of the Sinai Covenant and the promise of the New Covenant of which Jesus is now High Priest. That Christ learned 'obedience through suffering' is fundamental to Christ's Incarnational being, that having taken on humanity, it would be through this very humanity that this New Covenant would be realised and make of Christ its merciful high priest. The development of the understanding of Christ as merciful high priest is traced back in the sacrificial element of the old dispensation, and it will be through this very sacrifice of the Old Covenant that the author of Hebrews draws out his thesis of Christ being both victim and high priest. Within this context, various scholars have probed and excavated the Eucharistic element hidden within the text and brought to light its very elements, namely that of the unbloody sacrifice of the New Covenant at the Last Supper and bloody sacrifice of Calvary. Entering into the heart and depths of the Judaic Temple cult the author of Hebrews, in the Platonic philosophical categories of shadow and form, opens up a totally new sphere of understanding of the heavenly sanctuary. He lays before his addressees the revelation of the New High Priest who is now the High priest of the Heavenly Temple. Seated at the right hand of the Father, this new Liturgy must perforce have continuance. Christ's sacrifice having reached its completion and fullness (τελείωσις) must then be lived out here on earth though Christ's emissaries, the apostles and the apostolic descent, the priesthood is of Christ. The research is both exegetical and theological and written within this context, though at times the reflective and experiential element is also included. The essay is divided into four chapters with each chapter treating a particular topic within the discourse of Hebrews as promulgated above and as expressed in the Aims of this Essay. Description: B.A.(HONS)THEOLOGY Sun, 01 Jan 2012 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/7159 2012-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/7123 Title: The decorative programme at Palazzo Parisio, Naxxar Abstract: The main aim behind this B.A. dissertation was to document the interior decoration of Palazzo Parisio and show how the Marquis Giuseppe Scicluna projected his vision onto his palatial residence. This vision was implemented through the very capable team of artists in the fields of painting and sculpture who were employed by the Marquis. This dissertation defines who the team were and what works they were responsible for, which was made possible through the study of previously unpublished documentation. The result of this vision places Palazzo Parisio as an important example of secular decoration at the turn of the twentieth century. The decorative arts are currently being given importance in Malta and the main examples of decoration are usually found within the many churches in Malta. The works in Palazzo Parisio are by the same artists and sculptors who worked in these churches, and thus provides an alternative setting for the decorators to work in. The art work in Palazzo Parisio has not previously been published in great detail and the only published works on the place are in the forms of souvenir books. The new information in this dissertation has been uncovered through the new documentation which was studied for this research. Palazzo Parisio has no official archives and the documentation, in the form of letters and telegrams are divided amongst the descendants of the Marquis. These handwritten letters and telegrams were sent by various involved personal at the initial stages of the works at Palazzo Parisio. These documents uncovered names of architects and sculptors who were previously unknown in the context of Palazzo Parisio and are given relevance for the first time in this dissertation. The documents also confirmed a number of artists and in some cases, this is their only work in Malta. The documents also helped to decipher patronage patterns and show how involved personal were with the project, and who was treated with more respect than others. The documents also show that the Marquis was very involved in this project and thus the result of the decoration is highly personalised and can be seen as an allegory of the man and a showcase for the fashion at the turn of the twentieth century in Malta. The Marquis gave importance to foreign influences and the letters and telegrams show that he sent his architetto travelling around Italy, and the places visited have been documented in this dissertation for the first time. I had the chance to visit some of the places mentioned such as Teatro Massimo Bellini in Catania and Villa Malfitano in Palermo. A number of similarities were able to be drawn between these places and Palazzo Parisio and show that in some cases they provided a direct influence and also helped with the attribution of certain artists. This dissertation also places Palazzo Parisio in the context of the artists and sculptor’s oeuvre where in some cases it is shown as amongst the last works of some of the sculptors. It is also shown as the only work in Malta for two of the artists and thus shows that the Marquis was prepared to commission foreign artists for his home, similar to the Church who sought the work of foreigners rather than locals. The Marquis also seems to follow this pattern and it can be linked to the 19th Century mentality where foreign, namely Italian, art is preferred to that of Maltese artists. The Marquis was part of the third generation of wealthy bankers and merchants and Palazzo Parisio is also shown as a showpiece for the achievements of this up and coming class in Malta. It also shows the Marquis’ informed patronage and continues the line of buildings from the second generation of the Sciclunas, namely his uncle Emmanuele, who was responsible for buildings such as the Dragonara Palace which is now a Casino. A number of similarities have been drawn between Palazzo Parisio and the Dragonara Palace, which at times acts as a direct influence and is even included in the decoration as part of this legacy. Description: B.A.(HONS)HIST.OF ART Sun, 01 Jan 2012 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/7123 2012-01-01T00:00:00Z