The ‘pala d’altare’ and painted crucifix at the Parish Church of St George, Qormi : a contextual, iconographical and technical analysis

Abstract

This dissertation aims to provide insights into the oldest paintings at the Parish Church of St George in Qormi, also demonstrating that there are significant examples of vernacular Late Medieval and Post-Byzantine art in Malta. The paintings in question depict The Lamentation, St George and the Dragon and St Gregory with a Female Saint, and a painted crucifix. Each painting is studied through a historical context and iconographical analysis, and they were also each studied at close range since they were all undergoing a conservation process that was entirely undertaken during this study, thereby allowing for an analysis into the manufacture of the paintings, materials used, and such. The first chapter of this dissertation discusses the methodology employed when analysing these paintings and reviews a select literature. Moreover, it includes interviews that have helped in better understanding the current state of knowledge and research on the paintings. The second chapter discusses the history and contextual location of Malta, focusing on Qormi in general, and the Parish Church of St George in particular. The socio and geographical context needs to be acknowledged before discussing the history of the works in the church and how they were gathered together and presumed to be a unified pala d’altare. It further delves into the individual history, style and artistic influences of each painting, while the side panels – considered to be by the same hand – are discussed together. A section with a hypothetical reconstruction of the crucifix’s framework is also included as a means to better understand the original visual and structural context. Moreover, chapter three examines each painting from an iconographical and iconological perspective, followed by the conservation process and technical analysis in chapter four. Among the challenges encountered during the process of research for this dissertation was the absence of documentation regarding the commission of the paintings. These paintings had also undergone significant overpainting, which has at times even altered their iconography or obscured details. Due to their condition and the extent of conservation necessary, it was only the painted crucifix that was fully restored before the submission of this dissertation. Moreover, it was unfortunately not possible to study other similar crucifixes in person and there is also limited information regarding their manufacturing techniques, particularly how they would have been attached to their framework from the back. As a result, alternative approaches had to be taken, including comparisons with Eastern icons, as well as consulting scholars on the matter. Luckily, an inscription appeared during cleaning which has clarified who the author of the painted crucifix is, as well as its date of execution. This dissertation also attempts to offer a precise chronology of the paintings, providing a new perspective on Gargallo's visitation reports of 1588 and 1601, which appear to have been misinterpreted in earlier scholarship. It further establishes the presence of the ‘Sodalita dell'Agonia’ around the dedicated altar and uncovers previously overlooked references to two Purgatory panels beneath the side panels. Throughout the conservation process, numerous discoveries have revealed iconographical and contextual insights, particularly when paired with archival research. The present author further produced line drawings and proposed dates for the overpaintings on each of the four paintings by synthesising findings revealed during conservation, ultraviolet imaging, and visitation reports. As no invasive examinations were performed, these dates represent the most plausible hypothetical timeline based on the available evidence. Moreover, a significant outcome of this dissertation is the discovery of the signature and date on the painted crucifix by the present author. These were uncovered — although still unidentified — during the conservation and restoration process, and they establish it as a 1614 icon by Emmanuel Lambardos, rather than the fifteenth-century date previously assumed based on stylistic considerations. This is highly important, as Lambardos is a leading figure of seventeenth-century Cretan art, and signed works by him are rare, with only fourteen dated icons known prior to this discovery — some of which may actually belong to his nephew, who shared the same name, signature, and style. Its rarity is heightened further by being the only painted crucifix known within his oeuvre. This finding enriches the corpus of Lambardos’ ecclesiastical works and provides fresh evidence for the study of Cretan sacred art, while also underscoring Malta’s role as a cultural crossroads where Eastern and Western artistic traditions intersect. Furthermore, analysis of its depiction and manufacturing techniques strongly suggests that the crucifix was originally intended to be placed atop an iconostasis in a Greek Orthodox setting, adding an important layer of understanding to its historical context and illuminating its later display in the Parish Church of St George.