Vincenzo Maria Cremona : his life and works

Abstract

Vincenzo Cremona hailed from Valletta. He was born on 19th February 1851. His father was Francesco Cremona and his mother’s name was Pawla, neè Bonello. They followed the practice of those times and Vincenzo was baptised in the Dominican Basilica of Our Lady of Porto Salvo in Valletta, dedicated to the Visitation of Our Lady. He was given the names of Vincenzo, Maria, Ġużeppi u Duminku, and his godfathers were Ignatio and Carmelo Bonello. He was named Vincenzo in memory of his grandfather whose name was also Vincenzo. Another reason he was given this name was that his parents were both devotees of a Dominican saint venerated in this Basilica, St Vincent Ferrer. Vincenzo was the fifth of eight siblings; the names of the other Cremona children were Maria-Maddalena, Maria-Anna, Maria-Domenica, Maria-Josepha, Raphel, Alfonso and Spiridione. All were born in Valletta between 1843 and 1856 and all were baptised in the same church. Francesco worked as a tailor, and it was through this trade that he earned his living and supported his large family. Around 1856, when Vincenzo Maria was only five or six years old, Francesco decided to change residence and moved to the new town of Sliema which was still in the early phases of its development. The reason for the move is unknown, but it could be related to the fact that their home in Valletta was a rented house and probably Francesco and Pawla wished to own their property. Sliema was an ideal choice since it was a new building area and probably the cost of buying a house was not very expensive. The decision seems to have been a positive one because the family did not change residence again. Vincenzo Cremona was deeply attached to Sliema, for he also opened his workshop there, at 12, Cathedral Street, opposite St Peter Street. We know this information from a photo which still exists in the Parish Museum of St George at Qormi. When, in later years, Cremona made the colossal statue of St George on the horse for this town, some villagers went to collect it and they took this said photo in front of his workshop. This photo testifies the place of Cremona’s workshop in Sliema. Cremona married Concetta Axisa on 16th October 1888, when he was 37 years old. They made their marriage vows at the parish church of Stella Maris in Sliema, as Concetta also lived in Sliema in Strada Reale number 62. Like Cremona, she originally hailed from Valletta. Her father, Pawlu Axisa, was a businessman, who used to live at 50, Falzon Street. As was customary, before he got married, Cremona made the Matrimonial Arrangement, and in this notarial deed, made in the presence of Notary Francesco Zarb in his bride’s house, Vincenzo Cremona states that he was a Scenographer. We have scant information about his early childhood and youth. He received the Sacraments of Holy Communion and Confirmation at Stella Maris Parish Church4 . He used to attend the government primary school in Sliema. When he grew up, some year around 1878 on the insistence of Honourable Ramiro Barbaro di San Giorgio (1840-1920) 5 , he was awarded a scholarship from the Maltese Government to deepen his experience in scenography in Naples. He was the only Maltese who managed to study abroad in that particular year of 1878. Probably it was the need of an expert scenographer for the theatre that triggered this opportunity. In Naples he studied under three famous art professors namely, Corazza, Masi and Marchino. These three professors left an indelible mark on the artistic character of Vincenzo Maria Cremona. Vincenzo Maria Cremona died at the age of 61 years. He died in his house at 50, Falzon Str., Sliema on 27th January 1912. The registration of his death is listed in the Parish Register of Deaths, folio 403/1912. He was laid to rest in the Addolorata Cemetery in Paola, owned by the Government. The local paper Malta Tagħna thus commented: “Mr Vincenzo Cremona died in Sliema on Saturday, 27 January. He was known as one of the best scenographers and statue maker. He died after a short and cruel illness. In every village and town one can find statues that he worked. He was a wonderful gentleman, sweet mannered and a friendly person, and above all very religious and pious.” Surely such beautiful comments which briefly describe his noble traits and character prove that he was a man who lived his life fully as a professional artist and as a man of faith, thus he was remembered as a gentle person whose artistic qualities made him so popular, and an inspiration to future generations of artists.