An art historical study and condition assessment of paintings from the series of saints and Church reformers by Francesco Zahra and Gio Nicola Buhagiar at the Archbishop’s Curia, Floriana

Abstract

The primary aim of this dissertation is to analyse the series of oval paintings by Francesco Zahra, Gio Nicola Buhagiar and painters of their circle at the Archbishop’s Curia within its rightful artistic and historical context. This study discusses the corpus in its entirety, one which extends beyond the premises of the Casa Manresa in Floriana. The current state of preservation of this corpus hinders its full artistic value and appreciation. Therefore, the Art Historical study is complemented by a condition assessment, which identifies the artists’ original intent and highlights the immediacy for the corpus to be safeguarded from further deterioration. The historical context of the Casa Manresa and the provenance of the corpus will be discussed in the first chapter of this dissertation. The original purpose of the Casa Manresa as a Jesuit retreat house will be outlined in further detail, particularly in relation to the subject matter of the corpus. Therefore, this chapter is largely based on historical research, including a contextual analysis and an iconographical study of the saints and church reformers that are depicted throughout the series. In addition, the first chapter will examine the discovery of an extended corpus of oval paintings beyond the premises of the Archbishop’s Curia, one which forms part of the series at the Archbishop’s Curia. The second chapter of this dissertation highlights the importance of connoisseurship and comparative studies as a groundwork for Art Historical research. The possible collaboration between Francesco Zahra and Gio Nicola Buhagiar will be discussed in light of their familial connections as well as their earlier relationship as a tutor and pupil. This chapter addresses the artistic formation of Zahra and Buhagiar and the influences that moulded their distinctive stylistic manners. It also outlines the manner in which their styles disseminated into the artistic production of painters of their circle. A formal analysis of the paintings is also discussed in this chapter, which greatly contributed to the attributions and dating of the entire corpus. The oval paintings that have been kept in storage at the Dar tal-Kleru in Birkirkara, namely the paintings depicting St Gregory Barbarigo, St Bernardine of Siena, St Francis Xavier and St Ignatius and St Calcedonius, have been transferred to the Archbishop’s Curia throughout the course of this study. Therefore, the location of these works is noted as the Archbishop’s Curia in the captions, except for the ‘Plates’ section wherein the newly attributed twenty-nine oval paintings are grouped according to their location as discovered during the early stages of this research. An in-depth condition assessment on five of the fifteen oval paintings at the Archbishop’s Curia will be provided in the third and final chapter of this dissertation. These paintings are documented in a series of five catalogue entries, each of which includes a description of the subject matter, iconography and formal qualities of the works, as well as an analysis on their different states of preservation. Illustrated by detailed images and digital line drawings, this chapter also addresses factors that might have led to their present condition, including past restoration interventions. This study will therefore serve as a foundation for further Art Historical research, as well as for future conservation and restoration interventions on the corpus.