L A T E E I G H T E E N T H CENTURY
PAINTERS IN MALTA: A CASE STUDY T H E VIA CRUCIS AT T H E PARISH
CHURCH O F NAXXAR
Keith Sciberras
T h e artistic production o f M a l t e s e eighteenth century painters included the prolific
production o f cycles o f the fourteen devotional paintings representing the Stations
o f the C r o s s o r V i a C r u c i s . T h e l i t u r g y o f the V i a C n i c i s had, b y t h e second h a l f
o f the eighteenth century, developed into an i m p o r t a n t cult practised in the island's
many churches and the fourteen paintings marked a number o f devotional
s t o p p i n g places i n the n a v e o f the c h u r c h . P r a y e r s w e r e said before each i m a g e
during the Crucis devotion.
T h e first n i n e S t a t i o n s r e p r e s e n t s c e n e s i l l u s t r a t i n g t h e R o a d t o C a l v a r y a n d
include C h r i s t before Pilate, scenes o f the c a r r y i n g a n d falling under t h e w e i g h t
o f the cross, t h e m e e t i n g w i t h the V i r g i n , S i m o n t h e C y r e n i a n , t h e V e r o n i c a , a n d
the m o u r n i n g w o m e n . T h e other scenes respectively represent C h r i s t stripped o f
his garments, the nailing to the Cross, the Crucifixion, the P t e i i and the
Entombment.
T h e p r e s e n c e o f t h e m o s t i m p o r t a n t a r t i s t s is r a r e a n d p a i n t i n g s w e r e g e n e r a l l y
e n t r u s t e d t o m i n o r p a i n t e r s w h o t e n d e d t o repeat representational m o d e l s f r o m
w i d e l y circulated prints. T h e r e p e t i t i o n o f the s a m e i m a g e s in d i f f e r e n t c h u r c h e s
became, therefore, c o m m o n . T h e cycle was, however, not always the w o r k o f a
single artist a n d there w e r e frequent occasions w h e n the w h o l e b e c a m e a n
assemblage o f w o r k s by different painters. These c o u l d include the occasional
p a i n t i n g b y t h e better artists, such as G i o . N i c o l a B u h a g i a r ( 1 6 9 8 - 1 7 5 2 ) a n d
Francesco Z a h r a ( 1 7 1 0 - 1 7 7 ? ) . T h e prohlcms concerning the attributions o f such
w o r k s are, h o w e v e r , great a n d there h a s been a t e n d e n c y t o a t t r i b u t e m o s t o f the
cycles t o Z a h r a , e v e n i f this w a s o f t e n n o t the case.
S i n g l e s m a l l w o r k s w e r e s o m e t i m e s g i v e n to different artists o n a c o m p e t i t i v e
basis a n d i t is probable that local church authorities could have used such s m a l l
w o r k s t o test t h e a b i l i t y o f t h e a r t i s t s w h o w e r e l a t e r e n t r u s t e d t h e e x e c u t i o n o f
larger altarpieces.
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Late Eighteenth Century Painters i n Malta
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Despite their conspicuous presence i n Maltese churches. V i a C n i c i s paintings
have never been s y s t e m a t i c a l l y analysed and the present study f o r m s part o f a
w i d e r initial attempt at readjusting most o f the present attributions to s u r v i v i n g
eighteenth century cycles'.
p r e s e r v e d i n the A r c h i e p i s c o p a l A r c h i v e s i n F l o r i a n a ' . I t is a l s o c o r r o b o r a t e d b y
a n u m b e r o f loose sheet autograph receipts, i n c l u d i n g the later dated w o r k s ,
s u r v i v i n g i n the Parish A r c h i v e s o f Naxxar*. A n u m b e r o f other s i m i l a r receipts
s u r v i v e w i t h i n the A . A . F . b o o k itself.
O n first a n a l y s i s R o c c o B u h a g i a r ! 1 7 2 3 - 1 8 0 5 ) ! e m e r g e s as t h e m o s t p r o l i f i c
late e i g h t e e n t h c e n t u r y artist i n this genre o f d e v o t i o n a l art. M u c h o f his
p r o d u c t i o n s w e r e p r e v i o u s l y c o n f u s e d w i t h those o f Z a h r a , w h o n o w has h i s
accredited w o r k s reduced considerably. T h e inconsistency o f most cycles in w h i c h
R o c c o B u h a g i a r i s p r e s e n t s u g g e s t s , h o w e v e r , t h a t he m u s t h a v e h a d s o m e k i n d
o f w o r k s h o p production w h i c h included other m i n o r painters. S o m e o f his w o r k s
are. n o n e the less, a m o n g the better o f late eighteenth c e n t u r y V i a C r u c i s paintings.
A comprehensive analysis o f the c o m m i s s i o n entails the discussion o f s o m e
o f the recorded d o c u m e n t s . T h e earliest references t o the c y c l e date 1777 a n d
o p e n w i t h t h e i n t e r e s t i n g a c c o u n t d e t a i l i n g 1 . 0 . 1 0 . scudi per calesse. e aliro
quando venue ii capomastro per concertare it disegno detli quadri assieme con
Mro. Vtncenzo*.
T h e r e are s t y l i s t i c references t o R o c c o i n a n u m b e r o f cycles that include
those i n the parish churches o fBirkirkara. Floriana. Mosta, Naxxar, Q o r m i ,
Senglea. T a r x i e n , Zabbar. Zchbug, and Sannat o n G o z o . T h e n u m b e r o f R o c c o
B u h a g i a r w o r k s i n each church varies and ranges f r o m complete collections t o
t w o or three w o r k s . M o s t o f the these w e r e previously unattributed, or w r o n g l y
ascribed. T h e r e are also a n u m b e r o f c o l l e c t i o n s o f m e d i o c r e q u a l i t y that h a v e
aesthetic connections w i t h Rocco's w o r k s and can h e suggested t o belong t o
painters w o r k i n g close to the artist.
The Naxxar Via Crucis Cycle
T h e N a x x a r Parish V i a Crucis cycle is a n assemblage o fw o r k s by different
artists a n d the w h o l e c o m m i s s i o n is o n e o f the m o s t i n t e r e s t i n g o f late e i g h t e e n t h
c e n t u r y p r o d u c t i o n s . T h e c o l l e c t i o n is the w o r k o f eight different artists and
survives as a unique collective exhibition. T h e w o r k s fluctuate i n artistic
competence and range f r o m the production o f Giuseppe G r e c h ( 1 7 5 5 - 1 7 8 7 ) .
w h i c h are a m o n g s t the m o r e i m p o r t a n t p a i n t i n g s o n the island, t o o t h e r w o r k s
w h i c h are the h u m b l e u n a s s u m i n g productions o f vernacular artists. T h i s d i v e r s i t y
m a k e s the series itself m o r e exciting.
T h e u n i q u e n e s s o f t h i s c o l l e c t i o n l i e s a l s o i n the fact that i t i s t h o r o u g h l y
d o c u m e n t e d a n d that m o s t expenses, e v e n the m i n u t e s t , w e r e recorded i n a
s e p a r a t e Via Crucis Esito Diverso ( 1 7 7 7 - 1 7 8 0 ) a c c o u n t b o o k . T h e b o o k i s
T h i s reference suggests that it w a s not any o f the participating artists w h o
d r e w u p (he picture space design hut that this w a s already established b y the
c h u r c h a u t h o r i t i e s before the first direct c o m m i s s i o n f o r a p a i n t i n g . T h e r e are n o
i n d i c a t i o n s d e t a i l i n g w h o t h i s capomastro w a s . b u t l a t e r e n t r i e s r e f e r t o t h e Sig
Capo Mm A n t o n i o C a c h i a ( 1 7 3 9 - 1 8 1 3 ) " . a n i m p o r t a n t figure i n M a l t e s e l a t e
e i g h t e e n t h c e n t u r y a r c h i t e c t u r e . T h e c h o i c e o f A n t o n i o C a c h i a , o n e o f t h e O r d e r 's
\2periti, a s s u p e r v i s o r o f t h e w h o l e c o m m i s s i o n c o m e s a s u n e x p e c t e d s u r p r i s e .
It is. h o w e v e r , i n d i c a t i v e o f the N a x x a r p r o c u r a t o r ' s i n t e n t i o n t o get the best o f
w h a t the island provided.
Mm Vincenzo w a s p r o b a b l y V i n c e n z o D i m e c h , intaliatore, w h o s e n a m e
recurs i n the c o m m i s s i o n itself. A prolific w o o d carver V i n c e n z o D i m e c h is
present i na n u m b e r o f other church and Order's c o m m i s s i o n . H e could not,
h o w e v e r , w r i t e a n d a n u m b e r o f recorded r e c e i p t s a r e s i g n e d b y o t h e r s o n h i s
b e h a l f F u r t h e r N a x x a r references detail the expense o f travel for D i m e c h t o
present the frame design at N a x x a r and to lake it back t o Valletta'. These initial
references are undated but s h o u l d p r o b a b l y fall i n 1777.
T h e first r e f e r e n c e f o r a p a i n t i n g p r o p e r is i n d i r e c t a n d d e t a i l s 1 0 tari f o r t h e
horse-drawn carriage that brought an unspecified painting to the village church.
3 . 6 scudi w e r e t h e n s p e n t o n i r o n fittings f o r f i x i n g t w o p a i n t i n g s i n p l a c e . A
3 . A A F . C o m i . V . 5 3 N a x x a r N . 2 7 Via C r u c i s . E s i l o D i v e r s e 2 2 - 3 6 .
4 . M r . T . T e r r i b i l e b r o u g h u h e N a x x a r Parish A r c h i v e s loose sheet receipts to m y attention. I (hank
M r Terribile for his co-operation.
5 . A A F . N a x x a r . up. cit.. 2 3 .
1, A m o r e e x h a u s t i v e s t u d y i s p r e s e n t e d b y K . S c i b e r r a s , Rocc* Buhagiar and Lint Eighteenth
Century Painting in Malta. M A T h e s i s p r e s e n t e d t o t l w U n i v e r s i t y of M a l t a i n 1 9 9 5 , 1 1 5 - 1 4 2 .
6 . F o r A n t o n i o C a c h i a s e e G . B o n e l l o . ' T h e C a c h i a D y n a s t y o f A r c h i t e c t s ' , i n The Sunday Times.
December 101995. 56-S7.
2. F o r a d e t a i l e d s t u d y o n the artist see K . M b M M d M t
7. A A F , N a x x a r , 24.
94
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SeibenJtS
f u r t h e r 2 tan w e r e t h e n o t e d e x p e n s e s p a i d t o t h e m a n w h o b r o u g h t o v e r a p a i n t i n g ,
p r o b a b l y the second one".
T h e s e t w o w o r k s a r e identified as Stations X I I and X L U w h e n V i n c e n z o
D i m e c h r e c e i v e d 1 8 . 1 0 scudi f o r p r o d u c i n g w o o d c a r v i n g s o n t h e f r a m e s . T h e
d a t e i s n o t e d a s 13 N o v e m b e r 1 7 7 7 w h e n t h e c a r p e n t e r G i u s e p p e r e c e i v e d 2 5
scudi a s a n i n s t a l m e n t f o r t h e f r a m e s . T h e g i l d e r F i d e l e w a s p a i d 1 4 . 1 . 1 0 scudi
for g i l d i n g the f r a m e f o r S t a t i o n X I I I . A n u n k n o w n I g n a z i o i n s t a l l e d a p a i n t i n g
f o r 4 tart, a n d a n o t h e r m a n r e c e i v e d a s i m i l a r 4 tori f o r b r i n g i n g t h e w o r k o v e r
f r o m V a l l e t t a . I n J u n e 1 7 7 8 , h o w e v e r , a n o t h e r p e r s o n r e c e i v e d 3 tart f o r t a k i n g
the p a i n t i n g back t o V a l l e t t a 5 . I t is, at this stage, unclear w h y there w a s a l l this
m o v e m e n t w h e n o n l y t w o paintings w e r e by this t i m e noted. T h e later references
t o a r t i s t s a n d g i l d e r s s u g g e s t t h a t S t a t i o n X I I I w a s fixed i n p l a c e a n d S t a t i o n X I I
s e n t t o t h e g i l d e r at V a l l e t t a .
T h e n a m e o f an artist w a s first recorded o n 7 J u n e w h e n G i u s e p p e G r e c h
r e c e i v e d 1 6 . 1 scudi f o r S t a t i o n X I I . r e p r e s e n t i n g t h e Crucifixion. G i u s e p p e G r e c h
w a s a relatively y o u n g artist hut his prodigious talent had already signalled h i m
as o n e o f b r i g h t e s t f u t u r e s f o r M a l t e s e art. H e w a s a l r e a d y e m p l o y e d a s a
decorative painter b y G r a n d M a s t e r D e R o h a n , w h o w a s t o later become his
protector and sponsor his successful studies in R o m e 1 " .
T h r e e d a y s l a t e r , a s e c o n d a r t i s t . G i u s e p p e P a c e r e c e i v e d 14,1,10 scudi f o r
S t a t i o n X I I I , r e p r e s e n t i n g t h e Pietd. G i u s e p p e P a c e w a s a p r o l i f i c p o r t r a i t p a i n t e r
a n d w a s also o n the G r a n d M a s t e r ' s h o o k s " . H e w a s n ' t , h o w e v e r , a n e q u a l l y
prolific religious painter and his few k n o w n ecclesiastical productions are
relatively mediocre.
H i s s i g n e d a n d d a t e d r e c e i p t f o r t h e Pietd r e a d s :
AdiGiu:
1778
lo sotto scritto confesso d'aver ricevuto la soinma di schudi quatordici lari
8. I b i d . , 2 6 .
9. 27.
10. F o r a d e t a i l e d s t u d y o f G i u s e p p e G r e c h see K . S c i b e n a s , tip. cit. 1 8 0 - 1 9 8 . A n e s s a y o n t h e a r t i s t
w i l l b e p u b l i s h e d b y t h e s a m e a u t h o r i n Proceedings of History Week 1994 f o r t h c o m i n g . T h e
N a s x a r p a i n t i n g s b y G r e c h , t o g e t h e r w i t h specific details o f his c o m m i s s i o n , are discussed i n
detail
I I . K. Sciberras. JOicro. 143-179
Late Eighteenth Century Painters i n Malta
93
ttno grant died per mono del Si: Capeiano per la pittura delta stazione decima
terza dico scudi 14.1.10
Gioseppe Pace'2
O n t h e s a m e d a y G i u s e p p e G r e c h r e c e i v e d a f u r t h e r 5 0 scudi a s a d v a n c e
p a y m e n t t o e x e c u t e o t h e r w o r k s a conton. T h i s w a s r e c o r d e d i n t h e a c t s o f n o t a r y
P a u l o V i t t o r i o G i a m a l v a w h o r e c e i v e d 3 tari f o r h i s f e e . 1 " T h i s c u r i o u s N o t a r i a l
Act suggests that G r e c h a n d Pace w e r e p r o b a b l y c o m m i s s i o n e d o n a c o m p e t i t i v e
basis w h i c h G r e c h s e e m i n g l y w o n . T h e y o u n g artist w a s , h o w e v e r , n o t t o c o m p l e t e
the cycle.
T h e w o r k o f G i u s e p p e G r e c h surpassed that o f Pace i n b o t h c o m p o s i t i o n e d
arrangement and technical structure. Grech's b r u s h w o r k flows w i t h a freedom
rare in late eighteenth century art and his p r o d u c t i o n surpasses a l l that w a s then
b e i n g e x e c u t e d b y M a l t e s e painters. T h e w o r k o f P a c e is, o n the o t h e r h a n d ,
feeble and dry, inconsistent in draughtsmanship and w e a k i n e x e c u t i o n .
The d u a l c o m m i s s i o n seems l o have been repeated for the g i l d i n g since a
d i f f e r e n t g i l d e r . M i c h a e l G a l d e s , received 18.8 scudi f o r e x e c u t i n g t h e g i l d i n g
of the frame for Station X I I . O n 4 July, the other gilder, Fidele, received a further
5 . 1 0 . 1 6 scudi a s s e t t l e m e n t f o r S t a t i o n X I I I . A n o t h e r s t r a n g e e n t r y , o f 6 r a n ,
further notes the travel expense for a horse-drawn carriage to Valletta to discuss
t h e f r a m e ' s d e s i g n " . T h e l a t t e r g i l d i n g t h e r e f o r e c o s t a t o t a l o f 2 0 . 0 . 6 scudi.
M i c h e l c G a l d e s , the cheaper o f the t w o , w a s later entrusted the c o m p l e t i o n o f
o t h e r w o r k s e v e n i f a n o t h e r g i l d e r w a s . at a c e r t a i n stage, a l s o t r i e d .
I n S e p t e m b e r 1 7 7 8 , t h e intaliatore, p r o b a b l y D i m e c h , r e c e i v e d 7 . 0 . 1 5 scudi
as a n i n s t a l m e n t f o r h i s w o r k a n d , o n 4 O c t o b e r 1 7 7 8 , t h e p r e v i o u s l y m e n t i o n e d
I g n a z i o w a s p a i d 5 f o r i f o r p l a c i n g a p a i n t i n g i n its p l a c e . T h i s w a s n o w p r o b a b l y
the installation o f the G r e c h painting w i t h the Galdes gilded frame. T w o days
later, h o w e v e r , a n o t h e r reference details that t w o f r a m e s w e r e sent t o t h e C i t y ,
a n d , o n 1 4 O c t o b e r t h e c a r p e n t e r G i u s e p p e r e c e i v e d 2 5 scudi a s a n o t h e r
instalment16.
12.
P A . Naxxar. unattached loose sheet folios.
13.
K . Sciberras. 185.
14.
A A F . N a x x a r . 28. T h e n o t a r i a l agreement - N A V , R 2 9 2 / 2 6 P a u l o V i t t o r i o G i a m m a l v a . 10 June
1 7 7 8 , ff. 8 4 6 v - 8 5 7 r - i s d i s c u s s e d i n d e t a i l i n K . S c i b e r r a s , History Week 1994.
15.
A A F . Naxxar. 2 8 .
16.
29.
Keith Sciberras
96
A 7 January 1779 entry m a y probably identify the latter t w o frames w i t h
t h o s e f o r S t a t i o n s I I a n d I I I . O n t h a t d a y , V i n c e n z o D i m e c h w a s p a i d 1 8 scudi
f o r t h e i r c a r v i n g , a n d a n u n k n o w n p e r s o n r e c e i v e d 1 6 tart f o r t h e i r t r a n s p o r t " .
T h e carpenter Giuseppe h i m s e l f probably resided s o m e w h e r e next t o N a x x a r .
O n c o m p l e t i o n o f h i s w o r k , t h e f r a m e s w e r e sent t o V i n c e n z o D i m e c h i n V a l l e t t a
w h o l a t e r r e t u r n e d t h e m b a c k t o N a x x a r . T h e s e w e r e t h e n sent b a c k f o r g i l d i n g ,
s o m e t i m e s p o s s i b l y w i t h t h e p a i n t i n g i t s e l f . A n t o n i o C a c h i a , capomastro, p o s s i b l y
s u p e r v i s e d a l l . O n 2 2 F e b r u a r y 1 7 7 9 , h e r e c e i v e d 1 1 . 4 scudi f o r d e s i g n i n g t h e
frames".
O n 2 June. V i n c e n z o D i m e c h painted the crosses c r o w n i n g the frames and
e x e c u t e d s o m e r e s t o r a t i o n w o r k s . H e w a s p a i d 6 . 1 0 tari. O n 6 J u l y 1 7 7 9 , 3 3 . 8
scudi w e r e s p e n t o n e x p e n s e s f o r g o l d t o he u s e d i n t h e g i l d i n g p r o c e s s a n d . o n
t h e s a m e d a y , D i m e c h r e c e i v e d a f u r t h e r i n s t a l m e n t o f 6 . 8 . 5 . scudi.
T h e artist w h o executed Station III receives no documented m e n t i o n but h e
s h o u l d have been Giuseppe G r e c h . to w h o m the painting can be stylistically and
h i s t o r i c a l l y a t t r i b u t e d . T h e p a i n t i n g , r e p r e s e n t i n g t h e First Falling with lite Cross.
is an e v e n s t r o n g e r i n d i c a t i o n o f G r e c h ' s talent. U s sober qualities are a direct
reference t o the S c h o o l o f R o m e and an indication o f a definite c h a n g e i n aesthetic
taste.
T h e notarial agreement had bound the y o u n g artist to execute other w o r k s
but these c o u l d not be produced because w i t h i n t h e s a m e y e a r G r e c h w a s
furthering his studies i n R o m e " . T h e c h u r c h procurators therefore turned t o
c o m m i s s i o n their third artist.
A n i n t e r e s t i n g r e f e r e n c e i s n o t e d w h e n 8 tari w e r e p a i d a s e x p e n s e s f o r a
horse-drawn carriage w h i c h t o o k R o c c o Buhagiar to Naxxar. T h e reference is
undated but should fit s o m e w h e r e between July and September 1779. Grech's
decision l o leave the project w a s already taken and it is indeed no surprise that
t h e n e x t p e r s o n t o be a p p r o a c h e d w a s R o c c o B u h a g i a r , the m o r e e s t a b l i s h e d o f
the local painters and a prolific producer o f V i a C r u c i s paintings. T h e near
relationship between G r e c h and R o c c o m a y also corroborate Grech's suggested
t r a i n i n g under the master. T h e r e w a s , h o w e v e r , n o other i m m e d i a t e p a y m e n t t o
R o c c o B u h a g i a r , w h o d e l i v e r e d h i s first w o r k s t h e f o l l o w i n g year. T h e
c o m m i s s i o n , at this stage, s e e m s to lake a n u m b e r o f different t u r n i n g s .
I .lie Eighteenth Century Painters in Malta
97
O n 1 2 S e p t e m b e r 1 7 7 9 a M r o S t e f a n o received 2 3 -.mi: f o r g i l d i n g t h e
f r a m e s o f S t a t i o n s II a n d X I I . T h e l a t t e r f r a m e h a d a l r e a d y b e e n g i l d e d b y G a l d e s .
a n d t h e r e f e r e n c e s s h o u l d h a v e p r o b a b l y referred t o S t a t i o n I I I . I n O c t o b e r o f t h e
s a m e y e a r , a M r o G i u s e p p e M a r i a r e c e i v e d 2 1 . 0 . 1 5 scudi f o r e x e c u t i n g t h e portieri
alii quadri. b u t t h e e x a c t n a t u r e o f t h e w o r k i s u n k n o w n . A t t h e s a m e t i m e a
frame was brought over from Valletta10.
T h e w h o l e b e c o m e s m o r e c o m p l e x w h e n , i n N o v e m b e r ]779, a Pitlore Pace,
p r o b a b l y G i u s e p p e , r e c e i v e d 3 . 2 scudi f o r p r i m i n g t w o c a n v a s e s 3 1 . G i u s e p p e
Pace had heen s e e m i n g l y excluded f r o m the c o m m i s s i o n after the probably
c o m p e t i t i v e J u n e 1 7 7 8 p a i n t i n g s a n d h i s reappearance i s s o m e w h a t i n d i c a t i v e
o f the N a x x a r procurators decision to entrust the c o m p l e t i o n o f the w o r k t oa
single artist. T h e t w o canvases w e r e , h o w e v e r , never executed by the artist a n d
i t i s i n d e e d d i f f i c u l t to b e l i e v e t h a t P a c e w a s p r i m i n g t h e c a n v a s e s f o r a n o t h e r
artist.
O n 18 N o v e m b e r , V i n c e n z o D i m e c h received a n i n s t a l m e n t o f 5 . 1 . scudi f o r
his carvings o n the frames for Stations I and I V . These w e r e l o be executed b y
R o c c o B u h a g i a r and indicates thai, since the frames w e r e ordered, the artist's
earlier visit m u s t have been fertile".
E v e n t h o u g h there w a s the i n t e n t i o n o f i n t r o d u c i n g R o c c o B u h a g i a r i n the
c o m m i s s i o n , t w o d a y s later, o n 2 0 N o v e m b e r 1 7 7 9 , t h e Pittoreforastiered'Aqusto
S.to Candia21 received 15 scudi f o r S t a t i o n I F 4 . T h i s p a i n t i n g w a s p r o b a b l y t o b e
painted by G r e c h because the frames for Stations I I a n d I I I h a d heen
c o m m i s s i o n e d together. Santo C a n d i a w a s probably s o m e h o w connected w i t h
R o c c o B u h a g i a r because, o n both occasions o f his o n l y k n o w n M a l t a paintings,
t h e M a l t e s e m a s t e r w a s s u r p r i s i n g l y v e r y near. H i s d o c u m e n t e d receipt f o r t h e
N a x x a r p a i n t i n g reads:
2 0 . AAF. Naxxar. 3 2
21. 32.
2 2 . Ibid.
17. 30.
23
18. 30.
19
K. Sciberras. Rocco.
For Sonio Candia see K Sciberras. Rocco.
24. AAF.Mccrnr.33.
188.
97.
98
Keith
Sciberras
99
Late Eighteenth Century Painters i n M a l t a
Malta U 20 Novembre 1779
lo infrascritto confesso avert ricevuto scudi 15 dal Cappellano di Nasciaro
peraverce dipinto un quadro delta Via Sacra la seconda stazione. dico scudi 15.
lo Santo Candia2*.
T h e p e r s o n w h o t r a n s p o r t e d t h e D e C a n d i a p a i n t i n g r e c e i v e d 6 tari. O n 2 2
N o v e m b e r , C u z z o t h e b l a c k s m i t h r e c e i v e d 2 . 8 scudi f o r f i t t i n g s f o r S t a t i o n s I I
a n d I V a n d , l a t e r , a f u r t h e r 1 4 scudi f o r f i t t i n g s f o r S t a t i o n s I a n d X I V 3 " . S t a t i o n
I V was l o b e depicted later i n the 1780s by L o r e n z o G r i m a .
In F e b r u a r y 1780 another p a i n t i n g w a s brought o v e r f r o m Valletta and, d u r i n g
the same period, frames w e r e prepared for t w o other paintings. These w e r e then
sent t o Valletta for g i l d i n g . A s i m i l a r entry notes that, o n 2 5 M a y 1780, t h e
f r a m e s f o r S t a t i o n s I a n d X I V w e r e t a k e n t o t h e g i l d e r , w h o w a s p a i d 13 scudP7
f o r h i s l a b o u r . O n 7 N o v e m b e r 1 7 8 0 , G i u s e p p e P u l l i c i n o r e c e i v e d 50 scudi as a n
instalment for s o m e frames, and the f o l l o w i n g day V i n c e n z o D i m e c h received a
f u r t h e r 2 1 scudi f o r h i s c a r v i n g s o n S t a t i o n s I a n d X I V 3 " .
D u r i n g the same day the frames w e r e taken back to Naxxar. A subsequent
e n t r y notes 8 r a n paid f o r the h o r s e - d r a w n carriage that b r o u g h t o v e r R o c c o
Buhagiar together w i t h the paintings representing Station I and X I V 3 " . T h e exact
d a t e i s m i s s i n g b u t i t s h o u l d a l s o h a v e b e e n 8 N o v e m b e r 1 7 8 0 as t r a n s p i r e s f r o m
the dated autograph receipt for the t w o w o r k s . I t reads:
Li 8 Novembre 1780
T h e last e n t r y i n the A . A . F . N a x x a r V i a C r u c i s v o l u m e dates 1 7 8 0 and the
subsequent v o l u m e does, unfortunately, not s u r v i v e . T h e names o f the artists
w h o executed the post January 1781 paintings are h o w e v e r fortunately recorded
in the receipts that s u r v i v e in the P a r i s h A r c h i v e s .
T h e l o c a l C h u r c h a u t h o r i t i e s w e r e , at t h i s s t a g e , a p p a r e n t l y n o t v e r y c o h e r e n t
a n d the n u m b e r o f painters i n v o l v e d i n the project g r e w . I t is n o t clear w h e t h e r
this w a s a deliberate i n v o l v e m e n t o r w h e t h e r it w a s the result o f a subsequent
r e l i n q u i s h i n g o f c o m m i s s i o n s by the artists t h e m s e l v e s . I f the idea w a s l o i n v o l v e
as m a n y a r t i s t s as p o s s i b l e i t w a s i n d e e d s t r a n g e t h a t t h e y d i d n o t , a t least, m a i n t a i n
a decent level o f artistic competence. A n u m b e r o f painters are o n l y recorded
w o r k i n g at N a x x a r .
O n 16 J u n e 1 7 8 2 , the p r e v i o u s l y u n k n o w n p a i n t e r G a s p a r e M o n t a n a r o "
r e c e i v e d 1 5 scudi f o r S t a t i o n V I I , a n d o n 4 J a n u a r y o f t h e f o l l o w i n g y e a r h e w a s
p a i d 15 scudi i n t w o i n s t a l m e n t s f o r p a i n t i n g S t a t i o n V l i t "
O n 1 9 J u l y 1 7 8 3 . R o c c o B u h a g i a r r e c e i v e d 3 0 scudi f o r S t a t i o n s V I a n d I X ,
thus e n d i n g his c o n n e c t i o n w i t h the c o m m i s s i o n " . T h e s u m is a r e m a r k a b l e 1 0
scudi less t h a n w h a t h e r e c e i v e d f o r t h e p r e v i o u s t w o p a i n t i n g s .
The A . A . F . run o n expenditure entries m a k i n g i t difficult t o isolate and
calculate the w h o l e expenses f o r a single S t a t i o n o f the V i a C r u c i s . A N a x x a r
Parish A r c h i v e s loose sheet account h o w e v e r s u r v i v e s a n drecords such
e x p e n d i t u r e f o r S t a t i o n X I I . o n e o f t h e first t o b e e x e c u t e d i n 1 7 7 8 . T h e a c c o u n t
reads:
lo infrascritto ho ricevuto per mono del Reverendo Signor Parvco Giorgio
Fiteni la somma di scudi quaranta tari uno e grant died per lavoro di pittura
detli due stazioni prima e ultimo dico... scudi 40.1.10
Spesa del Quadro Stazione XII
Per guarnicia. e lilarv at farliniame M.o Peppi... scudi 6
Rocco Buhagiar'".
Perliniame del intalio, e intatioa M.o Vincenzo... scudi 9.5
Per Indoratura. at Indoratore Miehaele Galdes... scudi 18.8
Per Pittura. a! Pittore Gioseppe Grech... scudi 16.1.10
Perferramenti per teneredetto quadro scudi 1.9
25. I b i d . , u n p n g i n a t e d f o l i o .
26. 33.
27. 34.
28. 33.
29. 36.
30. I b i d . u n p a g i n a t e d r e c e i p t s a t t a c h e d a t t h e b a c k
31. A c e r t a i n G a s p a r e M o n t a n o r o i s e l s e w h e r e d e s c r i b e d a s scrivann
TV™. ( A O M . 5 u p p l i c h c . T o m XV. 1875-1792, L XII. 1790).
32. P A . N a x x a r . l o o s e s h e e t r e c e i p t .
33
Ibid
del M i m t e di Redenzine
e
Late Eighteenth Century Painters i n M a l t a
Keith
100
Per portare it quadro dell Cilia... scudi 0.6
Per piantarlo il farUniame al loco... scudi 0.4
Per tavoliperla
cornicia del pilastro e meterla al loco... scudi 0.6
Sutoium...
scudi53.3.10
Hoavuto...
scudi 32.11.10
Resto daver... scudi
101
Sciberras
20.4U.
T h e f o u r t e e n p a i n t i n g s a l l o w f o r an estimate o f the artists' c o m p e t e n c e a n d
the d i v e r s i t y o f p r o d u c t i o n p r o v i d e s an interesting cross-section o f late-eighteenth
c e n t u r y w o r k s . G i u s e p p e G r e c h e m e r g e s as t h e m o s t p o w e r f u l artist and,
c o n s i d e r i n g his y o u n g age, his w o r k s s h o w a s o u n d k n o w l e d g e o f a n a t o m i c a l
m o d e l l i n g w h i c h complements spontaneous brushwork and strong narrative
qualities".
T h e w o r k o f his older c o n t e m p o r a r y , Giuseppe Pace, h a r d l y rises a b o v e
m e d i o c r i t y a n d it i s i n d e e d n o t s u r p r i s i n g t h a t t h e l o c a l c h u r c h a u t h o r i t i e s e n t r u s t e d
the c o m p l e t i o n o f the series t o the hands o f the m o r e talented y o u t h . Pace's
Pieta p a i n t i n g a d o p t s a m u c h h a c k e n c d t y p e , a s c h e m e p r e s e n t i n o t h e r V i a C r u c i s
scenes b y u n k n o w n artists. H i s w o r k , as d o the s m a l l e r w o r k s o f other late
eighteenth c e n t u r y artists, fails to achieve a coherent w h o l e and presents j a r r i n g
discrepancies in figure m o d e l l i n g .
R o c c o B u h a g i a r ' s Entombment i s a b e t t e r w o r k . I t i s a n i n t e r e s t i n g p a i n t i n g ,
w e l l designed a n d c h r o m a t i c a l l y clear. T h e s c h e m e i t s e l f f o l l o w s a type m u c h
preferred by the artist and used also o n other occasions that include Senglea and
M o s t a . T h e lethargic sense o f drama, w h i c h becomes itself the essence o f the
w h o l e w o r k , i s a l s o p r e s e n t i n t h e w o r k o f G r e c h . T h i s is a d e f i n i t e b r e a k w i t h
the past a n d i t i s this that isolates the w o r k s o f the t w o artists f r o m the rest.
Giuseppe Pace's w o r k remains, as also d ohis other religious productions, still
dependent o n the earlier Baroque spirit.
T h e Entombment, h o w e v e r , d o e s p r e s e n t c o n s i d e r a b l e d i s p a r i t y w h e n
c o m p a r e d w i t h o t h e r R o c c o paintings i n the s a m e series. T h i s i n c o n g r u i t y i s
apparent w h e n the w o r k is stylistically compared w i t h Station I X , executed b y
the artist i n 1783. H i s general presence i n the latter painting is evident but, o n
the w h o l e , the p a i n t i n g is a m e d i o c r e w o r k m a t d o e s n o t reach the artist's better
s t a n d a r d s . T h e w o r k f a i l s i n its c o m p o s i t i o n a l a r r a n g e m e n t a n d t h e n a i v e a p p r o a c h
to the r e n d e r i n g o f the e x e c u t i o n e r s is n o different t h a n that present i n the w o r k s
o f the h u m b l e r painters.
T h e V i a C r u c i s p r o d u c t i o n o f R o c c o B u h a g i a r is, as suggested elsewhere, a
muIti-faceted p r o d u c t i o n that varies t r e m e n d o u s l y i n both c o m p o s i t i o n a l
o r g a n i s a t i o n a n d finesse o f e x e c u t i o n . T h e t e n scudi less t h a t t h e a r t i s t r e c e i v e d
for Stations V I a n d I X are indeed t e s t i m o n y o f such discrepancies. T h e m o d e l l i n g
o f the e x e c u t i o n e r ' s a r m , h o l d i n g the cross f r o m the f r o n t a l side, in S t a t i o n V I i s
decisively weaker than the same disposition o f Christ's a r m i n Station X I V .
S i m i l a r l y , drapery folds i n S t a t i o n I X are r u d e l y e x e c u t e d a n d lack the m u c h
finer treatment o f Station X I V . T h e executioner w h o , o n the other hand, toils t o
fasten C h r i s t ' s hands in S t a t i o n I t o w e r s i n d i s p a r i n g l y gigantic p r o p o r t i o n w h e n
c o m p a r e d t o o t h e r s . T h e c e n t r a l C h r i s t i s h o w e v e r finely p a i n t e d a n d t y p i c a l o f
the artist. T h e s e discrepancies propose the suggested e m p l o y m e n t o f another
p a i n t e r e x e c u t i n g m i n o r figures o r h e l p i n g t h e a r t i s t i n h i s p r o l i f i c V i a C r u e t s
p r o d u c t i o n . T h i s remains, h o w e v e r , o n l y v e r y h y p o t h e t i c a l . T h e o n l y R o c c o w o r k
w h i c h achieves a satisfying w h o l e isStation X I V .
T h e o t h e r w o r k s i n the series are o f v e r y m e d i o c r e p r o d u c t i o n , e v e n i f the
w o r k s o f G i u s e p p e T h e y and S a n t o C a n d i a can be singled o u t to h e better than
that o f the rest. G i u s e p p e T h e y , w h o painted S t a t i o n X i n 1789, i s a r e l a t i v e l y
u n k n o w n p e r s o n a l i t y w h o is suggested t o have s o m e h o w f o r m e d part o f F a v r a y ' s
studio".
H e i s a c c r e d i t e d w i t h t h e a l t a r p a i n t i n g o f t h e Death of St. Joseph i n t h e
F l o r i a n a Parish C h u r c h , a feeble interpretation o f the F a v r a y M a n r e s a t h e m e ,
a n d o t h e r p a i n t i n g s t h a i i n c l u d e a S f Christopher i n t h e c h u r c h o f SL A u g u s t i n e ,
V a l l e t t a , a n d The Immaculate Conception a t t h e p a r i s h c h u r c h o f B i r g u 1 7 . T h e
a l t a r - p a i n t i n g o f The Immaculate Conception t h a t s u r v i v e s a t B i r g u i s , d e s p i t e
s o m e w e a k p a s s a g e s , g e n e r a l l y s a t i s f y i n g h u t its a t t r i b u t i o n t o T h e y , u n t i l s e c u r e l y
d o c u m e n t e d altar-pieces are resurfaced f o r s t y l i s l i e c o r r o b o r a t i o n , s h o u l d r e m a i n
d u b i o u s . T h e p a i n t i n g has been e l s e w h e r e ascribed t o the seventeenth c e n t u r y ' "
3 6 . J. G a s h , ' P a i n t i n g a n d S c u l p t u r e i n E a r l y M o d e m M a l t a ' i n V . M a l l i u M i l u n e s t c d . l . Hospitaller
Malta I530-I79H. M o l l a 1 9 9 3 . 5 9 9 .
3 7 . Cassagna. Siorja ttC Malta bil Giejjer Taxhhu. Malta 1 8 9 0 . 2 2 6 .
34. PA.
Naxxar,
3 8 . M . B u h a g i a r . ' A r t i s t i c H e r i t a g e ' i n L . B u g e j a . M . B u h a g i a r . S . F i o r i n i ( e d s | . Birgu - A Maltese
Maritime City. M a l t a 1 9 9 3 . 4 9 5 .
l o o s e sheet receipts.
35. T h e w o r k s are discussed i n K . Sciberras,
Rocco,
187.
Keith
Sciberras
bill Ibis iconographical interpretation o f the I m m a c u l a t e V i r g i n r e m a i n e d also
v e r y p o p u l a r t h r o u g h o u t t h e e i g h t e e n t h c e n t u r y . T h e p a i n t i n g o f 5 / Christopher
i n the A u g u s t i n i a n C o n v e n t is a better w o r k but its a t t r i b u t i o n s h o u l d r e m a i n
hypothetical.
Giuseppe T h e y ' s accredited portrait production includes Pope Pius V I I w i t h
R e v . V i n c e n z o M a r i a P o r t e l l i at the c h u r c h o f St. D o m i n i c . V a l l e t t a , and B i s h o p
M a t l e i i n the C o s p i c u a p a r i s h c h u r c h . T h e V a l l e t t a p a i n t i n g s h o u l d date t o the
early years o f the nineteenth century. A separate portrait o f R e v . Portelli c o u l d
b e l o n g t o the s a m e h a n d . T h e y are interesting w o r k s , w e l l executed a n d m o d e l l e d ,
but still eighteenth century in spirit. Giuseppe T h e y was, apparently, also active
i n h o u s e d e c o r a t i v e p a i n t i n g a n d is s u p p o s e d t o h a v e p a i n t e d a d e c o r a t i v e s c h e m e
w i t h vignettes i n a palazzo at Rabat'".
S a n t o C a n d i a ' s p a i n t i n g . S t a t i o n I I , is a c h a o t i c w o r k t h a t d o e s n o t r e a c h t h e
b e t t e r s t a n d a r d s o f h i s Pieta a l t a r p a i n t i n g i n t h e c h u r c h o f S t . B a r t h o l o m e w a t
T a r x i e n . I t is not s u r p r i s i n g , h o w e v e r , that, c o n s i d e r i n g this w o r k , this f o r e i g n
artist failed to achieve great note o n the island. H e w a s also i n v o l v e d w i t h the
s a m e l i m i t e d success i n portrait production. H i s o n l y k n o w n representation is
t h a i o f a s i t t e r i d e n t i f i e d a s Sig. Michelangelo Falzon. Com. te del Cottone Bormla
Malta i n a l e t t e r t h a t t h e s a m e s i t t e r h o l d s . T h e p a i n t i n g i s p r e s e r v e d i n a p r i v a t e
c o l l e c t i o n and i s signed at b o t t o m r i g h t .
Late Eighteenth Century Painters i n Malta
!03
m a i n d o o r w a y i n t h e Paggerhi", o r P a g e ' s C h a m b e r , p r e s u m a b l y i n t h e P a l a c e ,
Valletta.
A s m a l l full length portrait o f a y o u n g girl wearing a long necklace w i t h an
e i g h t p o i n t e d c r o s s p e n d a n t a n d h o l d i n g a f l o w e r i n h e r h a n d i s s i g n e d Lor Grima
fecit 1788 on t h e b a c k . T h e s i g n a t u r e h a s b e e n c o v e r e d b y r e l i n i n g i t b u t w a s
fortunately recorded b y its present o w n e r . T h e p a i n t i n g , preserved in a p r i v a t e
c o l l e c t i o n , is a r e l a t i v e l y m e d i o c r e w o r k y e t i t i s m u c h better t h a n the N a x x a r
paintings.
T h e p a i n t e r w h o e x e c u t e d S t a t i o n X I is o n l y recorded b y the s u r n a m e Z a h r a 4 3 .
H i s w o r k , h o w e v e r , is a far c r y f r o m that o f F r a n c e s c o Z a h r a a n d a n y s u g g e s t i o n
that they c o u l d have been s o m e h o w related remains purely very hypothetical.
O n e o f Francesco's sons, A u r e l i o ( 1 7 4 8 - 1 8 0 3 ) . is held t o have been a painter
a n d t h a i , a s n o t e d b y P a n z a v e c c h i a , h e d i e d avvelenato collo pigmento".
T h e latter l o w p r o f i l e painters d o not m e r i t any great d i s t i n c t i o n , h u t
c o m m i s s i o n s o f this type are o f great h e l p i n i d e n t i f y i n g the u n k n o w n artists
w h o p r o b a b l y executed the n u m e r o u s other V i a C r u c i s cycles w h i c h fall w i t h i n
the same category o f artistic competence.
T h e r e m a i n i n g w o r k s can o n l y be noted as p o o r manifestations o f popular
art. W h a t i s s u r p r i s i n g i s that all w o r k s r e m a i n e d w i t h i n the s a m e price bracket
a n d t h e 1 6 . 1 . 1 0 scudi w h i c h G r e c h r e c e i v e d i n 1 7 7 8 i s n o t a n y d i s s i m i l a r t o t h e
1 5 scudi w h i c h G a s p a r e M o n t a n a r o g o t i n 1 7 8 2 . T h e l a t t e r ' s p r o d u c t i o n , S t a t i o n s
V I I a n d V m , fails m i s e r a b l y . T h e r e are n o o t h e r k n o w n w o r k s by M o n t a n a r o .
L o r e n z o G r i m a is a n o t h e r v e r n a c u l a r painter w h o e x e c u t e d t h e t w o , e q u a l l y
unhappy, paintings representing Stations I V and V4'1. H i s name docs not, however,
remain completely obscure a n d he is documented elsewhere w o r k i n g o n a
d e c o r a t i v e c o m m i s s i o n . O n 2 A u g u s t 1 7 9 7 , he r e c e i v e d 7 . 7 . 1 0 scudi f o r p a i n t i n g
the coat-of a r m s o f G r a n d Master H o m p e s c h w h i c h w e r e t o hang above t h e
39. T h e s c h e m e w a s u n f o r t u n a t e l y vandalised and destroyed d u r i n g a m o d e m conversion o f i h e
large house i n t o a n u m b e r o f c o m m e r c i a l oullels, one o f w h i c h i s today Ihe premises o f the
Rabat L o c a l C o u n c i l . V e r b a l c o m m u n i c a t i o n b y C a n . J . A z z o p o r d i . S o u r c e : the late Dr. J . A .
Cauchi.
4 0 . P A . N a x x a r . loose sheet receipt.
4 1 . N L M . M s 4 5 3 . p . Ill
4 2 . P A . N a x x a r . loose sheet receipt.
4 3 . A C M . Pan 8 4 . f34t)r published b y E M o n t a n a r o . Materials for the tile o f Francesco Z a h r a ' . i n
J . A i i z o p o r d i ( c d ) . Francr.itrn Zahra 1710-1773. M a l t a 1 9 8 6 . 2 8
Keith Sciberras
Giuseppe Grech, T h e F i r s t F a l l i n g with T h e Cross,
Parish Church of the Nativity, Naxxar.
Giuseppe Pace, T h e Virgin of
Sorrows,
Parish Church of the Nativity, Naxxar.
Rocco Buhagiar, T h e
Entombment,
Parish Church of the Nativity, Naxxar.