This year’s annual festivities at Żabbar in honour of Our Lady of Grace have special significance. Last Sunday, the 60th anniversary of the solemn crowning of the titular painting of Our Lady of Grace was commemorated while the previous Thursday, the titular statue, just restored by Aaron Camilleri Cauchi, was inaugurated in preparation for Sunday’s procession.
As in the past, during the procession, the tradition continues with a sizeable crowd who follow the statue, reciting prayers of thanksgiving for all help and favours received throughout the year. Some even take part bare-footed as an expression of penance while young mothers carry their newly-born babies thankful for a safe delivery.
In spite of long and meticulous research in all important local archives, no documentary evidence has been met with of the commission given to Mariano Gerada (1766-1823) for the titular statue of Our Lady of Grace. The first reference to this artist and Żabbar was discovered by the late parish priest Fr Giuseppe Zarb who, in 1971, came across an entry in the Libro Amministrazione 1794-1824 mentioning Gerada. This entry states that in 1802, Mariano was paid five scudi for some sculpture and restoration on the titular statue.
Giuseppe Barbara was also paid seven scudi for retouching the said statue and other minor works. Most probably Gerada was chosen for this work because he had finished the statue some years before. These damages on the statue were the result of the fierce battle fought on October 5, 1798, just in front of the Sanctuary during the revolt of the Maltese against the French. The fact that no expence for the titular statue was registered in the administration books of the parish is an indication that it was either an ex-voto or a gratuitous gift by a devotee.
In 1929, parish priest Luigi Catania contacted Giuseppe Mallia, the experienced gilder of the well-established firm Francesco Coleiro of St Christopher Street, Valletta, and entrusted him with the restoration of the titular statue.
Mr Mallia highlighted the original beauty and added the intricate sgraffiti decorations on the statue’s vestment. By the last days of August of that same year, the statue was brought from Valletta to Żabbar carried shoulder-high.
On September 1, 1929, the statue was carried to the Sanctuary accompanied by the two local bands.
In summer of 1950, as part of the preparations for the solemn crowning of the titular painting, the statue was again cleaned and refurbished by Chev. Rafel Bonnici Calì who at that time was working on the Great Siege frescoes at the Palace in Valletta.
In 1984, during the annual procession, heavy rain broke out. The first interventions to minimise the damage wipe was given by artist Chev. Alfred Camilleri Cauchi who happened to be present. Giuseppe Mallia, the gilder, assured the people around him that, during his interventions in 1929, he had forethought of such an unhappy event and had applied a special varnish to avoid the least possible damage. In 1988, Mallia’s relatives, Emmanuel and his son Pierre Darmanin, also gilders at the old Coleiro Firm, were asked to restore any damage sustained.
In recent years, small cracks appeared on the Madonna’s face and scratches in various parts of the decoration. Aaron Camilleri Cauchi, who comes from an artistic family environment and at present restoration and conservation co-ordinator at the Directorate Rehabilitation Project Office of the Malta Government, was commissioned for the statue’s restoration.
Before his interventions, Mr Camilleri Cauchi monitored the environmental condition of the statue in the niche especially with regards to humidity, temperature and pollution.
He also minutely studied the physical conditions of the damage suffered by the statue throughout all its years. Some cracks in the wood were evident due to pollution and traces of woodworms in the interior part of the statue had to be given special attention.
The most evident of such cracks appeared on the face of the Madonna owing to the technique used by sculptors on wooden statues known as the stroke of the adze (id-daqqa tal-lexxuna).
This enabled the artist to insert the glass eyes in their proper place and glue again the detatched part.
These cracks are commonly experienced in most wooden statues due to wood movements, temperature and other environmental factors. In order to control such fluctuations, wooden statues used to be “fed” pure linseed oil from a hole in the head. Other damages were suffered by the grime which accumulated on the statue owing to the ashes falling from crackers and fireworks let off during the procession. Last Saturday he presented to the Parish Priest a detailed report of all his interventions.
Mr Camilleri Cauchi’s full hearted dedication to this project is evident. He worked on this masterpiece of art stating that “this is not only a worthy museum piece but an important focus of great devotion. Certain features of these aspects and art have to be respected with due care, professionalism and dedication”.
Now the statue of Our Lady of Grace can again be admired in its original glory and all those who come and pray here will feel the closeness of a tender Mother in all their needs.