Charlene Vella documents the restoration of a 15th-century triptych created in the style of baroque artist Pedro Nuñez de Villavicencio.
A painting on wood of the Enthroned Madonna and Child (110 x 60cm), on the altar of the Virgin of the Rosary in the parish church of St Catherine, Żejtun, has long attracted the interest of art historians. The painting has innocent charm and its early renaissance qualities were in stark contrast to the baroque lavishness of its surround.
It is not a copy of a lost painting, but a precious original
Mario Buhagiar, in his publications on Maltese art history, published the painting as a copy of a lost early renaissance painting by the distinguished baroque artist from Seville, Pedro Nuñez de Villavicencio (1640 - c. 1695), whose signature features on the Virgin’s throne, to the right, together with the date 1672.
The restoration intervention preserved the date and signature, but also made it clear that they are later additions, recording the intervention on the painting by Villavicencio when he restored (and over-painted) the panel in 1672. His restoration intervention was noted in the 1693 Pastoral Visitation report of Bishop Davide Cocco-Palmieri.
The painting was recently studied by the University’s Research Programme for the study of Late Medieval and Early Renaissance Art, directed by Prof. Buhagiar, with my co-operation. Our research identified the painting as one of the finest early renaissance works in Malta.
It is not a copy of a lost painting, but a precious original. Its importance is testified by a number of existing copies, the most important being the oils on canvas, in Verdala Palace, Buskett, which has stylistic affinities with Stefano Erardi.
The restoration carried out over the past 18 months revealed much of the hitherto concealed early renaissance features. During the restoration , a high-resolution photograph by Joe Borg replaced the painting on the Żejtun altar.
Banif Bank (Malta) plc sponsored the restoration. Funds were also forthcoming from the University, while private sponsorship financed the initial diagnostic tests on pigment samples. The latter were significant because they made the Research Programme confident that there was indeed a different painting beneath what could be seen until only a few months ago.
ReCoop Conservation Lab was entrusted with the project, and the painstakingly delicate work was handled by Agatha Grima. This has removed layers of over-painting, and given back the work a close approximation of its original appearance. Several changes include the way the drapery folds fall at the Madonna’s feet, the colour of the dress and her robe that was originally spangled with gold stars. It is a pity most of the gold leaf was lost.
A brighter sky was revealed, grass emerged on the lower levels, the child’s cushion changed in colour and in texture, as did the features of both figures including one of the Madonna’s thumbs that was painted over. The panel’s original shape was also established. The restoration has revealed a painting of notable artistic sophistication that richly enhances Malta’s artistic heritage.
The painting has a fascinating history. The artist shows an intimate knowledge of the great renaissance artists, Antonello da Messina (c. 1430-1479). Foremost among the artists who produced works for Maltese patrons were da Messina’s three nephews, the brothers Pietro and Antonio de Saliba and their cousin Giovanni Salvo d’Antonio (doc. 1461-ca 1488), the son of Antonello’s brother Giordano.
The Żejtun Enthroned Madonna and Child is possibly by Antonio de Saliba who was extremely prolific and ran a busy bottega. He was the son of Antonello’s sister and of Giovanni de Saliba, who may have been Maltese. Among his patrons were the Franciscan Friars Minor for whose church of Santa Maria di Gesù in Rabat he produced a polyptych that he completed in 1515.
The Żejtun painting can be traced back to the 15th century. It was originally the central panel of a triptych in the old parish church of Żejtun (San Girgor). The side panels represented St Paul and St Catherine of Alexandria but are now lost. In 1709 the paining was transferred to the new parish church of St Catherine and placed on the rosary altar.
The painting shows very close similarities to the School of Antonello da Messina, which often copied paintings by the master.
What this painting shows is that Malta before the Knights had culturally sophisticated patrons.
It also comes as further proof of the links that Malta had with the Messina School of Antonello.