View of the columns being supported and newly replaced drums being sculpted on site.View of the columns being supported and newly replaced drums being sculpted on site.

Villa Bologna in Attard forms part of a series of sumptuous country houses built in the mid-18th century by the Maltese nobility. Constructed in 1745, the design of this villa has been attributed to Domenico Cachia, Capomastro della Fondazione Manoel, who has also been credited with the construction of St Helen’s church in Birkirkara and the Selmun Palace in Mellieħa. However none of these attributions have been confirmed.

The villa was built by Fabrizio Grech, legal adviser to Grand Master Pinto, as a wedding gift on the occasion of the marriage of his daughter to Nicholas Peridcomati Bologna. The plan of the villa is somewhat similar to that of the contemporary Selmun Palace, itself derived from the early fortified towers. The noble houses of the 18th century were designed to look fortified, even though their military role was negligible. The fortified aspect of Villa Bologna was further reinforced in the early 20th century when Lady Strickland, second wife of Lord Strickland, ordered the addition of crenellation at the top of the property walls and the construction of crenelled turrets.

Lady Strickland was also responsible for the enlargement and embellishment of the original gardens surrounding the villa. Assisted by her friend Count Giuseppe Teuma Castelletti, Lady Strickland created a succession of lavish gardens planted with exotic species such as grapefruit trees and avocados. The embellishment also included the creation of new water features which were built using reinforced concrete, a modern material at the time.

From their inception in the 18th century throughout their refurbishment in the early 20th century, and despite some localised bomb damage to the small nymphaeum during World War II, Villa Bologna’s gardens represent a compendium of landscaping practices and garden and water features through the ages.

The main nymphaeum of Villa Bologna is of particular interest as it is one of the best examples of the use of rocaille in Malta, which can also be found for instance on the fountain of San Anton Gardens nearby, or on a smaller scale at the Bishop’s Palace fountain in Valletta. In the case of Villa Bologna, the rocaille includes gagazza, coral-like material and real seashells. Rusticated columns frame the panels and niches decorated in rocaille, while the figures draw on mythological and nature themes. Further references are made to the water element with the use of sculpted dolphins as waterspouts and mermaids as caryatids.

The main nymphaeum is located in a walled garden accessed through a monumental gate that contains an alcove on each pilaster framing a statue of Cleopatra on the left, facing Mark Antony on the right. The pilasters are surmounted by the sculpted representations of the Tiber and the Nile seated.

The small nymphaeum uses a similar architectural vocabulary as the main one, albeit without the rocaille element. It is a less ornate feature which is based on a classical composition and retains the use of rusticated columns and pilasters. Of the sculptures, only one anthropomorphic sculpture remains, blowing in a conch and wrongly located in the central alcove. The nympheum is topped by an eagle figure with opened wings.

Over time, both nymphae as well as the gate lost some of their legibility. The restoration of all these structures was therefore aimed at re-establishing their authentic function as material containers of the mythological connection between life, water and mineral essences.

Architecture Project were entrusted with reviving the original concept or legibility of the subject guided by an understanding of the inherent values attached to the monument.

Maria Mifsud, restoration specialist at Architecture Project, says that the craftsmen who built the nymphae are unknown. However, their heritage value is undisputed.

“Drawing on Rococo vocabulary, the main nymphaeum makes beautiful use of gagazza and coral-like material,” she says. “It holds four main statues on top, representing the four seasons, together with the face of Neptune and two statues of Bacchus. These are accompanied by another two statues of dolphins on either side and four smaller statues of pelicans around the main basin of the nymphaeum.

“The smaller nymphaeum has only one statue of a figure blowing in a conch – although it originally had two, one on either side. The second has been resculpted and replaced during the restoration works.”

Given the variety of materials used in the construction of the nymphae and the gate, a number of restoration techniques were used.

“The wider variety of techniques were used on the main nymphaeum, due to its size, intricate detail and use of rocaille,” says Mifsud.

Close-up of one of the leaves that are retraced with an acrylic to mimic the effect of mother of pearl glimmer and enhance the legibility of the nymphaeum.Close-up of one of the leaves that are retraced with an acrylic to mimic the effect of mother of pearl glimmer and enhance the legibility of the nymphaeum.

“The main columns of the main nymphaeum were supported in place while the drums at the bottom of the columns had to be replaced for structural stability due to the bad state of decay. Further to this, the decoration around the entire surface of the replaced drums had to be resculpted. Other sculpting works were carried out both on and off site. On site, the statue of Bacchus on the right-hand side was replaced and resculpted. Off site, the statues of the two dolphins and three of the four pelican statues were reconstructed and brought on site.

“Apart from the sound practice of sculpting and reconstructing decorative elements and details, restoration was carried out in order to make the rocaille language of the nymphae legible once again. Besides the restoration of the Maltese soft stone, we also restored the decorative elements of the nymphaeum using different materials. Missing gagazza was replaced with other pieces of gagazza found within the gardens of Villa Bologna itself. Missing or broken seashells were replaced by real seashells similar in size and colour. Some leaf-like shapes that once held mother of pearl leaves were retraced with an artist’s acrylic in light silver grey. Other types of stones were used in order to achieve the original colour and texture, and contribute to improving the legibility and decoration on this nympheum, are lava chippings and burnt red brick.

“Furthermore, the structural integrity of the nymphaeum was also cared for. For instance, one of the bust’s heads at the top of the nymphaeum was consolidated with an epoxy resin and a 12mm stainless steel dowel. At this level where the four busts sit, deffun was applied to replace loose or cracked deffun. The entire nymphaeum was cleaned, brushed and washed by hand. The joints were repointed using a typical hydraulic lime based mix.”

This area of Maltese heritage has been ignored considerably in the post-war years. During this period, economic drivers that favoured construction development preferred the built fabric over gardens and green spaces, and although the latter have traditionally been inexorably linked with the built heritage, they are currently relegated to areas that are rife for development especially in view of their location within built-up areas. The restoration of the nymphae and gate at Villa Bologna can be seen as symbolic of the increased appreciation of such garden elements.

Architecture Project were awarded the Prix d’Honneur in Category C of the Din l-Art Ħelwa award for Architectural Heritage 2013 for the architectural excellence in the admirable restoration and conservation of the nymphae and gate at Villa Bologna.

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