The Oratory of Our Lady of Mount Carmel has for centuries been a well-known landmark in Old Theatre Street, Valletta. When one looks inside, one is immediately struck by the statue of Our Lady of Mount Carmel that surmounts the main altar.

One is also fascinated by the large number of silver ex-votos, replicas of human body parts, which are so numerous that they are arranged in patterns in frames which adorn the pilasters and walls of the Oratory. The large number of ex-votos on the walls is evidence of the devotion of the people of Valletta to Our Lady under the title of Our Lady of Mount Carmel.

The Oratory is the seat of the Archconfraternity of Our Lady of Mount Carmel, a lay organisation attached to the Sanctuary-Basilica and Monastery of the Carmelites next door, that supports the work of the Carmelite Order in Valletta and promotes devotion to the Scapular.

Historical records show that some prominent Knights of St John had joined the confraternity, including Grand Masters Raphael and Nicholas Cotoner, and Balìs Pinto and Pappalardo. Among the confraternity’s major benefactors who are remembered to this day were the painter Giuseppe d’Arena (1712), the leading silversmith Michele Pianta (1725), and Gabriele Henin, professor of surgery and anatomy (1741).

Baron Cesare Passalaqua was one of its greatest benefactors. In 1664 he donated to the confraternity the exceptional necklace, known, in fact, as the Passalaqua Chain, which exists to this day and is worn by the statue of Our Lady of Mount Carmel in the Oratory. This necklace contains 28 rubies, five diamonds and 94 pearls.

The Confraternity of Our Lady of Valletta was mentioned for the first time in 1622, the last year in which Alof de Wignacourt was Grand Master of the Order of St John. It was on February 13 of that year that the confraternity was officially founded, and on the same day the members of the confraternity took part in a procession in Valletta for the first time. At that time, the city of Valletta was still under construction.

The confraternity’s first Oratory was acquired in 1622; it was then extended in 1642. A second, more beautiful Oratory was acquired in 1655. In 1895, when the Carmelite church was raised to the dignity of a Minor Basilica, the friars asked the confraternity to give them their oratory in order that they could enhance the apse and build a ‘tribuna’, as is usual with minor basilicas. In exchange the confraternity was given an area of the monastery as the new oratory, which is the current one.

The statue of Our Lady of Mount Carmel at the oratory is the first processional statue of Our Lady of Mount Carmel in the Maltese islands. It was probably brought from Rome in 1657 and participated in the procession of July 16 of that year. Neither the exact date when the statue was made, nor the artist involved, are known. The confraternity is at present particularly interested in identifying the full provenance of the statue.

It appears to be the archetype of this type of statue of Our Lady in the Maltese islands

Between 1622 and about 1657, the procession of the feast of Our Lady of Mount Carmel (on July 16) was held without a statue. As from 1657 it is documented that this first statue used to be taken out in procession on July 16 and on the octave of July 16. It is thought that the statue must have been brought over to Valletta a few years before 1657, but we have definite record that it was in Valletta in 1657.

Fr Lawrence Sammut, O. Carm, mentions the possibility that the statue might have a link with the group of Roman sculptors related to the famous Maltese artist Melchiorre Gafà. In particular, he has suggested that it might have been by Ercole Ferrata, in whose workshop Gafà worked, or even by Bernini.

We know for certain that Gafà carved the statue of Our Lady of the Rosary in Rabat in 1660, and we know that this statue of Our Lady of Mount Carmel was being taken out in procession in 1657, so it precedes this statue by Gafà, and it appears to be the archetype of this type of statue of Our Lady in the Maltese islands. The proof is published in an article by Valentin Borg Gusman, O.Carm. In the article, Borg Gusman describes the record of payment to bearers of the statue in 1657.

Subsequently, the confraternity acquired another processional statue of Our Lady of Mount Carmel from Naples, sculpted by Gennaro Reale, which arrived from Naples in 1780, so the last time the first statue was used in the July 16 procession or in the octave procession was in 1780.

This was later given by the members to the church and convent of Our Lady of Mount Carmel in Balluta.

State of conservation and proposed intervention on the statue

The statue of Our Lady of Mount Carmel is a life-size sculpture (1.82 metres in height) and was given an expression of great serenity. Movement is depicted by the position of the figure; the body twists slightly; the head is turned. The meticulous work carried out on the drapery enriches the beauty of this unique sculpture.

The bad state of conservation of both the wooden support and paint layer have prompted the Confraternity of Our lady of Mount Carmel to commission a professional investigation of the state of conservation of the statue. Atelier del Restauro Ltd was commissioned to carry a detailed condition assessment of the statue.

Although the statue is carved out of wood, it is not yet known whether it has a hollow core or not. Several factors, most probably including ambient conditions, depletion of original materials, handling and past restoration interventions, have over time led to various damages affecting the current state of conservation of the wooden support and the consecutive preparatory and polychrome layers of the statue.

Wooden sculptures are particularly sensitive to ambient conditions. Cracks were most probably caused due to a loss of cohesion after that the wood experienced internal physical stresses caused by a combination of factors.

Mechanical shock and vibrations from transport and handling in the past might also be the cause of cracks. Inclination transfers the weight of the statue on more fragile areas, generating pressures that can form cracks. The movement of the wood has also formed an overriding network of microscopic cracks in the polychromy, leading to losses and flaking of paint.

From the examination carried out it was concluded that the main problem the statue is suffering from is a loss of adhesion between the preparation (gesso) layer (including colour) and the wooden support. It appears that large areas of polychromy have already been lost.

During the inspection, areas of the statue were ‘knocked’ to check for void areas and it was concluded that areas of the faces and the mantle especially are in need of urgent adhesion and consolidation treatment to avoid the complete detachment of areas of polychromy, which would result in irreversible damage.

Over the years the sculpture has undergone multiple restorations, mainly of the polychrome and gilded layers. To date, no records or chronology of past interventions are known; however, it is evident that the statue went through substantial interventions in the past. The overpainting is of poor quality and is aesthetically disturbing.

During the inspection around three different interventions were observed: the gilded tunic, which appears not to be the original dating back to the period the statue was made, has been overpainted in several areas using purpurin, which has oxidised with time and altered to a greenish/grey colour.

An intervention at the top of the tunic was carried out whereby a thick overpainted whitish/grey colour was applied over the cream colour.

The gilded decorations at the top part were completely covered with purpurin.

The inner lining of the mantle was overpainted using a silver grey paint which has oxidised with time.

The polychromy of the skin tones of both the Virgin and Child Jesus are overpainted.

The eyes of the Virgin are made of glass. On inspecting closely the eyes of Child Jesus it was noted that underneath the paint, glass is visible and they were therefore overpainted using a thick, oil-based paint.

The project led by Maria Grazia Zenzani and Valentina Lupo from Atelier del Restauro will start this month with a scientific study of the statue, which will include an in-depth understanding of the manufacturing technique, constituent materials, past interventions and a more detailed state of conservation of the statue through documentation and a number of diagnostic scientific investigations.

The overpainting is of poor quality and is aesthetically disturbing

The study will be focused in particular on the manufacturing technique and materials of the statue by using diagnostic instruments. These include an X-ray investigation to study the construction of the statue and past interventions to the wooden support. Two samples from the wooden support will be extracted in order to identify the species of wood.

Next, in order to analyse the multilayered structure and composition of the painted film, micro-samples will be taken from different parts of the statue and will be analysed through the use of various scientific instruments. This will demonstrate the exact number of overpainted layers. Then, stratigraphic tests will serve to provide indications of the material composition of both the preparatory and pictorial layers of the vest, as well as of the skin tones.

Overall, the study will give an understanding of the statue’s construction technique and the materials that were used. It also provided an in-depth study of the state of conservation of the statue, including important information that will be needed to establish a suitable conservation methodology.

When all this is completed, the actual conservation project will start, following a conservative approach adopted for the long-term preservation of this important statue that necessitates the improvement of both its structure and aesthetics, while at the same time guaranteeing that the statue can continue to safely fulfil its symbolic purpose for future generations to come.

The Confraternity of Our Lady of Mount Carmel is launching an appeal to collect the funds necessary to undertake and complete the conservation and restoration project on the statue of Our lady of Mount Carmel, a unique work of art of national importance which, once conserved and restored, will be an exceptional cultural attraction for Valletta. Donations may be sent directly to the account named ‘Fratellanza Madonna tal-Karmnu Valletta’ at the Valletta branch of APS Bank, IBAN: MT47APSB77024007458520001368268.

Dr Mark Agius is rector of the Confraternity of our Lady of Mount Carmel. Maria Grazia Zenzani and Valentina Lupo are conservators at Atelier del Restauro.