Two important paintings found in the parish church of the Assumption of the Virgin in Mqabba have just undergone extensive restoration and will be unveiled in a ceremony on Sunday.

The painting of the Immaculate Conception before the restoration works. Photos: Prevarti, Sabine Azzopardi, Jonathan FarrugiaThe painting of the Immaculate Conception before the restoration works. Photos: Prevarti, Sabine Azzopardi, Jonathan Farrugia

The paintings in question are the main altarpiece depicting the Assumption of Mary (Filippo Fortunato Venuti, 1897) and a 17th-century painting of the Immaculate Conception which was badly damaged during World War II.

For many decades, the titular altarpiece was thought to have been executed in 1896, until a study published two years ago by Rev. Dr Jonathan Farrugia − a resident of Mqabba for the past 32 years − revealed that it was painted by Venuti a year later.

Rev. Farrugia had previously also published a detailed study about Venuti’s ancestors from the 17th century until his sojourn in Malta in the late 19th century.

Mqabba’s Assumption is considered to be his masterpiece.

The baroque painting of the Immaculate Conception is mentioned for the first time in the pastoral visit made by Bishop Cocco Palmieri in 1686, where it is described as “recently executed”.

It is considered to be the work of Maltese painter Stefano Erardi.

Infra-red photos of the painting of the Immaculate Conception revealed it was largely overpainted.Infra-red photos of the painting of the Immaculate Conception revealed it was largely overpainted.

When the church was bombed on April 9, 1942, the altar of the Immaculate Conception was completely destroyed while the painting, although extensively damaged, survived.

Sadly, it was placed behind a closet in the church’s store room and ignored for many years. It was, meanwhile, replaced by a painting by Cleto Luzzi in 1949, which is currently also undergoing conservation.

In 2017, the Immaculate Conception painting together with other artefacts which were in the church before it was destroyed during World War II, were exhibited on the occasion of the 75th anniversary from the bombing.

The interest shown by locals proved to be the right occasion for Rev. Farrugia to suggest the restoration of several paintings to the parish priest, Fr John Curmi, who gave his approval and appointed him director of the enterprise.

The titular painting of the Assumption by Filippo Fortunato Venuti before the restoration works.The titular painting of the Assumption by Filippo Fortunato Venuti before the restoration works.

The money was collected from the Mqabba community by two parishioners, without the help of sponsors or grants.

The restorers who were entrusted with these projects were Prevarti, for the titular painting of the Assumption, and Sabine Azzopardi, for the painting of the Immaculate. The processes revealed interesting details which were hitherto unknown or forgotten.

The Assumption’s painting mainly needed a thorough cleansing from wax and grime that had accumulated over the years.

When the altarpiece was taken down from its niche, a note on the stretcher frame revealed that it had been restored in 1943 – it must have also, then, suffered some damage during the bombing of 1942.

This mainly consisted of patching up a rip in the lower right corner, where the apostles, gazing at the empty tomb of Mary, are depicted.

The Assumption painting during the cleansing process.The Assumption painting during the cleansing process.

More interestingly, when the frame was unscrewed from the painting, it was revealed that it had been hiding the signature of the artist as well as the date of execution – 1897, proving that Rev. Farrugia’s hypo-thesis was correct.

The cleansing process revealed that the pencil outlines which Venuti sketched on the canvas as guides for the composition were still visible.

The removal of the altarpiece from its niche also provided the right opportunity to paint and re-decorate the baroque wall where it hangs in the choir.

Infra-red photos of the Immaculate Conception revealed that it was largely overpainted. The conservator is of the opinion that most probably the parts of the painting which have never been retouched are the clouds around the figure of Mary with their putti and the figure of St Anne on the left.

Alterations – either by the original artist or someone else very soon after the painting was finished – were carried out on the dress, mantle, hair and hands of the Madonna and, most probably, even on the face. After due consultation with art experts, it was decided to keep to the latest layer, as the elderly of the village will most probably remember the painting that way.

These two paintings form part of a longer list of Mqabba’s artistic heritage that Rev. Farrugia is working hard to preserve.

Some months ago, two 17th-century paintings, one depicting the Coronation of the Virgin and another depicting St Roque were restored, revealing many interesting details. Currently, the newer painting of the Immaculate Conception is being cleansed, while another 18th-century painting of the Pietà, which was also damaged in 1942, is undergoing restoration.

A small parish museum where artefacts from other times will be exhibited permanently is in the pipeline.

The two paintings will be unveiled on Sunday at 7.30pm during an hour-long celebration which will include presentations on the historical contexts of when the paintings were put in the church and the restoration processes.

The Coro Bel Canto will execute some classical Marian pieces accompanied by an organ and a string quartet.

The signature and date revealed under the frame of the Assumption.The signature and date revealed under the frame of the Assumption.

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