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( 3 3 + # ! &F#( 3 +? 3 #3 ( % , 7 8. 7 8. 7 $8 7 #87 9BBB8( 3 "+ , 6 7 9BH 8( 3 )+ 7 1 9BB+ 8( 3 6+ # 4 3 # ( 3 /+ !# 4 3 # ( 9+;< 3 2+ # 3 # # # ( % %798. % % 7+8. 7;8. # 7<87 #+DD98( 9+;< 3 7+ # 3 4 ( 798.2 7+8. #7;8# #7<87 0 ' #9BHC8( A # 9 + A !BBC 3 8 98G , 0.+8G , . ;8G , .<8G !7!8.8G 7!8.E8G , 7!8.C8G , .H8G , !B8G !( 3 # 9 + A !BBC 3 5 98 O .+8 % .;8 !. <8 .8 " .E8 % .C8 !.H8 ( . . + G , & # 6 (3 ## % (7 @@333( 3 ( @ @@% @ @ Y !(#8 . + 2 ! % 2 % !( . + 3 ! !( + ! University of Malta Final report on the study of Roman Architectural Decoration in Malta A study carried out in connection with Work Package 2 'Censimento dei Monumenti di Eta' Preistorica, Romana e Medievale di Influenza Siciliana a Malta', part of the INTERREG IIIA K.A.S.A. Project 2nd August 2007 David Cardona BA (Hons.) arch. List of Contents 1.0 Introduction and Project Objectives 1.1 Methodology & Problems 2.0 Progress & Results 2.1 Database 2.2 The Catania Research – Research Overview 3.0 Evidence of Sicilian or South Italic influence on Maltese Architectural Fragments 3.1 General Considerations 3.2 Stylistic similarities and Differences 3.2.1 Bases 3.2.2 Columns 3.2.3 Capitals 3.2.4 Entablatures 4.0 Conclusion Bibliography Figures 1.0 Introduction & Project Objectives ! " # $ #% ! & ! " ' ( )* + # , -.- /0!/! !/! '! / ' ' 1 * @ # !A4 * @ -!A " '! 1 Point 3a in contract agreement 2 Point 3b in contract agreement !/ $ # 4) 45 % ! ' !" ! " ! 1.1 Methodology & Problems " ' ! / ' & - . 6!6 !" '7 1 * 89 !$! 4% * 9 !: 3 Submitted 15/6/2007 ' !$! % * - '!: !;!" - !$!7% / - -- ! - < 464 = $ / - %! - ! / - - ' !/ - ( !/ 46 - ! " - ! : !" ! # ; ! . - C #!/ ( ! : ? != " ! ? ! < !" ! / !" # $!=%! - $!6%!" ' # ! " - - !/ - - ! ? !@ !/ $! %! " - ( !" !" - 4 BgcpcvspggiwwHTcvvcp9gQcyctgcvfHTpcwvTtcvc pwxwuxtgvpgqxwqqggxtqg wvpgqg !@ - !/ - ' - ! / ; 5 46 + ! A C - ! # - !" " " !" - !&!" - !" - !" - ! / !" ;!" .: ! B $! C%(! # !" / . - ! / ! -! : -; !" CA!/ $!)%!" :; ! & - $! 5%! / ;! " - $! 4 %! ? - -!" - ( ! 2.0 Progress & Results 2.1 Database " 57 # < ! ? 57 !" 1 * 7 C- $)) )5 5 %$!44% * !$=7 = =C =) =5 57%$!4 % * 7 -- $ = 6 = %$!47% * 4C !$44 4 47 4= 46 4 45 7 77 7C 7) 64 6 67 6= 66 6% * - !$ C C % 4 $ %! 2.2 The Catania Research – Research Overview " ; 1 / ! / # < ! " ( ! ? '' . E. ! * " 6 .EE/ !" !" # 7= 7 !" - - # - ! * " B / # /!" ! 5 Ampolo, C., Carandini, A., Pucci, G., Pensabene, P., 1971: La Villa di Piazza Armerina, Appendice II; gli elementi decorative architettonici, in Melanges De L’ecole Franciase de Rome Antique, vol.83, 1, pp 207-233 6 Pensabene, Patrizio, 1986; La Decorazione Architettonica, l’Impiego del Marmo e l’Importazione di manufatti orientali a Roma, in Italia e in Africa (II-IV DC), in Giardina, Andrea (ed.), Societa’ Romana e Impero Tardoantico, vol. III; le merci, gli insediamenti, Editori Laterza, pp285- 429 = ! ? ! " !/ $ ; ;% !B ! / - !? ! * " ; " ;C!B - ! " . - 45C 45C4! " ! / - ' ! / - +/, F !)" - F ! " '!: - (! 7 Pensabene, Patrizio, 2005: La Decorazione Architettonica del Teatro di Catania, in Gigli, Rossella, MEΓAΛAI NHΣOI:e S e !8wvqitqwIcqwvctgfgttgqgpg D76H8ccvqc 8 Wilson, RJA, Sicily Under the Roman Empire: the archaeology of a Roman province. / - ; F ! - !? # !5" - @ $=6%$!7CG7)%!4 : - - ( !" 1 * @ 45 C!" # E * HHHHHHHHHHHHHH C! C$ C F * @ @ 45)= C!" F * @ E 45C % !& ! * & 0 ! 455 ' & I (! ) #< . * * : . 45 5 / # + , -#. /0 !@ * . 45= C " 1 , ; F ; ; * 4556" " 3,#< . * * " & - 9 Lauter-Bufe, Heide, 1987: Die Geschichte Des Sikeliotisch-Korinthischen Kapitells, Philipp von Zabern, Germany and Kahler, H. 1939: Die Romischen Kapitelle Des Rheingebietes, verlag von Walter de Gruyter & Co., Berlin 10 Lauter Bufe 1987: p24, n.34, taf. 17 45 = " 4 , &( L & , . / / ! / / * , +/ 455" ;!. @ $!% ! 1 %!5 .0 .67 -88.9# F . E . / !" !, - ; ; ;C .: $!CG)%! 3.0 Evidence of Sicilian or South Italic influence on Maltese Architectural Fragments 3.1 General Considerations " !? - ! !/ !& " F & ++ + ! " . $ ; - % 4 $!4=G46%!" - !" - 7 $;C %; ( $!4%!: F ; B .: $!75G= %! ; ;! " ! " ! < ( # !" C @; # $!4 %!? -* "!.45 544$ = 6 = % $! 47 4C G 4)% ; / $!45% F !: "C- 4 $)) )5 5 %$!44G %! / $ % 4 /! ' $ . % F !/ - ? F ! 11 MAR 1909-1910: E7 12 MAR 1960 / - ! ; ' - ! 4 /!47$! 7%? ; ' $ % !&!" / $! 4G %! " # ! 3.2 Stylistic Similarities and Differences ; !? ! " ! 3.2.1 Bases " !" ! ! ;, # $!C =G 6% $! G C%!/ # ' ! ? 13 Information given by Dr. F. Trapani !" # $) 5 4) 6 5G)C% # E! / ; ; 4=$! )% .: ! 3.2.2 Columns " !, ;!B !" # .: $! 5% $6 % $! 7 G 74%! ;C ;C $! 7 G 77%! ? 4N7 7 $= C6 C%! " C6C ; !$!7= 76G7% / * $ % # -; #! 3.2.3 Capitals # !" ; @;! " $=6% ! B*-C$ - 14 Attic bases almost identical to the ones in Maltese collections are mainly seen below the reused columns. Other attic bases can be seen still in situ below the arches dividing the naves of the church. These are much larger in size and are the bases of the original Byzantine Cathedral. % ! * # $!7C G7)%! *- * # - ; ; # +/, -7 @;46$! 75G= %!" ; 7 !: @ $ % ; %!4 " $ . % $)6%$! =4%! * # E !/ ! F# !" B .: 4C$!75G = %!" # !/ " !4)? - #!$!= % ; ; ! / B / ! 15 Wilson: 18, fig. 13a 16 Lauter Bufe 1987: p24, n.34, taf. 17 17 Wilson: 18, fig. 13a & Lauter Bufe1987: taf 16, n. 32 18 Wilson: 18, fig. 13b & Lauter Bufe1987: taf 9 & 10, n. 27 3.2.4 Entablatures - ! ! 4.0 Conclusion / ; !" ' !F . !? , ! / B / '! ; 4!5;9! Bibliography / ;! ; /! . ! . .! 45C4 < .EE / / < 7 C = "!# >0#- C* 77 . 4 C! " ( %%% ? , ; $& .1 #& # ( )#. . 0 ?! 4575 " ' & " ( , G;! @ *@ ? 45)C 3 ' ' & . * . . E 45) E/ C C E / $ * <;% / $!% C" %& # %%%L # F E )6*= 5 . . E 6 E/ " ; 7$Γ!Λ!% ;Σ@%1 "++ & & # . ; BE !@!/! ! ; < 45 5*454 45 7! "& . . Figures &!4 " &! " &!7 " . &!= " - &!6 : ' &! . &!C & .: &!) - ;;C ; &!5 " " ; &!4 " ; - ; ; &!44 " "C- $ /45 % &!4 " $. !;% &!47 : -* &!4= / ( ; &!46 / ; &!4 " -;C &!4C -* &!4) -* &!45 / ; / -* $ 41=57! =% &! "C- &! 4 ; ' =6 &! ; ' C &! 7 " ; ; ' &! = : ; &! 6 / .: &! F# ? $5% &! C F# ? $4)% &! ) : @ E ; ; &! 5 : &!7 ? $6 % &!74 & ? $6 % &!7 & ;C &!77 & ;C &!7= &!76 & &!7 & ; &!7C " ; $=6% &!7) $=6% &!75 " ; B $,14) !47% &!= " B $ @45)C1!4 !7 % &!=4 ; $)6% &!= " ; " $ @45)C15 ! C% ° ′ ° ′ project kasa koinè archeologica, sapiente antichità Mediterranean and NE Atlantic ¾ Author: Bertran Jacopo ¾ Year: 1456 ¾ Place: Barcelona ¾ Description: This is the oldest Portulan chart in the collection of the Greenwich Maritime Museum. Its details are typical of a portulan and it is drawn and painted on vellum, using a network of intersecting rhumb lines radiating out from compass roses. Malta and Sicily are depicted prominently in the centre of the map. Source: Greenwich Maritime Museum 1 project kasa koinè archeologica, sapiente antichità Mediterranean and NE Atlantic (detail) Source: Greenwich Maritime Museum 2 project kasa koinè archeologica, sapiente antichità Central Mediterranean, Italy and Sicily ¾ Author: Bartolommeo Sonetti ¾ Year: 1485 ¾ Place: Venice ¾ Description: Each Island is enclosed in a windrose with eight rays and this map is dedicated to the Doge of Venice and lifted from a book about islands of the central Mediterranean. This portulan of the Adriatic and central Mediterranean depicts Malta with exaggeratedly large harbours. It also depicts the Aeolian Islands in some detail. Source: Greenwich Maritime Museum 3 project kasa koinè archeologica, sapiente antichità Central Mediterranean, Italy and Sicily (detail) Source: Greenwich Maritime Museum 4 project kasa koinè archeologica, sapiente antichità Mediterranean and Black Seas ¾ Author: Maggiolo Vesconte ¾ Year: 1546 ¾ Place: Genoa ¾ Description: This is a portulan map that contains a prominent vignette of the city of Genoa. The Madonna, representing the religious link of seafarers, is depicted at the neck (see next slides for details). The style of this portulan is very much in line with its predecessors of the late Middle Ages. Source: Greenwich Maritime Museum 5 project kasa koinè archeologica, sapiente antichità Mediterranean and Black Seas (detail) Source: Greenwich Maritime Museum 6 project kasa koinè archeologica, sapiente antichità Mediterranean and Black Seas (detail) Source: Greenwich Maritime Museum 7 project kasa koinè archeologica, sapiente antichità Mediterranean, Black Sea and NE Atlantic ¾ Author: Maggiolo Vesconte ¾ Year: 1548 ¾ Place: Genoa ¾ Description: Maggiolo Vesconte was the senior member of a Genoese chart making family. Characteristically, it includes features such as place names tightly listed along the coast, together with flags and banners of cities. The style of this portulan is very much in line with its predecessors of the late Middle Ages. Source: Greenwich Maritime Museum 8 project kasa koinè archeologica, sapiente antichità Mediterranean, Black Sea and NE Atlantic (detail) Source: Greenwich Maritime Museum 9 project kasa koinè archeologica, sapiente antichità Sardinia to Sicily ¾ Author: Joan Martines ¾ Year: 1550 ¾ Place: Unknown ¾ Description: Originally part of an atlas. This is one of the earliest maps dedicated to the central Mediterranean. Source: Greenwich Maritime Museum 10 project kasa koinè archeologica, sapiente antichità Sardinia to Sicily (detail) Source: Greenwich Maritime Museum 11 project kasa koinè archeologica, sapiente antichità Sicily to Crete with Libya ¾ Author: Joan Martines ¾ Year: 1550 ¾ Place: Unknown ¾ Description: Originally part of an atlas. This is a map of the central Mediterranean. Of interest is the fact that only the harbour of Marsaxlokk is listed by name on Malta – this being the first harbour available to vessels approaching from the east. On the eastern coast of Sicily, a number of headlands are given prominence over other features. ¾ This portulan differs from its contemporaries in that it does not give any prominence to flags and other heraldic features. In this way it represents an important transition to a more utilitarian chart. Source: Greenwich Maritime Museum 12 project kasa koinè archeologica, sapiente antichità Sicily to Crete with Libya (detail) Source: Greenwich Maritime Museum 13 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: Angelo de Conte Freducci ¾ Year: 1555 ¾ Place: Ancona ¾ Description: This map is bound in an atlas of nine charts and includes rhumb lines. It also shows terrestrial relief and rivers. This portulan is rather distinct as it illustrates the interior of Europe in unusual detail. Source: Greenwich Maritime Museum 14 project kasa koinè archeologica, sapiente antichità Central Mediterranean (detail) Source: Greenwich Maritime Museum 15 project kasa koinè archeologica, sapiente antichità Mediterranean and NE Atlantic ¾ Author: Sebastiao Lopes ¾ Year: 1555 ¾ Place: Portugal (?) ¾ Description: This map is attributed to Lopes, a Portuguese cartographer. The attribution is made on its stylistic grounds. It is decorated with flags, heraldic shields and compass roses. Source: Greenwich Maritime Museum 16 project kasa koinè archeologica, sapiente antichità Mediterranean and NE Atlantic (detail) Source: Greenwich Maritime Museum 17 project kasa koinè archeologica, sapiente antichità Mediterranean and NE Atlantic ¾ Author: Paulo Forlani ¾ Year: 1569 ¾ Place: Venice ¾ Description: A Map of the Mediterranean, including North Western Europe. This is an early example of a chart on a scale large enough to be useful at sea. It is also the first to be printed by the copper-engraving process Source: Greenwich Maritime Museum 18 project kasa koinè archeologica, sapiente antichità Mediterranean and NE Atlantic (detail) Source: Greenwich Maritime Museum 19 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: Joan Martines ¾ Year: 1572 ¾ Place: Messina ¾ Description: Quite an unusual map of the Mediterranean. Includes latitude and distance scales as well as windroses. ¾ Once again, the size of Malta’s harbours are exaggerated to emphasise their importance. Source: Greenwich Maritime Museum 20 project kasa koinè archeologica, sapiente antichità Central Mediterranean (details) Source: Greenwich Maritime Museum 21 project kasa koinè archeologica, sapiente antichità Sicily ¾ Author: Willem Barentsz ¾ Year: 1594 ¾ Place: Amsterdam ¾ Description: Little is known about Willem Barentsz of Amsterdam, except that he was a seasoned navigator and explorer. His hydrographic charts, drawn up in 1595, owed inspiration to those of an earlier work by Lucas Waghenaer, a dutch navigator who published his own charts in his Spieghel der Zeevaerdt, in 1584. This collection of maps, which did not include references to the Mediterranean, were to be amongst the first published charts to replace the less-accurate Medieval drawings. Barentsz’s volume only contains 10 maps that range from Spain to Italy. This map of Sicily is drawn by Pieter van den Keere, and features four views of ports. All maps in Barentsz’s volume are preceded by a short description of the characteristics of the ports, the distance separating them and the main promontories on the coast. One can also find detailed references to small islands and some coastal tracts. Source : Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 96, 292. 22 project kasa koinè archeologica, sapiente antichità Sicily (detail) Source : Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 96, 292. 23 project kasa koinè archeologica, sapiente antichità Mediterranean, Black and Caspian Seas ¾ Author: Francisco Oliva ¾ Year 1609 (?) ¾ Place: Messina ¾ Description: The Olivas were a large Catalan family of portulan chart makers who worked in many European port cities in the sixteenth and seventeenth centuries. This map includes distances scales but no latitude graduation. ¾ Malta is depicted in the colours of the flag of the Order of St John. Source: Greenwich Maritime Museum 24 project kasa koinè archeologica, sapiente antichità Mediterranean, Black and Caspian Seas (detail) Source: Greenwich Maritime Museum 25 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: Charlat Ambrosin ¾ Year: 1620 ¾ Place: Marseille ¾ Description: A cartographic work by Charlat Ambrosin. This atlas illustrates the development of French cartography after the decline of the Catalan School. The part dedicated to Sicily is not very original as it seems to be a copy of the map designed by Pieter van den Keere for the atlas of W. Barentsz. Ambrosin re-uses frameworks including the scale as well as details of the views of the ports of Palermo, Messina, Trapani and Malta. Ambrosin corrected the orientation of the island so as to be more in line with the cartography of the time. Source : Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 111, 294. 26 project kasa koinè archeologica, sapiente antichità Central Mediterranean (detail) Source : Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 111, 294. 27 project kasa koinè archeologica, sapiente antichità Eastern Mediterranean ¾ Author: Joan Oliva ¾ Year: 1632 ¾ Place: Livorno ¾ Description: This map is bound in an atlas of six charts, two by Sanches and four by Oliva. It charts Malta as part of the eastern Mediterranean and is a late example of the medieval style/format of the portulan. Source: Greenwich Maritime Museum 28 project kasa koinè archeologica, sapiente antichità Eastern Mediterranean (detail) Source: Greenwich Maritime Museum 29 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: Francesco Maria Levanto ¾ Year : 1664 ¾ Place: Genoa ¾ Description: Francesco Maria Levanto, a cartographer and a map merchant, owed inspiration to Dutch cartography when publishing his Specchio del Mare and his work is mainly copied off Anthoni Jacobsz (published in 1656), from which he copies the whole design and place names of Sicily. As a hydrographical chart, it features information regarding the direction of the winds and sea routes within the region, accompanied by a brief text containing a description of the Sicilian coast. Additionally, in the chapter dedicated to Sicily, there is number of maps of the ports of Messina, Palermo, Trapani and Agrigento, in which the distance between the same ports is indicated. Source: Dr. A.Ganado Private Collection 30 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Authors: Johannes van Keulen and Gerard van Keulen ¾ Year: 1682 ¾ Place: Amsterdam ¾ Scale: 60 ‘Italian Miles’ ¾ Description: Johannes van Keulen, whose family had moved to Amsterdam, was a member of the guild of book merchants. In 1680, he published a maritime atlas entitled De Groote Nieuwe Vemeerderde Zee Atlas, which was published in many editions. This map of Sicily is not very original and mostly limits itself to reproducing an earlier chart by Anthoni Jacobsz which had been published in 1656. The only exception being the substitution of the view of Tabarca with that of Valletta at the base of the map. The author of this map failed to correct the errors found in the place names of the original source and actually added even more of these. Nevertheless, the map obtained a notable amount of success and was republished many times during the seventeenth century. Source: Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 147, 300. 31 project kasa koinè archeologica, sapiente antichità Ports in Malta and Sicily ¾ Author: Girolamo Agostino ¾ Year 1728 ¾ Place: Palermo ¾ Description: This early 18th century document contains a number of charts from around the Mediterranean. It was compiled by a pilot who served on board the galleys of the Order of St John. The publication consists of charts of major harbours and anchorages from around the Mediterranean. This slide shows two maps from the document, those of Augusta and Malta. Source: National Library of Malta, Valletta 32 project kasa koinè archeologica, sapiente antichità Sicily ¾ Author: Guillaume Delisle ¾ Year: c.1730 ¾ Place: Paris ¾ Description: This map is a republication by Cornelis Mortier of a chart by Guillaume Delisle. It has a number of scales depicted in the bottom right hand corner. In the top left hand side of the map there is a detail of Syracuse harbour. Besides Malta, all other islands around Sicily are included. Source: Dr. A. Ganado Private Collection 33 project kasa koinè archeologica, sapiente antichità Sicily (detail) Source: Dr. A. Ganado Private Collection 34 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: Joseph Roux ¾ Year 1764 ¾ Place: Marseille ¾ Description: This map is from an atlas consisting of twelve large plates published in 1764 by Joseph Roux. The reproduction of Sicily does not present any noteworthy progress in respect to previous nautical maps designed by Van Keulen and the place names, translated from French, are scarce. It was also published as an English version by Mount and Page, with the title The Coast of the Mediterranean Sea from Cap Bon to Cape Mesurato, including the islands of Sicily and Malta. This chart is an excellent representation of eighteenth century maritime cartography which had moved away from earlier elaborate maps. Source: Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 220, 311-2. 35 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: Deposito Hidrografico ¾ Year: 1802 ¾ Place: Madrid ¾ Description: A very detailed map depicting the central Mediterranean showing the Italian Peninsula. This is one of the latest versions of this type of chart which is devoid of any soundings of the seabed. Its orientation is very similar to that of modern charts still in use today. Source: Greenwich Maritime Museum 36 project kasa koinè archeologica, sapiente antichità Western Mediterranean ¾ Author: Anonymous ¾ Year: 1820 ¾ Place: London (?) ¾ Description: A map depicting the western Mediterranean showing the tracks of the various ships of Rear Admiral Sir C.V. Source: Greenwich Maritime Museum 37 project kasa koinè archeologica, sapiente antichità Western Mediterranean (Detail) Source: Greenwich Maritime Museum 38 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: A.W. Smyth ¾ Year: 1823 ¾ Place: London ¾ Description: A detail from Smyth’s map of the central Mediterranean as published in his seminal work entitled The Hydrography of Sicily and its Islands. Smyth refers to the area of study as the Channel of Malta and limited soundings are depicted around the south eastern coast of Sicily. Source: Wignacourt Museum, Rabat, Malta (detail from the larger map) 39 project kasa koinè archeologica, sapiente antichità Sicily and Malta ¾ Author: Attilio Zuccagni Orlandini ¾ Year: 1842 ¾ Place: Florence ¾ Description: The imposing work by Zuccagni Orlandini was published before the unification of Italy. It was designed by P. Manzoni and engraved by G. Maina and V. Stanghi. The plates, in large format, do not offer a new cartography of Sicily as they are inspired by older maps. Of interest is the attempt to illustrate the underwater shelves surrounding the islands contained within the map. Source: Dr. A.Ganado, Private Collection 40 project kasa koinè archeologica, sapiente antichità Sicily and Malta ¾ Author: Francesco Arancio ¾ Year : 1845 ¾ Place: Palermo ¾ Description: This map by Francesco Arancio, which had originally been published some years earlier. It was re-edited in 1847 with a new title, possibly to attract users who were not exclusively interested in issues regarding custom offices and duties. The title, which had been previously positioned in the middle of Sicily, was moved to the bottom-left corner of the map, making the chart more legible and the sea routes easier to identify. The new edition of the map was aimed at a vaster audience, pointing out the position of monuments, ancient cities and mineral basins. Source: Liliane Dufour and Antonio La Gumina, Imago Siciliae (Catania 2007), 270, 319. 41 project kasa koinè archeologica, sapiente antichità Sicily and Malta (detail) Source: Liliane Dufour and Antonio La Gumina, Imago Sicilae (Catania 2007), 270, 319. 42 project kasa koinè archeologica, sapiente antichità Mediterranean ¾ Author: James Wyld ¾ Year: 1846 ¾ Place: London ¾ Description: General chart of the Mediterranean Sea including the Gulf of Venice and the western part of the Black Sea. The importance of this map lies in the fact that it illustrates the steampacket routes. These were vessels that carried both passengers and goods between various ports of call. This Map outlines political boundaries as well as railways that were both constructed and under construction. The Map also includes a view of Gibraltar. Source: Greenwich Maritime Museum 43 project kasa koinè archeologica, sapiente antichità Mediterranean ¾ Author: J. Rapkin ¾ Year: 1851 Rapkin ¾ Place: London ¾ Description: This map is divided into two and provides the principal routes from Britain to India. The Mediterranean is charted as part of this route and the Malta-Sicily channel is central to this route. The upper part consists of the map of the Mediterranean with Britain at the far left of the chart. Source: Malta Maritime Museum, Malta 44 project kasa koinè archeologica, sapiente antichità Malta to Crete ¾ Author: British Admirality ¾ Year : 1932 ¾ Place: London ¾ Description: This is a very detailed chart which shows Malta, Crete, the southern end of Sicily. It also includes the southern extremity of the Peloponnesos Peninsula, as well as part of the coast of Libya. The chart depicts hundreds of depth soundings, courses, buoys, beacons and shows many small islands and channels in the Mediterranean and Aegean Seas. Source: Private Collection 45 project kasa koinè archeologica, sapiente antichità Mediterranean: Sardinia to Malta ¾ Author: British Admirality ¾ Year : 1880 (Updated 1946) ¾ Place: London ¾ Description:This is a chart with a large- scale depiction of Sicily & the North Tunisian coast. The map shows the southern coast of Sardinia, in top left corner, with the Gulf of Cagliari and includes Malta and the island of Pantelleria at the base of the chart. Thousands of depth soundings are indicated around coasts and in the bays, and the chart includes both topographical and hydrographical details.One may note that by this period the Malta-Sicily channel has been charted in great detail: a great difference from charts of a Hundred years before. Source: Private Collection 46 project kasa koinè archeologica, sapiente antichità Mediterranean: Sardinia to Malta (detail) Source: Private Collection 47 project kasa koinè archeologica, sapiente antichità Central Mediterranean ¾ Author: United Kingdom Hydrographic Office ¾ Year of Publication: 2003 ¾ One of the most recent depictions of the central Mediterranean. ¾ It depicts the culmination of knowledge of seabed soundings and other information gathered over the centuries. Source: Dr. T. Gambin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nglish red merchant flag known as the red duster. In a couple of instances vessels are flying the white ensign which was the flag of the Royal Navy. This indicates that they somehow were attached to the British Navy. Maltese vessels are often referred to as English. As the ex-voto tabelle were the fulfilment of a promise made it is of interest to know who made the offerings. In 11 instances it was offered by the captain and crew of the vessel whereas in 5 by the crew on their own. It could be that the captain made a separate vow. In 3 instances the vow was made by a passenger on board. In certain cases a crew made a vow and promised an ex-voto to two different sanctuaries as seems to be the case with sheet 7 and sheet 15 where an almost identical painting of the Brig Marietta is in two different locations describing the same events. Most of the ex-voti seem to be made by Maltese mariners on board Maltese vessels as indicated by the flags they fly, while the captain of a Raugsan vessel that ran into trouble 60 miles off capo Passero saw fit to deposit his tabella at the Mellieha sanctuary. Conclusion In conclusion one notes that the frequent life threatening situations which the Maltese seafarer encountered when at sea gave rise to this vernacular artistic expression which was formulised and categorised within a framework of convention. The person prayed for safety and found it necessary to demonstrate gratitude publicly. Ultimately the ex-voto tabella was a public demonstration of thanks giving. In turn a particular chapel or sanctuary was enriched and increased in wealth and miraculous power the more ex-voti were donated as more miracles were granted. The examples considered in this report not only demonstrate this but often strive to anchor the events in a known landscape or rather seascape. Attempts at drawing maps are made by the madonnari, easily recognizable landmarks, such as volcanoes, are drawn and topographical names of islands, ports, towns, capes and coasts are often given. It is possible that other certain landmarks which are difficult to identify and puzzling to the researcher nowadays, would have been instantly recognizable then. In our case the incidents occurred to shipping operating around Sicily, or to and from one of the islands within Sicily’s sphere of influence. The variety of vessels, from the galleys of the Order to the small speronaras, to brigs, brigantines, and bombardas are often seen to run into storms around Pantelleria, Lampedusa, Linosa, Stromboli, Favignina, or Capo Passero. As if nature was not a great enough peril Calabrian bandits are also seen attacking shipping in the area right into the nineteenth century. Thus a religious offering of thanksgiving that results from narrowly escaped tragedy serves to further strengthen and demonstrate the link that has always existed between Sicily and Malta two islands of the middle sea. Acknowledgments My deepest thanks go to Professor A. Bonanno, Dr Nicholas C. Vella, Joseph Muscat, Lykke Lyngsø, Martin Attard and Chris Gemmell for their valuable help in different ways. Glossary Aft Back end of a vessel. Balanza * A vessel common around Italian coasts and used mostly as a fishing boat. It was usually fitted with lateen sails, while a huge jib sail was a characteristic of this type of vessel. Bombarda A merchant vessel with the sail arrangement of a warship. Bowsprit A pole extending out from a vessel's prow, used to attach forestay(s). Fore Front end of a vessel, also the prow or bow. Fore and aft sail A sail whose normal position runs along the length of the vessel. Fore mast The mast nearest to the fore part of a boat. Gaff A pole attached to the top of the square gaff sail and attached to the mast. Galley The main vessel of the Order, it made use of large lateen sails and oars as a means of propulsion. Jib A small triangular sail attached to the fore stay. Lateen sail A large triangular sail whose top end is suspended from a pole called an antenna. The main type of sail on the Order's galleys. Main mast The mast in the middle or waist of a vessel, usually it is the tallest mast. Mast A pole that holds sails. All the ropes and sails connected to a particular mast will have the mast's name as part of their name, thus a stay attached to a fore mast will be a fore stay while a stay attached to a main mast will be called a main stay, and so on. Mizzen mast The mast nearest to the aft part of a vessel. Oculo A decoration in the shape of an eye found on the bow of a boat, intended as protection against the evil eye. Rigging All the masts, sails and ropes that together propel a sailing ship. Spanker A gaff rigged fore and aft sail hoisted on the mizzen mast. Speronara A small open boat that was very popular with the Maltese padroni. It takes its name from the beak like spur, or sperone, jutting out at the bows. Sprit sail A rectangular fore and aft sail held open by a sloping pole called a sprit that is attached to the mast and to the upper outer corner of the sail. Stay A rope that holds the mast from the front and back. Waist Middle part of a vessel. * For a good identification of the different vessel types in use, one should refer to Joseph Muscat's line drawings either in Prins 1989 or in Muscat 2003. !"#$% & ' ( ) * + , - - ) , %%& ( - % - &. & ( % % - , + - & + &( ( / ! " #! $!% & ! ' ! ( &$ 0 #$ ) ) !!* 1 & - 20* 2$ ( " 3 & + ,-./ % 0 1 $ " 2!3 4!45 #670 24 56!784 " "3 #88 56#7/1- " 784 09 3 3 #8895 - * & ' , & ( % - , , ( - & - & ( %+ &%& : & . - - + , - % % + - ( ( .% & % - ( % (, & & .- 1 ( , , / %30+ !3 !0 9+,/":,- 3!; <(;< ! + 3! ( ( ; < ! 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