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Gudja Titular Painting Restored Gudja Titular Painting Restored Chev. E. Fiorentino The Sunday Times, August 11, 2002 The titular painting of The Assumption of Our Archangels Michael and Gabriel. This was painted Lady by Pietro Gagliardi in the parish church in 1879, which means that its execution came of Gudja, has just been restored and put back two years after the titular painting, which hears in its place following a thorough cleaning and the date 1877. general restoration by restorer Alfred Briffa. Other works in Malta by Gagliardi include Pietro Gagliardi The Madonna and (1809-1890), a Roman Child (1868) at the artist who had his Cathedral Museum in studio at Palazzo Mdina, which is Giustiniani in that apparently his ealiest city, was among the work on the island, foremost of a number the titular paintings of of Italian artists who The Annunciation during the second (1874) and of St half of the 19th and Cajetan (c.1882) at the early part of the 20th parish churches of centuries enhanced Tarxien and Hamrun the artistic patrimony respectively, the Our of the Maltese Islands. Lady patroness ofMalta altarpiece at Mdina His principal patron, Cathedral, and the who was also a great altarpiece of St Joseph friend of his, was as Universal Patron of Canon Paolo the Church (also Pullicino, whose zeal restored in recent to import good years by Alfred Briffa) artistic talent• from at the Ta' Giezu the Italian mainland church in Rabat. In a often brought the Maltese private latter into conflict collection I also know with the locally-based THE ASSUMPTION, (1877), by Pietro Gagliardi of a painting in the Gudja parish church artist Giuseppe Cali', depicting St John the who in a fit of spite Evangelist which is wrote the cleric's name on the devil's tail in the dated 1890, the year of the artist's death. St Michael altarpiece in the parish church of Luqa! The titular painting of Gudja, measuring 397 x 2 7 5 cm, was already restored some 30 years Apart from the titular painting, Gudja parish ago. Some months ago, in preparation for some church has another important altarpiece by added decoration with new gilding, done by Gagliardi, that of Our Lady ofMount Carmel with John Orlando of Tarxien, around the frame of the painting to continue with the work done and-white illustrations of paintings relating to last year on the apsidal cap, parish priest Canon these feasts. Complementing the chapter about ~ Evan Caruana took the opportunity to have the 'The Assumption of the Blessed Virgin' was an painting removed and sent it for restoration. illustration indicated simply as being by Gagliardi, though this not being an art book, The major damage consisted of spattering of the publishers gave no indication as to its Y wax from lighted candles on the choir altar whereabouts. which scorched the lower half of the painting. The overall cleaning, apart from some minor The top half of the painting, as illustrated in retouching, thus entailed the removal through that book, is occupied by the Virgin and a heating process of a film of carbonisation that surrounding angels in a composition had developed on the affected parts. approximately similar to what is seen at Gudja, while the lower half depicts the apostles at the The figure of Our Lady dominates the whole moment when they discover the empty tomb picture. She is flanked on either side by the of the Virgin. archangels Michael, with the inscription Quis ut Deus? (Who is like God?) emblazoned on his This is a fundamental difference from the chest, and Gabriel who holds a lily (symbolic Gudja painting where the scene of the apostles of virginity) in his hand as a reminder of his is relegated to a barely visible corner, almost role in bringing the message of her divine like an insignificant detail, in the bottom right maternity to the Virgin. corner. In so doing, Gagliardi was directing our attention almost exclusively to the glorious Their open wings serve to provide that nec­ Assumption into heaven by the Mother of God essary dimension to present Our Lady in an without giving undue attention to the airborne surge upwards. Beneath the three discovery of her empty tomb. central figures are cavorting puttini. who carry bunches of flowers by way of celebrating the This imagery by Gagliardi at Gudja goes against uniquely happy event unfolding around them. the traditional iconography revealed in other titular paintings of the subject in Malta and Gagliardi's art radiates a sweet piety which fits Gozo, which include those by Pasquale in perfectly with the religious inspiration Buhagiar in Mosta (1678) and Attard (attrib­ typical of the time when it was being offered uted), Francesco Zahra (attributed, 1745) in to the faithful. Its unmistakable academic Ghaxaq, Michele Busuttil (1791) at the Gozo approach, despite those detractors who deem it Cathedral, Virginio Monti (1910) in Dingli, as passe', can still send waves of inspiration in Giuseppe Cali (1917) in Qrendi and Lazzaro all who stand in front of it. Pisani (1920) in Mgarr. Many of his paintings have the Madonna as At Mqabba, the altarpiece by Filippo Venuti their subject. Even when she is not the actual (1896) unscrupulously plagiarises the Gudja subject of the painting, as in Hamrun. she still Gagliardi, with practically the sole difference makes her presence felt. Nevertheless, notwith­ being that Our Lady is shown with her arms standing the repetition of themes, the uplifted. paintings by Gagliardi retain a freshness of colour schemes and religious intimacy which By way of celebrating the restoration of this are perfectly suited towards both devotional painting and the 125th anniversary of its and aesthetic appeal. execution, an academy was held on Friday on the parvis of Gudja parish church, through the Some time ago I was leafing through a book, initiative of Canon Caruana and other clergy of published in America, about the universal the village. ·~ feasts of Our Lady. It had a number of black-.
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