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Natalis Jesus Christi 2017 NATALIS JESUS CHRISTI 2017 Church of Our Lady of Victories, Valletta Basilica of Santa Maria Maggiore, Rome Exhibition of bozzetti by Melchiorre Cafà (1635-1667) on the 350th anniversary of his death The wax bozzetti are kindly lent by The Metropolitan Chapter, Mdina, Malta Curators: Sante Guido and Giuseppe Mantella with Rev. Fr Edgar Vella (Photos: Daniel Cilia) ‘The Annunciation’ ‘The Nativity’ Exhibited at Our Lady of Victories Church, Valletta, Malta. 1-12-2017 to 15-01-2018 Malta Basilica Papale di Con il patrocinio Metropolitan Chapter Santa Maria Maggiore Dei musei vaticani Valletta) produced in Rome and sent to Malta finish, the sculpture of St Rosa of Lima and the In 1667, a few months before his death, Cafà was Melchiorre Cafà, where it was gilded and decorated. angel (Church of St Dominic, Lima) executed in working on an altar of The Glory of the Miraculous 1665 to commemorate the beatification of the Image of the Virgin del Portico in the church of “il Maltese” In 1660, in Rome, Cafà obtained his first saint. The extraordinary fine marble sculpture Santa Maria in Campitelli. Although the work commission for the marble altarpiece featuring - the only work that bears the artist’s signature was completed by Ferrata and the architect Carlo 1635 – 1667 The Martyrdom of Saint Eustachio, commissioned and date of execution - was sent to Peru in Rainaldi, Filippo Titi insisted that “the altar was by Prince Camillo Pamphilj for one of the five 1670. A terracotta bozzetto (National Museum made of the invention and drawings by Melchior altars of the church of Sant’Agnese in Agone, from of Palazzo Venezia, Rome) highlights how the Cafà Maltese”. Also in 1667, Cafà created another Ercole Ferrata and his atelier. The huge martyrdom sculptor developed this figurative theme. The masterpiece with the so-called ‘talking portrait’, a scene was completed with some changes by the ‘study material’ was used as the basis for other Berninian baroque invention, his famous Portrait same Ercole Ferrata and Giovanni Francesco De small scale reproductions of the Saint in ecstasy, of Pope Alexander VII Chigi (Palazzo Chigi, Ariccia, Rossi after Cafà’s premature death in 1667. The in clay or wax, to be used for private devotion. Rome) in clay that served as a model for at least bozzetto of this work is preserved at the Museum The same devotional purpose led to the creation two bronze replicas. of Palazzo Venezia in Rome, and other studio of two oval plates of precious metal and semi- fragments are in different museums in Europe precious stones depicting The Mystical Marriage Cafà died on 4 September 1667 in an accident and the U.S. This work shows the characteristics of of Santa Rosa and The Vision of Santa Rosa at the foundry of St Peter after several days of Roman artistic production of the second half of the (Descalzas Reales, Madrid), associated with the agony, having been crushed by a block of marble 17th century, in line with the Berninian innovation Cafà project on the presbytery of Santa Caterina while he was working on the grand project of of fusion of colour, light and space. in Magnanapoli. The plaques, produced from the Baptist and Christ, to be completed in wax sketches made between 1662 and 1663, were before being cast in bronze. The Baptism of In 1661, the same Prince Pamphilj commissioned probably commissioned by Queen Christina of Christ, commissioned by Grand Master Nicolas Cafà to embellish the family chapel at the Sweden. The Mdina wax modello connected with Cotoner, would become the most prestigious and church of Sant’Agostino with a sculptural group this project should be seen in its original role as important work of the Maltese sculptor’s short representing The Charity of St Thomas of Villanova. part of the mystical levitation of the Saint, as a career as official recognition of his talent in his At the time of his death, Cafà had just finished the preparatory study modelled precisely on the side country of origin. This is especially significant statue of the saint. It would again be Ercole Ferrata panel of the church in Magnanapoli, becoming given the fact that the church, at the very heart who completed the group with the female figure the only surviving witness to the original design of the Hospitaller Order, was, in those years, with children, yet modifying Cafà’s original project of Cafà. undergoing renovation in the recently completed by reducing the number of child-figures to two, as work on its vault of the murals depicting (1661- testified by the terracotta bozzetto preserved at In January 1666, Cafà returned to Malta, having 1666) the life of St John the Baptist, by Mattia the National Museum of Fine Arts, Valletta. secured from the Order of St John the approval Preti. Mehchiorre Cafà - The Nativity, for a monumental work – a bronze group, larger Museum of the Cathedral, Mdina, Malta (Photo: Daniel Cilia) Between 1663 and 1666, ‘il Maltese’, as Cafà was than life-size – of The Baptism of Christ. This Cafà’s young talent had been universally called in Rome, was engaged in the realization of was intended to embellish the high altar in the recognized by his election, in 27 August 1662, the huge altar and altarpiece for the Dominican presbytery of the Conventual Church in Valletta to the most authoritative academic institution in Melchiorre Gafà according to his Maltese family church of Santa Caterina da Siena a Magnanapoli dedicated to St. John the Baptist in Valletta. papal Rome, the Accademia di San Luca, together name, later italianized in Rome to Cafà, was born decorated with the Estasi of Santa Caterina The with Carlo Maratta and Lorenzo Berrettini as well in Vittoriosa in the winter of 1635, the ninth son of white marble and hard-stone relief featuring the At this time, Melchiorre had been probably as with Pietro da Cortona, the most innovative Marco and Veronica Gafà. saint being exalted into heaven is projected as part requested to sculpt the marble statue of St Paul, a amongst painters and architects of the early of a much more complex decoration that takes up commission that is well documented, but carried seventeenth century, and master, with Bernini, of Nothing is known about his training as a sculptor the whole rostrum of the church. The central relief out by Ercole Ferrata after the artist’s death. Roman Baroque. in Malta. In 1658 he left for Rome where at first he and some figures of angels and cherubs were This is devoted to one of the holiest sites of the worked under Ercole Ferrata, the famous sculptor completed by Cafà before his death. A preliminary Maltese archipelago, the Grotto of St Paul in Rabat Thus ended, in 1667, the short but intense life close associate of Alessandro Algardi. study in wax, now in a private collection in Malta, where the apostle Paul was imprisoned. In white of Melchiorre Cafà, the artist whose talent was bears testimony to an important moment in the marble, the figure of the Saint is derived from the admired by Gian Lorenzo Bernini who had stated Cafà’s first works are two undocumented wooden realization of the original concept of the altarpiece first depiction of the ‘Apostle of the Gentiles’ on that a young Maltese man would surpass him in statues: The Madonna of the Rosary (Church of the in marble. the island: the celebrated statue for the church of sculpture, as recalled by Fra Francesco Caumons, Dominicans, Rabat), of which a terracotta bozzetto Paul’s Shipwreck in Valletta, although the power ambassador of the Order of the Knights of St John, is preserved in the State Museum of Berlin, and St In the same period, once more for the Dominicans, of the sculpture is here muted by the more gentle when writing to Grand Master Nicolas Cotoner in Paul Apostle (Church of the Shipwreck of St Paul, Cafà worked on the only work that he was to hand of Ferrata. Malta in 1665. The discovery of the Mdina Cathedral Wax Reliefs The four wax reliefs featuring The Annunciation, The Nativity, The Adoration of the Shepherds, The Glory of a Monastic Saint were still hanging in the sacristy sitting room of the Mdina Cathedral till 2008. They were rough and covered in gypsum and silver leaf. They were identified for the first time as works by ‘The Adoration of the Shepherds’ Cafà by Giuseppe Mantella and Sante Guido and thanks to subsequent new archival research by Mgr. Exhibited at the Basilica of Aloysius Deguara that revealed that these reliefs Santa Maria Maggiore, Rome, Italy. were donated to the Mdina Cathedral prior to 1767 and were described as ‘sei pezzi di quadri con cornici 12-12-2017 to 15-01-2018 nere di rilievo con diverse figure di cera donate dal fu’ Sig. Canonico Don Antonio Pace’ from Birgu. After painstaking restoration to remove the silver On the 350th Anniversary of the death of Melchiorre leaf coating, it was discovered that these reliefs had Cafa’, the three wax reliefs of The Annunciation, The suffered from several unprofessional interventions, Adoration of the Shepherds, The Nativity are being some being even partially reconstructed, but that kindly loaned by the Mdina Cathedral Museum for they were made from the same wax that Melchiorre a twinning exhibition organised by Din l-Art Ħelwa Cafà used when modelling and reshaping his at Our Lady of Victory Church, Valletta, 1566, which bozzetti. This established that the four bozzetti at is dedicated to the Nativity of the Blessed Virgin, the Cathedral were definitely produced in Rome and to the Basilica of Santa Maria Maggiore, Rome.
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