• Abstract and Figures
• Public Full-text

A Note on the St. John Co-Cathedral Marble Tombstones: The Artisans, Foreign and Maltese John Debono One cannot but feel hesitant in writing on the tombstones, masterpieces of marble, much like varied marquetry work in St John's when one can consult the long standing volume 'The Church of St John in Valletta' by Hannibal Scicluna, a composition which must necessarily remain an excellent and remarkable publication.! The aim of this brief study is to modestly review the documentation principally in the notarial archives concerning the tombstones, mainly in the period 1678 to 1819 and the marble craftsmen, local and foreign, who executed their masterpieces so expertly (see Table 1). Though it has been only possible to trace in those documentary archives evidence for some eighteen tombstones, it is to be presumed that most of the others largely followed a similar pattern of commissioning: i) some form of contract or a privately written agreement stipulating the names of the parties, ii) a time-limit set for the undertaking, iii) the price to be eventually paid at times in instalments or otherwise in full on termination of work, and iv) the supply of designs, none of which could be traced. One may wonder at the paucity of recorded public deeds that could be traced, when it was so customary to resort to such means in similar dealings between customer and supplier of services. It could be that some tomb stones were of foreign workmanship and then transhipped to Malta. Private agreements would render it difficult or impossible for future posterity to discover the documentation. Whatever the reason, the artistic splendour contained in the laying of the polychrome marble pavement must evoke admiration for the artisans because through * I would like to thank Monsignor J. Azzopardi for translating for me a couple of deeds and Professor G. Wettinger for his useful suggestions and comments. 1. H. P. Scic1una, The Church o/St John in Valletta, Rome 1955. See also N. De Piro and D. Cilia, The Temple a/the Knights a/Malta, Italy 1999. 124-7; P. Cassar, 'Anatomical errors in the lapidary ofthe Co-Cathedral of St John at Valletta', St Luke's Hospital Gazette, ix, 1 (1974), 13-20; G. Bonello, 'Further foot-notcs for a history of time-keeping in Malta', The Sunday Times [Malta], 17 July 1994; id., 'Art and Symbols in Stjohn's Tombstones', inArt in Malta Discoveries and Recoveries, Malta 1999, 160-70. THE ST. JOHN CO-CATHEDRAL MARBLE TOMBSTONES 389 388 JOHN DEBONO was also agreed between the parties that, in case circumstances changed and the patron their exquisite workmanship they have bequeathed to us real grandeur interwoven opted for a tombstone elsewhere, Bambaci would have to abide by a new design with the history of Maltese culture and art, here visible in its entirety. Designs in accordingly. attractive colours intersect the marble tombstones consisting of one piece or, more often, two slabs of marble. These are richly inlaid with the coat-of-arms of the Two options were open to foreign marble workers who had not settled in Malta respective knights, each buried in his particular grave, with inscriptions extolling his - they could either execute the work here from imported marble slabs or otherwise do virtues and traits of character, with spoils of victories, skeletons and skulls symbol­ all the work abroad in their own personal workshop to be later despatched for ising death and eternity, lions and stars to demonstrate valour, and other common assembly, inlaying, and decoration. When a fairly large commitment was involved, artifacts to express the profane history of the Order of St John. Meanwhile these it was perferable to settle here, at least till all the work involved was accomplished. tombstones, fully evocative of the baroque art then prevailing in Malta, would These procedures enabled the marble workers to check on the overall progress of the convey a spiritual message rather than details of the human body. projected work and its mainll'nance. The Order often commissioned known marble artisans to enhance the decoration In 1658, the Florentine sculptor, Vitale Covate, in partnership with the stone­ of their church and cover the vaults with marble monuments. In the employment of cutter or carver, Ferrante Vanelli, undertook it upon themselves to embellish the foreign marble craftsmen, one can meet two types: those who, on undertaking the task, monument dedicated to Grand Master Jean Lascaris Caste liar with marble slabs. had come over to Malta to check on the work involved and sign the necessary legal These were to be carved and inlaid with interlaces and inserts, all imported from documents, and others who settled here for good, often after getting married to a Messina, where they were then living, at a cost of 600 scudi.7 Seven years later, in Maltese girl. On 1 February 1678 the marble worker, Diego di Tuccio,2 agreed with 1665, Covate was again commissioned to work in marble the balustrated balcony over the knight, Antonio Defay Latour Maubourg, from the Langue of Alvergna, to the main entrance of Stjohn's church.8 Though these works may signify his renown fashion a tombstone and lay it on the grave of Commendatore Fra Renato de amongst the members of the Order, it has not been possible to trace documentary Mesonseville, then buried in St John's.3 At the time, Detuccio was living in Malta evidence regarding the execution of any tombstones by him. and he promised to execute the work within 4 months for 110 scudi of which 90 were 4 received in advance. Detuccio could have been engaged elsewhere in other local Maestro Antonino Amato with his children Domenico, Francesco, Gio Maria, and marble work. Giuseppe, all from Messina, were engaged at one time or another between 1741 and 17479 inmarble work in Malta especially atStJohn's.IOIn 1741 the sumptuous marble Another foreign marble craftsman who used his artistic talents to decorate in covering of the eight piers of the Oratory for which the Prior of Santo Stefano, Fra marble tombstones and altars in the Maltese churches was Bartholomeo Bambaci Don Andrea Fortunato di Giovanni, had agreed to pay 400 Sicilian oncie, was from Palermo. Amongst his works there is a tombstone in St John's, made at the ll s commissioned. The obligation between the parties also listed all the details regard­ request of Commendatore Fra Jacobo de Fonvile Descreinville, a French knight. ing length, width and depth of the marble slabs, their colour and the place of This tombstone was ordered on 17 August 1678 to be duly placed on the grave of Fra Enrico Destampes Velencaii, the Gran Prior of France. Its agreed price of 120 scudi, was paid in instalments, the last of which was effected on 31 January 1680.6 It 2. Diego di Tuccio was a Messinese from Sicily but was now living at Valletta. His marriage settlement 7. Ibid., R11/26, ff. 606-606(8), 8 January 1658. Note f. 606 are all numbered 606. See also D. Cutajar, with Francesca Benenato daughter of Antonino and Agata also from Messina was drawn up on 27 Malta: History and Works of Art of St fohn's Church Valletta, Malta 1989,67-8. January 1675: N(otarial) A(rchives) at V(alletta), Not(ary). G. Felici, R260/36 (1673-76)'[f. 119-120 8. NAV, Not. A. Delio Re, R227/16, ff. 30-31 v, 3 November 1665. See also Cutajar, 11. (January 1674-March 1676). On 13 September 1677, Diego received from Antonino Benenato 83 9. On 11 January 1747, Giovanni Amato together with Santo Arena arrived in Malta to work on the Sicilian oncie which was part of his daughter's dowry: NAV, Not. G. Callus, R 125/26, ff. 122-123.7. tabernacle of the altar in the church dedicated to the Holy Souls in Purgatory at Valletta: N(ational) 3. NA V, Not. T. Agius, R11/5l, ff. 644-645. A(rchives) of M(alta) at Rabat, Libretto delle Prattiche de Bastimenti con la nota delloro equipaggio 4. On 13 July 1678, Detuccio received 20 scudi to settle the balance: ibid., f. 644, a marginal entry. e passa gieri Gennaro 1747. 5. Ibid., R1l/52, ff. 1380-1381. 10. It cannot however, be shown that Francesco himself had actually visited Malta. 6. Ibid., all marginal entries. Bartholomeo died between July 1679 and January 1680, when his daughter, 11. NAV, Not. G. Callus, R126/43 (1740-42), ff. 510 v -513 v (1740-41), 5 July 1741. Hieronima, appeared on behalf of her mother Margarita. THE ST. JOHN CO-CATHEDRAL MARBLE TOMBSTONES 389 388 JOHN DEBONO was also agreed between the parties that, in case circumstances changed and the patron their exquisite workmanship they have bequeathed to us real grandeur interwoven opted for a tombstone elsewhere, Bambaci would have to abide by a new design with the history of Maltese culture and art, here visible in its entirety. Designs in accordingly. attractive colours intersect the marble tombstones consisting of one piece or, more often, two slabs of marble. These are richly inlaid with the coat-of-arms of the Two options were open to foreign marble workers who had not settled in Malta respective knights, each buried in his particular grave, with inscriptions extolling his - they could either execute the work here from imported marble slabs or otherwise do virtues and traits of character, with spoils of victories, skeletons and skulls symbol­ all the work abroad in their own personal workshop to be later despatched for ising death and eternity, lions and stars to demonstrate valour, and other common assembly, inlaying, and decoration.

Load more

  16

Copy Link