of St Paul’s Bay – James Licari

ID-DELLIJA U IX-XEMXIJA

The Sunny and Shady Areas of St Paul’s Bay

By James Licari

Throughout history, many historical facts as well as artefacts are lost due to good intentions. During British rule in Malta, several coats of arms were removed and placed within the national collection, for better preservation. In some cases, replicas were produced. As time passes by, the recollection of their original context may be lost and the documentation of these removals gets buried in piles of paper within curatorial reports or museum libraries. Luckily in the quest to undertake the conservation of the quaint monument that lies on the side of the road in Xemxija, St Paul’s Bay, the author and his colleague made various discoveries. It is fun to re-discover history and conserve what we can of it.

Description

Today the monument in Xemxija consists of a plain wall with an upper edge. Towards the central upper area of the wall, facing the road, there are three escutcheons and a large inscription. From left to right, the coats of arms are of Grand Master Perellos, the Order of St John, and Balì Philippe de Vendôme. There is a small marble plaque on the left side of the monument dating from 1924.1

The original pieces of the former redoubt

The inscription states: E.M.M.F.D. RAIJMUNDI PERELLOS, U ROCCAFULL EMULATUS ZELLUM MAGNANIMUS PRINCEPS F PHILIPPUS DE VENDOSM FRANCIAE PRIOR DUM UBIQUE SECURTATI SATAGITUR AD HOSTEM EMINUS ARCENDUM MARITIMAS ORAS VALLIS, AGGERIBUSQUE MUNIEDAS PRAESENTIA, CONSILIO, ATQUE IMPENSI AERIS EXEMPLO SATEGIT, LAUDANTE CONCILIO, PLAUDENTIBUS OMNIBUS, NON PAUCIS INTER VV.PROCERES UT NOMINA VALLORUM INDICANT IMITANTIBUS ANNO D.1715.

Above: Philippe, Duke of Vendôme, by Jacob Ferdinand Voet

Right: Id-Dellija Redoubt demolished in 1925 (Heritage Malta photographs)

History

The architectural elements of this monument were originally copies of those present on a redoubt that once stood in the vicinity of the current monument. The redoubt and its twin (Xemxija or Arrias Battery) were also known as the Pwales Right Battery, built between 1715–16 and costing the Order of St John over one thousand scudi under the reign of Grand Master Raymundi Perellos y Roccafull.2 They were built to match the zeal of the magnanimous Philippe Vendôme of the Priory of France3 to defend the maritime integrity of the bay against the enemy with the backing of the Council of the Order in 1715.

This redoubt consisted of a large structural strengthened blockhouse to protect itself from enemy fire but having apertures to allow defense. It was built at the gorge of a rectangular platform. One of the corners facing the sea was rounded off. Above the level of the cordone there was a parapet which surrounded the platform, with a low three-course high boundary wall. The land-facing façades were high, to protect the persons inside the battery and obstruct the view of any enemy attack. E. P. Theuma noted that the escutcheons belonged to Grand Master Perellos and the Langue of France (representing Vendôme, believed to have been the architect).4

Due to the increasing range of gun power, especially of cannons, the defensive strategy of Malta had to change in the eighteenth century, from being centred around fortified towns to more defensive posts. The fortified outposts dotted all over the coastline to prevent the invading navy from landing on dry ground.3 It is known that in 1770, the redoubt ‘was armed with six 6-pounder iron guns, and was supplied with 420 rounds of roundshot and 90 rounds of grapeshot. Three of its guns were removed by 1785’.5

Thanks to the kind assistance of Mr and Mrs Zahra, some old photographs were obtained. Mrs Zahra’s grandparents, Alfonso Naudi and family, lived in the id-Dellija redoubt in the 1900s. This building had to be removed to make way for the bypass when cars started to replace the more usual form of transport of the time (il-karrettun). This was the popular route to Mellieha and Gozo. In the First World War (1914), the building was used as a military station. The photographs show the id-Dellija redoubt as it was. Moreover, the Museums Annual Reports of 1910–1911 described a ‘Fine marble inscription, in perfect condition, measuring 184cm by 84cm. The inscription was, probably, never put up as the letters are not polished’.6

The name id-Dellija is mirrored by another redoubt on the opposite side of the bay, referred to as ix-Xemxija and which was previously the home of the Borg Cardona family, and was converted into a wine bar several years ago. In the early twentieth century, id-Dellija is said to have been lived in by Antonio Muscat Fenech (consul-general of the Austrio–Hungarian

Top left: The three original coats of arms and the inscription in the Museums Annual Report, shamefully in a very bad state

Above: Id-Dellija redoubt c.1900, with coat of arms still visible

Far left: Inscription on the side of the monument.

Left: Some relatives of the family in the past

Left: During the expansion: reclamation of land to widen the road (Heritage Malta photographs)

Below left: Front and side views of the monument prior to conservation

Empire, one of the flags flying above the redoubt in one of the pictures).7 The names of these buildings imply that one part of the bay received direct sunlight while the other did not, as it lay in the shade below Wardija hill.

The minutes of the Antiquities Committee meeting held at the University on Tuesday 12th February 1924, note a request for the drafting of a report on the ‘Dellia Redoubt’. The tenant was claiming that it had historical importance while the public works department required its demolition due to road works.8 A subsequent meeting was held on 29th February by committee members Col. Gillam, Dr Stilon, Mr Hannibal Scicluna, Mr Rizzo, Prof. R. V. Galea, Mr Vincenzo Bonello, Capt. Laferla and the Secretary. The Minutes state that:

‘The place was inspected on the 23rd inst. It consists of a bastion, a suite of old rooms and a couple of modern rooms. On the old front a Latin inscription is surmounted by three coats of arms. There is nothing practically precious in the building but the sub-committee are against the disappearance of all signs of this redoubt and suggest that if it is not possible to widen the road in any other manner than by

Below right: Inscription on the front of the monument

Opposite page: The pillar: wall built on the side of the road, possibly as directed by Vincenzo Bonello

pulling the house down, the bastion which is the real redoubt be left standing and repaired and the coat of arms and the inscription be fixed on a wall facing the road with a tablet to record the removal of the house’.9

At another meeting on 25th March 1924, it was minuted that despite the committee not being in favour, the demolition was possible but the coats of arms and inscription plaque should be re-installed on a pillar/wall and Mr V. Bonello must be consulted on this. It is believed that these heraldic signs and inscription blocks were already copies and not the originals,10 and that in 1910–1111, the original coats of arms and the inscriptions were first transferred to the National Museum of Malta12 and then separated and installed in various parts of the Palace Armoury. The originals were thus replaced by copies. Once the redoubt was demolished in 1924, the parapet and the coats of arms were left, but eventually when the present roundabout and jetty were built after the war, the parapet was also demolished.13 The present author traced them and discussed with the curatorial team to have them re-united. This was made possible in 2014, during a refurbishment of the Malta Military Museum at Fort St Elmo.14

Manufacturing technique

Both the original and copies of this collated monument seem to have been sculpted in similar ways, with chisels, hammers, files and manual drills. The inscription on the front of the monument was carved mechanically out of white marble (original) and two possibly Coralline limestone blocks (copy). The coat of arms was carved mechanically out of Upper Coralline limestone (original) and Globigerina limestone (copy). In the original marble inscription, lead lettering was inserted. This was normally done by pouring the molten lead metal into the carved grooves, and generally the grooves would also have drilled holes in particular points of each letter to serve as strong attachment anchors, once the metal cools down and hardens. Tool marks may still be visible on all the sculptured coats of arms.

In the monument at Xemxija Bay, the rest of the construction consists of a plain Globigerina limestone structure with an underlying damp proof layer. This seems to have moved location several times due to widening the road as well as possibly the construction of public toilets, and the close proximity to the sea. There is a small engraved marble plaque which may be observed on the left side of the monument. The letters within this marble plaque are still filled with lead. It was observed that the lettering in the main inscription (copy) may originally have been made of lead or painted in with coloured paint.

State of conservation of the original pieces and the copies

The originals and copies were covered in a thick layer of dust deposits, developed over time, in their various locations. The original coats of arms and the inscription were kept in an internal environment but in separate zones. The coats of arms were attached within a wall in the entrance to the Palace Armoury halls. This implied that layers of plaster and paint were applied on their edges, through various maintenance procedures of this building. The marble inscription seems to have had a ferrous piece of metal resting or lying on it during storage, as rust stains were observed diagonally over the marble. The marble surface had darkened, possibly due to the penetration of surface deposits within the pores in humid storage conditions. The lead lettering had also deteriorated and white corrosion products seemed to have formed in various areas. Some paint drops were also observed.

The external monument seemed to have a dark surface on the edges possibly due to biological growth. The monument seems to have been splashed or sprayed with paint in an act of vandalism, during the heightened political enthusiasm of the ‘70s and ‘80s. Such remains were found on the central inscription and the lower part and sides. Various colours including black, blue and orange-red were observed. These paints penetrated the porous stones and required a professional intervention to remove them as much as possible while safeguarding the ethical aspect of retaining the patina of the original stone. Where it was difficult to remove it had to be left there, to avoid losing the authenticity of the stone.

It was also noticed that at some point in time the lettering was painted to replace the original lead which was missing. Most of the mortar joints were missing or cracked, causing water to infiltrate. Black crust was seen in the undercuts of the sculptured areas. This was possibly caused by pollution and carbonaceous dust from the burning of fuel (eg. car fumes). This deposit collects in the sheltered areas and since the rain does not wash it off, it hardens to form a compact

layer. Some stone blocks were chipped and the crown on the Perellos coat of arms was also chipped. The central coat of arms had its right upper scroll broken. Some stone block surfaces seemed to be exfoliating at their surfaces. The plaster at the lower courses was also getting detached. Interventions on the stone work seem to have taken place probably in 1924 since this is the date recorded on the small inscription on the side of the monument.

Conservation intervention

The monument standing along the Xemxija coast was conserved by the conservators of Heritage ResCo, supported by the Local Council of St Paul’s Bay. During the process of conservation, the team carried out research and documentation. They also applied mechanical and chemical cleaning tests in inconspicuous areas, to assess the most effective but least invasive methodology to use. Eventually, the dark black biological growth was removed, the vandalism graffiti and black crust were reduced as much as possible (taking great care not to damage the original surfaces). Metal attachments were also removed mechanically. The open mortar joints were filled in with a hydraulic lime mortar and a sacrificial lime wash was applied to the monument. The uppermost surface of the monument was covered with a mortar, creating a tilt to assist in the run-off of rain water. The missing central floral design on the crown of the coat of arms of Grand Master Perellos was reproduced and attached in place. The right upper edge of the cartouche of the coat of arms of the Order of St John was reconstructed with mortar, in several layers. The dispersed coats of arms attached to various walls at the Palace Armoury, were removed thanks to the masonry heritage skills personnel and were mechanically cleaned by the objects conservator (the author), assisted by students within the Conservation Division of Heritage Malta.

Conclusion

Conservation and research go hand in hand. There are still many curiosities and discoveries waiting to surface, and research is the key. As observed through the state of preservation, the

The front and sides of the monument after the intervention

Right: The small inscription after the intervention

Bottom: Conservators Ingrid Ross and James Licari at work on the monument periodical maintenance of such monuments and artefacts must be kept up. Maintenance should include regular monitoring of any signs of powdering, loosening of parts, and dust on the surface. Household products should be avoided. Harsh tools or equipment should not be used on such cultural heritage monuments or objects. Let us appreciate our cultural heritage for the future. n

Acknowledgements: The author would like to thank Ms Ingrid Ross (managing director of Heritage ResCo), Charles Debono (curator of the National War Museum), Mr Oliver Mallia (researcher from St Paul’s Bay), Mr Emmanuele Magro Conti (senior curator, Military History), and Ms Sharon Sultana (senior curator, National Museum of Archaeology).

NOTES: (1) The smaller marble inscription states: ‘PUBLICAE UTILITATIS CAUSA DISIECTO AGGERE VETUSTO CUI NOMEN VULCO ID-DELLIA MEIO CONDITORUM INSIGNIA CUM TITULO AOSERVANTUR MCMXXIV’; (2) E. P. Theuma, San Pawl il-Bahar-A Guide (Malta: Dormax Press, 2003), 189; (3) Philippe de Bourbon (1655–1727), the fourth and last Duke of Vendôme, was the son of Louis de Bourbon and Laura Mancini. He participated in the Siege of Candia in 1669 against the Turkish forces. He eventually was promoted to the post of Grand Prior for France in the Order of St John. https://en.wikipedia.org/wiki/Philippe,_Duke_of_Vend%C3%B4me (accessed 28th April 2020); (3) Theuma, 189; (4) Theuma, 148; (5) https://military.wikia.org/wiki/ Dellia_Battery (accessed 28th April 2020); (6) Museums Annual Report 1910–1911, 14 See fn 11 below; (7) John A. Mizzi, ‘The Dellija Redoubt’, Times of Malta, 4th February 2012; (8) Antiquities Committee Minutes, 12th February 1924; (9) Antiquities Committee Minutes, 29th February 1924; (10) Antiquities Committee Minutes, 25th March 1924; (11) The Museum Annual Report 1910–1911, p. 14, states: ‘Donated by The Hon. The Supt. of Public Works—Marble coat-of-arms of the Grand Masters (most of them in fragmentary state) and several marble inscriptions… II. Fine marble inscription, in perfect condition, measuring 184cm by 84cm. The inscription was probably, never put up as the letters are not polished. E.M.M.F.D. RAYMUNDI PERRELLOS, Y ROCCAFULL EMULATUS ZELUM MAGNANIMUS PRINCEPS F. PHILIPPUS DE VENDOSME FRANCIÆ PRIOR, DUM UBIQUE SECURITATI SATAGITUR AD HOSTEM EMINUS ARCENDUM MARITIMAS ORAS VALLIS AGGERIBUSQUE MUNIENDAS PRESENTIA CONSILIO, ATQUE IMPENSI ÆRIS EXEMPIO SATEGIT, LAUDANTE CONCILIO, PLAUDENTIBUS OMNIBUS, NON PAUCIS INTER V.V. PROCERES UT NOMINA VALLORUM INDICANT IMITANTIBUS ANN D. 1715’; (12) Theuma, 189; (13) Mizzi; (14) James Licari and Ingrid Ross, ‘Conservation Report of the Dellija Redoubt Monument, St Paul’s Bay’, (Unpublished, 2006).

BIBLIOGRAPHY: Antiquities Committee Minutes, National Museum of Archaeology, Valletta; Museums Annual Report 1910–1911; National Archives of Malta, ‘Proposed inscription recording and demolition of Dellia Redoubt’ (1924), Public Works, File number 471/24; National Archives of Malta, ‘Lorenzo Gouder; Dellia Redoubt: Applies for compensation for works carried out in …’ (1924), Public Works, File number 146/24; E. P. Theuma, San Pawl il-Bahar: A Guide (Malta: Dormax Press, 2003), 148–89.

James Licari is a professional conservator–restorer.