Tesserae 13 Bulletin

is the official bulletin of Heritage Malta published twice a year in Spring and Autumn

Editorial Team

Margaret Abdilla Cunningham, James Licari, Maria Micallef, Godwin Vella

Technical Review

Ruben Abela, Anthony Spagnol, Sharon Sultanta

Editorial Office

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Technical Support

George Agius, Matthew Balzan, Fiona Vella

Photography & Design

Pierre Balzia

Images provided by authors are acknowledged accordingly.

Illustrations & Visuals Enhancement

Kimberly Azzopardi

Subscriptions

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ISBN: 978-9918-619-31-3

Copyright

Produced by © 2023 HERITAGE MALTA PUBLISHING. All rights reserved in all countries. No part of this book may be reproduced or utilised in any form or by any means, without the prior written permission of the rightful owner of the material.

Material for submissions

We invite anyone who wishes to contribute to future TESSERÆ issues to send a 300-word abstract of the subject related to cultural heritage, with the final full article (max. 2500 words) to be submitted to publications.heritagemalta@gov.mt.

Acknowledgements

Heritage Malta Chairman, Board of Directors, CEO, COO and staff members in Conservation, Curatorial, ICT & Corporate Services, and Projects Divisions, all their respective Departments.

From the Museum Fototeka Għexierem road prior to modernisation

Remembering the Great Siege of Malta through paintings, arms and armour – Part II

Robert Cassar

Anthony Spiteri: the Custodian & the War

Janica Buhagiar

Il-Ballut ta’ Marsaxlokk and Its Ornithological Importance

James Aquilina

Painted in Colonial Mexico: A Set of Seventeen

Joanna Hili Micallef

Dear Tim: Tim Padfield’s Contribution to Conservation

David Frank Buġeja

When History meets Biology: Shipwrecks as Ecological Hotspots

Nick Coertze, Timothy Gambin, Maja Sausmekat

Innovating Traditions: Interview with Alda Bugeja

Fiona Vella

Heritage Malta’s Greening Initiatives

Ruben Abela

Untitled painting by Giorgio Preca: Challenges in Conservation

Rachel Vella

Conserving Earthenware Amphorae: Xlendi Shipwreck, Gozo

Joanne Dimech

Modern and Contemporary Works added to the National Collection

Katya Micallef

Education during World War II

Maria Micallef

Gypsoteca: Gypso-take-care! Preservation of Plaster Casts

James Licari

Curator’s Pick...

Sharon Sultana

Fresh From the Press...

Heritage Malta Publishing

Fr Marius Zerafa and Frá John Edward Critien

Appreciation

The Contributors

“The history book on the shelf is always repeating itself”, says an ABBA classic.

Each spree of technological development and urban intensification, triggers a strikingly similar communal reaction, irrespective of the temporal or geographical milieu. A couple of centuries back, the then pristine environment of the Maltese Islands aroused great interest in Grand Tour enthusiasts. The numerous well-read and prosperous visitors, hailing from heavily urbanised contexts, were mesmerised by the unassuming existence of the local peasants, and expressed a unanimous wish for a less frenetic way of life.

Surely enough, an equally marked longing for a less taxing lifestyle is growing by the minute among the present inhabitants of Malta and Gozo. The rampant construction activity in each and every urban neighbourhood, the embracement of an increasingly sedentary routine, and the overcrowding of the few and restricted chillout locations across Malta and Gozo, invariably tipped the scales of collective wellbeing. In turn, exasperation is ballooning without any sign of restraint, whereas the need to unwind is becoming ever more critical. Recurrent overseas getaways are not an option to the greater portion of the population, but the Islands’ outstanding patrimony can prove to be a similarly effective safety valve.

Conscious of the prevailing state of affairs, Heritage Malta is striving to rescue from oblivion and open up for public enjoyment a multitude of sites. It is also crafting the immediate environs of select sites, including Ħaġar Qim, Mnajdra, Ġgantija, and Għar Dalam into heritage parks. Furthermore, the National Agency for museums, conservation and cultural heritage teamed up with esteemed local and Italian stakeholders to unlock the untapped potential of a number of Natura 2000 sites in Malta and Sicily. Labelled CORALLO, this Interreg project aims at promoting the largely-unknown and unique living and landscape assets of each site, while providing guidance on their responsible enjoyment.

Heritage Malta’s Underwater Cultural Heritage Unit is complementing this laudable initiative by valorising shipwrecks as ecological hotspots. This programme is amply illustrated in the second feature in this issue’s management (orange) section. An equally interesting feature, the third of a series, sheds light on the ornithological importance of the wetland at Il-Ballut ta’ Marsaxlokk. Sustainable management of landscape assets, and by default the enhancement of our standard of living, can take less momentous proportions as accentuated by the greening initiatives spearheaded by the Agency’s staff. Besides bringing to the fore the key importance of a sane environment for our own health, TESSERÆ 13 contains a well-balanced assortment of features, ranging from Early Modern weaponry to the innovation of cottage crafts and the care of plaster casts. Slowly but surely, TESSERÆ is building into a respectable and wide-ranging compendium of the Maltese Islands’ outstanding patrimony.

Remembering the Great Siege of Malta

through paintings, arms and armour

Part II

Robert Cassar

Part I of this article was published in Tesserae Autumn Issue 12, 2022, which focused on the historical aspect of the Great Siege of 1565, its commemoration as an historic event, and the detailed narrative of the wall paintings found in the Sala del Gran Consiglio inside the Grand Master’s Palace. In this second part of the article, the painted frieze depicting the highlights of the Great Siege is being studied and analyzed in view of the arms and armour represented, that were used throughout the Siege. The painted frieze, illustrating the most important turning point of the Maltese Islands, was and still is viewed as a monument to that glorious epic battle which

stood against a tenacious bulwark. Apart from the painted frieze, the event is still regarded by the proud local population as a unifying event imbued with nationalism, even though it all happened over four centuries ago.

Troops, Armour and Artillery of the Order

The Knights of the Order of St John were also armed with artillery. In Fort St Elmo, there were 27 pieces of artillery that ranged from small cannons, possibly wrought iron swivel guns and very large harquebuses, or wall posts, also known as ‘moschetti di posta’

Left: A detail from the d’Aleccio wall paintings of the Great Siege at the Grand Master’s Palace

Above: An infantry soldier silhouette illustrating the scale of the hand and a half sword in the Palace Armoury Collection in comparison with a rapier and dagger from the same period

Right: ‘Bastard’ swords illustrated in an engraving of the Great Siege Cycle by Anton Francesco Lucini, ‘IL SOCCORSO

LVGLIO’

Fort St Angelo on the other hand, which was also equipped with artillery, is known to have had several ammunition stores that were laden with gunpowder. Some time prior to the Ottoman attack in 1565, the Duke of Florence had sent 200 barrels of gunpowder to be used in defence during the imminent attack.

The larger part of the troops making up the army of the Order was the land infantry. Apart from a pole arm and other accoutrements, each soldier was also armed with a sword. Most of them were specialised through intensive training in sword fighting, while others excelled

in the use of the pike or other types of polearms. The main type of sword that was used during this period bore long and wide blades. This type of sword is clearly represented in an engraving showing one of the wall painted scenes of the 1565 Siege by Matteo Perez d’Aleccio at the Throne Room in the Grand Master’s Palace. In the scene of the Battle for the Post of Castile, Spanish knights carry two examples known as the ‘bastarda’. At the Palace Armoury, two slightly smaller but similar examples survive and are known as the ‘hand-and-a-half-sword’.

Another sword that was commonly used during the 1565 Siege was the rapier. This very early type had limited hand-guard protection and had a wider blade than the rapiers that were used later on in the 17th and 18th centuries. An example of the Siege rapier survives at the Parish Church Museum of Birgu. This is said to have been the same sword that was used in battle by Grand Master Jean de Valette and which was placed at the foot of the altar dedicated to the Virgin of Damascus as an ex-voto in thanksgiving for the victory of the Siege.

Detail from the wall paintings depicting infantry in battle from the final epic battle of the Great Siege

this day at the Palace Armoury. The crossbow was regarded as important as the matchlock harquebus firearm. Its main potential was that its aim was more precise and accurate than the firearms of its time. It was an ideal backup weapon when at times gunpowder would not perform at its best. Such occasions included days with high humidity in the air, or during rainfall. The technology with gunpowder was not as yet refined and if wet, it did not ignite.

Another advantage of the crossbow was the fact that it was short and light in weight, and easily loaded and fired from atop high walls towards an enemy trying to climb up a fort’s ramparts. It also had a long range and the

With regards to body protection, the army of the Order had soldiers who wore steel armour that protected them against arrowheads and edge weapons but had very little defence against gunpowder propelled weapons. Some time prior to the beginning of the 1565 Siege, Grand Master de Valette had issued a decree where all knights of the Order living outside the islands were called to arms at the Convent (i.e. Malta) to defend the territory and Faith. They were also obliged to bring their own personal armour and weapons, since clearly there was a lack of arms.1

Apart from the steel armour, each knight was to wear a tabard, which was a sleeveless bib bearing the cross of religion in white against a red background. The intention for this was to encourage a sense of uniformity among the knights while also serving as a recognition factor for one’s own fighters during battle. The uniformity was also needed due to the fact that since knights came from various countries from all over Europe, they brought with them armour typical of their region, at times some that were also obsolete or outdated for its time.

Crossbow from the Great Siege period found at the Palace Armoury, Heritage Malta Collection

An early rapier used by Grand Master de Valette in battle, given to the Virgin Mary as an ex-voto in thanksgiving, found at the St Joseph Oratory Museum, Vittoriosa, photo courtesy: Daniel Cilia

Remembering the Great Siege of Malta through Paintings, Arms and Armour: Part II

An account by Cirni from the Siege, speaks of the diversity in the types of protection worn by the knights. These included corsaletti and corazze (metal armour), giacchi (brigandines)2 and maniche di maglia (mail shirts)3. The tabard uniform has been repeatedly represented in the wall painting scenes of the Great Siege by d’Aleccio at the Grand Master’s Palace in Valletta.

Personalised armour owned by a knight would have differed from those issued by the Order to its soldiers. This personalisation was achieved by a high degree of surface decoration to the metal plate. The amount and quality of decoration depended on the individual and his financial status in society. Most of the time, such armour was engraved, etched and gilt. At times, the beauty itself in these armours served more of a disadvantage to its bearer, since its bejewelled shine attracted attention to the knight above the rest of the soldiers, becoming an easy target, apart from announcing to the enemy his important and high ranking position witin the Order. This was the case of the nephew of Grand Master de Valette, Henri de Valette, who wore a highly decorated gilt armour which made him an immediate target and was killed as he stood out facing the enemy.

On the other hand, the half armour normally issued to the conscripted soldier was similar to the ones owned by the knights, although bare of any decorations except for some embossed scrolls in some particular cases. However, this was still as resistant and strong as those belonging to the knights. This type of armour

Detail from D’Aleccio’s wall paintings at the Grand Master’s Palace showing knights wearing tabards

Parts from a decorated armour with fine engraved detail, from the Great Siege period at the Palace Amoury Collection

issued still exists within the Palace Armoury collection in a large amount and such numbers give an indication of the even larger amounts that originally existed in the Order’s armouries. These date to the Great Siege period and had been specifically ordered to supply the troops of the Order of St John. The soldiers who wore these armours were normally around their mid-teens. Such can be immediately understood by looking at the size of these metal suits which show that their bearers were very small in stature, both in height and around the waist.

These soldiers, also referred to as the ‘foot infantry’, were armed with polearms such as the pike and the halberd. Some also carried a shield at times made of wood. These examples made of two layers of wood bent and carved were covered in textile and painted with the cross of religion or other heraldry. Apart from being lightweight and resistant to fired projectiles, such shields could be used as a weapon during one-to-one combats. Various examples still exist in the Palace Armoury collection and also feature in several scenes from the d’Aleccio wall paintings. Cavalry was also very important during the Siege, particularly during attacks outside fortifications on the Ottoman infantry parties. An example in Heritage Malta’s Armour Collection represents a typical cavalry soldier wearing armour that covered up to his thighs and knees, whilst being armed with a long polearm referred to as the ‘lance’.

The Ottomans’ superior artillery

A major element that presided throughout the 1565 Siege was the use of artillery from both sides. However, while the Ottomans made use of copper-alloy bronze guns that had been brought over to the island by means of their

Left: Two different pikes from the Great Siege era in the Armoury Collection at the Grand Master’s Palace

Right: Detail of an infantry soldier with the longer pike on the left in scale, from an engraving of the Great Siege Cycle by Anton Francesco Lucini, ‘IL SOCCORSO PICCOLO AL BORGO DI NOTTE A DI V DI LVGLIO’

A wooden battle shield covered in textile with the painted eight-pointed Cross of the Order from the Great Siege era from Heritage Malta Armoury Collection at the Grand Master’s Palace

naval power, the Knights of St John mostly made use of wrought iron hoop and stave construction guns, an archaic form for their time. Some must have been imported on the eve of the Siege itself, while most lay in fortresses, some of which could have even been brought over from Rhodes earlier on in the century. Such artillery would not have been as effective as that of their foe. Ottoman artillery consisted of various sizes with regards to the calibres of shot being fired. These varied from as large as half a metre in diameter, to a shot as small as a tennis ball, and were made of stone. They were brought over as ballast at sea, ready cut from Anatolian hard stone. On the other hand, the Order made use of much smaller calibres and their guns were found in strategic points on

forts and bastions. Apart from wrought iron guns, the Order also had a small number of bronze guns.4

The Ottomans carried their cannon to the ramparts of Fort St Elmo and Dragut’s point, now known as Tigné Point,5 set up for the attack against the fort. One scene from the wall paintings shows the death of Ottoman commander Turgut Reis better known as ‘Dragut’, who was accidently killed by friendly fire shelling towards Fort St Elmo. Two Ottoman Basilisk cannon used throughout the Siege, two of which are documented to have been brought to Malta, were extremely huge and heavy. These were locally referred to as ‘il Gran Basilisco Turco’. A similar example survives at Fort Nelson Portsmouth Artillery

Ottomans firing their cannon during the Great Siege, detail from D’Aleccio’s wall paintings at the Grand Master’s Palace

Part of an Order’s hoop and stave cannon surviving from the Great Siege era found at the Palace Armoury Collection illustrated as it had originally appeared

Museum. On the other hand, the Knights made use of the smaller wrought iron hoop and stave cannon, while the bastions would have been equipped with heavier bronze guns supported on wooden carriages.

Conclusion

Such knowledge of the Knight’s disadvantages concludes this two-part article with a feeling of pride and love for our country. For the Order of St John and the Maltese, the feast of the lifting of the Great Siege was extremely significant, not

Notes & References

1 Stephen. C. Spiteri, Armoury of the Knights, Malta, 2003, p. 57; “. . . armati di petti forti, di corsaletti, di morrioni, d’archibusi, di picche, d’alabarde e d’altre armi”.

2 A ‘brigandine’ is a form of body armour dating from the Middle Ages. It is a cloth garment, generally canvas or leather, lined with small oblong steel plates riveted to the fabric.

3 Stephen C. Spiteri, The Great Siege, Knights vs Turks MDLXV , Malta, 2005, p. 335.

The fatal wounding of Dragut, immortalised in a detail of D’Aleccio’s wall paintings at the Grand Master’s Palace

only owing to the Virgin’s Nativity falling on the 8th of September in the religious calendar, but also because the victory was considered a clear sign of Divine intervention, which was translated into an intense sense of national pride. The Maltese and the Order of the Knights of St John, from this point onwards, adopted their true legendary hero and mentor as seen in the figure of Grand Master Jean de Valette, whose strong character, resolution, leadership and Faith remained marked for posterity in the Maltese identity.

4 One extant example is a gun carrying the coat of arms of Grand Master L’Isle Adam that is on display at St John’s Gate Museum, Clarkenwell in London.

5 Tigné Point takes its name from an 18th-century fort built later (1793-1795??) by the Order of St John at the tip of the peninsula. It was commissioned by Grand Master Emmanuel de Rohan-Polduc and named after the Knight François René Jacob de Tigné, nephew of the equally distinguished military engineer René Jacob de Tigné who also served the Order with his military expertise.

Janica Buhagiar

Anthony Spiteri the Custodian & the War

Lina Cardona née Spiteri spent five years during World War II actually living in the ‘Roman Villa Museum’, as it was known then. Her account is unique, giving a rare glimpse of one of Heritage Malta’s earliest sites. Interesting information is garnered during a time when there were no written Museum Annual Reports (MAR), between the years of 1940-45.

Nowadays, the Museum interpretation is reaching for a bigger set of questions and perspectives. Beyond the MAR, the focus is not just on the objects themselves but on larger themes that the objects, and sites themselves evoke.

The Anthony Spiteri persona

The Domvs Romana remained active in its service to the public and instrumental to support the then Museum’s Department to conserve our heritage, but the site was also home to the Spiteri family, namely Mr Anthony Spiteri, who gave over twenty years of his life as Assistant Custodian and Official Guide.1

Anthony Spiteri was born in Valletta in 1902 and although he initially started working in the catering business at the Osbourne Hotel at South Street, his passion for history and study attained him a custodianship with Heritage Malta, then the Museums Department. As an Assistant Custodian and Official Guide, he oversaw the daily running of the sites, as well as selling tickets. Spiteri attended school in Valletta, but he was an autodidact throughout his life, focusing primarily on history, archaeology, and languages. As a linguaphile, Spiteri was fluent in seven languages2 and used them whenever he could during his tours to communicate his beloved

photographs and script images in this article are courtesy of Lina Cardona

Maltese history to the visitors. His daughter, Lina Cardona, fondly remembers her father studying late at night next to a kerosene lamp; his notes about historical sites, translated in many languages bear testament to his erudition.

A man of discipline, which is also reflected in his rigours of studying and family life, whichever historical site summoned him for his duty, Anthony took his family along with him. During the war, he was the custodian of the Rabat area, then comprising two sites: the St Paul’s Catacombs and the Domvs Romana, then known as the 'Roman Villa'. Although originally from Valletta, Lina’s family had moved to Floriana, and two years before the

Anthony Spiteri

Old

outbreak of WWII, the family moved from Floriana to Tarxien. It was from the latter town that the Spiteri family moved to Rabat in 1940, when Malta had instantly entered the war. Lina and her family had listened to Mussolini declare war on the radio a day prior to being officially announced in Malta. The following morning, her father left early for work, as he feared the public transport might be somewhat disrupted. He asked the then Director of Museums, Chev. H.P. Scicluna, that he needed to pick up his family to transfer them to Rabat. By three in the afternoon, Lina and her family had packed their belongings and headed to Rabat in a taxi, it would be five years later when they return to Tarxien.

Life at Rabat - the Museum residence

Prepared with his translated notes, Anthony was ready to head to the St Paul’s Catacombs and the Domvs Romana, the latter being their temporary residence. Anthony loved St Paul’s Catacombs, as did the young Lina. She remembers the kerosene cooking stove (spiritiera) at the ticket booth and enjoyed the site’s peach and prickly pear trees.

Yet war changed everybody’s prospects. Historic sites closed down, artefacts were damaged and underground sites, such as the catacombs, were used as air raid shelters. The Report on the Work of the Museum Department for 1946-47 by J.G. Baldacchino mentions that the Domvs Romana was “… closed to the public from September 1939 to April 1945 and its more important exhibits transferred to Saint Paul’s Catacombs and stored underground. The tessellated pavement

Anthony Spiteri: the Custodian & the War

Anthony Spiteri, fourth from Right in a

Anthony Spiteri’s personal notes in German about Għar Dalam Cave

of the impluvium was covered with soil and rubble to a depth of four feet as a protection against falling masonry.”3

On one particular occasion, Anthony happened to be inside St Paul’s Catacombs when enemy bombs dropped during an air raid. Parts of the catacomb gave way and Spiteri ended buried knee-deep in rubble. From that day on, he decided that his family would no longer shelter or sleep inside the catacombs. Instead, they took refuge from the bombing inside the shelter across the street from the Domvs Romana. He instructed a local carpenter to install bunk beds, where the parents slept at the bottom bunk and their four young daughters slept on top.

“The constant threat of aerial bombardment was part of daily life,” Lina admits, “nonetheless, Malta tried to regain a sense of normality.” Lina attended holy mass at Ta’ Duna chapel4 and continued her education at Rabat; not even

Anthony Spiteri, second from right with some unknown colleagues at the reception entrance of St Paul’s Catacombs

Anthony Spiteri’s personal notebook in French (Above) and in Italian (Below) about the St Paul’s Catacombs

air raids spared them from the English lessons which continued inside underground shelters. Across the Domvs Romana, Lina remembers that the farmers’ market gathered at the corner where the souvenir shop currently is. Further down, a Victory Kitchen stood instead of the restaurant, not far from St Margaret Cemetery, where refugees from Cottonera were temporarily housed. One cook from the Victory Kitchen, known as ‘Tal-beċċun’, became renowned for his baking and after the war he opened a confectionary shop at Lampuka Street in Tarxien. Lina also reminisced how “We accessed Mdina from Greek’s Gate, as it was closer to the Domvs. Some daily groceries could also be purchased from a small shop at the entrance of Mdina.”

The Spiteri family - recollections

Since the Domvs Romana became their home for the next five years, the Spiteri family became known through the byname ‘tal-Mużew’, which translates to ‘of the museum.’ Needless to say, Anthony was well-known in the area, as he was often sought after to write and read letters for the locals. Indeed, the Spiteri family were distinguished in many ways from the local Rabat population, since they were a family from Valletta who resided in a unique and comfortable living space, fitted with a telephone, a radio, and of course, they lived within the remains of a rich, aristocratic Roman townhouse. The family liked their life at Rabat and felt welcomed and accepted by the locals;

Above: Mosaics at the Domvs Romana and Right: The museum interpretation panel acknowledging Anthony Spiteri

so much so that it was with reluctance that they left for Tarxien after the war. “We had carried on with our life. I continued my schooling and used to stay at the Domvs – I had chores there,” Lina recalls, “And of course the mosaic! My father was adamant about this; he warned us never to step on the mosaic. Rest assured, we never did.”

Under the eyes of conservators and restorers, it would have been difficult for Lina and her sisters not to be caught misbehaving. The Domvs Romana was closed during WW II, and it became a restoration centre before reopening to the public in 1945. Cassar (2000) states that over the period of two and half years, there were over 3,000 air raid alerts with more than 14,000 tons of bombs dropped.5 War

revealed that many works of art and architecture were in a poor state. Between 1939-47 over four hundred paintings were restored, and between 1948-50 a further fifty-two paintings were restored. As witnessed by the young Lina, she remembers some of the restorers, such as Sir Temi Zammit’s son, Charles, and the sculptor, Antonio Sciortino, then the curator of the Malta Museum of Fine Arts. Even as a young child, Lina observed that although advanced in years, Sciortino, with his hallmark pencil moustache and fondness for hats, still looked like a professional and remained a dedicated curator.

Most of the paintings damaged during the war which were transferred to the Domvs Romana were small or medium-sized, but Lina remembers one of the large format paintings:

the altarpiece of Our Lady of Liesse and the Three Knights from Our Lady of Liesse Church in Valletta, which measured 75 inches by 121 inches6 as the church was badly damaged by the German bombing in 1942. The altarpiece, depicting Our Lady of Liesse with Child is an 18th-century oil painting by Enrico Arnaud, which Lina remembers being restored at the Domvs Romana. It was a lengthy process, she recalls, where the tears were filled with woven fabric, and starch with flour were used instead of glue, as it was sparse. Many paintings were relined and the altarpiece7 was stripped of its old relining canvas to be cleaned of the old glue, mended, and re-used again for the relining of the same painting. “It was a painstaking work, and some of the restorers used to stop often for breaks,” Lina recollects, “but the moment they saw Sciortino coming their way, they used to scurry back to their work!”

Lina also remembers her father mentioning and working with Captain Olof Frederick Gollcher, a shipping magnate, perhaps best known as the owner of Palazzo Falson and a scrupulous collector of historical objects. Palazzo Falson was not only his home but also a setting for his works of art and antique collection. Although Lina never met Gollcher himself, she does remember that her father was often invited to Gollcher’s soirées, as Spiteri’s catering background and historic knowledge were an ideal blend for Gollcher’s social gatherings.

Her fondest memory of the Gollcher family is, however, that of Olof’s wife, Vincenza. “My sister, Margaret, was very young at the time and she was left at the Domvs unattended, as my mother and father were managing a large tour at the museum.” Little Margaret found a box of

matches and unwittingly set a small doll on fire, which happened to be placed in the wardrobe. It was the Cottonera refugees, temporarily residing across the street, who first came to her aide as the wardrobe, along with all the clothing, burnt to ashes. When Vincenza Gollcher heard of the incident, she donated clothes to the Spiteri family, “I remember a particular Air Force blue coat and sheer, georgette dresses with white flowers.” recalls Lina, “We were very grateful for her kindness.”

Besides the locals, the Spiteri family encountered British troops and their families stationed on the island. “It was they who usually requested a tour,” Lina explains, “Of course, my father was always happy to oblige and from the Domvs, they walked towards St Paul’s Catacombs even if the museums were at the time closed to the public.”8 Although they usually had no problems with the military, on one occasion Lina recalls a frightful incident. It was late at night when they were woken by loud thumping at the Domvs Romana doors. She recalls how “Someone was kicking at the doors, yelling rude expletives as they rapped on the windows, wanting to break inside.”

Terrified, they phoned the police who swiftly arrived on site. The police found some young soldiers, clearly inebriated, who for some reason decided to break inside the Domvs Romana. “The police were aggressive with them,” Lina continues, “in fact, my mother, Carmela, who was the one who had phoned the police, begged them to stop harassing the soldiers.”

Ironically, the ending of the war was bittersweet for the Spiteri family, as after the war in 1945, they were asked to leave the Domvs as it was once again reopening for the general public. The family returned to Tarxien, where Anthony

Anthony Spiteri: the Custodian & the War

resumed his work as a custodian and guide at Tarxien Temples, until he retired in 1962. Yet, his tour guiding was not over, as he often took Lina’s children to his beloved temples where he encouraged them to play and roam about. “And then, he would bring them home covered in dirt,” Lina recollected, “Imagine my dismay! But he would tell me, they were just having a bit of fun. After all, we used to do the same at the Domvs. My father wanted to share history with everyone.”

Conclusion

Anthony Spiteri loved his career, which is evident in how he had perused it with determination and turned it into his lifelong study. Thankfully, his dedication was acknowledged. After his retirement, the Museums Department had requested that he would continue to work with them. Sadly though, it was short-lived. On 5 October 1966, at 4.00 pm, Anthony Spiteri left the National Museum of Archaeology after a day’s work. Carrying his usual load of books, he slipped at Melita Street and tragically slammed his head against a wall. He was found concussed by a judicial clerk, who immediately recognised him and rushed to the National Museum urging them to telephone the ambulance. Twelve hours later, he was declared dead; he was 64 years old.

Anthony Spiteri’s legacy did not end there, his life and work are commemorated in one of the interpretations at the Domvs Romana, along with the stories from Ancient Rome, curators and conservators who had animated the archaeological site. As a museum, the Domvs Romana emphasises categories and historical periods, but its interpretation also

focuses on human experiences. As exemplified by Anthony Spiteri’s story, the Domvs Romana explores the long and complex history of the Domvs’ human relationship with the world beyond its gates, although the museum may still be regarded as just one institution, among many, receptive to this kind of investigation.

Notes and References

1 C. Zammit, ‘Report of the Working of the Museum Department for the year 1964’, “The only other change in the complement of the Museum occurred at the end of August with the retirement of the service of Mr A. Spiteri after over twenty years as Assistant Custodian and Official Guide. The vacancy was filled by public competition and Mr F. Borg was engaged in the same capacity as from September 1.”, printed at the Department of Information, Malta, 1963, pp.2.

2 Languages included: English, German, Maltese, Italian, Latin, French and Arabic.

3 Annual Report of the Work of the Museum Department for 1946-47, by J.G. Baldacchino.

4 Built in 1658 Ta’ Duna Chapel in Rabat is dedicated to St Mary and the Seven Gifts of the Holy Spirit. ‘Ta’ Duna’ is the Maltese dialect for ‘ta’ doni’, i.e. ‘of the gifts’.

5 Cassar Charles, A Concise History of Malta, 2000, p.225, and Zarb-Dimech Anthony, Taking cover: a history of air-raid shelters: Malta, 1940-1943, 2001, p.7.

6 National Museum of Fine Arts Archives, ‘List of pictures restored at the Rabat Museum 1 June 1942’

7 Anthony Spagnol, The conservation of the Artistic patrimony in Malta during WWII, 2009, Heritage Malta, pp.34-5.

8 From the beginning of April to 31 March 1946 and from the beginning of April to March 1947, Domvs Romana amounted to 1698 and 1476 visitors respectively, while St Paul’s Catacombs amounted to 3706 and 1567 visitors respectively, Annual Report of the Work of the Museum Department for 1946-47.

James Aquilina

Il-Ballut ta’ Marsaxlokk and Its Ornithological Importance

An Interim Report June 2017 – June 2018

Part 3 is a continuation of Part 1 review published in TESSERÆ Issue 6 of Spring 2018 and Part 2 published in TESSERÆ Issue 9 of Autumn 2019 with the same titles. The first and the second articles focused on the ornithological importance of the wetland of Il-Ballut Ta’ Marsaxlokk located on the south-eastern coast of the Maltese Islands (coordinates 35.838868, 14.548871). Wetlands in Malta deserve more attention as this habitat is scarce on the Maltese archipelago and offers migrating birds a much-needed rest on their way to warmer climates or breeding grounds. Part 3 continues on the 2017-2018 records uncovering further the wide variety of species visiting this particular wetland with the added interest of first-time recorded species.

Position and avifauna of Il-Ballut ta’ Marsaxlokk wetland

The geographical position of Il-Ballut ta’ Marsaxlokk lures a different number of migratory birds during autumn and spring migration. As of 17 June 2018, around sixty-seven species were

recorded on site and in the nearby area, five of which breed on the Maltese Islands

Summer Sightings 2017

In summer 2017, few migratory birds have been sighted. From 26 June until end of August, birds of sedentary nature had been recorded in the wetland.

Migratory birds were noted during the last week of August when an occurrence of three Barn Swallows and one Yellow Wagtail were recorded. Three additional Yellow Wagtails were also recorded by the end of summer. On 3 September, thirty-five European Bee-Eaters were sighted in the nearby areas of tas-Silġ. Five Bee-Eaters from the flock flew over the wetland, albeit at a high altitude, while a Barn Swallow was also recorded.

Swallows were recorded in the subsequent weeks during the month of September.1 They were also sighted during the first week of October. On 17 September, three Grey Herons flew in the direction of Tas-Silġ and Delimara.

In autumn, European Bee-Eaters reach the Maltese shores in late August and beginning of September

Right: Aerial view of the wetland of Il-Ballut ta’ Marsaxlokk

Left: Blue throat, photographed at Il-Ballut ta' Marsaxlokk wetland

Il-Ballut ta’ Marsaxlokk and Its Ornithological Importance

Species Month Of Occurence December 2014 - June 2018

Wood Warbler - Phylloscopus sibilatrix

Little Stint - Calidris minuta

European Bee-Eater - Merops apiaster

European Pied Flycatcher - Ficedula hypoleuca

European Turtle-Dove - Streptopelia turtur

Sterna sandvicensis

Zitting Cisticola - Cisticola juncidis

Eurasian Chaffinch - Fringilla coelebs

Common Chiffchaff - Phylloscopus collybita

Sardinian Warbler - Sylvia melanocephala

European Robin - Erithacus rubecula

Stonechat - Saxicola rubicola

Common Whitethroat - Sylvia communis

Black Redstart - Phoenicurus ochruros

Spanish Sparrow - Passer hispaniolensis

White Wagtail - Motacilla alba

Meadow Pipit - Anthus pratensis

Western Marsh-Harrier - Circus aeruginosus

Black-Winged Stilt - Himantopus himantopus

Reed Bunting - Emberiza schoeniclus

Yellow Wagtail - Motacilla flava

Northern House-Martin - Delichon urbicum P/M

Barn Swallow - Hirundo rustica P/M

Spotted Flycatcher - Muscicapa striata P/M

Species Month Of Occurence December 2014 - June 2018

Icterine Warbler - Hippolais icterina

Common Kestrel - Falco tinnunculus

Common Kingfisher - Alcedo atthis

Grey Wagtail - Motacilla cinerea

Eurasian Skylark - Alauda arvensis

Common Snipe - Gallinago gallinago

Sedge Warbler - Acrocephalus schoenobaenus

Little Egret - Egretta garzetta

Spotted Redshank - Tringa erythropus

Dunlin - Calidris alpina

Rail - Rallus aquaticus

Great Crested Grebe - Podiceps

Bird sightings during autumn migration

(25 September – 17 December 2017)

Vagrant Bird

The Brown Shrike was recorded for the first time in the Maltese Islands in the marshland of Marsaxlokk. Primarily it was sighted on

2 November 2017.2 On Saturday 4 November 2018, Shrike was recorded again along with other wintering birds. It has been sighted perching in the tamarisk trees adjacent to the courtyard of the Hunter’s Tower feeding on insects.3 On 19 November it was noted again.

This bird is considered as a vagrant bird to Europe as Brown Shrikes are familiar with the

Asian continent. Its breeding grounds are mainly found in Myanmar and South China. In June, part of the population starts to migrate to central, southwest and southern plains of Myanmar.4

From mid-October 2017 onwards, the number of migratory birds followed the normal orthodox pattern. Sightings of Meadow Pipits, Robins, White Wagtails, Stonechat, Common

Starlings, Black Headed Gulls and Chiffchaffs were usually recorded in the area of il-Ballut ta’ Marsaxlokk.

A pair of Yellow Wagtails was recorded late in September. In the beginning of October an adult Willow Warbler was sighted in a tamarisk tree.5 In autumn, Willow Warblers which reach the Maltese shores in mid-August, continue to be sighted until October.6 During the same birding session, a Sedge Warbler was feeding close to one of the pools filled with brackish water.7

Mid-October brought an influx of new Robins, both in the wetland and its surroundings. Three or four Robins were always recorded in the wetland. However, during the month of December, fewer Robins were noted. By the end of October, a pair of Stonechats and one Black Redstart were also sighted. Two Black Redstarts were noted on 19 November. Chiffchaffs seem to have arrived late in the wetland. In fact, they were sighted in the third week of November 2017. In the preceding year, Chiffchaffs were initially sighted on the fourth week of October. Common Chiffchaffs arrive in good numbers in Malta.

Two new species were noted in autumn migration. One Tree Pipit and a Red Throated Pipit had been recorded on 22 October. Red Throated Pipits are more common in spring rather than autumn, but a small number of Red Throated Pipits winter in Malta. In the meantime, a Linnet was observed perching on a tree. Late in October, beginning of November, an occurrence of a Song Thrush along with three Skylarks were also noted.

As observed in previous years, two to three White Wagtails were recorded, while an average of one or two Meadow Pipits were sighted. Exceptionally, five Pipits were counted on

The sighting of a Brown Shrike is considered one of the most important sightings. Courtesy: on site photo by Claude Busuttil

Willow Warblers normally feed on small insects and spiders

10 November and a week later. A good number of White Wagtails roost in the ficus trees of the Great Siege Square in Valletta. It is estimated that over fourteen thousand White Wagtails roost in the capital city alone.8

Common Starlings appeared in the area of Marsaxlokk in mid-October. Since then, sightings of Starlings were sighted approximately on a weekly basis. The biggest two flocks of around forty to fifty Starlings were observed in the first two weeks of December.

Between late September and late December, three different gull species have been recorded. The Mediterranean Gull was the most commonly sighted gull although its main sightings were mainly limited to the third week of November. A flock of fifty Mediterranean Gulls were recorded on 19 November. Further Mediterranean Gulls were listed during the first two weeks of December. Good counts of Black Headed Gulls were also recorded on site. Compared to the Mediterranean Gulls, the number of Black Headed Gull sightings was comparatively lower.

During the same period under review, five Yellow Legged Gulls were observed flying in close proximity to the wetland. The majority of Yellow Legged Gulls tend to stay either floating in the middle of the port or foraging closer to the port of Marsaxlokk, particularly in autumn and winter. Barn Swallows were recorded in the first two consecutive weeks of October. Four Swallows were mainly observed during the first week of October, whereas another Swallow was sighted the following week.

Sightings of birds of prey were mostly encountered during the last week of September and second week of October. On 25 September two Honey Buzzards were seen heading out

The Black Redstart is one of the wintering birds normally sighted in the reserve

Common Starlings are quite frequent during autumn and winter

Good numbers of Black Headed Gulls winter in the port of Marsaxlokk, along with Yellow Legged Gulls

from Delimara towards Birżebbuġa. Another Buzzard passed over the wetland at dawn. Two Common Kestrels were sighted over Delimara and an additional Kestrel flew out over the marshland. On 5 October, four Marsh Harriers were recorded,9 while four unidentified birds of prey were sighted during the first week of October.

On 11 October 2017, a Garganey Duck sought temporary refuge inside the wetland. At dusk, it took off from the main lagoon.10

On 25 September, a Common Sandpiper and a Wood Sandpiper were simultaneously

feeding together. Occurrences of Wood Sandpipers are less frequent compared to Common Sandpipers. Sightings of Common Sandpipers were fairly scattered until the end of November.

The usual local sedentary birds have also been recorded throughout autumn. Sardinian Warblers and Spanish Sparrows were regularly recorded in the wetland. The latter remains the most overlooked bird. Zitting Cisticolas were recorded until the end of October.

Winter Sightings 2018 (24 December 2017 –18 March 2018)

The usual wintering bird species continued to be recorded throughout the winter season. Black Redstarts seem to have left the wetland by the beginning of January. Stonechats were normally sighted until 11 February. During the same period, sightings of Common Starlings were lastly recorded by mid-February. Chiffchaffs and Robins left the wetland in the beginning of March 2018. White Wagtails were recorded for the last time on 11 March, while Meadow Pipits were finally logged until the beginning of spring.11 The habitual sedentary birds have also been recorded in the wetland.12 Interesting to note is that one of the Spanish Sparrows was recorded carrying nest material as early as mid-February.

In mid-February, a Caspian Gull was noted crossing over the area between Tas-Silġ and Il-Ballut ta’ Marsaxlokk. In Malta it is considered as a rarity, however it is becoming a regular visitor in central Mediterranean and in the coastal regions of Northwest Europe.13 During the same period under review, five different

Garganey Duck flying over Il-Ballut ta’ Marsaxlokk

Left: Female Spanish Sparrow and Right: Female partial leucistic Spanish Sparrow

gull species were recorded. The largest sighting of Black Headed Gulls was recorded in midJanuary when a flock passed over the wetland. During the same period, a small number of Mediterranean Gulls were recorded on site.

Slender Billed Gulls were noted on two separate days. One of the gulls had been observed close to the wetland embankment, while the second one was spotted together with a small group of Black Headed Gulls. Two Sandwich Terns were recorded in the beginning and in late January. An occurrence of a Common Kestrel was noted in early January, while similar sightings were noted in January and February 2016. On a cloudy day in the beginning of March, one Grey Heron crossed over the wetland heading in the direction towards Tas-Silġ. In very late winter, one unidentified wader and a Barn Swallow were recorded.

Spring Sightings 2018 (25 March 2018 –17 June 2018)

Nineteen different migratory species have been recorded during spring migration. Eighteen of the species recorded have been sighted in previous years, but one of the species has never been recorded before. From a total of nineteen species, five of the birds recorded belong to the wader species, another two birds belong to the sea birds’ family, and one belongs to the birds of prey. Yellow Wagtails were among the first migratory species that visited the wetland in spring. They had been recorded over five consecutive weeks, the last sighting being on the third week of April 2018. Tree Pipits were counted in the beginning and mid-April.

Grey Herons common in spring and autumn, tend to be sighted in flocks during stormy weather

Spotted Flycatchers are briefly sighted in spring before continuing their migration to their breeding grounds in Europe

Influxes of Common Whitethroats are normally recorded in spring

On 14 April 2018, two Turtle Doves flew over the area of Tas-Silġ. During spring migration, Turtle Doves migrate over the Maltese archipelago between mid-April until the first week of May. Very often they arrive during the night, while others reach the Maltese shores during the following days.14

Between the third week of April and the first two weeks of May, further migratory species were recorded. On 22 April, a Whinchat and a Common Whitethroat were observed in the wetland of Marsaxlokk. A Spotted Flycatcher was also recorded in the first week of May. The ornithological list added a new specie with the sighting of an Icterine Warbler inside the wetland, feeding on insects adjacent to the tamarisk trees. Another one was sighted again in the same spot a week later.

The Black Winged Stilt was the first wader bird recorded in the spring migration, observed flying over the marshland. During the period under review, Common Sandpipers were recorded over a number of different days, with the first sighting recorded in late April. The highest count of five Common Sandpipers was registered on 29 April 2018. They were also recorded in singles until mid-May. One Wood

Sandpiper was recorded during the spring migration. A Grey Heron and an unidentified Plover were spotted in the last week of April, while a lone sighting of a Little Egret was recorded on 13 May.

Between 25 March 2018 and 17 June 2018, Yellow Legged Gulls were sighted almost weekly. In mid-April, a first year Slender Billed Gull appeared swimming close to the eroded part of the embankment. At the beginning of spring, the first Barn Swallow was recorded late in March, while the first Swift was noted in early April. Barn Swallows continued to be recorded until mid-May. The highest count of Hirundines was logged in the beginning of April. Swifts were observed until late June, reaching their peak on 10 June 2018. A Marsh Harrier was recorded in early spring and another two were sighted in the last week of April.

Between late March and late April, Zitting Cisticolas were spotted in singles. A pair of Zitting Cisticola had always been spotted from early May onwards. An average of three Sardinian Warblers had always been counted. On 25 May a leucistic Spanish Sparrow alighted on the shrubby glasswort vegetation.

Left: Icterine Warblers can replenish their fat reserves by feeding on insects, worms, and invertebrates and Right: Tree Pipits are migratory birds mostly common during Spirng migration

Conclusion

Throughout the last four years, three important aspects emerged. First, in ornithological terms, the marshland is a good refuge point for a different number of migratory birds, as they can rest and find food before continuing their perilous journey from Europe to Africa and vice versa. It is interesting indeed that the number of bird species expanded further after June 2018. Secondly, the place is important for wintering birds that usually migrate to milder temperatures to avoid freezing climates of the north. And thirdly, such a small wetland may also be a good ornithological place in terms of vagrant, rare and scarce birds as well.

Certainly, the present state of the wetland is not enticing. The public perception remains negative towards it as its current state is

Notes and References

1 10 September – 3 barn swallows and 17 September 2017 – 13 Barn Swallows.

2 Brown shrike was spotted by Benny Scerri.

3 Handbook of Birds of the World, Vol. 13, p.778. del Hoyo, J., Elliott, A. & Christie, D.A. eds. (2008) Lynx Edicions, Barcelona.

4 Ibid., pg.778.

5 Identification Guide to European Species, p.217, Lars Svensson, Willow Warbler had yellow predominantly distinct streaks which suggest it is an adult bird.

Left: Common Swifts have mainly been registered in spring, but they have also been recorded in mid-summer and Right: The Blackcap is one of the migratory birds that occasionally winters in the area

degraded and inundated with human disturbances. More emphasis on the importance of this wetland is needed to raise awareness among environmentalist enthusiasts and the general public, which will ultimately lead to change the perception towards this tiny gem in the southern region of Malta.

Lastly, the salt marsh is deteriorating rapidly due to strong sea currents. Unless authorities act swiftly to protect it, the wetland will be lost forever, submerged under rising sea levels, and with it another valuable ecosystem and a habitat for the ever-declining bird species!

NB: All photos in this article were taken by the author except for the Brown Shrike photo as acknowledged. These pictures were taken in the wetland of Il-Ballut ta’ Marsaxlokk or other sites in Malta. Special thanks go to Mr Edward Bonavia (Secretary of Malta Rarities and Records Committee) and Mr John J. Borg (Heritage Malta Senior Curator of the National Museum of Natural History).

6 L-Agħsafar, pg.155, Joe Sultana & Charles Gauci.

7 Birdwatching done between 17:30 – 18:30.

8 ‘White wagtail roost count January 2019’, Birdlife Malta., p.3., Denis Cachia.

9 Birdwatching done between 17:30 – 18:30.

10 Birdwatching done between 17:30 – 18:30.

11 Meadow Pipits were recorded until 25 March 2018.

12 Spanish Sparrows, Sardinian Warblers and Zitting Cisticolas.

13 Collins Bird Guide, p.188, Lars Svensson.

14 L-Agħsafar, pg.132, Joe Sultana & Charles Gauci.

Hili Micallef

Painted in Colonial Mexico A Set of Seventeen

Joanna

The history of Mexico covers a period of more than three millennia. First populated more than 13,000 years ago, the territory had a complex indigenous civilization before being conquered by the Spaniards in the 16th century. With the Spaniards absorbing the native people into Spain’s vast colonial empire, Mexico’s long-established Mesoamerican civilization became fused with the European culture.1

During the 16th century, European artists immigrated to Mexico to decorate newly established churches and complete artistic commissions. By the 17th century, a new generation of artists born in the Americas began to dominate the scene. Painters developed their own pictorial styles that reflected the changing cultural climate. The 18th century led to a period of artistic grandeur as local schools of painting were consolidated, new iconographies were invented, and artists began to group themselves into academies (Katzew, 2017, 16). Mexican artists still followed what was happening in Europe. The works of leading Italian and French painters, among others, became known to them through engravings (prints), copies and written accounts. Hispanic artists copied prints accurately or took specific figures which they used in new contexts, altering their meaning and interpretation (Mues Orts, 2017: 63-67). In Spanish colonial art, copying was not considered as lesser art, but more as ‘The Art of Two Artists’ (Katzew, 2017: 89-96).

One of the great Mexican painters of the second half of the 18th century was Juan Patricio Morlete Ruiz (1713-1772). A mestizo, according to the system of racial classification of the time - that is having a Spanish and a

native American parent - born in 1713 in San Miguel de Allende (Guanajuato). At the age of sixteen, he moved from his native hometown to Mexico City, and apprenticed with Jose de Ibarra (1685-1756), the most important artist of his generation (Katzew, 2017: 264).

Morlete Ruiz was a director of a group of Mexican artists, who in the 1750s worked together to elevate the painting profession and receive royal support for an academy they established (Katzew, 2017: 89). Being part of the academy gave Morlete Ruiz a place among the Spanish elite in Mexico. Both the Viceroy Carlos Francisco De Croix, Marquis of Croix (1699-1786) and Viceroy Antonio Maria de Bucareli y Ursúa (1717-1779) commissioned work from him.

Viceroy Carlos Francisco De Croix, Marquis of Croix (1699, Lille, France – 1786, Valencia, Spain), by Juan Patricio Morlete Ruiz, 1766, Museo Nacional de Historia, Mexico City

The Malta connection

Carlos Francisco De Croix was a Spanish General and Viceroy of Mexico between 1766 and 1771. He turned over his office to Antonio María de Bucareli y Ursúa in September 1771 and returned to Spain. Fra Antonio María de

Bucareli y Ursúa, was a Spanish military officer, Governor of Cuba, and Viceroy of Mexico between 1771 and 1779. He was also Knight of Justice of the Sovereign Military Hospitaller Order of St John.

In Bucareli y Ursúa’s probate inventory of 1779, a set of seventeen paintings showing ports of France and two paintings showing scenes from Mexico, complete with gilded frames, all [valued at] 1,600 pesos, were listed among his belongings. This inventory most likely corresponds to a collection of paintings attributed to Morlete Ruiz which are found in Malta. It is plausible that after Bucareli y Ursua’s death, the Order inherited these paintings which were shipped across the Atlantic to the Order’s headquarters, that is Malta, were they have remained ever since.

This set of seventeen paintings, depicted between 1769 and 1772, is located between San Anton Palace in Attard and Verdala Palace in Buskett, limits of Siġġiewi. All the paintings are of similar size, approximately 152.5 by 99cm, and they all have similar gilded decorative frames, suggesting they were meant as a set. Twelve of the paintings show ports of France based on engravings after paintings by Claude Joseph Vernet (1714-1789). Another three show scenes of Florence based on engravings after drawings by Giuseppe Zocchi (circa 17111767). The last two paintings are original paintings of Mexico City.

It is unlikely that Bucareli y Ursúa commissioned these paintings. The paintings date from 1769, that is before Bucareli y Ursúa arrived in Mexico. Morlete Ruiz must have started painting the set earlier and completed it after Bucareli y Ursúa’s arrival. It is possible that these paintings were intended for a European

Above: Deuxième vue de Toulon: vue du la ville et de la rade, by Joseph Vernet (1714-1789), 1756, oil on canvas, 165 x 263cm Musée de Louvre, Paris

Below: Deuxième vue de Toulon: vue du la ville et de la rade, engraving by Charles Nicolas Cochine the Younger (1715-90) and Jacques Philippe Le Bas (1707-83), 1762, after the painting by Vernet, École nationale supérieure des Beaux-Arts (ENSBA), Paris

market. In the 18th century, artists in New Spain often inscribed the mention of Mexico as the place of origin on works bound for Europe, as a sign of pride in their artistic tradition. Whatever the circumstances, Bucareli y Ursúa must have acquired this set of paintings, as is attested in his probate inventory. Katzew suggests the possibility that Bucareli y Ursúa asked Morlete Ruiz to add the last view, Mexico City’s Plaza del Volador, which he completed in 1772, the year of his death. (Katzew, 2017: 92).

depicting ports of France. These paintings were commissioned for King Louis XV by Abel-François  Poisson (1727-1781), Marquis of Marigny, director general of the King’s buildings. The paintings were intended to document and promote French commerce and naval services. In his superbly executed paintings, Vernet emphasized the country’s economic prosperity by featuring the ports as the locus of trade, regional and social diversity, and marine proficiency.

Ports of France

Between 1754 and 1765 the French artist Vernet produced a series of fifteen paintings

With the goal of making the paintings more broadly known across France and internationally, the Marquis of Marigny asked Charles Nicolas Cochine and Jacques Philippe Le Bas, to create a series of prints after them. Between 1758 and 1767, Cochin and Le Bas

View of the Town and Port of Toulon, by Juan Patrice Morlete Ruiz (1713-1772), San Anton Presidential Palace, Malta

worked directly from the paintings, employing a mirror to render the images in the correct orientation and capture the rich details.

Morlete Ruiz painted a very accurate representation of Vernet’s paintings. However, the colours differ from Vernet’s paintings.This demonstrates that Morlete Ruiz based his painting on the prints and not the original paintings. Also, to note is the inscription in the lower part of Morlete Ruiz’s paintings. It translates in Spanish almost verbatim the inscriptions in the Cochin and Le Bas etchings, stating the location of the port being depicted and that the paintings are copies based on paintings by Claude Joseph Vernet. It also indicates that they were produced in Mexico by Morlete Ruiz from a print and the manufacturing date.

What is noteworthy is that Morlete Ruiz had access to the prints barely two years after they were completed. Perhaps Marquis of Croix, of whom Morlete Ruiz created a portrait for the viceregal palace, who was of French origin, brought with him to Mexico a suite of the freshly minted prints after Vernet’s set (Katzew, 2017: 91). By the time Marquis of Croix arrived in Mexico, only twelve prints were issued, therefore, it seems logical to conclude that Morlete Ruiz’s collection in Malta is complete.

Scenes of Florence

While he was painting the ports of France, Morlete Ruiz also produced at least three paintings showing vedute (views) of Florence,

View of the Church and Plaza of Santa Croce with the Festa del Calcio, by Juan Patricio Morlete Ruiz, 1770, San Anton Presidential Palace, Malta

modeled after compositions by the Italian artist Giuseppe Zocchi. As stated in an inscription, in the lower part of these paintings, they were painted in Mexico based on lithograph prints.

Zocchi was an Italian painter and printmaker, active in Florence, and best known for his vedute of the city. Zocchi’s patron, the Marchese Andrea Gerini (a Florentine aristocrat and art collector), commissioned him to record all the famous Florentine landmarks, which he did in a series of drawings, now in New York’s Pierpont Morgan Library. Zocchi finished the project by the end of 1741, when his compositions were sent off to the best engravers throughout Italy. Zocchi ably produced representations of landscape and architecture as well as important Florentine

events, with considerable attention to detail, which makes the series a precious document of 18th-century Florence.

Morlete Ruiz followed the etchings after Zocchi rather closely, same as in the ports of France, with the inscription in the lower part of the paintings translating in Spanish almost accurately the Italian inscriptions on the prints, with the addition that they were painted in Mexico by Morlete Ruiz and the manufacturing date.

Two of the Florentine vedute show Piazzas enlivened by major Florentine events. One shows the Piazza and Basilica di Santa Croce and portrays two main events, Carnival and the Festa del Calcio.2 The origins of carnival in Florence date back to the 15th century.

View of the Church and Plaza of Santa Maria Novella with the Festa della Corsa de’Cocchi, by Juan Patricio Morlete Ruiz, 1770, San Anton Presidential Palace, Malta

During carnival people would wear masks and gather in Piazza Santa Croce (which is still one of the main spots of Florence’s Carnival). The painting provides vivid evidence of 18thcentury carnival masks and costumes, some of them quite intriguing. The Festa del Calcio is a traditional football game dating back to the 15th century, a brutal mix of football, rugby and wrestling. It became very popular, especially during Carnival, attracting huge crowds. Gradually the Festa del Calcio became obsolete, the last known match was played in January 1739 in Piazza Santa Croce (Vandeville, 2014, Bresford, 2015). Interestingly Zocchi’s drawing shows the Festa del Calcio in 1738, that is a year before it was discontinued. It is not until the 1930s that it became popular once again,

renamed Calcio Storico Fiorentino and fought in medieval costumes in Piazza Santa Croce in June ever since.

The other shows the Piazza and Basilica di Santa Maria Novella with the Festa della Corsa de’ Cocchi. The Corsa de’ Cocchi, also known as Palio dei Cocchi, was a race with horsedrawn carriages similar to Roman chariots. The Corsa de’ Cocchi was set up in the 16th century, the carriages (or cocchi) revolved around two marble obelisks, still present in the piazza to date. The palio was held on 23 June, the eve of the feast of St John the Baptist, patron saint of Florence, a day before the annual final of the Festa del Calcio, until the mid-1800s.

View of Plaza Mayor of Mexico City, by Juan Patricio Morlete Ruiz, 1770, San Anton Presidential Palace, Malta

Mexican Plazas

Until 1769, Morlete Ruiz painted mostly portraits and secular paintings (Retana Márquez, 1996: 116-117). The ports of France and Florentine vedute introduced him to a new style of genre paintings. Consequently, he produced the two original paintings View of Plaza Mayor of Mexico City, dated 1770, and View of Plaza del Volador of Mexico City, dated 1772. These Mexican plazas, with their receding perspective, piazzas surrounded by buildings and human activities, to a certain extent, follow Zocchi’s vedute. However, they are seen from a higher vantage point, they show a bird’s-eye view of the respective plazas.

Hamman explains that during the

18th century, there was an increased production of city views of Mexico City (Hamman, 2015: 31). These city views were typically rendered as birds’-eye view and combined two disciplines: art and cartography – the practice of drawing maps (Hamman, 2015: 32-33). This dual quality of both map and landscape can be seen in Morlete Ruiz’s paintings, showing that he was also abreast of his local traditions. The buildings in the respective plazas are numbered. At the bottom of each painting there is a legend, identifying all the important buildings with reference to the numbers on the paintings. Moreover, these paintings are not just city views but also combine human activity. The plazas are populated with figures that represent social diversity, with depictions

View of Plaza del Volador of Mexico City, by Juan Patricio Morlete Ruiz, 1772, San Anton Presidential Palace, Malta

of both the social elite and ordinary people. Public spaces providing lucid information on 18th-century Mexican portrait of society; this is where all castes and social classes mix.

Morlete Ruiz first painted Plaza Mayor, Mexico City’s main plaza, now the Plaza de la Constitución, also known as the Zócalo. This location has been a gathering place for Mexicans since the Aztec times. The site for many Mexican ceremonies such as the swearing of viceroys, royal proclamations, military parades, Independence ceremonies and religious events. In the distant background, Morlete Ruiz’s shows the distinct profile of the Iztaccihuatl dormant volcano, with its snowy peak. A topographical feature that allows the viewers to situate themselves in relation to Mexico’s regional environ. In the center, there is the Viceregal Palace and to the left the Cathedral. Today Plaza Mayor is still bordered by these important buildings of the colonial era. Since this plaza seated the Viceroyalty of New Spain and the Archbishopric of Mexico, it was the center of political and religious institutions, but it was also the center of Mexico’s economic activity and the residence of social elites in colonial Mexico.

A Viceregal procession, with men on horseback and horse-drawn carriages, is proceeding from the Viceregal Palace towards the Cathedral, establishing a powerful visual connection between State and Church. The Crown Battalion stands guard in the middle, while ordinary people go about their everyday life. To the right, soldiers guard the Parián, an enclosed marketplace, its presence signals the importance of the plaza as a major commercial hub.3 Morlete Ruiz does not show the Baratillo (open market) de la Plaza Mayor, often seen

in contemporary paintings of this plaza. Makeshift stalls overrun the plaza over much of the 17th and 18th century. In 1760, the open market was described as extremely disordered and there were several attempts to reform marketplaces throughout Mexico City and to clear Plaza Mayor (Exbalin 2015, 12) (Douglas 2013, 17). While it is possible that Morlete Ruiz painted Plaza Mayor when it was temporarily cleared, it is also plausible that he chose to omit the Baratillo to represent a more orderly view of the city.

Two years later, Morlete Ruiz painted another important square in colonial Mexico, Plaza del Volador, a square located southeast of Plaza Mayor. The Viceregal Palace, whose façade is in Plaza Mayor, had an exterior side in the former Plaza del Volador. The space once occupied by the Plaza del Volador is currently occupied by the Supreme Court of Justice. During the Colonial period, the square had many uses, it was the center of key public ceremonies, hosting a range of festivities, such as bull fighting, and the ritual ceremony of the Voladores (rite of flying), to which the plaza owes its name. But when it was not being used for such events, the square became a big flea market. It was known as a place where people from all racial and social backgrounds commingled, and where all sorts of crimes occurred. The composition, however, shows an orderly market with an abundance of fruits and vegetables. In the very forefront of the painting there is the Real Acquia (Royal Canal), the waterway which supplied daily needs to the center of the city. The waterway is jam-packed with canoes loaded with fruit and vegetables. Today, instead of the Royal Canal there is Corregidora Street. Depicted to the left,

there is the Royal and Pontifical University, of which today only the street that bears its name remains.

Both the plaza Mayor and the plaza del Volador represent idealized views of Mexico City, systematized, peaceful and prolific. Katzew explains that “by depicting New Spain in its best light, the works convey a particular message about life in viceroyalty to their intended European audience, fulfilling a propagandistic function akin to that of Vernet’s set” (Katzew, 2017: 96).

This research was carried out during the conservation restoration treatment of this set of seventeen paintings, unique to Malta, in collaboration with LACMA (Los Angeles County Museum of Art). The conservation work was undertaken by Heritage Malta over a span of four years.

Notes and References

1 Mexico was part of the Spanish Empire between 1521 and 1821.

2 In Morlete Ruiz’s painting, one can see the original brick façade of the Basilica di Santa Croce before the 1860s neo-Gothic marble façade by Jewish architect Niccolo Matas.

3 Built between 1695 and 1700, the Parián, was used as a set of shops to warehouse and sell products brought by galleons from Europe and Asia.

Bibliography

BRESFORD, C. 2015. Calcio Storico Fiorentino, Available at: https://gentlemanultra.com/2015/10/12/calcio-storicofiorentino/[accessed on 24 October 2018]

CONTINI, R. Giuseppe Zocchi, Available at: https://www. museothyssen.org/en/collection/artists/zocchi-giuseppe

[accessed on 24 October 2018]

CORDERO, S., La Suprema Corte de Justicia, su Transito y su Destino, Cap. 11 La Plaza del Volador, Available at: https:// archivos.juridicas.unam.mx/www/bjv/libros/2/931/7.pdf

[(accessed on 13 September 2018]

CRUZ LARA, A. 2014. ‘De Sevilla al Museo Regional de Guadalajara: Atribución, valoración y restauración de una serie pictórica franciscana’, a PhD dissertation submitted to the Universidad Nacional Autónoms de México

DOUGLAS, R., ‘4. The Marvelous and the Abominable the

Intersection of Formal and Informal Economies in Eighteenth-Century Mexico City’, Diacronie Studi di Storia Contemporanea, N. 13 | 1|2013 Contrabbandieri, pirati e frontier

EXBALIN, A. 2015, ‘The urban order in Mexico. Actors, regulations and police reforms (1692-1794)’, Nuevo Mundo

GONZALBO, P. E. et al, 2008, ‘Nueva Historia Minima de Mexico Ilustrada’, Primera edición, Mexico

HAMMAN, A. C. 2015, ‘Eyeing Alameda Park: Topographies of Culture, Class, and Cleanliness in Bourbon Mexico City, 1700 – 1800’, a dissertation submitted to the Faculty of the School of Art, The University of Arizona

KATZEW, I. 2004. Casta Paintings: Image of Race in EighteenthCentury Mexico, New Haven: Yale University Press

KATZEW, I. 2009. New Acquisitions in Spanish Colonial Art, Unframed, Los Angeles County Museum of Art blog. Available at: http://unframed.lacma.org/2009/03/17/ french-harbors-painted-in-new-spain [accessed on 6 June 2017]

KATZEW, I. 2011. New Acquisition: Three Casta Paintings by Juan Patricio Morlete’, Unframed, Los Angeles County Museum of Art blog. Available at: https://lacma.wordpress. com/2011/04/21/new-acquisition-three-casta-paintingsby-juan-patricio-morlete-ruiz/ [accessed on 6 June 2017]

KATZEW, I. 2013. Juan Patricio Morlete Ruiz: Conservation of Ports of France, Los Angeles County Museum of Art video, Available at: http://www.lacma.org/video/juan-patriciomorlete-ruiz-conservation-ports-france [accessed on 10 August 2015]

KATZEW, I. 2014. ‘Valiant Styles: New Spain Paintings 1700-85’, Painting in Latin America, 1550-1820, Luisa Elena Alcalá and Jonathan Brown, New Haven: Yale University Press

KATZEW, I. 2017. Painted in Mexico 1700-1790: Pinxit Mexici, DelMonico Books.Prestel Munich, London, New York

MUES ORTS, P. 2017, ‘Illustrious Painting and Modern Brushes, Tradition and innovation in New Spain’, in Painted in Mexico 1700-1790: Pinxit Mexici, DelMonico Books/ Prestel Munich, London, New York

RAMOS, J. O. 2013, ‘Los mercados de la Plaza Mayor en la Ciudad de México’, Centro de Estudios mexicanos y Centroamericanos, Mexico

RETANA MÁRQUEZ, Ó. R. 1996. Las pinturas de Juan Patricio Morlete Ruiz en Malta, Anales del Instituto de Investigaciones Estéticas, Vol. 17, 68: 113-125. México: Instituto de Investigaciones Estéticas

SANCHIZ, J. 2013. El grupo familiar de Juan Gil Patricio Morlete Ruiz, pintor novohispano, Anales del Instituto de Investigaciones Estéticas, Vol. 35, 103: 199-230. México: Instituto de Investigaciones Estéticas

STANISLAI, S. Il Calcio Storico Fiorentino, Available at: https:// www.nikonschool.it/life/calcio-fiorentino.php [accessed on 24 October 2018]

TROUG, A.R. 2015. Giuseppe Zocchi (near Florence 1711/71767 Florence), Florence, a view of the Arno from the Porta San Niccolò, Available at: https://alaintruong2014. wordpress.com/tag/giuseppe-zocchi/ [accessed on 24 October 2018]

VANDEVILLE, E., 2014. Calcio Storico, Football’s Brutal Ancestor, Available at: http://www.italianinsider.it/?q=node/2025 [accessed on 24 October 2018]

David Frank Buġeja

Tim Padfield’s Contribution to Conservation

Everything started from a website that proved to be a turning point in my professional and personal life. When I was reading for my master’s degree course in 2003, I was lectured by Bent Eshøj, former Head of Master Education and Research Lab at the School of Conservation in Copenhagen, Denmark. Upon noting my growing interest in museum microclimates and on how to protect paintings from unstable relative humidity, Bent strongly advised me to visit the following hyperlink: www.conservationphysics.org.1

The link directs visitors to an educational website that serves as a comprehensive guidebook on how to identify environmental risks to collections. The site provides advice on how to evaluate museum environments using scientific equipment that can be purchased and configured even with limited budgets. There are also ample recommendations on how to interpret and present the acquired data. Several measures that can mitigate environmental risks and effectively extend the lifetime of artefacts are discussed. The information is neatly collated and presented in seven major sections. Those who wish to learn more can view and download the full version of numerous papers that were published in authoritative peerreviewed scientific journals, free of charge. The text is illustrated with coloured drawings that, whilst helping visitors to better understand the content, often tend to lean towards satire in an evident attempt to make the scientific content enjoyable and less intimidating. The credentials of the website’s sole author – Tim Padfield – certainly adds weight and validates the website’s content.

About Tim Padfield

Tim was born in 1937 in Shanklin, England. He obtained his master’s degree in chemistry from Oxford University and his PhD from the Technical University of Denmark. He worked as a scientist at the Victoria and Albert Museum, University of Leeds, Smithsonian Institute, National Museum of Denmark, and at the Technical University of Denmark. Eventually, he worked as a freelance consultant in preventive conservation.

Tim was chiefly interested in evaluating historic building structures. Such evaluations

The main page of the Physics in Conservation website

included the analysis of the structure’s fabric, building technique, and observation of how buildings shelter their contents from external weather conditions. He evaluated the adequacy of a building for the display and storage of artefacts. Tim was an ardent technophile and very knowledgeable in Heating, Ventilation, and Air Conditioning (HVAC). Yet he always advocated for passive climate control, opting first for practical and low-budget solutions, to effectively improve microclimates that favour the preservation of artefacts. Such studies often led Tim to compare the microclimate control obtained in historic buildings with modern and contemporary structures. He looked at recent construction methods with a critical eye, often emphasising the necessity of learning from our past to achieve even smarter and greener solutions.2

An Insight into Tim's Research

Of course, I was primarily engrossed with Tim’s findings that were related to my studies. These included experiments conducted on cold walls and their detrimental effect on paintings. Another interesting subject included in this study referred to the disadvantages of using silica gel to stabilise the relative humidity inside showcases, especially when exposed to a temperature gradient. Tim’s website provided invaluable assistance, particularly in its detailing the methodology employed for the monitoring within museums and churches. When faced with complex situations, he conducted tests in controlled laboratory conditions to narrow the number of environmental variables. Tim was creative and resourceful in his experimental methodology. He often built customised experimental setups that can, for instance, mimic temperature changes in walls so that he could observe how this factor affected the

Left: Meeting Tim at the Museum Microclimate Conference in 2007 and Right: Discussing sealed enclosures for easel paintings at Heritage Malta's Paintings Conservation Department

paintings’ state of conservation. As I kept revisiting the conservation physics website and learnt more about the experiments conducted, I unravelled more aspects related to the complex interaction of paintings with air and moisture. This led me to send a short note of gratitude to the website’s author.

Tim replied promptly, assuring me that he would be happy to answer any questions that might be useful in my studies. I am sure he must have regretted the latter offer as I asked numerous questions. Yet, he pleasantly continued to reply to my many inquiries and even took a keen interest in my study. This led to lengthy discussions that mostly revolved around the sealing of paintings designed to stabilise their moisture content and limit further paint cracks and losses. Tim occasionally involved the intervention of other conservators and scientists in our discussions, including Bent and Morten Ryhl-Svendsen. Urging me to continue my research, he often

advised me to learn computer programming to build customised circuit boards with miniature sensors. His technical knowledge was vast, as he kept abreast with the latest technology, sourcing modular equipment, and using opensourced software that was applicable to his experimental methodology.

For instance, he explained in detail the ingenious method of constantly measuring the surface temperature and relative humidity of a paintings’ front, reverse side, and of the wall present behind it. The latter challenging task was carried out by measuring surface temperatures with the minute tip of Type K thermocouple wires and, instead of using bulkier relative humidity sensors, he managed to extrapolate the relative humidity values at each surface from the mixing ratio obtained from a nearby thermohygrometer.

Our emails eventually shed all formalities and morphed into a friendly discussion, often ending emails with a note on our personal

Left: Tim’s visit to the author’s residence and Right: Inside a Misqa tank

lives. We first met in person in November 2007, at a conference on museum microclimates held at the National Museum of Denmark in Copenhagen. Being an admirer of his work and grateful for his assistance, I felt very much like a fan meeting a celebrity, taking the opportunity to take photographs and asking for his autograph. I learnt that Tim formed part of the conference’s scientific committee and of the proceeding’s editors.3 The conference was a great success as numerous case studies and experiments were presented, leading to a lengthy discussion on the pros and cons of setting museum environmental standards. Together with several other authoritative researchers, such as David Thickett, Stephen Hackney, Marion Mecklenburg, Bent Eshøj, James Druzik, and Jørgen Wadum, this conference set another important milestone in preventive conservation.

Tim’s contribution to Malta

Tim’s ties with Malta materialised when he was invited by Heritage Malta to deliver lectures. He also inspected museums and proposed passive climate control measures, particularly for the former National Museum of Fine Arts in Valletta. The latter historic building captivated his attention as it provided him with an insight of traditional Maltese building techniques. He was intrigued by the thermal insulation of thick limestone walls and by the material’s porosity that contributed to buffering the museum’s internal relative humidity. Consequently, Tim was invited by other local organisations, and this presented further possibilities for us to meet.

I vividly recall his faint smile as he inspected every room of my old residence, admitting his temptation of installing wired sensors to the roof. He was eager to learn more about the deffun roofing and to test how this lime-based material contributes to keeping interior spaces cool during hot summers. He pondered, for instance, on the drop of temperature as dew evaporates during daytime. This provoked his inquisitive nature, always posing new questions that sprouted fresh projects which kept him busy and engrossed in his work.

I treasure his awed expression as we visited the prehistoric structures of Ħaġar Qim and Mnajdra, while vivedly recall his inspection of the tool marks in the Misqa water tanks. And whilst strolling on the garigue along the coast, eyeing the shrubs and stopping at every minute wild orchid that caught his attention, underlining the importance of safeguarding our natural ‘rock gardens’.

Bidding farewell…

Although Tim was an extremely competent and a seasoned scientist, he remained humble and down to earth, while valuing others’ opinions. I feel honoured that I could assist him with information on local case studies and was incredulous when he requested me to review his last paper – that related to the back protection of canvas paintings – before submitting it for publication.

A few months later, in 2020, I received the saddest news. Tim passed away peacefully at the venerable age of 82. When someone dear departs, part of us dies along with them, leaving a permanent void. Yet we try to keep them

alive with memoirs that hark back to precious memories. I relive many happy moments every time I view old photographs, go through past email correspondences, and most of all by revisiting the conservation physics website that, thanks to his family, continues to inspire and assist others throughout their research.

Acknowledgements

The author would like to thank his wife Melissa, Frances Padfield, Anthony Spagnol, JoAnn Cassar, Godwin Vella, Rachel Vella, Andrei Azzopardi, Bent Eshøj, and Margaret Abdilla Cunningham.

NB: All images in this article were provided by the author

Notes and References

1 Padfield Tim, 2019, Physics in Conservation, [accessed 03 February 2023], https:// conservationphysics.org/

2 Borchersen, K., & Padfield, T. (Eds.). (2003). Museum Microclimates, The National Museum of Denmark.

3 ‘Museum Microclimate’, Abstracts of the Copenhagen Conference 19-23 November 2007, Padfield Tim and Borchersen Karen, (eds), [accessed 03 February 2023]: https://natmus.dk/fileadmin/ user_upload/Editor/natmus/bevaringsafdelingen/ billeder/M_M/Museum_Microclimate/ Proceedings/poster-bog-150.pdf

The author's portrait of Tim Padfield

When History meets Biology Shipwrecks as Ecological Hotspots

Nick Coertze

Timothy Gambin

Maja Sausmekat

Underwater cultural heritage (UCH) is defined by UNESCO as “all traces of human existence having a cultural, historical or archaeological character which have been partially or totally under water, periodically or continuously, for at least 100 years”. In Malta, UCH is defined as “remains found on the seabed that are situated in the territorial waters of Malta and are at least 50 years old”.

Remains range from ancient cities and submerged harbour structures to wooden shipwrecks, crashed aircraft and shipwreck sites. In the context of an archaeological investigation, these remains are scientifically examined to identify and document a cultural resource that can inform human understanding of the past. This is done through a variety of methods including remote sensing, visual surveys, 3D documentation and excavation. From an archaeological perspective, these submerged time capsules offer an insight into our collective human history. However, from an ecological viewpoint, submerged cultural remains can act as habitats for a diverse range of marine life.

When it comes to the management of UCH, Malta has over the last three years implemented an innovative approach to public access management that encompasses both diver and virtual access. Since 2019, through Heritage Malta’s Underwater Cultural Heritage Unit (UCHU), no fewer than 20 historic underwater sites have been opened to the diving public, with many of these also virtually accessible through an online museum for UCH, accessed through the link: www.underwatermalta. org. The process of selecting sites for public access classifies the sites according to three categories – war grave, unexploded ordinance,

and protected marine life. Most of the wreck sites date to the First and Second World Wars and are a direct legacy of Malta’s role during both conflicts. Many of them are also the last resting place of fallen servicemen, both Allied and Axis, and the status of ‘war grave’ is given to any site with known casualties, to be equally respected as cemeteries on land. The presence of unexploded ordinance also directly relates to this wartime legacy, and the status of protected marine life is given to those sites colonised by species that are known to be endangered or ecologically important. All three of these categories contribute to Heritage Malta’s policy of “look, but don’t touch” with wreck penetration or disturbance actively discouraged. This article will focus on the category of marine life, and more specifically the WreckLife project that was initiated in 2022.

The aim of WreckLife is to bridge a significant knowledge gap. At present, there is no information available on the species associated with historic wrecks, located at depths beyond those accessible by recreational divers. The element of depth is an important consideration, since all the historic wrecks open to the public are beyond recreational diving limits, starting at 55m and extending to 115m. Studies tend to focus on either the archaeological value of a site, or on the encrustations of marine species on individual cultural objects, such as amphorae. However, shipwrecks have rarely been studied as artificial surfaces on which benthic communities –species that live on the seabed – can grow. The wreck acts as a substitute to natural rocky reefs and the study of these communities colonising wrecks remains a significant knowledge gap, making this project a crucial baseline study

Black coral growth on HMS Olympus, which is white underwater and only becomes black once exposed to air, photo courtesy: Heritage Malta 2022

for future investigations. The effect of wrecks on the surrounding environment is also poorly understood, especially when taking into consideration metal shipwrecks and the polluting potential of these sites.

Another important consideration when discussing marine life and historic wrecks is that of climate change. The oceans and seas around the world have acted as crucial buffers, or carbon sinks, absorbing approximately 25% of carbon dioxide released by human activity. As a result, oceans and seas are becoming warmer, more acidic, and less oxygen-rich, impacting marine biodiversity. The impact on the deepsea is less well understood, and changes are often not as obvious as on the surface, but may nevertheless have a profound effect. Such changes will also impact UCH, particularly on the various materials that constitute these sites. A prime example of this is the potential increase in corrosion levels on metal wrecks due to increasing water temperatures, an impact that may result in accelerated polluting events (such as oil spills). Marine species are excellent indicators of climate change, sensitive to these variations and often studied and tracked over long periods of time. The study of legacy data through the WreckLife project and

the generation of new baseline data sets, will enable Heritage Malta to better anticipate and mitigate against climate induced changes.

Large areas of the seafloor remain empty and deserted, void of any distinguishable features that would otherwise provide a hard structure on which marine organisms can settle. Many marine species spread by drifting or floating with the ocean currents as larvae or by crawling on the ocean floor. Whilst drifting, the larvae need to find a rigid structure, such as a rocky outcrop or reef, that will provide a solid surface on which to settle and grow. Almost like an isolated ‘island-oasis’ on an otherwise empty desert landscape, shipwrecks protrude from the seabed and provide a rigid structure with an assortment of surfaces made of various materials with different angles, overhangs, textures and holes. These offer many opportunities for colonising organisms to hide and shelter, as well as encouraging biological diversity. Complex communities are thus created around wrecks, which in turn develop into environments that facilitate a multitude of species, all taking advantage of the superstructure of the wreck.

Effectively, shipwrecks fulfil a similar role to natural habitats like coral reefs, kelp forests

Tail section of an aircraft on an otherwise sterile seabed, photo courtesy: John Wood, Heritage Malta 2022

and rainforests, albeit artificially, by enabling a wide range of marine life to congregate in one place. With shipwrecks hosting so many different physical features, the abundance and variety of life will naturally vary on each site. This is largely due to the resting place of wrecks varying in depth, temperature, available light, current movement, surrounding seabed morphology, and other environmental drivers present around each site.

Considering their location in the centre of the Mediterranean, it comes as no surprise that the Maltese Islands proved to be a strategic position for seafaring people and nations. This allowed Malta to become a maritime hub with a

seafaring history dating back to approximately 5500BC, when its first inhabitants arrived on rafts or simple vessels. However, the first group to start using Malta as an outpost for trade and other shipping activities was the Phoenicians, who played a large part in establishing the archipelago’s importance as a maritime hub (Gambin 2003).

Recent conflicts, such as the first and second World Wars saw the loss of numerous ships and aircraft off the Maltese Islands. Vessels were sunk by sea mines and torpedo strikes or scuttled due to major damage sustained from the latter and air raids. Many of these wrecks now lie concentrated within a

Historic wrecks of Malta under the management of Heritage Malta

When History meets Biology: Shipwrecks as Ecological Hotspots

few kilometres of the Grand Harbour, however, there are submerged sites all around the islands. World War I vessels lost to mines include the HMS Russel (115m), HMS Nasturtium (67m) and HMY Aegusa (125m) which tragically sunk in the same minefield on the same day in 1916. Submarines that met the same fate in minefields off Valletta include HMS Urge (108m) and HMS Olympus (115m), both sinking in 1942. Other vessels sunk by mines in World War II include HMS Southwold (69m), ORP Kujawiak L72 (98m) and Schnellboot S-31 (66m) which sunk after striking its own mine. Aircraft, on the other hand, were shot down by flak or during dogfights, crashing into the sea, such as the JU88 North (56m) and JU88 South (110m), whilst others suffered engine failures, resulting in their ditching at sea. These include the B-24 Liberator (55m), Douglas A-1 Skyraider (96m) and Fairey Swordfish (70m).

The sheer number of vessels sunk, their variety in sizes, compositions, and depth at which they lie, compounded with the time spent underwater, has allowed marine life the time to establish themselves and flourish into large complex communities. This article will focus on two sites, HMS Nasturtium and HMS Olympus, both related to Malta’s wartime legacy, and both known to be hosts to varied and protected marine life. The intention is to highlight a specific type of marine life present on these sites, and how a closer examination of these ecological hotpots can inform decision making when it comes to management strategies.

Biodiversity data generation on wreck sites

HMS Nasturtium was one of 36 Arabis-class

Top: Aft gun located on the stern of HMS Nasturtium and heavily colonised by sponges, photo courtesy: John Wood, Heritage Malta 2019

Above: Diver from the Heritage Malta technical dive team collecting sponge samples on HMS Nasturtium, photo courtesy: Kari Hyttinen, Heritage Malta 2021

sloops, built to counter the growing threat of underwater mines and submarines during World War I. The sloop was launched in 1915 and was based in Malta. In April 1916, Nasturtium was searching for mines laid by the German submarine U-73, and whilst located approximately 10km off the coast of Malta, Nasturtium struck a mine on the starboard side. The resulting explosion caused the sloop to slowly flood, listing it to port, and whilst several attempts were made to tow the vessel back to shore, HMS Nasturtium eventually sunk.

Today, the wreck lies approximately 12 nautical miles off the coast of Valletta and rests on a sandy seabed at a depth of 67 metres. The site was first discovered by fishermen and is in a good state of preservation, heavily colonised by sponges and other marine life. The density of sponges on the site, often noted by visiting divers, resulted in the decision to carry out a sampling experiment to begin quantifying and qualifying the marine life present on the site. To this end, Heritage Malta applied for a sampling permit from the Environmental Resources Authority in early 2021, to conclusively identify the species present. This was done through technical divers, where small fragments of sponge were collected. These were fixed and preserved, and later analysed by taxonomic specialists from the Centre for Advanced Studies of Blanes, research institute of the Spanish National Research Council. The dominant species identified from the collected sample was identified is Aplysina cavernicola. This is a species of sponge that is native to the western Mediterranean, where it typically grows in caves, with its base adhering to the hard surface and colonies of small fingerlike protrusions extending from it (World Register of Marine Species). In this case,

HMS Nasturtium is acting as a substitute to the hard rock surface, with colonies of the sponge clearly thriving on the site. Of note, this species is protected on a national level through Schedule VI of the Flora, Fauna, and Natural Habitats Protection Regulation, and on an international scale through the Barcelona Convention Annex II and Bern Convention Appendix II.

The information gathered through such exercises allows heritage managers to gain a deeper understanding of how historic wrecks are affecting the surrounding environment, and how in turn, that environment is impacting the wreck. In addition, the legislative protection provided for these marine species act as an additional level of protection for UCH sites and vice-versa. No further sampling is planned, as high-resolution images and videos are now being used to quantify the presence of these species.

HMS Olympus is a British Royal Navy submarine of World War II that struck a mine and sunk approximately 11km off the coast of Valletta. HMS Olympus was an O-class submarine that was completed in 1930. The submarine spent the inter-war period patrolling the South China Sea, and with the outbreak of

Sponge growth on HMS Nasturtium, photo courtesy: Kari Hyttinen, Heritage Malta 2021

World War II joined the Mediterranean Fleet. HMS Olympus was mainly involved in the socalled ‘magic carpet service’ that transported troops and cargo to-and-from Malta, a task that was becoming increasingly more dangerous as Axis forces intensified efforts to neutralise Malta (Gambin 2015). In May 1942, HMS Olympus arrived in Malta with much needed supplies, and as the submarine was preparing to depart the island, it was decided that surviving crew members from the submarines P36 and P39 – both sunk in the harbour in an air raid – would depart with HMS Olympus (Gambin 2015). When HMS Olympus struck a mine and sunk, the loss of 89 servicemen would make this the worst submarine disaster in the Royal Navy history.

The wreck site of HMS Olympus was discovered in 2011 through the ongoing Malta Shipwreck Survey Project, a collaboration between the University of Malta and the Superintendence of Cultural Heritage. The submarine lies upright on a sandy seabed at a depth of 115 metres, making it the deepest site currently open to the diving public. The wreck is almost fully intact, except for the damage on the starboard side where the mine had struck it. The open hatch on the conning tower attests to attempts made by the crew to escape the sinking submarine, and in 2017 for the 75th anniversary of the loss of HMS Olympus, a University of Malta dive team placed a memorial plaque on the submarine to commemorate those who lost their lives that day.

The marine ecological importance of HMS Olympus lies in the growth of black coral on the site. Research into Black Coral – Antipathella subpinnata – in the Mediterranean is scarce; however, recent studies have highlighted how Malta hosts one of six cold-water coral provinces

Memorial plaque placed on the wreck site of HMS Olympus, photo courtesy: Dave Gration, University of Malta 2017

The open hatch, a poignant reminder of servicemen attempting to escape the sinking submarine, photo courtesy: Dave Gration, University of Malta 2017

known in the Mediterranean. The species grows in depths up to 600 metres on hard surfaces such as rocks and can grow up to 1.5 metres in height. This allows the Black Coral to act as a refuge for other species, becoming hotspots of marine biodiversity (IUCN). The species has a slow growth rate and longevity, and is also protected on a national and international level, which is listed as ‘Near Threatened’ on the International Union for Conservation of Nature Red List for the Mediterranean.

These two examples constitute the very beginnings of Heritage Malta’s efforts to understand the biological complexity of historic shipwreck and aircraft sites, which have inspired the launch of the WreckLife project. Among the several objectives of the WreckLife project is the use of legacy data along with the generation of new data. Data generated from past archaeological surveys, including remote sensing surveys and visual surveys, either carried out by divers or remote operated vehicles (ROVs), are understood as legacy data. These are being analysed to quantify and qualify marine life on shipwreck sites, and to determine whether changes over time can be noted. New data sets will be gathered through the UCHU’s annual surveys by technical divers. Using state-of-the-art technologies, 3D data, high-resolution imagery, and videos, as well as footage are gathered at night and in 360°. These include the generation of 3D models, which from an archaeological perspective, are used as baseline models from which wreck site preservation and condition can be monitored. From a marine ecological perspective, these 3D models can be used to set up an electronic ecosystem that is site specific.

Conclusion

Gaining an in-depth understanding of the biodiversity and communities present on Malta’s deep water historical sites will aid in the understanding of how best to preserve underwater cultural sites for generations to come. Creating this base-line dataset and combining this knowledge with ongoing surveys can in turn help forecast how variations in the environment, attributed to climate change, will affect historical wrecks and the ecosystems built around them. This interdisciplinary approach, combining archaeology, heritage management and marine ecology will pave the way for future initiatives and projects centred around identifying and finding links between local and distant populations. This will further strengthen the importance of conserving and protecting underwater cultural heritage as both cultural and ecological assets.

The authors would like to thank Dr Julian Evans and Professor Joseph A. Borg for sharing their knowledge and help with getting these studies off the ground.

Bibliography

Gambin, T., 2003, ‘The Maritime Heritage of Malta’, Transactions on the Built Environment, 65: 4-15 Gambin, T., 2015, ‘HMS Olympus: A tale of tragedy and heroics’, Malta University Historical Society, pp. 111-140 Aplysina cavernicola, World Register of Marine Species, available at: https://www.marinespecies.org/aphia. php?p=taxdetails&id=133913 (accessed on 02.03.23) Antipathella subpinnata, IUCN, Available at: http:// www.iucn.it/scheda.php?id=-515800724 [accessed on 02.03.23]

Fiona Vella

Innovating Traditions

Interview with Alda Bugeja

Since childhood, Gozitan weaver, Alda Bugeja was brought up in a culture of tradition and business.

“My grandmother Ġiżwarda Caruana was widowed at a young age and she had to ensure a means of living for her five children. Like many other women at the time, she was a weaver and a lacemaker and she also sold her products. People still remember her selling from shop to shop her woven fabrics that she kept beneath her għonnella1,” reminisced Alda.

“Woven products were very much in use in those days. Clothes, bed sheets, blankets, mats, bags and various other items were woven out of wool or cotton. There was such a high demand that some people afforded to specialise in just one particular skill that is involved in the long process of weaving,” Alda explained.

“First, the sheep had to be sheared while the cotton had to be hand-picked from the fields. Then the wool would be washed, whereas seeds had to be removed from the cotton bolls. Next, the wool and cotton had to be carded to disentangle the fibres and clean them further. Fibres were then swirled onto a rolag to distribute them evenly. The next job was to twist the fibres on a spindle, turning them into yarn, which was then folded, and eventually, furled around a wooden roller. The filled roller was then placed at the back of the loom so that the weaver could unroll the yarn from it to set the loom for weaving. The weaver would use either a personally designed pattern or one designed by someone else.”

Producing the yarn: (Top) raw cotton and (Middle) the time-consuming of the hand production from raw cotton to thread; (Above) wool yarn ready for spinning, and (Left) yarn spun onto the spindle

From necessity to passion

In contrast to many others, Alda’s family was involved in the whole process of weaving. Her father had a large herd of sheep and goats, as well as tended fields with the help of his sons. Her grandmother, aunts, mother and sisters processed the wool and the cotton, and wove them into fabrics or items. In the winter season, when the weather did not permit fieldwork, and since days are shorter with less daylight hours, all family members would gather at home to help out with the weaving. Even the young ones were expected to lend a hand, and soon, Alda became fascinated with this trade, so much so that at the age of five, she was already learning how to use the loom. She would often accompany her mother Josephine during her visits to various clients in Malta and Gozo to sell their products and services. This generated in her a passion for the business. Meanwhile, to

enhance her expertise in the weaving industry, she attended weaving courses in Sweden, Wales and England.

The spinning wheel (Left) and loom (Above) that Alda used at an early age

Weaving a new lease of life

“Weaving retained much of its popularity until the 1990s, but then it started to wane. As our elders passed away, very few skilled people were left. Looms were not regarded as an important piece of inheritance, as in the past, and most were disposed of. This was tragic for me since I believe that weaving is an intrinsic part of what makes us Maltese and Gozitans. It is a significant element of our cultural heritage that makes us unique. The weaving patterns and designs that have been created by our ancestors define our work and our past.”

It was inconceivable for Alda to let this ancient trade die away. Instead of giving up, she became even more resolute to promote weaving and to find new ways how to create different handcrafts which would attract the new generations. Rather than focusing on souvenir products, she began to weave and knit practical and modern items. Coats, skirts, shawls, scarves, mittens, headwear, blankets, mats, handbags and wall-hanging decorations, just to name a few, were now produced by her in fashionable patterns and colours.

To raise awareness about weaving, she started to participate in Radio and TV programmes, as well as in various exhibitions, both locally and abroad. In the year 2000, as one of the few remaining artisans who specialised in the local traditional weaving craft, Alda received the National Award for Achievement in Industry. In 2004, she featured in the local documentary A Glimpse of Wool which was produced by the Ministry for Rural Affairs and the Environment. This documentary competed with 101 other specialised films from various countries and was awarded the prestigious award from the Director of Agrofilm Institute and Director of Agriculture in Nitra, Slovakia.2 In 2012, she created woven replicas of local traditional costumes for Heritage Malta’s exhibition 'Peasant Costumes – Insights into Rural Life and Society'. Then, in 2015, she produced a collection of woven clothing that was exhibited by models during a local fashion show.

Hand-woven scarf and shawl by Alda, showing her talent and creativity in traditional Maltese weaving

Creative opportunities

Training others in this trade has always been crucial for Alda. After seeking ways how to channel herself in this direction, she was commissioned by various government departments, including the Department of Industry, the Employment and Training Corporation, the Department of Education and the

Department for Lifelong Learning to give courses on weaving. Her students range in age from six to over eighty years old.

“When I share my knowledge with others, I feel as if I am breathing life into this trade again. I am constantly inviting people to try their hand at weaving. I even give tourists visiting Gozo the opportunity to spend a few hours at my shop to weave a small bag or a mat which they take home with them as a keepsake. They always cherish this unique experience to try out an ancient local trade.”

“It is a pity that weaving is no longer taught in schools or colleges anymore. When I was attending primary school, we spent an afternoon a week dedicated to one trade or another, including weaving. This trade is still very relevant and still has great business potential. I wonder why it has not yet found its place among the multitude of courses that are available at The Malta College of Art, Science and Technology.”

Equipped with an inherited philosophy to turn challenges into opportunities, Alda succeeded to reach out with her ideas even during the Covid-19 pandemic lockdown.

“I was asked by the Għarb Local Council whether I could come up with twenty lessons to inspire people to do something interesting during these difficult times. Since most of the shops were closed, I had to focus on ways how to work with recycled things that were already in hand. So I filmed twenty short videos3 showing the whole process of weaving by utilising substitutes that one could easily find at home. For example, instead of a traditional wooden loom, I explained how to construct a loom made out of cardboard. As an alternative to wool, I used cotton yarn or the long fur of furry cats, dogs and rabbits. To demonstrate how cotton could be twisted into

Above: A dress with matching jacket designed and hand-woven by Alda

Below: During one of Alda’s workshops

Innovating Traditions: Interview with Alda Bugeja

single fibres, I unfurled cotton buds and rolled the thin fibres by simply using a pencil.”

Although weaving might seem complicated, Alda insists that this trade is actually very easy to learn. She also claims that it is also deeply therapeutic both mentally and physically.

“

In the 1960s and late 1970s, weaving was used as a therapy in hospitals, since it involves the constant movement of arms and legs. Besides aiding movement, weaving provides a sense of calmness and satisfaction as one is creating new things. There are many steps to weaving, starting from simple items such as small bags and mats, to moving up to bespoke clothes.”

Below: Assortment and variety of threads, Inset: Alda discussing the intricate details of her woven design

Right: Alda weaving on a cardboard loom, showcasing accessibility and versatility of traditional weaving, Left: Carpets and cushions showcasing Alda’s unique designs and exquisite craftsmanship

For the Apostolic Journey of Pope Francis to Malta in 2022, Alda had the privilege to weave a stole that the pope wore during the celebration of mass. She has proudly kept the specimen she produced before working on the original stole.

“The limits to weaving are your creativity and inventiveness. The fact that times are changing and that technology is advancing, should not be seen as a difficulty, but more of an opportunity. Household wooden looms are still manufactured by local carpenters and they can be constructed according to one’s particular requirements, such as height and size. Good quality sheep’s wool can still be

found at some farms, whereas cotton can still be planted in fields.”

Indeed, Alda is currently collaborating with a Gozitan farmer to experiment with the revival of cotton cultivation.

“Until now, results have been very promising. Modern agricultural techniques, such as drip systems, have helped cotton plants to grow strong and tall yielding richer harvests.”

Conclusion

Last March (2023), Alda Bugeja was one of sixty artisans who opened up their creative spaces to the public as Malta participated for the first time in the European Artistic Crafts Days (EACD).

“I was pleased to see that people responded positively to this opportunity, particularly the young ones. Contrary to the general perception, the younger generation is interested and emotionally connected to learn more about the techniques, as well as the weaving skills that cannot be found in books or the media. This means that there is still hope for this tradition to continue to flourish.”

Alda believes that exposing children and adolescents to weaving at an early age is a sure way for the tradition to survive for generations

Left: Specimen of the hand-woven stole produced by Alda Inset: Original stole being used by Pope Francis at Ta' Pinu Basilica during his visit to Malta and Gozo in 2022, photo courtesy: Diocese of Gozo - Anthony Grech

to come. Hence, her ardent efforts to promote weaving throughout her career, and her emphasis to access the educational sector. Apart from its therapeutic effects in an age full of stress and mental health issues benefitting the user as a creative therapy, there is always a deep sense of satisfaction when finishing a woven item, both in the connection it brings with our forefathers through our Cultural Heritage, as well as the surprise in discovering our creative potential.

Endnotes

1 The ‘għonnella’ was a woman’s traditional cloak worn outside to cover the head.

2 The Times of Malta article announcing award winning documentary dated 30 October 2004, access link: https://timesofmalta.com/articles view/documentary-on-spinning-and-wea ing.108487

3 These videos can still be viewed on the Facebook Page of the Għarb Local Council, access link: https://www.facebook.com/gharb.lc/videos

Carpets and various coloured designs produced by Alda

Alda passing on her passion and techniques to children and adolescents through her hands-on workshops

Heritage Malta’s Greening Initiatives

Ruben Abela

COVID-19 has somewhat brought with it an increase in environmental awareness, probably because people had an opportunity to reflect more on the subject and experienced the effect of better air quality due to the reduction in amount of vehicular traffic. There were places of employment which had closed completely their doors to visitors during the partial lockdown, and thus, staff usually involved in providing services to the visitors were engaged in other different work, in some cases involving maintenance and embellishment work. Several Heritage Malta employees have gone through such an experience, which then again, has raised environmental awareness directly concerning their place of work and the Agency itself. This led to the setting up of the Heritage Malta Green Committee. This committee, which has the full endorsement of the Agency, was officially set-

up in October 2021. The committee is made up of a chairperson and five members coming from various departments within the Agency.

The Heritage Malta Green Committee’s Terms of Reference identifies its role and functions. Its primary role is to provide effective oversight, education, and research into possible ways in which the Agency could operate to contribute to the reduction of the carbon footprint. This is done through advice in the form of proposals to the Chief Executive Officer that, if approved, are followed up with their implementation. In fulfilling this role, the members of the Heritage Malta Green Committee act as a forum for engaging Heritage Malta staff in promoting green initiatives to reduce the Agency’s carbon footprint; generate and compile initiatives related to green initiatives; advise the Chief Executive Officer on short, medium and long term environmental

Noel Zammit, CEO, officially setting-up the Heritage Malta Green Committee with the planting of a tree, photo courtesy: Massimo Denaro

as well as sustainable strategies; monitor initiatives being taken; undertake research on green initiatives; identify funding for green initiatives; and report on activities organised by the Committee. Since its inception, the Green Committee met regularly to be able to fulfil its objectives.

One of the first initiatives taken and which involved members of staff across the Agency, was the setting up of a small eco-garden at Heritage Malta Head Office in Bighi. Staff representing various departments within the

Agency gathered and planted trees and shrubs. Each indigenous tree and shrub planted was from local stock and each was tagged to the department sponsoring them. Two small ponds were added, aimed at attracting birds and other forms of wildlife, as well as ruderal vegetation was retained within this area to attract pollinators. This eco-garden concept was explained to the staff participating in this small project.

This initiative was followed up with a complementary initiative in which staff were asked to volunteer in the propagation of indigenous trees and shrubs. Seeds were distributed among a good number of staff who actively joined this initiative. Instructions on how to sow and take care of the saplings were also attached with the distributed seeds. Those who succeeded in the propagation of the seeds and caring of the saplings were asked to return the matured saplings to the Għar Dalam Nursery for further care and eventual planting at the Għar Dalam Park or other Heritage Malta sites.

The Committee was also tasked with drafting an overarching policy for the management of green areas falling within the responsibility of the Agency. Several Heritage Malta sites are enriched with green spaces. Some sites have planned historic gardens, while others form part of the natural landscape or man-made fields in which they are located. The document was approved by the Chief Executive Officer and started being adopted as from January 2023. While it is considered for both typologies explained above, its scope is to provide general guidelines for the management of green areas within Heritage Malta sites assisting Site Executives, Site Curators, Site Principal Officers, and Gardeners to:

Heritage Malta staff participating in tree planting initiatives organised by the Agency's Green Committee, photo courtesy: Massimo Denaro

i. Establish common standards of good management and landscaping practices.

ii. Promote environment-friendly and ecological management in our sites, aiming towards self-sustainability and enriching biodiversity.

iii. Encourage, where necessary, ecological restoration incentives using suitable species, following pertinent studies carried out on the areas in question and the species involved.

iv. Promote these areas as a habitat for rare species of flora and fauna while increasing sources for pollinators. Areas are to be carefully chosen due to accessibility.

v. Entice visitors to appreciate the importance of landscapes, habitats, and ecosystems within heritage sites, and enjoy seasonal colourful flora.

vi. Protect and conserve the cultural and natural heritage assets of each of the sites.

vii. Support Malta’s commitment and efforts in climate change mitigation and adaptation.

viii. Explain such commitment through adequate signage/interpretation on the sites.

ix. Promote the development of gardens where living specimens are used for the recreation, interpretation, and presentation of past landscapes.

The Heritage Malta Green Committee is also assisting in waste management aspects within the Agency. With the support of staff in all the sites and museums, data is being gathered on a monthly basis on the weight of refuse in each waste stream collected. This data is being forwarded to WasteServ Malta as part of a wider project which they are leading concerning waste management by Government Departments and Public Agencies. At the same

time, this data is serving as a basis for the Green Committee to assist with the implementation of a Waste Management Policy which is also being adopted by the Agency.

Another initiative taken by the Green Committee and linked to waste management, was the installation of a composter in the ecogarden at the Head Office. A used batteries collection system, which forms part of the BATREE Scheme, has been introduced across the Agency with used-batteries containers placed at the reception desks

of all our

Top: Data collection of refuse for the waste management project of Government with WasteServ, and Above: Composter installed at the Head Office eco-garden

museums and sites. One of the Committee members had identified an issue with the air fresheners used in our sanitary facilities, in that these were battery operated, thus contributing to more toxic waste in the environment. The same member, after carrying out market research, initiated the replacement of these air fresheners with a product which is more environmentally friendly. Another member took the initiative to set a central depository of used envelopes at the Heritage Malta Head Office, with administrative staff and others encouraged to recycle used envelopes for internal mail. The Committee had also forwarded proposals to Management to introduce paperless administrative procedures, with most of the proposals being taken up by Management.

Another aspect which the Committee has been working on is the reduction in energy and water consumption by the Agency, with the aim to lower the carbon footprint of our offices, museums and sites. Tap water saving adaptors have been

fitted on all faucets within Heritage Malta’s office kitchenettes and staff have also been encouraged to collect and re-use the water from air-conditioning condensation. An exercise has also started to install motion detector light switches in our sites. Several memos were issued by the CEO’s office on behalf of the Committee aimed at creating awareness among Heritage Malta staff about various day-to-day operational issues, and various eco-tips which are frequently shared with staff through the intranet sharing platform.

A half-day seminar was organised for Heritage Malta staff to create awareness about issues related to climate change, with its main objective being to highlight its impact and discuss actions which could be taken at individual level to reduce the impact. The seminar started by showing the David Attenborough documentary on ‘Life on Our Planet’. This was followed by a presentation and discussion lead by officers from the Environment and Resources Authority on climate change and practical issues on how we can reduce such an impact.

Battery disposal containers dispersed at Heritage Malta sites

Tap Water Saving adaptors installed at Heritage Malta sites

A half-day seminar organised for Heritage Malta staff to create awareness about issues related to climate change, photo courtesy: Tony Cassar

The Heritage Malta Green Committee is committed to coming up with further initiatives to instil a greener culture among the Agency’s staff and assist management in the implementation of projects, actions and measures aiming at reducing the carbon footprint of the Agency’s operations and its sites. We encourage any feedback that can help the Agency achieve a greener culture and anyone wishing to send ideas and suggestions may do so on our official email: green.heritagemalta@gov.mt

Flora and fauna attracted to the newly adapted eco-garden at Heritage Malta Head Office, Bighi

Untitled painting by Giorgio Preca

Challenges in Conservation

Rachel Vella

Heritage Malta recently held an exhibition entitled ‘Giorgio Preca (1909–1984) ta’ Malta: An International Artist with a Modern Spirit’ at the National Museum of Art, MUŻA. Giorgio Preca was a Maltese artist who was mostly active post World War II. While he made use of traditional painting materials and their application, his true novelty lay in his ability to detach himself from the long-established tradition of realism, which was still predominant in the Maltese art scene at the time. Preca’s ingenuity could have been a consequence of his experience outside of Maltese shores, awakening his interest in the art movements emerging on the Continent. Consequently, his technique was clearly inspired by various spheres of Modern Art, amongst which were Cubism, Expressionism and also Abstraction. Moreover, while Preca often depicted realistic scenes, such as still lives and landscapes, the artist also delved into the imaginative realm, representing aliens and dragons. The former series depicted the artist’s own fictitious narrative revolving around alien creatures from outer space that landed in Malta. A large yellow abstract painting, Untitled, by Giorgio Preca, reflects the artist’s interest in depicting alien species. This work represents various geometric shapes, such as zig-zag lines and ovals, set against a bright yellow

background. The painting was produced in 1953 by Giorgio Preca, as is confirmed by a signature and date inscribed at the painting’s bottom left. It has an identical size and format to that of Preca’s work entitled Aliens from Outer Space on the Isle, which is dated to 1956. Hence, the two artworks might have originally formed part of the same series of paintings.

In preparation for the exhibition, twentyfour modern works by the artist Giorgio Preca were conserved and restored at the Paintings’ Conservation Department within

Untitled, by Giorgio Preca, after conservation

Preca’s signature dating the painting to 1953

Heritage Malta. Modern artworks often tend to be more challenging to conserve and restore than artworks executed prior to the nineteenth century. This is because Modern and Contemporary artists often deviated from the use of traditional materials and techniques established by the Old Masters in order to ensure the durability of artworks.

Manufacturing technique, state of conservation and past interventions

Upon close inspection, conservators at Heritage Malta noted that Preca’s Untitled yellow abstract was most probably composed of modern oil paint on canvas. The paint was applied onto a single large section of canvas, measuring 91.3 x 365.7 cms. Since the yellow depiction continued onto the painting’s turnover edge (tacking margins),1 the artist may have completed the work prior to mounting the canvas onto its stretcher frame. In comparison to other works by Preca, the paint of the yellow abstract was applied in an even and fine manner, while also featuring the application of bright and vibrant

tones. It, however, lacked the very prominent use of impasto, which was evident in other works by the artist, many of which were featured in the exhibition.

Moreover, the painting depicts a lack of colour saturation and light reflectiveness, the factors of which may indicate the entire lack of a varnish, or the presence of a very thin varnish application that was absorbed by the painting’s constituent materials. The painting’s reverse showed signs of dust and grime deposited throughout the years. It also depicted the presence of mould spores.

Furthermore, the artwork’s canvas featured numerous deformations which evidently conditioned the structural stability of the painting. Said structural issues could have been a result of various environmental causes including fluctuations in relative humidity. The deformations present would have been further aggravated by the fact that the painting lost its tautness over the years, and this slack led to it deforming in several areas. These distortions were particularly noted upon illuminating the painting perpendicularly from one side. These structural deformations would have also

Deformations, cracks and punctures made more evident by illuminating the painting from its side

formed as a consequence of the presence of multiple tears and punctures which threatened the object’s stability. Moreover, tears which are left untreated over the years often become progressively distorted. The punctures noted were rather large and were found in various areas of the painting, ranging from its main areas to one of its tacking folds. Most tears were identified along the weft direction, since these yarns are straighter and weaker, whereas the warp threads are typically highly crimped, thereby being stronger.2

A preventive intervention which was aimed at stabilising such punctures was undertaken in the past, during which rectangular paper patches were applied to the back of the tears. On the other hand, a white rigid material was used in order to fill the losses at the painting’s front. These fills were probably applied while the artwork was upright as the white material is also visible in various drippings seen over the paint layer. During this intervention, restorations or re-integrations in the form of retouchings were not applied to the artwork. Moreover, Preca’s bright colours were concealed beneath significant soiling, making the artwork appear darker and less saturated. The artwork also absorbed unknown substances, which caused numerous evident stains and drip marks to appear on the

painting’s front. Apart from soiling and stains, the paint layer also suffered various cracks, including stretcher bar cracks, which were resultant from the edges of the stretcher and its cross bars imprinting onto the paint layer.

Conservation and restoration interventions

The painting’s front and back were both documented by means of photography under diffused and raking light, as well as under ultraviolet illumination, prior to undertaking any interventions, and all findings were compiled in a conservation report. This process was imperative in order to identify the artefact’s condition at closer range, to document its state prior to any interventions undertaken, and to identify any treatments which the object may have been subjected to in the past.

Damaging tears in the canvas

Numerous stains, dirt and drip marks evident on the painting’s front

The back of the canvas was primarily cleaned using dry methods. The mould was then removed using a brush and a backpack vacuum cleaner having a HEPA filter, which ensured that the spores were trapped and could not be spread. The canvas was further cleaned from dust and grime using a sponge specifically manufactured for conservation. Following the cleaning of the primary support, paper patches which were adhered to the various tears during a previous intervention were removed. Upon the removal of the paper patches, five tears were made evident, three of which were closed, and two of which were open, the latter manifesting losses in the canvas support. The deformations in the canvas support were primarily treated using moisture, heat and pressure applied to the painting’s reverse. This intervention reduced distortions and facilitated the eventual re-alignment of the threads, thereby allowing for tear repair.

Following the reduction of deformations, tears were re-adhered. This was undertaken by aligning individual linen yarns perpendicularly to the tear’s direction. The yarns were aligned with the canvas’s original threads and were varied in length, in order to re-distribute the concentrated strain that originally resulted in the fracture.3 They were applied using very small amounts of a compatible and stable adhesive, reinforcing the tears, and preventing them from re-opening in the future.

Losses of canvas were then inlayed. This process involved using pieces of linen canvas with a similar weave count as that of the original, cut to the shape of the losses. These were then placed to fill each loss and adhered using a stable adhesive having an appropriate bond strength. These inlays were then further secured with individual yarns.

Above: Tear repair using linen yarns applied perpendicularly to the tear’s direction

Below: Linen inlays placed to fill canvas losses, further secured with linen yarns

The painting’s border at the upper right edge was particularly slack and weak, while also revealing a tear along the fold. This area required significant strength in order to carry the load of such a large painting, which is often held at the edges. The application of strips of canvas to the effected margins, in a method known as partial strip lining, was identified as the ideal technique to stabilise the painting’s right edge. In preparation for strip lining, the nails attaching the painting to the stretcher were removed at the top right, right, and bottom right sections of the painting, in order to expose the tacking margins and the tear noted.

The tear in this area was first reinforced using thin non-woven polyester. The right tacking margin or border was then stabilised further through the application of strips of linen canvas using a hydrophobic, strong, loadbearing and re-treatable adhesive. On their inner extremities, the canvas strips were frayed and feathered, in order to avoid the imprint of their edges onto the front of the painting, due to discontinuities in plane. The feathered edges were placed past the tacking margins in order to gradually and evenly distribute the load. The latter linen strips also permitted conservators

to re-stretch the loose painting, securing it back onto its wooden frame.

Since the stretcher’s wooden keys were either missing or damaged at some point in the past, all remaining keys were removed and expandable bolts at the stretcher frame’s joinery were installed. Each bolt was attached to each of the corners, and to alternating sides of the cross bars. The bolts were then secured in order to ensure that the painting was taut on the stretcher frame.

The front of the painting required the removal of soiling and the reduction in the visibility of stains apparent on the painted surface. Therefore, the painting’s cleaning was conducted in three distinct phases. During the first phase, dry methods - including the use of sponges designed specifically for conservation - were used.This allowed for the removal of the upper-most layer of dust. This intervention was followed by two other phases of cleaning, which were undertaken using water-based treatments.

Recent research has suggested that a solution targeting the soiling would be one having the same scientific parameters as those of the painting’s surface.4 Therefore, the

Expandable bolts were installed at the stretcher frame’s corners and alternating sides of cross-bars to ensure the painting’s tautness for years to come

artwork’s pH and conductivity were primarily measured using scientific meters. Small amounts of chemicals were then added to pure water to form a solution with the same pH and conductivity values as those of the painting’s surface. This tailor-made water solution was applied gradually and carefully to the paint layer to further clean the soiling upon its surface. This intervention was successful in uncovering the artwork’s original bright and vibrant colours.

While improving the painting’s aesthetics, this cleaning intervention also helped in preserving the artwork by reducing the risk of rapid chemical and biological deterioration.

Although a significant amount of soiling was removed using this method, a few stains and drip marks still remained visible. Additional tests revealed that it was possible to perform a deeper cleaning with the use of tailor-made aqueous gels. These gels were applied locally onto the remaining stains and were cleared in order to eliminate residues from the surface. This method was successful in leaching and removing the foreign material that was trapped within the original paint layer.

Following the various conservation treatments applied to the yellow abstract painting by Giorgio Preca, conservators proceeded to undertake the visual and structural re-integration of paint lacunae. The

Cleaning of soiled and stained painted surface

Retouching was applied over the filled losses using fine dots

re-integration primarily consisted of applying a filler to the paint losses, which was then levelled down to the painted surface. Additional filling material was then applied with a fine brush in order to imitate the painting’s texture.

Finally, retouching was carried out using a stable and reversible varnish-based paint medium. The latter restoration treatment was primarily intended to reduce the visual impact of paint losses suffered in the past. The retouching was applied using fine dots in various colours, built up to match the tonal qualities of the corresponding areas. This technique was utilised in order to ensure that viewers would be capable of distinguishing the retouched areas from the original when observed from a very close distance. The latter retouching methodology follows international ethical standards in conservation and restoration. The painting was not coated with a final varnish layer in order to respect the artist’s wish to retain the painting’s unsaturated tones.

Conclusion

In conclusion, Modern artworks such as Preca’s Untitled yellow abstract, often give rise to various new challenges for conservators. This was particularly noticeable in the cleaning of the artwork’s paint layer from soiling and evident stains. The paint was applied less than one hundred years ago and was thereby not yet fully cured, making it sensitive to various cleaning agents. The painting’s cleaning, as well as various other techniques utilised in this conservation-restoration project, were presented to the public through various videos, bringing further light onto the importance,

interest and beauty of the conservation of such Modern artworks.

Notes and References

1 Tacking margins refer to the far edges of an artwork, where the canvas is not normally painted. These are usually folded over the sides of a painting’s stretcher frame.

2 HACKNEY, S., 2020, On Canvas: Preserving the Structure of Paintings, Getty Publications, Los Angeles, p.202. During the formation of textiles, the warp yarns are longitudinally stretched on a loom before the weft yarns are interlaced by means of passing them through the warp yarns in a horizontal direction.

3 Each yarn applied was frayed on both ends in order to ensure that its sharp edges would not cause deformations at the front of the painting in the future.

4 CREMONESI, P., 2020, The Aqueous Environment for Treating Polychrome Works of Art, De Kunstkliniek Veer & Veer, Hilversum, p. 98.

Bibliography

MICALLEF, K. & VELLA, G., 2021, Giorgio Preca ta’ Malta 1909-1984: An International Artist with a Modern Spirit, Heritage Malta Publishing, Malta

CREMONESI, P., 2020, The Aqueous Environment for Treating Polychrome Works of Art, De Kunstkliniek Veer & Veer, Hilversum

STONER, J.H. and RUSHFIELD, R., 2012, Conservation of Easel Paintings, Routledge, London

YOUNG, C., ‘Accelerated Ageing of Fabric Supports: Is It Possible?’ in Scientific Analysis of Ancient and Historic Textiles: Informing Preservation, Display and Interpretation; Postprints, edited by Rob Janaway and Paul Wyeth, Archetype, London, pp. 111-117

HACKNEY, S., 2020, On Canvas: Preserving the Structure of Paintings, Getty Publications, Los Angeles

Detail of retouched losses with fine dots of varied tonalities

Joanne Dimech

In 1961 several earthenware amphorae were recovered from Xlendi Bay in Gozo. Others were taken up during the subsequent years, regrettably, sometimes illegally. These amphorae eventually formed part of the Heritage Malta National Collection at the Gozo Archaeology Museum in Victoria, Gozo. The best preserved were displayed at the museum whilst the rest – a total of 39 amphorae – are stored.1

As preparations were underway for the setup of the new Gozo Museum, from the end of 2020, these stored amphorae were gradually brought over to the Heritage Malta Objects Department laboratories in Bighi. Their conservation was ready by mid-2022. Although the great majority of the project consisted of amphorae, there were also a few other ceramic artefacts with some agricultural tools and related objects. Following conservation, some of the objects will possibly be also exhibited whilst the rest will be put in storage.

Initially each amphora was unpacked, documented photographically and its state of preservation was also recorded. This information shed light on what treatment was necessary for each amphora. Communications with the curator was also vital to understand the context of these amphorae and their historical background. Discussing the nature of the biotic crust present was also done with HM’s inhouse biologist.2

Types of amphorae

The amphorae which were conserved are of two types: the transport amphora type - large with a pointed base to facilitate carrying on the shoulder and easily stackable - and the table amphorae type - smaller than the latter, with

a flat base, used to serve food and drink. Both vessels were meant to hold food related products, namely wine and oil (correspondence with Mr George Azzopardi).3 Where desalination of the amphorae was deemed necessary, the facilities at the Underwater Department of Heritage Malta were used.

State of preservation

The state of preservation of these amphorae was dominated by their prolonged presence in the underwater environment. The complex chemical, physical and biological aspects of the underwater environment and their interaction with these objects was of great significance. The condition of these amphorae also depended on a wide range of factors

An example of a transport amphora...

...and a table amphora

intrinsic to the amphorae, such as: the nature of the ceramic fabric and the firing temperatures used. Furthermore, the drastic change in environmental conditions from a marine to a terrestrial one have undoubtedly left an impact on their state of preservation. This is especially relevant as some of them had been recovered illegally and so it is understood that measures to minimize the environmental shock were not necessarily taken or done appropriately. Although the state of preservation differed from one amphora to another, in general the amphorae had deposited surface accretions,4 and biological crusts5. The amphorae were also covered with a layer of dust resulting from their storage environment.

Some of the surface accretions were thick and intense on some amphorae while thin and sparse on others. It was also commonly noted that some amphorae had very thick concretions in certain parts, most notably filling the hollow parts of handles and below the rims, whilst very little or no concretions at all on other parts such as on the body. The presence of these accretions is likely to be related to the orientation of the vessel when it was laying on the seabed. In fact, amphora which were broken underwater may display different patterns of surface accretions.

Where the ceramic fabric was progressively very friable and powdery, the hard accretions broke down due to their loss of adhesion to the surface, exposing a deteriorated surface.

Some fouling organisms, or plants and animals which lived in contact with a manmade object (Pearson 1987:14) were found on many of the amphorae. These included various sizes of tubes worms which leave a calcareous tube around their body and adhered firmly to objects such as the amphorae.

Inhomogeneous deposition of accretions in this case thick and intense towards the rim and handle, whilst sparse on the body

The result after the amphora was bonded

Detail of the interior of an amphora showing surface accretions and predominate tube worms

A biotic crust was also observed on most amphorae. This commonly consists of a wide range of biological organisms such as different algae, sponges, and bacteria. Although after excavation and surfacing these organisms will stop growing, whilst underwater they form part of a complex ecosystem (Pearson 1987:13,14).

The most common form of damage observed on these amphorae is through impact which resulted in either breakage and/or formation of cracks. This could have happened either during the shipwreck, or due to the movement of the amphorae whilst on site, when they were taken out from the water, during transport or spontaneously from salt damage. The erosion and the presence of accretions on the edges is indicative of where damage happened underwater or not. In the case of breakages, most cases although not all, fragments of a broken amphora were brought for conservation and are likely to have been lost or possibly disintegrated with salt damage. The formation of cracks from impact were found to be either hairline cracks (minor cracks) or fractures (cracks which cross completely from one side to the other of the amphora). Hairline cracks are mostly stable whilst some fractures tend to be unstable.

Several amphorae appeared to be in a stable condition, however others manifested damages related to soluble salts, mostly chlorides of sodium and magnesium. These chlorides are a major chemical constituent of seawater (Pearson 1987:3). Such damages are easily explained due the prolonged immersion in seawater and the porosity of earthenware making the fabric contaminated with seawater (Buys and Oakley 1993: 23, Pearson 1987: 3,113). Whilst in solution such salts are not

damaging, when the amphorae have been excavated from underwater and left exposed to dry, damage occurred. When the water constituent of the solution evaporates, as a result, salt crystallisation occurs. Salt efflorescence is visible as loose white salt deposits on the surface. The formation of crystals occupies a greater volume than the solution, thus causing damage to the earthenware fabric. The crystallisation of salts causes deterioration factors, such as spontaneous breakages, crumbling, and friable surfaces.

In some cases, sub-efflorescence was also noted whereby efflorescence of salts happened under the ceramic surface. In this case, the salts become visible on newly exposed surfaces. As sub-efflorescence continues it results in scaling of the fabric.

Staining was noted on a few amphorae. Iron staining is related to their proximity to iron, possibly iron supports. Another type of staining could be a result of the original use of these amphorae, that to carry liquids such as oil and wine. Earthenware, being a very porous material, would have absorbed such materials, resulting in staining and contributing towards chemical deterioration.

Spontaneous breakage

Conservation treatment

After assessing the condition of each amphora, the proposed conservation treatment was discussed with various other conservators and senior conservators regarding the best way forward to conserve each amphora.

The first step was to clean the amphorae by dusting the surfaces with a soft brush to remove loose surface dirt. Cleaning of engrained dirt was carried out using brushes and cotton wool swabs with deionised water. With whole and intact amphorae, only the external surfaces

were cleaned, so as not to hinder any possible analyses being carried out in the future.

Marine concretions were not removed as the amphorae were not completely encased in concretions and thus the original ceramic surface was not completely disfigured. The concretions were also evidence of the marine environment which the amphorae were part of after the shipwreck and thus part of their history. Although laden with soluble salts, removing the concretions might cause damage to the ceramic itself. Being calcium based, the concretions might be harder than the ceramic fabric, so removing them would require the exertion of physical stresses which the ceramic might not withstand. It could also be difficult to remove such concretions due to the possibility of them to have penetrated into the ceramic body.

Desalination by immersion was carried out on 6 amphorae, as the problem of soluble salts was pertinent. These amphorae were first dusted with a soft brush. Where the surfaces of the amphorae were very friable, preconsolidation of the fabric was carried out before desalination.

This was done by applying 2% Paraloid B72 in acetone (w/v) by brush or by immersion for very small pieces. This process was repeated for very deteriorated pieces as was necessary. The pieces

Scaling of the fabric

Three amphorae undergoing desalination

were placed in large tanks which were filled slowly with deionised water allowing for air in the body to escape slowly. Daily readings of conductivity were taken until constant readings were achieved. When this happened, the water was changed and readings were continued to be taken. Once readings were sufficiently low, desalination was stopped, and the gradual drying process was started until the pieces were completely dry. The very friable amphorae were consolidated again after desalination.

Hairline cracks were consolidated with 2% Paraloid B72 in acetone (w/v). Wider unstable cracks were consolidated with 15% Paraloid B72.

The amphorae which had broken parts were then bonded in place. However, initially a trial assembly was carried out to determine the position of each piece. Without this crucial step, it could be difficult to find the place of certain pieces and thus this trial provided a guide on the order of bonding the pieces. These were held temporarily using strips of masking tape, clamps, bandages, cushions made from bubble wrap and buckets. The use of these materials depended on the shape, size, fragility of the body, as well as the presence of concretions. During this process, the pieces were numbered and then dismantled. Any amendments were done as required and the process was then repeated, this time with adhesive applied on the edges. Achieving a good alignment was difficult on a particular amphora with eroded surfaces and edges, which as a result left small gaps following reconstruction.

When choosing the most adequate adhesive, various criteria were considered. Firstly, the environment the amphorae will be exposed to (both in storage and exhibition), reversibility, glass transition temperature (Tg

- the temperature at which an amorphous polymer changes from being hard to a rubbery state [Horie 2010: 430]), aging, and practicality. Taking these criteria into account, Paraloid was used. This is a thermoplastic acrylic resin which is widely used in the field of conservation. Initially, the edges were primed with 5% Paraloid B72 (w/v) due to its superior aging properties when compared to Paraloid B44. Parlaoid B72 was applied by brush. After drying, 40% Paraloid B44 in acetone (w/v) was applied by brush or from a tube. Paraloid B44 was opted for because of its higher Tg when compared to B72 (Buys and Oakley 1993: 189, 190). After drying, excessive adhesive was cleaned off with a scalpel and by swabbing with acetone.

Conclusion

The conservation of these amphorae was a diverse project because each amphora had its individual requirements, as well as some challenges. Being large and heavy artefacts, extra measures were taken to support the pieces during the interventions, especially when it came to bonding. For packing, sturdy boxes were used with adequate cushioning to ensure safe transit to Gozo. From the 39 amphorae, one was found to be particularly challenging because of its advanced deteriorated state, large size and weight. This had to be handled with extreme care. Bonding the sherds of this amphora was a laborious task because the eroded edges made alignment difficult.

Despite the difficulties encountered, these amphorae were conserved following ethical principles of conservation. The processes of

cleaning, consolidation, desalination, and adhesion were carried out to preserve these artefacts and allow them to be appreciated by the general public. Ensuring the long-term preservation of these amphorae requires a preventive conservation approach focused on providing environmental controlled conditions, a clean environment and minimal handling.

Notes and References

1 Personal communication with George Azzopardi, Principal Curator of Phoenician, Roman and Medieval at Heritage Malta sites, August 25, 2022.

2 Personal communication with Stephanie Sammut, biologist and curator at Heritage Malta, July 22, 2022.

3 Personal communication with George Azzopardi, August 25, 2022.

4 Deposited surface accretions is a general term referring to the deposited material on the exterior surface or inside an object. They are of various chemical nature, that is either silica based or calcium carbonate based. The chemical nature of the accretions is determined by the surrounding microenvironment especially pH and water temperatures (Pearson 1987: 12 and 13).

5 Biological or biotic crusts refers to the presence of a variety of living organisms on the exterior surface or inside an object (Pearson 1987: 14).

Bibliography

BUYS, S., and OAKLEY, V., 1993, Conservation and Restoration of Ceramics. Butterworth Heinemann: Oxford

HORIE, V., 2010, Materials for Conservation: Organic Consolidants, Adhesives and Coatings. Butterworth Heinemann: Routledge London and New York

PEARSON, C., 1987, Conservation of Marine Archaeological Objects, Butterworths: London

...after being painstakingly pieced and bonded together following treatment

Pieces of a broken amphora before and...

Museums & Sites

the mediterranean in a nutshell

NEW EDITION available in Paper back or Hard back

Katya Micallef

The Modern and Contemporary visual art collection within MUŻA is made up of various artefacts that range from painting, sculpture, video art, installations and photography. Key works started coming together in the collection following several important donations, but nonetheless, lacunae in the story of modern and contemporary art in Malta were and are still evident. In view of this situation, a substantial part of the Contemporary Fund, managed by Heritage Malta in 2010, was allocated to address such lacunae through the acquisition of additional artworks.

There are instances when key works are not in the possession of artists and their families, so the curatorial team within Heritage Malta will be on the look out of any possible sale which can be from a private collection and later be sold through an auction. This has happened recently in 2022.

The curatorial team was informed that a private collector, who had befriended several key artists, would be selling his 30-year-old collection due to personal reasons. The sale was going to take place through a local auction house that started promoting such sale just after summer. The curators responsible had to research and check which works within this private collection could fill the lacunas within the National Collection of Malta. This lengthy process has to be summoned through justifications that would give Heritage Malta the ‘right of preference’ that is exercised by the Superintendence of Cultural Heritage.

On the day of the auction, which was held in November, Heritage Malta’s representatives used the ‘right of preference’ on two works, Giorgio Preca’s (1909 – 1984) Bozzetto for Crucifixion and Antoine Camilleri’s (19222005) lino print representing St Francis.

Details from the paintings: Left: St Francis by Antoine Camilleri, and Right: Crucifixion of Giorgio Preca

The Bozzetto for Crucifixion by Giorgio Preca

The Bozzetto for Crucifixion was done for an artwork that was initially commissioned for the Stella Maris Church in Sliema and later removed to be relocated in the Żejtun Church. This is an extremely important work in 20th century art in Malta, since it is one of the first examples of local art censorship that is widely documented by art historians and critics.

The Crucifixion was originally commissioned by a parishioner following the restoration of some paintings at the Stella Maris Parish Church. This work was initially hung and blessed by Archbishop Michael Gonzi on 17 April 1946 and was positively reviewed by Edward Sammut, as art of the time. Notwithstanding positive critical appreciation, this work turned into George Preca’s worst nightmare, since the parishioners disliked the work, and as soon as the original patron passed away, they requested for its removal from the church.

Eventually, in 1956 the painting was removed from its original placement at Stella Maris Church to that of Our Lady of Mercy at Bir id-Deheb, Żejtun, where it hung as the main altarpiece. The Malta Society of Arts, Manufactures and Commerce protested on its removal, as ‘an unjustified snub to Maltese artistic talent’ and suggested that it should be deposited at the Museum in Valletta, to no avail. However, this unfortunate painting was to achieve iconic status as a symbol of Maltese Modernism in the mid-1950s.

St Francis by Antoine Camilleri

The St Francis lino print by Antoine Camilleri is considered as his masterpiece in this medium, in fact a new edition of the same copper plate was reprinted in 2002. The sacred art piece represents one of the artist’s most cherished figures. In this composition, the saint is in kneeling position on a cliff edge with uplifted face and hands in prayer position. Camilleri’s interplay of horizontal and vertical lines creates strong contrasts which the artist nicely manipulated due to his mastery in line drawing and the use of the lino cut technique. The repetitive straight lines and textures give the viewer a tranquil but at the same time powerful impact which makes the viewer keep on looking at the details, which include birds, fish, and a small tortoise. Only an artist such as Camilleri could have created such harmonious, yet at the same impactful composition.

Another important aspect about this work is that unlike its original series, that was dated in 1974, this work is dated to 1973. According to one of the curators specialising in paper and printing, this is an early impression of the work even though it is not marked as an artist’s proof. However, more research is required especially when reading that Camilleri practised this technique only for a couple of years between 1971 and 1976.

These two works of art by key local artists of the 20th century are now part of the National Collection where museum visitors and researchers, following in-depth research by different curators that keep an eye open on the national and international art market, can further appreciate these artworks which were owned for years by private collectors.

Maria Micallef

Education during WORLD WAR II

Amost noteworthy feature of the War in Malta has been the demand of a considerable body of public opinion for increased and improved educational facilities in Malta after the war”.1 These are the opening words of a World War II report forming part of the hefty file on ‘Education in Wartime Malta’ found within the National War Museum Archives. The file is a window into what happened to the education system in Malta during one of the most turbulent times in history – when the focus should have been more on survival and how to fill up one’s belly, rather than on sitting for examinations and learning one’s arithmetic and history dates. The fact that any form of learning continued is a testament to the spirit of human resilience and the need to impose some sort of routine and structure when all around was in chaos and terror due to the constant bombings and the uncertainty of not knowing what the next week, day or even hour would bring.

The Director of Education in Malta during the war was definitely a man in an unenviable position. The education system in Malta had long been plagued by a number of problems, chief amongst them being the lack of space to accommodate all the children of school age whose parents wanted to send them to school, and the lack of sufficiently trained teachers. This was not surprising as the wages paid for teaching were ludicrously low.2 The then director Albert V. Laferla had in fact talked to the previous Governor of Malta, Charles Bonham Carter about the situation, but by the time war broke out the matter was far from resolved. Laferla has been described by many as a very capable man,3 a man of discipline who believed in the Empire,4 and this is reflected

in the way he ran the Education Department during his tenure lasting more than 20 years.

Education had been considered a very important issue when the first general elections were held to elect the first Maltese Government in 1921. The Constitutional Party under Strickland’s leadership had placed the issue on its electoral programme and even though he was not elected to government, he never ceased advocating for improvements in the sector, even though in opposition. The Education Act was passed in 1924. The Act itself was not hailed as a huge step forward, but the number of schools needed to accommodate students had to increase.5 The Compulsory Education Act of 1924 helped to regularise attendance as it decreed that once children were enrolled into school, they could not be withdrawn by their parents until they were 14 years of age, or had passed their final exam.6 In 1939, attendance to primary school was free but not compulsory. About 29,000 students attended but there were more than 13,000 who did not – not because they did not want to attend but mainly because they could not be accepted due to lack of space and shortage of teaching staff.

In Malta, the British Government had always taken a special interest in education – mostly because of the language question. Languages studied in schools were of paramount interest and this at times caused problems for the students. Children were taught English and Maltese in primary school. When they progressed to secondary school, Italian was also compulsory, causing great difficulty for state school students. In a letter dated 21 December 1940, G. Azzopardi complained that primary private schools were teaching the Italian language which put government school

students at a disadvantage.7 By the end of the war, changes in syllabus meant that Italian became just another language, similar in importance to Latin and French. In 1939, the Italian language lost its status with regard to being on par with English and Maltese. This was further confirmed when the Regia Aeronautica started raining bombs on the Maltese Islands. School was just about to break up and, thus, the term finished a little earlier.

During summer recess, empty school buildings were taken over as Air Raid Protection Centres and much needed hospitals. Some students were asked to play a prominent role in the defence of Malta. Within the archives of the National War Museum, there is an account by the leader of St Edward’s College Scout Group. In the account, R.K. Brady, the author of the report, describes how he was approached by the Army to ask his troop to assist military authorities by guarding the coastline along

Mtaħleb. The British authorities were expecting the enemy to invade at any moment when war broke out. In the meantime, the Army was still in the process of organising adequate lookouts to cover all of Malta’s coastline. The boys used to camp in tents and were issued rations by the Army. It must have been a huge adventure for these young Scout members. They manned this post for almost 6 weeks, until the enrolled soldiers were assigned to act as watch guards.8

The problem of shortage of space became worse as schools started to be used as refugee centres and as billets for the services. Teachers were assigned the role of Protection Officers, Inspectors in the Special Constabulary, as well as nurses and officers in other services. When schools reopened in September 1940, the problems which had plagued the Education Department since before the war, became even more acute. To make matters worse, 10 schools had been hit during air raids. The Education Department started to rent private premises in order to use the property where children could continue their education.9 The Church

Photo of milk being distributed to children during wartime, Inv. No.: WMA/PHO/MSC/22

also lent spaces available to be used for teaching, and even the Royal Opera House started to be used for educational classes. Alfred Cachia remembers being taught in the old church of Birkirkara and witnessing some four or five funerals during his time there as a student, as at the time, burials were still held within the churches.10

In order to accommodate children under these limitations, schooling was offered on a part-time system. Children attended either in the morning or in the afternoon, which meant that they could only follow a ‘restricted’ syllabus. Parents complained about this. A case in point was a letter by a dockyard worker, appearing on the Times of Malta in 1942, whereby he lamented that his older son had not had the opportunity to sit for his examination which would allow him to continue his studies at Secondary Level, while his other son was only attending school in the mornings.11 Classrooms had to be close to shelters, for obvious reasons. A number of teachers continued with their lessons underground

School hall used as hospital, Inv. No.: WMA/PHO/MSC/40

when the air raid alarm sounded, even though there was no electricity in most of these shelters.

Angelo Grima of Senglea, a teacher who began teaching in Birkirkara where he had moved as a refugee, describes the system as makeshift and says he never gave any lessons while in the shelters.12 Children also had to share their textbooks. Other people taking cover in the shelter would listen in on the lessons and sometimes even interrupt. This state of affairs must have been hard on both teachers and pupils. Furthermore, one must also add the bombing going on above ground, as well as the heat or cold suffered and the general

unpleasant smell often reported to have been a staple feature of life within the shelters. It must also be kept in mind that wartime children were leading a very unsettled existence, frequently being woken up during the night due to the incessant bombing, as well as suffering hunger with the depleted rations.

Secondary school students found it even more difficult to continue their education. For the majority of these pupils, their school was not located in their village, which meant they would have had to travel in order to get to their destination. Fuel was scarce and one must also factor in the very real danger of being caught in an air raid. Arrangements were put in place and attendance to secondary schools was reduced to 3 times per week. School work was given to continue at home in order to make up for missed time at school. Examinations were another major problem. Plans were made to hold them in shelters for safety purposes.

Left: Letter dated 1944 appointing Miss Nina Borg as School Mistress, Inv. No.: WMA/ART/84 and Below: Wartime English exercise book donation from Heritage Malta Collection

Conclusion

It is quite extraordinary that although the islands were going through such a difficult time – in 1942, it is a known fact that a date for surrender due to the immense shortage of supplies had already been set – great efforts were still made to try and give students some sort of formal education. The Department of Education continued working as close to normal as was possible under the circumstances. It seems that promotion continued to be issued in order for schooling to keep running as smoothly as possible. In the National War Museum archives, an appointment letter issued to Miss Nina Borg in 1944 is a testament to this. Dr Laferla was recognised for his work and received the CBE in 1942. Sadly, he died one year later, but his legacy would have long lasting effects on the Maltese educational system.13 The situation did not immediately return to normal after VE day. It would take years before the makeshift hospitals were closed and school buildings returned for their intended purpose to be used by students and teachers.14 After war ended, the Compulsory Education Act of 1946 decreed that all children between the ages of 4 and 14 were to attend school.15 This was a major improvement over the Education Act of 1924, as parents would now be breaking the law if they did not send their offspring to school and would prove to be instrumental in ensuring that all Maltese children had access to education, thus more equal opportunity to better one’s circumstances.

Notes & References

1 ‘Education in Malta at the Outbreak of War’, September 1939

2 Bonham-Carter Diaries

3 Debono & Grixti, 1998

4 Caruana 2002

5 Education in Malta, Nov 1941

6 Cassar, 2018

7 Azzopardi, 1940

8 Brady, Report of the Scout Group

9 Education in Malta from September 1939 to December 1941

10 Cachia, 2005

11 Cutajar 1942

12 Grima, A 2002

13 Carabott, 2023

14 Cachia, 2005

15 Bezzina 2015

Bibliography

AZZOPARDI, G., 1940, Education, Times of Malta, 21 December 1940.

BEZZINA, C ., 2015, Malta, in W. Hörner, H. Döbert, L. Reuter, & B. von Kopp (Eds.), ‘The education systems of Europe’ (pp. 523-543), Switzerland: Springer International Publishing.

BRADY, R.K.’ 1940, Report of the Scout Coast-Watching Camp, ‘Malta between 3rd June and 19th July 1940’.

CACHIA, A ., 2005, ‘Makeshift education in wartime Birkirkara’, Times of Malta, 8 May 2005.

CARABOTT, S., 2023, ‘National archives get documents by pioneer of modernisation of Maltese law. Acquisition includes also correspondence by man who introduced education system’, Times of Malta, 25 January 2023.

CARUANA, V., 2002, in Mizzi, L., The People’s War. Malta: 1940/43

CASSAR, G., 2017, ‘The Compulsory Attendance Act and its immediate aftermath in Malta’s educational development’, The Educator, No.4/2017, pp. 53-68.

CUTAJAR J., 1942, ‘Education’, Times of Malta, 26 January 1942.

DEBONO, C.A., & GRIXTI, A ., 1998, ‘Primary Education in Malta during the Second World War (1940-1943): A Social History’, unpublished BA dissertation, University of Malta.

Education in Malta at the Outbreak of War, September 1939. In NWM/GOV/REP/21.

‘Education in Malta’. Times of Malta, 17 November 1944.

Gypsoteca Gypso-take-care!

Preservation of Plaster Casts

James Licari

In Malta, plaster sculptures and architectural stucco decorations are quite popular. Some of the largest collections on the islands pertain to the Antonio Sciortino and Vincent Apap bequests in the Heritage Malta Collection at MUŻA, as well as the plaster cast copies students produce within the School of Arts, Valletta and the Gypsoteca at the Old University, Valletta.

As in all conservation interventions, the values of such collections must be acknowledged, and this also includes their purpose and function.

The story behind plaster casts and their properties

Most historical plaster casts were not originally made for display and are not meant to look ‘pure’ milk-white. Consequently, respect for the history of these items and collections is also imperative. Thus, for example, those pertaining to the School of Arts are not ‘restored to their former glory’ and various marks on them are actually considered historic.

The earliest evidence on the use of plaster for sculptural purposes was by the Greeks. With the collapse of Rome, the use of plaster casting is assumed to have declined. This is because no references to this art were found until the Renaissance period, when Andrea del Verrocchio1 significantly contributed to the casting in moulds.2 This practice had facilitated the artistic production of works by Verrocchio, as he used natural objects, such as hands, feet and arms, which were required in his studio for reproduction purposes. Following Verrocchio, other artists used casts of dead people’s

heads3 in order to execute their works. Since then, plaster casting has been continually used for various other artistic reasons, as well as to create various sculptures.

The material of plaster is essentially produced from the calcination of gypsum (CaSO4.2H2O). The partial dehydration of gypsum results in a hemihydrate (CaSO4.1/2 H2O).4 Upon reaching 107°C, gypsum converts to ‘plaster of Paris’ (2CaSO4.H2O).5 When water is added to this powder, the 1½ parts of water possessed prior to calcination are recombined to form an inert solid substance.6 Plaster of Paris is partially soluble in water especially at room temperature.7

Its porosity and hygroscopic8 content significantly affect the state of preservation of the sculptures. This could also lead to mould growth and the entrapment of dirt9 which makes cleaning difficult. Besides being an inexpensive material which is commercially easily available, it has an added advantage of being cast, shaped or modelled before drying, but it rapidly sets to produce a hard, compact solid.10 However, plaster of Paris also has some setbacks for sculptural purposes, as it lacks elasticity and has to be used quickly since it cures rapidly.11

A plaster maquette for the Dante Alighieri Monument by Vincent Apap before and after conservation

Various plaster casts from the Heritage Malta Collection

NB: All images in this article were provided by the author

Manufacturing techniques

Many local plaster sculptures are considered originals as they are plaster sculptures cast from an original clay model. This original model is sculpted or modelled by the artist himself, from which a negative plaster mould is then produced, with its necessary dividing lines due to the undercuts present. Once this negative has set, the original clay is removed and possibly lost. Following this step, a separating agent is applied internally to the mould and fresh plaster is pressed onto the negative. When this latter plaster has set, the negative moulds are removed and the new cast is then further refined by the artist. In some cases, the artist also patinates or colours the plaster to simulate a bronze finish. When added support is required, for instance to stabilize protruding parts, the sculptor might insert wooden or metal armatures. In some cases, the artist may have also used a textile mesh or threads (sometimes animal hair was used in the past) to support and strengthen the plaster.

On a number of plaster casts, small pencil marks or a sequence of dots can be observed, these are done by an artist using a pantograph.12

These must be retained and not cleaned off, as they are original to the artist’s work.

State of preservation

Most sculptures, in the previously mentioned collections, are all entire with no apparent major damages or loss. They are covered in a layer of grime, mainly composed of settled airborne dust which happens over the years. In an overall assessment, most sculptures are not in any urgent need of conservation. They will require a basic intervention of removing, where possible, this accumulation of grime from the surfaces. There are some minor surface stains on some, which may possibly be toned down with cleaning, while cracks and stains may have been caused by the corroding internal supportive structure. Micro surface cracks may be evident but they are not considered as endangering in any way the sculpture’s integrity.

Scratches and abrasives could have been done through past botched conservation procedures possibly by ‘restorers’ who were not formally trained in conservation. These caused abrading to the original surfaces to remove stains or ingrained dust. Stains have been found to be caused by using non-controlled water-based cleaning techniques, such as steam cleaning, surface gels or brush washing. Other improper interventions are done by using strong acidic or alkaline treatments, which penetrate the pores of the sculptures leaving residues. These may not be evident immediately but activated later on when the objects are exposed to humid environments.

Various plasters from Heritage Malta Collection showing materials used for internal support such as wood, metal, sack cloth, straw and cane

Superficial cleaning

It is advised that if cleaning these vulnerable plaster casts is required, a qualified and experienced conservator-restorer is consulted. Regular maintenance can be kept with a soft brush to remove superficial dust. However, at times, apart from soft dusting, the cleaning process may require cleaning tests, gel cleaning, mechanical cleaning i.e. with a surgical blade or cotton swab, consolidation and plaster integration, as well as chromatic integration. Handling should be done wearing gloves as this prevents the direct contact with natural skin oils which may eventually penetrate the plaster and develop into a stain in the future.13 When lifting a plaster sculpture it should be held from the heaviest part, for an even distribution of its weight, otherwise the plaster may develop cracks or breaks completely. The movement of plaster sculptures should be done on carts, cushioned with polyethylene foam,14 to protect them from any possible damages with unnecessary jerks. The suggested packing of these sculptures is to wrap them with acidfree paper, followed with further wrapping in bubble wrap. Great care must be given to protruding edges. These should be packed with thicker cushioning, e.g. foam or bubble wrap, to buffer the impact of possible knocks or scratches. A slight knock to a plaster cast can cause drastic damage to the entire sculpture, thus prudence must be stressed throughout the packing and transportation process. It is also recommended that each item is placed into an appropriate, individually packed crate or box. This container must cater well for the protection of the various protruding parts as well.

Ideally though, it may be suggested that a foam casing for fragile and easily abraded sculptures is used instead of the bubble wrap, to provide a denser protective layer around the sculpture, as tight bubble wrap may cause abrasion every time the sculptures are moved. The foam may easily be carved out to accommodate small sculptures or protrusions with ease. These foam casings can be retained for reuse during the sculpture’s return transportation and even for any other future exhibitions.

Storage and exhibition

Plaster sculptures are recommended to be stored on light-weight shelving in a restricted area within the museum or location, with temperature and relative humidity levels kept as stable as possible. The recommended range of temperature is suggested to be between 13°C and 18°C, while an RH range between 35% and 45% is suitable. Storing plaster sculptures close to windows, for instance, should be avoided, since wetting/drying and/or heating/cooling cycles

Top: Examples of deterioration in some plaster casts and Right: Detail showing effects of corroding in the internal structure of the Brother and Sister by Vincent Apap

might lead to exfoliation or delamination.15 For these reasons, it is very important that the storage environment or exhibition area is adequately checked and monitored. In order to avoid biological growth, the storage space should also be kept well ventilated, in addition to low RH levels.16

Dust should not be left to settle on sculptures as this can trap water, which in turn promotes the growth of mould or mildew. Furthermore, to minimize the risk of deterioration from dust accumulation, Tyvec® can be used as a material to cover the objects. Polyethylene plastic sheets, which may be a cheaper remedy, could be used to cover the shelves and thus exclude dust,17 but it must be checked for off-gasses.

It is of paramount importance that plaster sculptures are not left in direct contact with water since plaster is soluble in water and will cause the surface to soften. Storage should be at least at a minimum of six inches from the ground to protect plasters in case of flooding and humidity.18 It is also important to consider the presence of other materials within the object, besides plaster. For instance, sculptures

have wooden or metal internal support structures. The variable capacity of different materials to take up and release water from the structure may cause various damaging effects, such as the cracking of plaster. For example, wood absorbs water and expands greater than plaster, causing the plaster to crack. Similarly, metal corrodes and expands causing ‘jacking’ i.e. expanding and pushing out,19 which also results in cracked plaster.

Storage shelves should be cushioned to prevent chipping the plaster sculptures. This could also be evaded by using high-density foams, as for transportation. On the shelves, the sculptures should be distributed spaced out for their easy access, including space on top of the sculptures, for safe handling.20 They must also be secured against theft.

Conclusion

As can be seen from above, prevention is better than cure and all choices, whether for or against conservation-restoration, depend greatly on the ‘values’ of the sculptures and collections. Based on the manufacturing techniques, such works might be the only way that an artist’s authentic artistic qualities and knowledge can be closely observed. Hence, the preservation of these works for present and future generations is essential.

Over plastering the edges of a joint roughly, obscuring the original

Left: A coat-of-arms during conservation

Right: A painted portrait bust before and after conservation, both by Vincent Apap

Modelling of a future bust of the late Queen Elizabeth II by Vincent Apap

Notes & References

1 Andrea del Verrocchio (c. 1435-1488), an Italian painter, sculptor, and goldsmith. Originally, he was Andrea di Michele di Francesco de’ Cioni who became a master of an important workshop in Florence. Apparently, he became known as Verrocchio after the surname of his master, a goldsmith. A number of important painters were trained at his workshop including the renowned Leonardo da Vinci. Verrochio’s important works were as a sculptor and his last work, the Equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece

2 Ibid, pp.57, 58.

3 Ibid, p.58.

4 www.artmolds.com/ali/history.plaster.html

[Accessed: August 2020]

5 Rich 1947: p.57.

6 Ibid pp.59, p.60.

7 Rich 1947: p.60.

8 Hygroscopic is the process of absorbing moisture from the air.

9 Conserve O Gram, 8/2, p.2.

10 Rich 1947: p.61.

11 Ibid.

12 A pantograph is an instrument for copying a plan or drawing on a different scale by a system of hinged and jointed rods

13 Conserve O Gram, 8/2: p.4.

14 Ibid.

15 Conserve O Gram, 8/2: pp.2,3.

16 Ibid, p.3.

17 Ibid.

18 Ibid.

19 Ibid, p.2.

20 Ibid, p.3.

Bibliography

BAUDRY, M.T., 2000, Sculpture, Editions du patrimoine: Paris.

BEALE, A., CRAINE, C., FORSYTHE, C., 1977, ‘The Conservation of Plaster Casts’, AIC Preprints, American Institute for Conservation 5th Annual Meeting, Boston, Washington D.C., pp.18-24, America Institute for Conservation (AIC).

BONE, D., 1998, ‘Plasters of Paris (and Beyond): The Conservation and Display of Plaster Sculpture’, Conservation News, 65, pp.43-46.

DRYMAN-WEISSER, T., 1992, ‘Metal Objects’, in Caring For Your Collections, ed., Whelchel, H. New York: The National Committee to Save America’s Cultural Collections.

GEIGER, T. AND MICHEL, F., 2005, ‘Studies on the Polysaccharide JunFunori Used to Consolidate Matt Paint’, Studies in Conservation, 50, pp.193-204.

MACKAY, A., 1997, ‘Treatment of a Painted Plaster Sculpture: The Bard by Emanuel Hahn’, Journal of the Canadian Association for Conservation, Canadian Institute of Conservation, Vol. 22, pp.31-38.

MARQUES, S., ‘Mixed Media Object: Large and Fragile Structure’, Autumn 2004, V&A Conservation Journal, 48, pp.13-15, V&A Website.

OZAKIN, R., 2007, ‘Traditional Gypsum Plaster Windows: Manufacture and Conservation’, Preprints Interim meeting of the ICOM-CC working group, August, Nova Gorica, Slovenia, This article is on JSTOR.

RICH, J.C., 1947, The Materials and Methods of Sculpture, New York: Dover Publications Inc.

ROSENBURG, A., 1977, ‘The Treatment of Fourteen First Century Plaster Masks from Egypt’, Preprints of Papers Presented at the Fifth Annual Meeting of the AIC, Boston Mass, 30 May-2 June, , pp.107-114, (AIC).

THOMAS, G., 2000, Bronze Casting: A Manual of Techniques, Crowood: Wilthshire.

WOLBERS, R. C. AND LITTLE, M. A., 2004, ‘The Surface Revealed: Cleaning of Two Painted Plaster Sculptures’, AIC Objects Speciality Group Postprints, Vol.11, (AIC).

‘Care of Objects Made of Plaster of Paris, 2002, CCI Notes, Minister of public works and Government Services, Canadian Institute of Conservation.

VELLA, D., 2007, Antonio Scortino in Gozo: on the 60th Anniversary of his Death, Malta: Heritage Malta.

Left: The author cleaning the maquette plaster cast of Anita Garibaldi Right: The use of gel cleaning, an innovative technique

Sharon Sultana

Curator’s pick... Stone Hand from Ħaġar Qim

The focus on artefacts from the Neolithic period normally falls on the captivating statues, and one tends to oversee the other smaller carvings also discovered in Malta’s megalithic structures, which are equally as fascinating. One such fine example is this stone hand, discovered in 1914 by the caretaker of the site, along with 2 small heads and one statuette.

This puzzling artefact, carved out of globigerina limestone, measures 8.1 x 4.6 cm. The thumb is carved separately, while the fingers are cupped together with only three faint incisions on the outer side of the object to indicate the individual finger. The reason for carving just a hand is, and will probably remain, both curious and mysterious.

The Stone Hand from Ħaġar Qim (Inv No. 21297) with image on the right, the underside of the hand, with faint incisions for the fingers made visible under raking light

Fresh from the Press...

Slavery, Treason and Blood The 1749 Plot of the Slaves in Malta

By William Zammit

HARDBACK • 400 PAGES • FULL COLOUR ON COATED PAPER

The main protagonists of 1749 remain the slaves themselves, albeit mostly silent and with their limited recorded discourse uttered only under duress. In few other instances have actions spoken louder than words. Their quest for liberty, strong enough to make them take terrible risks, remains an indelible testimony of the innate human yearning for freedom. Condemned to an atrocious death, their captors proceeded to extend the hapless slaves’ bondage even to their souls. Many succumbed, but others resisted that last onslaught. Subjugated in body, but not in spirit, theirs was the final act of defiance and a public assertion of the tenacity and determination of the human spirit.

“This in-depth, comprehensive, skilfully weaved and lavishly illustrated volume constitutes a leading reference on eighteenth-century Malta and is a must-have for every self-respecting Melitensia collector. Ultimately, however, it should instil conscious appreciation of the liberties and rights which our forerunners toiled to earn.”

Mario Cutajar Chairman, Heritage Malta

“A story of intense physical and psychological suffering engendered by egotism, ambition, power and revenge. It is, above all, a tragic attestation of humanity’s innate craving for freedom across time. To this day the price of liberty remains high, at best exacted through constant vigilance and sacrifice. For so many millions it remains elusive and unaffordable.”

William Zammit Author

Heritage Malta Publishing is launching a new series to its exclusive literary genre

BIOGRAPHIES

Joseph Calleia

From Little Italy to Little Things

by Alan Fenech

HARDBACK

The first title of this series is fittingly dedicated to the acclaimed Maltese character actor Joseph Calleia: From Little Italy to Little Things. The Hollywood actor’s unique and inimitable qualities are brought to the fore by Alan Fenech’s skilful delving into each and every character Joseph Calleia portrayed during his 57-film career spanning over three decades.

“We are pleased that there is finally a book on Joseph Calleia, and especially pleased that it is a scholarly analysis focusing on his representation of masculinity in gangster/ noir films…”

Prof. Saviour Catania and Prof. Gloria Lauri Lucente University of Malta

“Joseph Calleia is an inspirational story … a Maltese actor who succeeded beyond Malta. From his humble beginnings in Rabat, he went on to pursue an acting international career… Calleia reminds us that no goal is unattainable and no dream impossible…”

Johann Grech Malta Film Commissioner CEO Malta Film Studios

Order

Scan

Fr Marius Zerafa OP (1929-2022) Director of the Museums Department (1981-1990)

A Dominican of the Province of Malta, Fr Marius, as he was affectionately known even within the arts scene in Malta, certainly left his indelible mark as curator, lecturer, critic and conservator. As curator of the Fine Arts Section (1970-81), he was crucial for the setting up of the National Museum of Fine Arts in 1974. With his avant-garde approach, he empowered the young upcoming Maltese artists with a platform to exhibit their work.

He is undoubtedly mostly remembered for his involvement in the recovery of Caravaggio’s St Jerome, when it was stolen from St John’s Co-Cathedral in 1984. As director of the Museums Department, and with his expertise on Italian Art including the famous artist’s works, following tactful negotiations the painting was returned to its rightful place – a story which he later documented in the Caravaggio Diaries.

During his career as a distinguished art academic, Fr Marius has a number of publications to his name and was awarded the MSA’s prestigious Gold Medal in 2011. He also inaugurated a number of museums focusing on less appreciated aspects of our Cultural Heritage, for which we certainly owe him much. He passed away on Sunday, 23 October 2022, at the venerable age of 93. Flags at all Heritage Malta museums and sites were flown at half-mast as a sign of respect. On Tuesday, 25 October, Fr Marius was laid in state at the Convent of Jesus of Nazareth, Sliema, and following requiem mass at the Parish Church of Jesus of Nazareth, he was interred at the Santa Maria Addolorata Cemetery.

Frá John Edward Critien (1949-2022)

Knight Resident at Fort St Angelo (2000-2022)

Frá John Edward Critien was born in Sliema on 29 September 1949. Following his education in Malta, he pursued his studies in Italy, where he lived in Pisa for 22 years. During his time in Italy, Frá John was involved in voluntary work with the Sovereign Military Order of Malta (the Order of St John). In 1983, he was inducted into the Order as a knight of the third class in the Grand Priory of Rome. In 1993, he was elevated to a Knight of Justice when he took perpetual religious vows. In 1994, he was elected for his first five-year term within the Order’s Sovereign Council. He was further entrusted with curating the library, archives, and art collections of the Order. In 2001, Frá John was promoted to Knight Grand Cross and re-elected in the Sovereign Council in 2009. In 2012 he achieved the rank of Bailiff Grand Cross of Justice, the first Maltese ever to reach this position within the Order. Following his re-election in the Sovereign Council in 2014, for a short period in 2016-17, he served as Grand Chancellor ad interim of the Order. On 28 August 2022, he was selected as the Grand Prior of Rome, an office he kept until his death on 3 December 2022.

In 2000, Frá John was appointed Knight Resident Fort St Angelo responsible for the administration and embellishment of the upper area of the fort. Following Heritage Malta’s entrustment of other parts of the fort in 2007, a long and trusting relationship with Frá John evolved. Ever so keen to collaborate with the Agency, Frá John was instrumental in several projects, including the restoration of the fort’s ship-mast in 2019 and the opening of Upper Fort St Angelo to daily visitors in the same year. His enthusiasm was continuous, with other plans being formulated with Heritage Malta right until his passing. His care and commitment to this historic site will surely be remembered for generations to come.

The Contributors

ABELA Ruben is a graduated architect and civil engineer (University of Malta, 1992) specialising in Land-use Planning and Urban Design. He also obtained a Post-Graduate Diploma in Environmental Management (1995) and an MSc in Conservation Technology (1997). Between 1992 and 2006, he was employed by the Planning Authority, later MEPA, and served in managerial positions in Development Control and Enforcement Units. Since 2006, Perit Abela has held the post of manager at Heritage Malta, save for a 1-year period (2016-17), when he was appointed CEO for the newly set up Environment and Resources Authority. His most important responsibility to date was when he lead the European Regional Development funded project of the conservation and restoration of Fort St Angelo.

AQUILINA James is a Heritage Malta Senior Finance Executive focusing on revenue and analytics. He obtained his degree in Economics from University of Malta and is currently reading a degree in Taxation with the Malta Institute of Taxation. On joining Birdlife Malta (2013), he followed a training course on ringing wild birds with leading local ornithologists, obtaining his licence by October 2016. Over the last eight years, he conducted extensive ornithological research in various locations south of the Maltese Islands. Aquilina is also an avid bird photographer.

BUĠEJA David Frank is a warranted conservator-restorer of paintings and polychrome sculpture. He obtained the Bachelor of Conservation and Restoration Studies (Honours) in 2003 and Master in Applied Conservation in 2007 from the University of Malta. Buġeja is a Principal Conservator at Heritage Malta and, apart from interventive treatments, his interests are mainly related to preventive conservation, particularly in passively stabilising the moisture content of easel paintings.

BUHAGIAR Janica is a curator at Heritage Malta with a background in the history of art. She obtained a BA (Hons) degree in History of Art from the University of Malta in 2010, followed by a Master’s degree in History of Art in 2013, and a Masters in Museum Education in 2022. Her areas of research expertise include dark tourism, esotericism, and funerary art and architecture. She currently holds the position of Curator for Phoenician, Roman & Medieval sites.

CASSAR Robert, Curator at the Palace Armoury at the Grand Master’s Palace in Valletta and member of ICOMAM, the International Committee for Museums of Arms and Military History. He is also an Art Historian and Conservator with a specialisation in metal works of art, arms and armour. He is also an active member in the Domus Pauli Museum in Valletta.

COERTZE Nick obtained a Bachelor of Science in Marine Biology from the University of Portsmouth, having further worked as a dive instructor and scientific diver on a variety of projects. Coertze joined Heritage Malta’s Underwater Cultural Heritage Unit (UCHU) as a Coordinator, focusing on marine life found on and around Malta’s historic wreck sites.

DIMECH Joanne is a warranted conservator/restorer in ceramics, metals, glass and stone, and is part of the Inorganics Department within Heritage Malta. In 2009 she attained a BCons (Hons) in conservation and restoration. She worked as a conservator/restorer in the private sector and has been working with Heritage Malta since 2010. Dimech’s responsibility involves working on the numerous artefacts and sites under the remit of Heritage Malta.

FENECH (née Micallef) Maria is an archivist at Heritage Malta. She holds a BA in History and International Relations, a post-graduate Diploma in Hospitaller Studies, and a Diploma in Archives and Records Management from the University of Malta. She is also a licensed tourist guide. For the past few years, Fenech has been working on the cataloguing of the archives of the National War Museum, focusing on raising awareness of the existence of this resource and accessibility.

GAMBIN Timothy is an Associate Professor of Maritime Archaeology in the Department of Classics and Archaeology at the University of Malta, where he obtained a BA in History. Professor Gambin went on to attain an MA in Maritime Archaeology and History at the University of Bristol and later a doctorate in Maritime Archaeology. Since 2019, Professor Gambin heads Heritage Malta’s newly established Underwater Cultural Heritage Unit.

HILI MICALLEF Joanna is a conservator-restorer of paintings and polychrome sculptures. Since obtaining her conservation degree from the University of Malta, she worked on several projects including wall paintings and easel paintings. Between 2015 and 2019 she worked, in collaboration with Heritage Malta, on the conservation of seventeen paintings painted in Mexico in the 18th century by Juan Patricio Morlete Ruiz. She currently works as a conservatorrestorer with Heritage Malta.

LICARI James is a conservatorrestorer of ceramics, glass, metals, stone and composite materials at Heritage Malta, holding a BCons (Hons) in conservation-restoration and an MA in Cultural Heritage Management (University of Malta). Licari is President of the Malta Association of Professional Conservator-Restorers (MAPCo-Re) since 2007, is an active committee member of the International Council of Museums (ICOM-Malta) and the International Council on Monuments and Sites (ICOMOS-Malta). He has been dynamically involved in various public and private conservation projects in Malta and abroad, and authored various studies on conservation-restoration.

MICALLEF Katya Principal Curator of Modern and Contemporary Art at MUŻA, Heritage Malta is a doctorate graduate from Kingston University London. She also holds a Master’s in History of Art and a Bachelor of Arts, for which she conducted research on Victor Pasmore. Her specialization is post 1945 Visual Arts to present day, and has contributed in various research publications. Dr Micallef is a visiting lecturer at the University of Malta and has held the position of senior lecturer at MCAST Institute of Art and Design.

The Contributors

SAUSMEKAT Maja obtained her MA in Archaeological Practice at the University of Malta where she also read for a Bachelor of Arts in Archaeology. Sausmekat joined Heritage Malta in 2019 and is the Principal Officer for the Underwater Cultural Heritage Unit (UCHU).

SULTANA Sharon is the Senior Curator of the National Museum of Archaeology. Upon her graduation from the University of Malta in 1995 with a first degree in Archaeology, she started her career at the National Museum of Archaeology. She is particularly interested in attracting and retaining diverse audiences by facilitating access to the collections both on a physical and intellectual level. She has also curated a number of exhibitions, both locally and overseas.

VELLA Fiona is Principal Officer at Heritage Malta. She holds a BA in Archaeology and Anthropology, and an MA in Film Studies from the University of Malta. A renowned writer in Maltese and English, her works are extensively published both in local print and online media. Her research and writing have also contributed to several local socio-cultural TV programs. Vella has authored the two volumes of Disappearing Malta: Crafts, Trades & Traditions, 360° (2016, 2017) and coauthored Bizarre Malta (2018).

VELLA Rachel is a conservator at Heritage Malta, specialising in paintings on canvas and wood. She read for an undergraduate degree in Art History from the University of Malta (20142017), and furthered her studies during a Master’s degree in the Conservation of Fine Arts from Northumbria University (2018-2020). Vella has since been entrusted with the treatment of various valuable artefacts, among which are Modern artworks demanding the application of novel approaches within the field of conservation.