Dürer in Malta

DĂźrer in Malta

Dürer in Malta

ALBRECHT DÜRER AND THE EARLY GERMAN SCHOOL WOODCUTS AND ENGRAVINGS AT THE CATHEDRAL MUSEUM, MDINA, MALTA

JOHN AZZOPARDI

CONTRIBUTOR AND CO-EDITOR

JOE P. BORG

Published by 6 Strait Street, Valletta, Malta www.midseabooks.com in collaboration with The Cathedral Museum, Mdina

Author and editor

John Azzopardi Contributor and co-editor

Joe P. Borg photography

Joe P. Borg Consultancy

Keith Sciberras copy-editing

Louis J. Scerri Design & Layout

John Busuttil & Joseph Mizzi

Literary Copyright © John Azzopardi, 2018 Editorial Copyright © Midsea Books Ltd, 2018 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise, without the previous written permission of the authors and/or rightful owners.

page i: Lucas Kilian (1579– 1637), engraving, Portrait of Albrecht Dürer, detail, Cathedral Museum Prints, inv. 1683 page ii: Lucas Kilian, engraving, Portrait of Albrecht Dürer, 1608; after Hans Rotterhammer (1564–1625), after Albrecht Dürer’s self-portrait included in his painting Feast of the Rose Garlands, 1506 page iv: Dürer’s monogram used in the print The Last Supper from the series The Small Passion

Printed at Gutenberg Press, Malta ISBN: 978-99932-7-604-3

Dürer’s monogram used in this publication is reproduced from the print The Resurrection from the series The Small Passion

Contents Foreword........................................................................................................................ ix Acknowledgements ........................................................................................................ xi List of Illustrations......................................................................................................... xiii List of Tables.................................................................................................................. xiv List of Documents.......................................................................................................... xvii John Azzopardi THE HISTORY OF THE DÜRER PRINT COLLECTION AT THE MDINA CATHEDRAL MUSEUM..................................................................... 1 John Azzopardi and Joe P. Borg CATALOGUE RAISONNÉ OF PRINTS BY DÜRER AND OTHER CONTEMPORARIES AT THE MDINA CATHEDRAL MUSEUM The Life of the Virgin by Dürer......................................................................... 33 The Small Passion by Dürer............................................................................... 77 Other woodcuts by Dürer.................................................................................. 152 Copperplate engravings by Dürer....................................................................... 164 Contemporary Copies after Dürer..................................................................... 200 The Pupils and Early Followers of Dürer........................................................... 228 Other Early German Prints ............................................................................... 250 APPENDICES Documents concerning a painting attributed to Dürer in Malta, sent to Rome (Doc. 1) .......................................................................................... 263 Documents concerning Count Saverio Marchese’s collection (Docs 2–7)................... 264 Documents concerning the Cathedral Chapter (Docs 8–13)...................................... 270 Documents concerning the Cathedral Museum (Docs 14–15)................................... 275 The Apocalypse Modern Woodcuts............................................................................ 280 Timeline of events and exhibitions ............................................................................ 289 Sources and Bibliography............................................................................................... 291 Index of Names ............................................................................................................. 295 Index of Places............................................................................................................... 297

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Foreword

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any visitors to Malta have been taken by surprise by the collection of engravings and woodcuts by Albrecht Dürer in the Mdina Cathedral Museum. The extent and range of the prints, and the quality of many of the individual impressions, especially of the woodcuts, quite apart from their concentration in two modest rooms in the Museum, make for an overwhelming effect. At least, this was the experience of the present writer on his first visit to the Museum in November 2014.

On returning to the UK, a few friends and colleagues in the Museum world were wont to ask me, after I had said that I had just visited Malta, ‘Oh, did you see the Dürers?’ But like me they had not had time to discover the collection’s true extent or its history: how did these fine prints find their way to Mdina – what was their provenance, or history? With my interest piqued, I undertook a series of regular visits to the Cathedral Museum in order to go through almost all the boxes of prints and drawings in the collection (which cannot be permanently displayed for conservation reasons).

On my first day I was welcomed behind the scenes by Mgr Edgar Vella, the present curator of the Museum, and soon joined by his predecessor, Mgr John (Ġwann) Azzopardi, and discovered that he had spent a great deal of time – decades, in fact – working in the Museum and expending considerable efforts on researching the history of the collections to the highest possible professional standards. Not a clue, not a stone had been left unturned and the results were impressive, especially with regard to the history of the collections formed by Count Saverio Marchese (1757–1833), the donor behind the Dürers and much else besides now in the Mdina Cathedral Museum’s collection.

The story Mgr Azzopardi had unearthed was riveting, not only involving the Marchese’s purchases as a collector, making acquisitions from many sources including the Maltese artist, antiquarian, librarian, and dealer, Filippo Benucci (1779–1848), but also the history of another collection of which Count Marchese acquired a significant portion, that of Count Francesco Seratti (1736–1814). Seratti’s fine print collection had been lost to history. Indeed, it had nearly foundered in an act of piracy when, in 1813, Seratti was sailing north from Sicily on his way to Florence: he was captured by corsairs and his collection ended up in the hands of a Turk, who sold the loot to two Jewish merchants living in Malta. From there, via more than one route, the prints, including the Dürers, became the property of Count Marchese.

The second part of the book is given over to listing, with reproductions using the excellent photographic skills of Mr Joseph P. Borg, all the Dürer prints with their technical details and the relevant Biblical quotations. Many years ago, in 1970, the German Embassy organized a visit to Malta by an expert in early German printmaking, Dieter Kuhrmann of the Staatliche Graphische Sammlung in Munich, in order to assess the importance of the collection. He was highly positive and in the technical sphere it is his work, along with the identification of the watermarks in the paper, which is finally seeing the light of day in the present publication.

It is extremely gratifying that Mgr Azzopardi has found time, in his retirement, to present the fruit of his diligent researches in the present, succinct book, which will long serve (quite possibly for an eternity) as the definitive description of the Mdina Dürers and their history.

The collection forms one of the most significant highlights of Malta’s artistic heritage and now, redisplayed and with the present accompanying publication, is finally accorded the full scholarly and public attention it deserves.

Albrecht Dürer, St Jerome in his Study. Detail

Martin Royalton-Kisch, MA, FSA Former Senior Curator, Department of Prints and Drawings, British Museum

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Preface

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he publication of Dürer in Malta marks the 50th anniversary of the opening of the Mdina Cathedral Museum and celebrates the Dürer collection which is now exhibited in one of the Museum’s redecorated halls. The book also includes other German prints in the Museum’s reserve collection by Dürer’s contemporary artists, including Schäufelein, Beham, and Baldung Grien .

Mgr Azzopardi has concentrated his study and research on the acquisition and provenance of the Museum’s German print collection. Research on the prints was first carried out in 1971 by the late Dr Dieter Kuhrmann of the Staatliche Graphische Sammlung in Munich.

His contribution in identifying the authenticity of the prints was the basis of the first Dürer exhibtion catalogue of the Mdina Collection, published in 1971 and edited by Mgr E. Coleiro then chairman of the Cathedral Museum Committee and Fr J. Azzopardi, then Museum curator.

The catalogue section of this book has now been updated and the Dürer prints are now listed in chronological sequence. Additions in the bibliography and comments, based on further research, are included with each print. The print Crucifixion (inv. 1252), formerly considered as a copy, has been identified as an original print by Dürer. Further study has yielded clarifications on the series Speculum Passionis and on other old German copies after Dürer. The print The Man of Sorrows by the Column (inv. 1251), formerly anon, has been attributed to Bundele, late sixteenth century.

This publication is a welcome addition to the bibliography on the Mdina Cathedral Museum’s Dürer Collection and should inspire further initiatives for more research on the Museum’s collection of Prints and Old Master Drawings.

Acknowledgements The author wishes to thank the publisher, Joseph Mizzi and everyone at Midsea Books, who believed in the project and supported it all the way. Thanks are also due to Joe P. Borg, who not only provided the fine photography for this book, but was invaluable in his assistance and contribution to its editorial content.

Acknowledgement is duly given to Prof. Keith Sciberras, Head of the Department of Art and History of Art, University of Malta, for editorial advice and valid assistance. Special thanks, are due to Mr Martin Royalton-Kish, former senior curator, Department of Drawings and Prints, British Museum, for his invaluable advice and for writing the Foreword for this book.

Indispensable was the constant support of the Cathedral Museum Committee’s chairman, Rev. Mgr Aloysius Deguara and of the curator Rev. Mgr Dr Edgar Vella, for their support and permission to photograph and study the prints. Appreciation goes to the archival assistant of the Cathedral Archives, Mr Mario Gauci, all the personnel of the Mdina Cathedral Museum and to Louis J. Scerri, for copy-editing and proof-reading the text.

Finally, the author is also grateful to the Mdina Cathedral Chapter, Dott Gerald Bugeja, Ms Maroma Camilleri, Mr Alfred Cauchi, Mr Stephen Degiorgio, Dr Stefan Knock, Rev. Fr Charles Borg Manchè, H.E. Gudrun Sragä, Mr Victor Sammut, Prof. Conrad Thake, the Director of the Biblioteca Camillo Cimati, Pontremoli, Italy, and the German Embassy to Malta.

Albrecht Dürer, The Standard Bearer, copperplate engraving. Detail DÜRER IN MALTA

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List of Illustrations

Albrecht Dürer, The Virgin on the Crescent Moon, woodcut. Detail

Lucas Kilian, Portrait of Albrecht Dürer. Detail ............................................................. i Lucas Kilian, Portrait of Albrecht Dürer, 1608 ................................................................ ii Monogram used in the print The Last Supper from the series The Small Passion.............. iii Albrecht Dürer, St Jerome in his Study. Detail................................................................. x Albrecht Dürer, The Crucifixion, from The Engraved Passion. Detail............................... xv Albrecht Dürer, St Christopher facing to the Left. Detail .................................................. xvi Albrecht Dürer, The Sudarium held by Two Angels. Detail............................................... xviii Examples of monograms used by Dürer......................................................................... 2 Chapel of St Anne at Fort St Angelo............................................................................... 3 Portrait of Grand Master Aloph de Wignacourt............................................................. 4 Bust of Cardinal Scipione Borghese................................................................................ 4 Antoine Favray (1706–98), Count Saverio Marchese........................................................

5 Filippo Benucci (1779–1848), Count Saverio Marchese...................................................

5 Manuscript of purchases by Count Saverio Marchese, Primo Costo.................................

5 Giorgio Grognet de Vassè (1774–1862), plan for the Marchese family house................. 6 Original mounts used by Count Saverio Marchese for the Dürer prints......................... 7 Monument of Count Francesco Seratti........................................................................... 7 Auction in Malta of an important collection of prints in March 1815............................ 8 Advert for the auction by Mr Stanley, 1816.................................................................... 8 Advert for the auction by Mr Stanley, 1817.................................................................... 8 Genealogical family tree of the Marchese family............................................................. 11 Marchese’s albums for his collection of prints................................................................. 12 Indice delle incisioni conservate nel Museo della Cattedrale................................................ 14 Catalogue of the Cathedral Museum in the upper sacristies............................................ 15 The exhibition halls in the upper sacristies of the Mdina Cathedral, c.1954................... 16 Edward Caruana Dingli (1876–1950), Mgr Edward Coleiro........................................... 15 Façade of the old seminary, now the Cathedral Museum................................................ 18 Prof. Raffaello Causa (1923–84)..................................................................................... 18 Inauguration of the new Cathedral Museum, Mdina, 1969............................................ 19 Her Majesty Queen Elizabeth II’s visit to the Cathedral Museum,1992.......................... 19 The Virgin on the Crescent Moon, revealing watermark........................................................ 20 Diagram of watermark, Head of an Ox with Cross and Seven-Petal Flower (Meder 66)..... 21 Albrecht Dürer, The Virgin of the Crescent Moon, rotated 180° to reveal watermark in the right orientation............................................................................................... 21 Watermark, High crown (Meder 20)............................................................................... 22 Watermark, Scales in a circle (Meder 121)....................................................................... 22 Watermark, Head of an Ox with Flower and Triangle (Meder 62).................................... 23 Watermark, Head of an Ox with Cross and Five-Petal Flower (Meder 66)......................... 23 Exhibition catalogue, Dürer Exhibition including the Early German School.......................... 24 Dürer in Malta, re-print of the 1971 catalogue............................................................... 24 Martin Schongauer, Crucifixion. Detail.......................................................................... 26 Dr John A. Cauchi......................................................................................................... 27 Albrecht Dürer, The ill-Assorted Couple. Detail .............................................................. 29 Albrecht Dürer, The Assumption and Coronation of the Virgin. Detail ............................. 30 Albrecht Dürer, The Rejection of Joachim’s Offering. Detail ............................................. 32 Albrecht Dürer, Crucifixion, from The Small Passion series. Detail ................................. 74 Albrecht Dürer, Crucifixion, from The Small Passion series. Detail ................................. 76 Albrecht Dürer, Christ in Limbo, from The Great Passion series. Detail .......................... 150 Albrecht Dürer, St Jerome in his Study. Detail ................................................................ 162 The Small Horse, copy after Dürer. Detail ...................................................................... 198 DÜRER IN MALTA

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Marcantonio Raimondi, Veneration of the Virgin ............................................................ 221 Hans Leonard Schäufelein, The Descent of the Holy Spirit .............................................. 226 Hans Leonard Schäufelein, Crucifixion .......................................................................... 228 Hans Baldung Grien, Fastening to the Cross from Speculum Passionis. Detail.................... 247 Hans Sebald Beham, Mahalel. Detail ............................................................................. 248 Watermark, Head of an Ox with Five Petal Flower and a Triangle from The Presentation in the Temple. Detail......................................................................... 260 Document 1A: Letter by Grand Master Aloph de Wignacourt to his ambassador Lomellino, 10 July 1610.................................................................... 262 Document 2: Count Marchese recounts the story of the Seratti Collection.................... 265 Document 3: A list of Dürer’s prints purchased by Count Saverio Marchese from Filippo Benucci in 1822 ................................................................................... 267 Document 4: Extract from the secret will of Count Saverio Marchese, 1833.................. 268 Document 7: Initials of Giuseppe Hyzler and Pietro Caruana ....................................... 270 Hans Sebald Beham, Adam and Eve. Detail ................................................................... 288 Hans Baldung Grien, Mourning of Christ. Detail............................................................ 291 Albrecht Dürer, Five Lansquenets and an Oriental on Horseback. Detail........................... 293 Albrecht Dürer, The Virgin and Child with a Monkey. Detail.......................................... 297 Albrecht Dürer, The Sudarium held by Two Angels. Detail............................................... 298

The prints by Dürer in the catalogue raisonné are reproduced in their original dimensions except when these exceed the dimensions of this book. The Speculum Passionis series (pages 230–46) and the Old Testament Patriarchs (255–9) series are reproduced in a smaller dimension.

List of Tables 9 1. Count Seratti’s libro molto raro of Early German prints .............................................

2. Dürer prints purchased from the artist and dealer Filippo Benucci.............................

9 3. Original prints by Albrecht Dürer.............................................................................. 25 4. Contemporary copies after Dürer............................................................................... 25 5. Prints of the Early German School, mostly pupils of Dürer........................................ 27

Albrecht Dürer,The Crucifixion, copperplate engraving from the series The Engraved Passion.

Detail

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List of Documents Document No. 1A–E 1610: A painting by Dürer in Malta, sent to Rome.................................................... 263 Document No. 2 1815: Mr Robert Stewart’s auction of the Seratti Collection....................................... 264 Document No. 3 1815–30: Count Marchese purchases various Dürer prints from Filippo Benucci....... 266 Document No. 4 Extract from the secret will of Count Saverio Marchese.............................................. 267 Document No. 5 1833: Dr Giuseppe Marchese requests the law courts to compile inventories of his uncle’s collections....................................................................... 269 Document No. 6 1833: The Count’s collection of prints, books, and papers sealed by the law courts.... 269 Document No. 7 1843: The Dürer Collection as listed by the law courts.............................................. 269 Document No. 8 1896: The Cathedral Chapter receives the Marchese legacy ....................................... 270 Document No. 9 1899: The Chapter discusses the setting of a museum in the area of the Chapter Hall................................................................................................ 271 Document No. 10 1913: The Dürer prints as dispayed in the Cathedral Sacristies................................... 272 Document No. 11 1918: A public request to open to the public the Marchese legacy.............................. 274 Document No. 12 1918: A similar request.............................................................................................. 274 Document No. 13 1954: The Dürer Collection as displayed in the Upper Sacristies................................ 274 Document No. 14 1964: The Chapter’s plans to relocate its Museum in the vacant palace of the Old Seminary.................................................................................... 275 Document No. 15 1970: Report by Dr Dieter Kuhrmann on the Dürer Collection................................ 276

Albrecht Dürer, St Christopher facing to the Left, copperplate engraving. Detail

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The History of the Dürer Print Collection at the Mdina Cathedral Museum

The Dürer Print Collection at the Cathedral Museum includes originals by Dürer, contemporary copies by known or anonymous artists of German, Italian, or Flemish nationality, and prints after Dürer by contemporary artists of the Old German School, mostly pupils and collaborators of Albrecht Dürer.

A collection of 157 prints was bequested to the Cathedral Chapter of Malta on 4 May 1896 in fulfilment of a clause in the secret will of the late Count Saverio Marchese (1757–1833).

These prints formed part of a much bigger art collection with 75 paintings, some 4,000 prints, and some 400 Old Masters’ drawings.

Research on the collection in various archives has enabled the Museum to document the date of purchase, the name of the vendor, and the price of each of these prints. The various passages of the whole collection from the day of the Count’s death to the day of their delivery to the Cathedral Chapter has also been documented. Some items were owned by eight different collectors, while others were owned by five.

Apart from these prints by Dürer and other early German engravers, the Cathedral Museum acquired, in December 1992, from the legacy of Dr John A. Cauchi, another original Dürer, St Christopher facing to the Left, a print by Hans Sebald Beham and another by Martin Schongauer. With these acquisitions, the Dürer Collection of the Cathedral Museum to-date consists of 160 prints.

ALBRECHT DÜRER (1471–1528)

Albrecht Dürer, The Sudarium held by Two Angels, copperplate engraving. Detail

Albrecht Dürer was born in Nuremberg in 1471 during the time when Europe was experiencing fundamental changes. It was the end of the Middle Ages and the beginning of Modern Times. Nuremberg, was then considered to be the ‘unofficial capital’ of the Holy Roman Empire. It enjoyed great prosperity, characterized by its patricians, merchants, artists, and artisans making it one of the strongest artistic and commercial centres in Europe.

Dürer was a brilliant painter, an engraver, a traveller, an author, and a publisher. Being the

son of the master goldsmith of the city, he first practised his father’s trade but – as he himself states in the chronicle he compiled, and which is the main source of information concerning his life – ‘my inclination carried me more towards painting’. At the age of fifteen, he became an apprentice to Michael Wolgemut, the best Nuremberg painter of his time.

Dürer had a great desire to travel. In 1490 he went to Colmar to meet the engraver Martin Schongauer, only to find that he had already passed away. His brothers, however, received him and helped him to understand the master’s art. He went to Italy twice, from 1494 to 1495 and again from 1505 to 1507.

Venice seems to be his preferred destination also because it had commercial ties with Nuremberg. In the law courts of Venice Dürer also defended his author’s rights against Marcantonio Raimondi who had copied his plates and his monogram. The German merchants in Venice commissioned Dürer, along with Giorgione and Titian, to decorate the Fondaco dei Tedeschi, their newly-built ‘hall of exchange’. Dürer was entrusted in 1506, with an altar painting, The Feast of the Rose Garlands, which is now in Prague.

Dürer’s talents earned him the attention and friendship of several prominent figures in German society. He became the official court artist to Holy Roman Emperor Maximilian I and his successor, Charles V. Nuremberg was one of the first cities to officially embrace the principles of the Reformation which Dürer supported. He befriended some of Europe’s outstanding theologians, such as Erasmus, Melanchton, and Pirkheimer, whom Dürer painted their portrait.

Dürer’s greatest achievement is his detailed engravings, which are entirely his own handwork. In them he demonstrated his innovation in fine technique and control of the pressure of his burin on the plates, his compositional skills in perspective and proportion. He refined this medium to such an extent that it was no longer considered an inferior and minor art medium. On his plates he regularly inserted his monogram AD and often incorporated it in the surroundings of the composition. Benezit’s dictionary of DÜRER IN MALTA

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artists lists no fewer than 346 woodcuts and 108 copperplate engravings by Dürer.

At the age of thirty, he had already nearly completed three of his most famous series of woodcuts on religious themes: The Apocalyse, The Large Passion, and The Life of the Virgin.

Between 1513 and 1514, he produced his three most famous master engravings, namely Knight, Death, and the Devil, Melencolia 1, and St Jerome in his Study. The latter is exhibited in the Mdina Cathedral Museum.

In 1520 Dürer lived in the Netherlands, so that he could be granted the privilege to continue receiving the annuity by Charles V. Dürer returned to Nuremberg shortly after 1521 where he stayed till his death.

During these years he produced few works, mainly portraits of friends. However, he worked on his treatise, On Measurements, On Fortifications, and On Human Proportions. In 1527 he donated to his native city a diptych, The Four Evangelists, which is now in Alte Pinakothek in Munich.

Dürer died in 1528. His epitaph proclaims: ‘Whatever was mortal in Albrecht Dürer,

lies beneath this mound.’ He has been identified as a master between Catholicism and Reformation, between Gothic and Renaissance, between the Middle Ages and Modern Times. Heinrich Wöfflin (1864– 1945) claimed that Dürer ‘gave German art a new eye and a new heart’ and by Wilhelm Lübke (1826–93) states that ‘in creative richness of fancy, in extensive power of thought, and in moral energy and earnest striving Dürer is the first of all German masters’.

A 17TH-CENTURY PAINTING OF THE MAGI IN MALTA In 1996 Stefania Macioce,1 during her research in the archives of the Order, came across references to a painting of the Adoration of the Magi attributed to Caravaggio which was then at the 15th-century chapel dedicated to St Anne in Fort St Angelo, Vittoriosa. The chapel served as the first place of worship for the Knights Hospitallers on their arrival in

Examples of monograms used by Dürer, top from left: i. Monogram used in the print Christ in Limbo from the series The Great Passion, 1510 ii. Monogram used in the print Joachim in the Field from the series Life of the Virgin, 1504 iii. Monogram used in the print Mary Queen of Angels, 1518 iv. Monogram with an inverted ‘D’ used in the print The Annunciation from the series The Small Passion, 1510

Chapel of St Anne at Fort St Angelo, Vittoriosa THE HISTORY OF THE DÜRER PRINT COLLECTION AT THE MDINA CATHEDRAL MUSEUM

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Malta, in 1530. The painting was still at St Anne’s chapel by July 1610.

The volumes of the Corrispondenza (AOM 1389), included several letters written by Grand Master Aloph de Wignacourt to his ambassador in Rome Francesco Lomellini and to his ricevitore Carafa with instructions to receive the above-mentioned painting which the grand master was sending from Malta.

The painting was to be handed to Cardinal Fabrizio Verallo, who would eventually present it to Cardinal Scipione Borghese as the personal gift of the grand master. Cardinal Borghese was not only the cardinal secretary of state but also the cardinal protector of the Order. He was a great collector of art, including several works by Caravaggio.

Cardinal Fabrizio Verallo had previously served as Inquisitor in Malta from 1600 to 1605 and must have seen the painting in the chapel of St Anne in Fort St Angelo. Knowing the great interest of Cardinal Scipione in the works of Caravaggio, Verallo may himself have suggested the donation which the grand master was too willing to send to Borghese as a gift, a sort of captatio benevolentiae.

The package with the painting arrived its destination after three months, as for a while its whereabouts were unknown. The identification of the painting is not clear; there is an Adoration of the Magi by Dürer at the 4

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Uffizi Gallery in Florence but the proportions are different.

To this effect, between 10 July and 27 October of 1610, the grand master sent a letter to Cardinal Borghese, another one to Cardinal Verallo, two to the Order’s ambassador in Rome Lomellini, another two each to his receivers Carafa and Torriglia. (See Docs 1A to 1H)

COUNT SAVERIO MARCHESE (1757–1833), DONOR OF THE DÜRER COLLECTION Saverio Marchese was the fourth son of Cavaliere Giuseppe Isidoro and Serafina Marmier.2 Born in Valletta on 12 September 1757, Saverio was educated in Rome at Collegio Novo of the Padri Scolopi. On 12 January 1784 he married Anna Maria Camilleri Bianchi of Senglea. The nuptial mass was celebrated by the Inquisitor in the chapel of the Holy Office. His main contribution was in the field of culture and education. He cultivated literature especially poetry, history, archaeology, the arts, and the Maltese language. Several of his writings are conserved in the National Library and in the Cathedral Archives.

Saverio was greatly respected by the Church, by the Order, and by the British administration.

On 8 March 1793 Grand Master De Rohan

Anonymous, early 17th century, Portrait of Grand Master Aloph de Wigncourt, Wignacourt Museum, Rabat, Malta

Gian Lorenzo Bernini (1598–1680), Bust of Cardinal Scipione Borghese, 1632, Galleria Borghese, Rome

The Life of the Virgin

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The Life of the Virgin

Albrecht Dürer, The Rejection of Joachim’s Offering, from the series The Life of the Virgin. Detail

The four Gospels reveal very few accounts of the life of the Blessed Virgin but apocryphal literature, that is those early texts which did not enter into the canon of the Holy Bible, includes many legends and stories. The Marian cult was very popular in the Late Middle Ages and in the Renaissance.The Golden Legend or Lives of the Saints, compiled by Jacobus de Voragine, Archbishop of Genoa (1275), and the Speculum Historiale written by Vincent of Beauvais were a reference point and inspiration for artists all over Europe. Likewise Dürer created artistic compositions based on stories from these accounts to further enhance the narrative of this series of woodcuts.

Dürer’s series of 20 woodcuts illustrating The Life of the Virgin consists of 20 prints. 17 were produced between c.1502 and 1505; two are dated 1510, namely The Death of the Virgin and The Assumption and Veneration of the Virgin. The title-page, depicting The Virgin on a Crescent Moon, dates from c.1510 and 1511. The print Joachim and Anna at the Golden Gate is dated 1504 on the impression. Lateral with The Life of the Virgin, Dürer created various other woodcuts mostly on a religious and devotional theme. Around 1506, the Italian copyist Marcantonio Raimondi had already reproduced for sale the first 17 prints which he engraved on copperplate. Durer’s prints, after circulating as separate sheets were published in book form in 1511 with a Latin text on the verso, provided by a Benedictine monk, Benedictus Chelidonius.

The series vividly narrates the Virgin’s life, from her parents’ background to her birth and betrothal, from the annunciation to the birth of Jesus Christ, and finally her death and assumption to heaven. The iconography and symbolism of Dürer’s The Life of the Virgin prints must be considered within the context of sixteenth-century Bavaria. The various narratives depict contemporary characters interpreted in dynamic movement and with great attention to detail and the geometric placement of figures. The human form in all its grace is depicted in the surroundings of a domestic setting. Dürer makes use of studies of his native Nuremberg; however, there are instances of Italian artistic and architectural influences which he translated into his own unique style. In his travels, Dürer had been exposed to the work of different artists and characteristic traditions which further improved the way he handled light and shade to demonstrate the solidity of the figures and evoke a compelling illusion of the space around them.

Each print is meticulously composed with an architectural backdrop of vaults and archways, columns, and an illusionistic depth of vision based on a one-point perspective. The design of the architectural scenography combines correct stereotomy with a harmonious sense of balance and geometric proportions.

Woodcuts were popular in the sixteenth century whether as individual prints or in bookform and appealed to all strata of society, including both the middle-class clients and collectors alike. During his lifetime Dürer had envisaged this market for woodcuts and embarked on producing numerous quality and artistic woodcuts. Dürer’s Life of the Virgin was extensively produced after his death, including ten editions in the course of the sixteenth century.

The Cathedral Museum possesses the whole series of 20 woodcuts, originally purchased by Count Saverio Marchese in 1815. The series of prints are of utmost value and importance, as according to the researches of Dr Dieter Kuhrmann in 1970, seventeen prints are ‘proof ’ sheets or trial impressions that circulated before the book edition of 1511. These, moreover, belong to the first, second, or third state before the 1511 edition. 17 of these prints also carry a distinguishable watermark, namely Head of an Ox with Cross and Seven Petal Flower (Meder 66), High Crown (Meder 20), Head of an Ox with Five-Petal Flower and a Triangle (Meder 62), Scales in Circle (Meder 169), Coat of Arms with Lily and Crown (Meder 122), and Coat of Arms with Diagonal Bar (Meder 246). The analysis of these watermarks yields the states and approximate dates of the impressions.

The following catalogue entries describe the state and watermarks of each print in the Cathedral Museum collection. The specific textual narrative of each print is transcribed; taken from the Bible or the Golden Legends.

Series: The Life of the Virgin, No. 1 1.

The Virgin on the Crescent Moon

Woodcut Date: c.1510-11 Inventory No. 1199; Previous Dürer Cat. 1 Measurements: 217x180 mm State: Second state before the Latin Book edition of 1511 Monogram: Without monogram Watermark: Head of an Ox with Cross and Seven Petal Flower (Meder 66) Comments: Title page to the whole series. Rare as a separate sheet (Meder 188 I.b) Bibliography: Bartsch VII.76; Meder 188; Schoch, Mende, Scherbaum II.166

TEXTUAL NARRATIVE (REVELATION 12:1) 1 A great sign appeared in the sky, a woman clothed with the sun, with the moon under

her feet, and on her head a crown of twelve stars

Head of an Ox with Cross and Seven Petal Flower

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Series: The Life of the Virgin, No. 2 2.

The Rejection of Joachim’s Offering

Woodcut Date: c.1504 Inventory No. 1182; Previous Dürer Cat. 2 Measurements: 309x220 mm State: First state before the Latin book edition of 1511 Monogram: With monogram Watermark: Without watermark Comments: Clear, sharp, and luminous, even if it is too dark. At the edge above, there are two minute gaps (Meder 189 I.a) Bibliography: Bartsch VII.77; Meder 189; Schoch, Mende, Scherbaum II.167 Copies: Marcantonio Raimondi, copperplate, with Dürer’s monogram, Inventory No. 2355

TEXTUAL NARRATIVE (THE BOOK OF JAMES – PROTEVANGELIUM I:2–4) 2

Now the great day of the Lord drew nigh and the children of Israel offered their gifts.

And Reuben stood over against him saying: It is not lawful for thee to offer thy gifts first, – forasmuch as thou hast gotten no seed in Israel. 3And Joachim was sore grieved, and went unto the record of the twelve tribes of the people, saying: I will look upon the record of the twelve tribes of Israel, whether I only have not gotten seed in Israel.

And he searched, and found concerning all the righteous that they had raised up seed in Israel. And he remembered the Patriarch Abraham, how in the last days God gave him a son, even Isaac. 4And Joachim was sore grieved, and showed not himself to his wife, but betook himself into the wilderness, and pitched his tent there, and fasted forty days and forty nights, saying within himself: I will not go down either for meat or for drink until the Lord my God visits me, and my prayer shall be unto me meat and drink.

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The Small Passion

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The Small Passion

Albrecht Dürer, Crucifixion, from The Small Passion series. Detail

The theme of Christ’s Passion was perhaps Dürer’s tour de force, having produced three sets of published prints illustrating the Passion of Christ. His second major work after the Apocalypse was The Great Passion, a series of 12 woodcuts between 1496 and 1499 with further additions in 1510. The cycle of 37 woodcuts known as the Small Passion was produced between 1508 and 1510 while a further cycle of engravings, the Engraved Passion was produced between 1507 and 1513. The latter two cycles were produced after Durer’s return from Italy, where he further perfected and improved the pictorial form in his graphic arts. Dürer also drew a set of pen and ink designs known as the Green Passion and had worked on an unfinished series, the Oblong Passion.

The later Passion series’ prints are now much smaller in size. The prints’ intimate tight format renders them as spiritual and devotional narrative images, in pictorial unity and compacting of forms and figures. No space is wasted, most of the woodcuts are only occupied by a few significant figures that matter to the composition, which at times protrude the scene, to give the impression of continuity. Within this compactness there is drama, emotion, and spirituality. ‘The small compositions are largely determined by the figures in them, space has no autonomous value, as it does in Life of the Virgin, but it is always present’ (Knappe, 1965).

The criss-crossing of lines and gradation of light and shadow add further uniqueness to these prints as stated by printmaker and illustrator Nigel Lambourne (1969) ‘the confidence and swaggering of the cut is sustained in every illustration’.

The Small Passion places Christ’s Death and Resurrection within the broader aspect of the history of humanity as told in the Old as well as the New Testaments of the Bible. Dürer expands the narrative of Christ’s Passion and includes the story of the Redemption from the Fall of Man to the Birth of Christ, as well as Christ’s suffering, Death, Resurrection and Ascension, as well as the Last Judgement. Adam and Eve are represented as the cause of man’s anguish since their expulsion from the Garden of Eden, while Christ brings light and salvation.

The compositions show a variable degree of dramatic effect, such as the deeply spiritual Agony in the Garden. The divine gestures of Christ’s blessings can be comparatively viewed in Christ taking Leave of His Mother, Christ’s Entry into Jerusalem, the iconic Christ appearing to Mary Magdalene (Noli Me Tangere), and the symbolic Christ in Emmaus. By contrast, the dynamic scene of The Expulsion of the Traders, in all its vigorousness still draws attention to Christ’s face, encircled by the hand and ropes, with an element of compassion. The only impression which differes in execution from the rest of the series is The Birth of Christ, which is probably borrowed from The Life of the Virgin series, with its geometric placement of figures within a domestic setting, however, with a low unconventional perspective. Within the context of art in worship, the cycle of these intimate images was further embraced when it was published in 1511, as a devotional prayer book for meditation. ‘Albrecht Dürer was a man who took one of the oldest forms of printing, the woodcut, and made it into an unparalleled expression of faith. He cared about the details, not only of his wood working skill but of Scripture and Christian imagery’ (Carolyn Brinkley, 2012).

All the 37 prints display Dürer’s monogram while four woodcuts are dated on the impression. The original woodblocks are preserved in the British Museum with the exception of the title-page and Christ appearing to His Mother, which are presumably lost. Joseph Meder in Der-Katalog, remarks that Dürer always impressed four blocks on one sheet, and the earliest impressions bear the watermarks Head of an Ox with J and Z or High Crown. After the book edition of 1511, other prints were printed in loose form. This cycle of prints was often reprinted in the sixteenth century and by the year 1612 it was republished in Venice by Daniel Bissuccio.

In every collection there is the unfortunate circumstance of finding deceitful copies by Johan Mommard (1560-1631). The first edition surfaced in 1587 with the watermarks Flat Crown, Bunch of Grapes, and Glove with Flower and a further edition 1664.

The Mdina Museum Collection includes 25 ‘proof ’ impressions, printed before the first edition of 1511; several of these are in the rare first state. Five impressions were printed after the 1511 edition and six woodcuts are present only in the copies made by Johann Mommard and published in 1587.

Series: The Small Passion No. 1 21.

The Fall of Man

Woodcut Date: c.1510 Inventory No. 1202; Previous Dürer Cat. 21 Measurements: 143x105 mm State: First state before the Latin book edition of 1511 Monogram: With monogram Watermark: Head of an Ox with J and Z, partrial (Meder 70) Comments: Entire Bibliography: Bartsch VII.17; Meder 126; Schoch, Mende, Scherbaum II.187 Copies: Marcantonio Raimondi, copperplate, without monogram, inventory No. 2372

TEXTUAL NARRATIVE (GENESIS 3:1-7) 1 Now, the snake was the most subtle of all the wild animals that Yahweh God had made.

It asked the woman, ‘Did God really say you were not to eat from any of the trees in the garden?’

2 The woman answered the snake, ‘We may eat the fruit of the trees in the garden. 3But of the fruit of the tree in the middle of the garden God said, ‘You must not eat it, nor touch it, under pain of death.’

4 Then the snake said to the woman, ‘No! You will not die! 5God knows in fact that the day you eat it your eyes will be opened and you will be like gods, knowing good from evil.’

6 The woman saw that the tree was good to eat and pleasing to the eye, and that it was enticing for the wisdom that it could give. So she took some of its fruit and ate it. She also gave some to her husband who was with her, and he ate it. 7Then the eyes of both of them were opened and they realized that they were naked. So they sewed fig-leaves together to make themselves loin-cloths.

Head of an Ox with J and Z

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Series: The Small Passion, No. 2 22.

The Expulsion from Paradise

Woodcut Date: 1510 Inventory No. 1203; Dürer Cat 22 Measurements: 142x106 mm State: First state after the Latin book edition of 1511 Monogram: With monogram Watermark: A fragment which is not distinguishable Comments: Good; there are three gaps at the upper edge on the left of the tree, and three other gaps on the right; at the lower edge, under Eve’s feet, two gaps (Meder 127, 127a) Bibliography: Bartsch VII.18; Meder 127; Schoch, Mende, Scherbaum II.188 Copies: Marcantonio Raimondi, copperplate, without monogram, inventory No. 2371

TEXTUAL NARRATIVE (GENESIS 3:22-24) 22 Then Yahweh God said, ‘Now that the man has become like one of us in knowing good from evil, he must not be allowed to reach out his hand and pick from the tree of life too, and eat and live for ever!’ 23So Yahweh God expelled him from the Garden of Eden, to till the soil from which he had been taken. 24He banished the man, and in front of the Garden of Eden he posted the great winged creatures and the fiery flashing sword, to guard the way to the tree of life.

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Other woodcuts

by Dürer

57.

Mount Calvary

Woodcut Date: 1503–04 Inventory No. 1238; Previous Dürer Cat. 57 Measurements: 215x155 mm State: First state Watermark: Coat of arms with Two Rings (Meder 256) Comments: With monogram, with gaps at the top edge (Meder 180a). Old but not a very early impression of the first state, in which the arm of the cross, against which the ladder is erected, is in its original condition, with the long nail passing through it (Dodgson 284.vol.1.26).

The two wide gaps at the top edge are usually filled up on first-state original impressions.

Catalogued woodcut, after 1550, as dated by watermark.

Bibliography: Bartsch VII.59; Meder 180; Schoch, Mende, Scherbaum II.131 Provenance: Marchese from Stewart, 1815

REMARKS

Dürer revisited the theme of the Passion throughout his career. His interpretations of the Crucifixion, whether in individual depictions or in one of a series of prints, changed significantly in the span of a few years. This catalogued woodcut was executed intermediately between the large historical interpretations of the previous woodcuts produced towards the end of the fifteenth century and the later more devotional and spiritual illustrations of the Small Passion and the Engraved Passion series.

Mount Calvary’s composition and subject matter is a combination of the woodcuts the Great Calvary c.1495 (Panofsky 427) and the Crucifixion of the Large Passion, c.1498 (Meder 120) each of which still exhibit to a degree a hint of late Gothic style, in the manner of Michael Wolgemont and Schongauer (Knape, 1965). The narrative composition may be divided into three main scenarios: Christ with the two thieves crucified on either side, the Virgin Mary collapsing in anguish comforted by John on the left, and the gambling for Christ’s robe on the right. A lot of detail and overcrowding figures renders the print busy. However, its execution varies from the earlier crucifixion woodcuts; the figures are more fluid, and the sky area is light and almost bare, in order to focus more attention on Christ’s figure. By 1508 and the years that followed, Dürer’s depiction of the Crucifixion scene changed dramatically, as agreed by art historians. Moving onto a more minimalistic approach whereby few fundamental figures and the Crucified Christ were depicted, enhancing its prominence as a more devotional image.

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58.

The Man of Sorrows mocked by a Soldier

Woodcut Date: c.1511 Inventory No. 1239; Previous Dürer Cat. 61 Measurements: 229x194 mm State: Probably fifth state after the plain text edition of 1511 Monogram: No monogram Watermark: Without watermark Comments: Title-page of the print series The Great Passion. There are gaps in the lower edge of the clouds Bibliography: Bartsch VII.117.4; Meder 113; Schoch, Mende, Scherbaum II.154 Provenance: Marchese, from Stewart, 1815

REMARKS

The frontispiece of the Large Passion series is not the episode from Christ’s passion illustrating a soldier mocking Christ. It is a timeless and almost tangible representation of mankind’s rejection of Christ, conveying psychological and spiritual expressions. Christ’s incarnate body, revealing his mortal wounds with hands grasped forcefully together with anguish, looks frontally expressing his sorrows still being inflicted by mankind’s sin.

Through the energy of his wood-carving, Dürer succeeded in portraying the pithiest of visual expressions in Christ’s features.

Throughout his career, Dürer depicted the theme of Christ’s suffering as a Man of Sorrows as described in Isaiah, 53:3, ‘He was despised and rejected of men. A Man of Sorrows, acquainted with grief, and we hid our face from him.’ From his early devotional panel painting of 1493 (Staatliche Kunsthalle, Karlsruhe), to his numerous interpretations on woodcuts, engravings, and drawings, up to his distressful self-portrait as man of sorrows in 1522 (Winkler 886), Dürer succeeded in translating the strongest visual and emotional expressions.

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Index of Names

Abiram, 56 Abraham, 50 Adam, 76, 156, 254, 255, 273 Aldegrever Heinrick, artist, 27, 252, 273 Altdorfer, 229 Anderson, Natalie M., 294 Annas, 100, 224, 225 Apap, Vincent, artist, 28 Azzopardi, John (Ġwann), Mgr, vi, ix, 28, 276 Azzopardi, Paul, 17 Baldung Grien, Hans, artist, 27, 174, 229, 239, 240, 251, 277 Bartrum, Gulia, 168, 294 Beham, Hans Sebald, artist, xiv, 1, 9, 27, 28, 252, 253, 254, 266, 269, 273, 275, 277, 293 Benucci, Filippo, 5, 7, 9, 12, 164, 166, 168, 170, 174, 176, 178, 182, 188, 190, 192, 194, 202, 204, 206, 208, 212, 214, 216, 218, 266, 289 Bellanti ,Giuseppe Giovanni, canon, 8, 9, 12 Bellini Gentile, artist, 168 Bencini, Giacchino, Dr, 11, 13 Benedictus, Chelidonius, 32 Benezit, Emmanuel, 229, 294 Bernini, Gian Lorenzo, artist, 4 Bink, Giacomo, 273 Bloemaert, artist, 28 Bonnici, Francesco, canon, 15, 271 Bonnici, Giovanna, 11 Bonnici Calì, Raphael, 15, 17, 28, 274, 289 Borghese, Scipione, cardinal, ix, xiii, 3, 4, 263, 264, 294 Borg Manché, Charles, Fr, xi Borroni, Salvadori Fabia, 8, 28, 294 Bresang, Hans, engraver, 9, 266 Brescia de, Johann Antonio, 202 Brian, Grand Hospitaller, 263, 264 Brinkley, Carolyn, 77, 294 Bugeja, Gerald, Dr, xi Buhagiar, Antonio, canon, 276 Caesar Augustus, 52 Cagliares Baldassare, bishop, 15 Caiphas, 102, 234 Camilleri, Antoine, artist, 289 Cambiaso, Luca, artist, 17 Camilleri, Charlo, Fr, 289 Camilleri ,Maroma, xi Camilleri Bianchi, Anna Maria, 293 Caraffa, ricevitore, 3, 263 Caravaggio, 3, 28 Carolina, queen, 274 Caruana Dingli, Edward, artist, 15, 17 Caruana, Fortunato, 11, 13 Caruana, Paolo, 13, 269, 270, 293 Caruana, Vincenza, 11 Caruana, Teresa, 13, 270 Cassar, Paul, Dr, 24, 27, 28 Cauchi, Alfred, xii Cauchi, John A., Dr, vii, xiii, 1, 24, 25, 27, 28, 194, 196, 250, 253, 296 Causa, Raffaello, Prof., xiii, 18, 275 Cefai, Antonio, Fr, 17 Cesana, 8, 264 Chapelle, Vincenzo, canon, 293 Charles V, emperor, 3 Chavasse,R., 160, 294 Christophorus, 158 Coleiro, Edward, canon, xiii, 17, 18, 19, 275, 294 Collinson, Francis, M., 192, 294 Cordina, Antonio, canon, 13, 15, 271 Cowen, Dana, E., 156, 294 Cranach, 229 Crivelli, Carlo, artist, 172 Cutajar, Nicholas A., 289 Cust, Lionel, 294 Daddi, artist, 172

Dathan, 46 David, prophet, 48, 52, 68, 82, 84, 126 Dempsey, Charles, 174, 294 De Giorgio, Roger, architect, 215 Degiorgio, Stephen, xi, 28 Deguara, Aloysio, Mgr, xi Delicata Grech Cumbo, family, 266 de Vorágine, Jacobus, 158, 294 Dodgson, 153, 164, 229, 232, 295 Donatello, artist, 174 De Rohan, Grand Master, 4 Dismas, 156 Durazzo, senator, 265 Elizabeth II, queen, xiii, 19, 48, 50 Ellul Preziosi, Elena, 11, 13 Enosh, 254 Erasmus of Rotterdam, 188 Evans, Mark, 294 Eve, 78, 156 Evodius, 68, 70 Fano, 264 Farrugia, Krystle, 295 Favray, Antoine, painter, xiii, 5, 12 Ferdinand I, king, 8 Fininguerra, Maso, 264, 265 Flechsig, Eduard, 156, 294 Formosa Montalto, Isidoro, canon, 17 Fra Angelico, artist, 186 Franzeri, Katia, 294 Friedrich III, Emperor, 178 Frendo, Cristofano, notary, 267, 270, 274, 293 Funk, David, 214, 216, 218 Gabriel, angel, 48, 82, 297 Gaffiero, Salvatore, canon, 13, 15 Gamaliel, 136 Giorgione, 1 Giuntotardi, Filippo, engraver, 12 Goel, Hans G., 289 Goffman, Daniel, 168, 295 Gonzi, Michael, archbishop, 17, 18 Grech Delicata, Felice, 11 Grognet de Vassè, Giorgio, xiii, 5, 6 Grognet de Vassè, Giovanni Battista, 11, 13 Grunewald, 229 Hand, John Oliver, 294 Hass, Angela, 180, 294 Hebejer, Giovanni, canon, 13, 270 Heller, Jacob, 164 Herod, king, 56, 60, 62, 108, 224 Hirakawa, Kayo, 294 Hopfer, Hieronymus, artist, 9, 25, 214, 216, 218, 266, 270 Hopfer, Lambert, artist, 9, 25, 266, 276 Holbein, Hans, artist, 229 Hutchison, Jane Cambell, 294 Hyzler, Giuseppe, xiv, 13, 269, 293 Jacobus de Voragine, bishop, 33, 295 James, M.R., 295 Japhet, 254 Jared, 254, 257, 258 Judah, 50, 56 Judas, 98 Kenan, 254, 256 Kilian, Lucas, vi, xiii, 273 Knappe, Karl-Adolf, 77, 192, 295 Knock, Stefan, xi Koerner, Joseph-Leo, 229, 295 Korah, 46 Kress, Samuel H., 289 Kuhrmann, Dieter, Dr, vii, ix, xvii, 24, 28, 33, 276, 289 Kulmback, Hans Suss von, 229 INDEX

299

Kurt, Willi, 294 Lambourne, Nigel, 77, 296 Lamech, 254, 258, 259 Lazarus, 136 La Pira, Vincenzo, 266 Leyden, Van Lucas, artist, 17 Lomellino, Francesco, ambassador, xiv, 262, 263, 264 Lübke, Wilhelm,1 Lucas of Holland, artist, 220 Macioce, Stefania, 3, 28 Magi, vii, 3, 56, 263, 272, 294 Mahalalel, 254 Mallia, Paolo, 11, 13, 270 Mansfield, Sally E., 296 Mantegna, artist, 17 Marcella, Ferdinanda, 11, 13 Marchese, Agostino, 11 Marchese, Saverio, Count, vii, ix, xiii, xiv, xvii, 4, 5, 6, 7, 8, 9, 10, 12, 13, 15, 19, 24, 27, 154, 164, 166, 168, 170, 174, 176, 178, 182, 188, 190, 192, 194, 200, 202, 204, 206, 208, 210, 212, 214, 216, 218, 220, 254, 265, 266, 267, 268, 269, 270, 274, 289, 293, 294 Marchese, Gio. Batta Raimondo, 11 Marchese, Giovanni Maria, 11 Marchese, Giuseppe , Dr, 11, 269, 293 Marchese, Giuseppe Isidoro, 11, 293 Marchese, Irene, 11 Marchese, Jacobus, 11 Marchese, Maria Amelia, 11 Marchese, Paolo, 11 Marchese, Pietro Paolo, 11 Marchese, Saverio Antonio, 11 Marchese, Serafina, 11 Marchese, Vincenzo Maria, 11 Marchese, Vincenza Saveria, 11 Marmier, Serafina, 4, 11 Mary of Burdungy, 176 Master, E.S., 170 Mattei, bishop, 274 Maximilian I, emperor, 1, 176, 178, 229 Meckenen van Israhel, artist, 170 Merback, Mitchell, B., 296 Metusalah, 254, 258 Mifsud, Alfredo, canon, 15, 271 Mommard, Johan, 25, 77, 114, 132, 142, 146, 148 Montanaro, Eugene, notary, 27 Moses, prophet, 58 Müller, Jürgen, 192, 296 Nicodemus, 120, 126, 186 Noah, 254, 259 Oakeshott, Ewart, 296 Orsi, commendatore, 264 Padri Scolopi, 4 Panofsky, Erwin, 176, 190, 192, 296 Panzavecchia, Ignazio, canon, 17 Pauli, Gustav, 254, 255, 256, 257, 258 Pecci, Vittoria di Girolamo, 7, 269, 293 Pellegrini Petit, Joe, 27, 28 Pellegrini Petit, Paul, notary, 27 Pertini, Alessandro, president, 18 Petit Casciaro, Giovanni Andrea, 11 Petrioni Tofani, Anna Maria, 296 Peypus, Friedrich, printer, 229 Pinder, Ulrich, publisher, 229, 277 Portelli, Agostino, 293 Portelli, Michelangelo, notary, 293 Preziosi, Philip, 28 Pseudo-Bonaventure, 66, 86 Rembrandt, artist, 17, 220 Reni, Guido, artist, 17 Reprobus, 158

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Reuben (Ruben), 36 Rosa, Salvatore, artist, 17 Rossignaud, Emanuele, canon, 293 Royalton, Kish Martin, ix, xi Saints Ambrogio, 265 Andrew, 176 Augustine (Agostino), 264 Bonaventure, 294 Christopher, xiii, xvii, 1, 6, 9, 11, 25, 28, 158, 194, 196, 275 Dominic, 5 Elizabeth, 48, 50, 82 Eustachius, 9, 25, 214 George, 5, 7, 9, 25, 178, 182, 275 Jacob, 48, 82 James, 36, 38, 40, 42, 44, 46 Jerome, xiii, xiv, 1, 9, 25, 188, 274, 276, Joachim, xiii, 33, 36, 38, 40 John, 68, 94, 100, 110, 114, 118, 130, 132, 134, 138, 142, 280, 281, 284 John the Baptist (Giovanni Battista), 265, 272 Joseph, 46, 48, 60, 62, 82, 84 Luke, 48, 50, 52, 54, 58, 64, 82, 88, 90, 96, 98, 108, 122, 134, 140 Matthew, 56, 60, 62, 102, 104, 106, 112, 116, 124, 148 Mark, 92, 128 Mary Magdalene, 79, 138, 242 Michael, 5, 285 Paul (Paolo), 15, 120 Peter, 68, 90, 94, 120 Thomas, 25, 142, 244 Veronica, 120, 273 Sammut, Edward, Dr, 296 Sammut, Victor, xi Sapiano, Joseph, canon, 275 Seth, 254, 255 Schauffelein, Hans Leonard, 27, 166, 229, 246 Schaustic, 273 Shem, 254 Schembri Bonaci, Giuseppe, Dr, 290, 294 Schongauer, Martin, artist, 1, 27, 28, 152, 170, 172, 229, 250 Schranz, Antonio, artist, 12 Seratti, Angelo, 7 Seratti, Francesco, Count, vi, ix, xiii, xiv, xvii, 7, 8, 12, 28, 254, 264, 289, 294 Seratti, Luigi, 8 Sixtus IV, Pope, 160 Spiteri, Lorenzo, canon, 275 Spiteri, Pietro, 269 Stanley, auctioneer, xiii, 8, 12 Stewart, John Robert, 7, 8, 9, 12 Stewart, Henry, 9 Stewart, Peter, 9 Strauss, Walter L., 28, 204, 296 Strieder, Peter, 296 Szczepanowski, Hanna, 289 Talbot, Charles ,W., 188, 296 Tiepolo, artist, 17 Titian, 1 Toben, Felicitas, 294 Torriglia, ricevitore, 3, 264 Traut, Wolf, artist, 27, 229, 232 Újvári, Edit, 156, 296 Unterperger, 272 van der Paele, 172 Van Dyke, artist, 17 van Eyck, Jan, artist, 172 van Meckenen, Israhel, 170 Vasari, Giorgio, 220, 294 Vassallo, Vincenzo, canon, 13, 15, 16, 17, 24, 271, 272, 293

Vella, Antonio, canon, 17, 293 Vella, Edgar, Rev. Dr, ix, xi Veniziano, Lorenzo, artist, 172 Verallo, Fabrizio, cardinal, 3, 263, 264 Verrlocchio, artist, 172 Vincent of Beauvais, 33 von HĂźtt, Wolfgang, 296 Wendland, Alexander Von, ambassador, 24 Westfalia, Vincenzo, 270 Wierix, Johan, artist, 25, 212 Willi, Kurth, 295

Index of Places

Amsterdam, 168 Arimathea, 128 Attard, 12, 15 Babylon, 287 Bamberg, xi, 280 Bavaria, 33 Bethany, 136 Bethlehem, 52, 56,84 Berlin, 28, 293 Brussels, 114, 132, 142, 146, 148 Colmar, 1 Crimea, 168 Egypt, 22, 60, 62 Emmaus, 77, 140 England (Inghilterra), 265 Europe, ix, 1, 33, 280, 289 Flanders, 220 Florence (Firenze), ix, 3, 7, 8, 12, 277 Galilee, 48, 52, 82, 84, 134 Genoa, 33, 294 Germany, 77, 229, 280, 289 Gibraltar, 12 Hades, 126, 136 Israel, 30, 46, 50, 56, 62 Istanbul, 168 Italy, 33, 220 Jerusalem, 56, 68, 64, 77, 88, 108, 140, 230 Judea, 52, 84, 156

Wignacourt, Aloph de, Grand Master, xiv, 3, 4, 262 Winkler, Friedrich, 154, 156, 168, 174, 180, 182, 186, 190, 296 Wofflin, Heinrich, 3 Wolgemut, Michael, artist, 1, 152 Wollenwder, Karl Gustav, ambassador, 24 Zani, 265 Zahra, Francesco, artist, 15 Zillah, 259

Kalkara, 9 Livorno, 168, 264 London, 8, 12, 18, 277 Magdala, 130 Marseille, 168 Messina, 263 Mannheim, 289 Munich, ix, xi, 3, 12, 24, 276 Naples (Napoli), 263, 264 Nazareth, 48, 52, 82, 84, 272 Netherlands, 3 New York, 294 Nuremberg, vii, 1, 3, 33, 229, 277 Palermo, 8 Pisa, 7 Pontremoli, xi, 7, 8 Prague, 1 Rabat, 4, 17, 27 Rome, vii, xvii, 3, 4, 6, 12, 28, 220, 263 St Petersburg, 168 Tunisi, 8 Tuscany, 7, 8 Valletta, 4, 5, 6, 7, 13, 18, 28, 267, 270, 277 Venice, 77, 220, 222, 224 Vienna, 166, 182 Vittoriosa, ix, 3 Zejtun, 289

INDEX

301