Ir-Redentur - History, Art, and Cult

IR-REDENTUR HISTORY, ART, AND CULT

OF THE MIRACULOUS EFFIGY OF CHRIST THE REDEEMER AT SENGLEA, MALTA

IR-REDENTUR HISTORY, ART, AND CULT OF THE MIRACULOUS EFFIGY OF CHRIST THE REDEEMER AT SENGLEA, MALTA

IR-REDENTUR HISTORY, ART, AND CULT

OF THE MIRACULOUS EFFIGY OF CHRIST THE REDEEMER AT SENGLEA, MALTA

EDITED BY

JONATHAN FARRUGIA WITH AN INTRODUCTION BY

REV. CAN. ROBIN CAMILLERI, ARCHPRIEST AND ESSAYS BY

SANDRO DEBONO, JONATHAN FARRUGIA VALENTINA LUPO & MARIA GRAZIA ZENZANI

IN ASSOCIATION WITH

THE SENGLEA COLLEGIATE CHAPTER, MALTA

IR-REDENTUR – HISTORY, ART, AND CULT

Published by 3a Strait Street, Valletta, Malta www.midseabooks.com in association with

Senglea Collegiate Chapter, Malta and with the assistance of

Editor

Jonathan Farrugia Main Photographer

Joe P. Borg Design & Layout

Joseph Mizzi

Literary Copyright © the authors, 2019 Editorial Copyright © Midsea Books Ltd, 2019 Photography Copyright © Midsea Books Ltd/photographers 2019 For list of other photographers, see next page under photo credits.

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.

First published in 2019

This book was published with the support of

Copy-editor: Louis J. Scerri Printed at Gutenberg Press, Malta ISBN: 978-99932-7-714-9

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INTRODUCTION

Message by His Grace Charles J. Scicluna Archbishop of Malta

T

he holy effigy of the Redeemer that we venerate at the Basilica in Senglea is a visual representation of a suffering person. His gaze that pierces our hearts strengthens our compassion towards our needy brothers and sisters.

The hallowed effigy of the Redeemer also reminds us of Jesus of Nazareth’s suffering for us and for our salvation, that love always has a price, and that many times this price is burnished by suffering. The blessed statue of the Redeemer also reminds us that we need to remain close to each other especially during moments of suffering.

May every time our gaze meets the merciful gaze of the beloved effigy of the Redeemer, our hearts are enkindled with love for our neighbour, with sentiments of repentance for our sins, and with conviction and promise that we live our lives in proximity to God and our neighbour.

I impart my pastoral blessing.

†Charles J. Scicluna

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IR-REDENTUR – HISTORY, ART, AND CULT

ACKNOWLEDGEMENTS Ms Sofia Almagro Ms Sara Bassi Onor. Glenn Bedingflied Mr Shawn Borg Mr Michael Buhagiar Mr David Frank Bugeja, Dr Andy Calver Mr Mario Caruana Mr Paul Catania Ing. Brian Cauchi Mr Joe Cremona His Grace Mgr Paul Cremona Mr Simon Dimech Rev. Dr Nicholas Doublet Rev. Can. Mark Ellul Perit Nadia Gatt Curmi Mr Christopher Galea Mr Mario Galea.

His Lordship Mgr Joseph Galea Curmi Ms Sandra Ruiz García

Mr Kurt Grima Mr Anthony Mangion Mr Fabian Mangion Dr Simon Mercieca Onor. Joe Mizzi Ms Simone Mizzi Mr Michael Pace Ross Dr Tim Padfield Mr Kevin Papagiorcopolo Mr Gino Parnis Ms Rebecca Ranieri Ms Irene Segrera Mr George Scerri Mr Rennie Schembri Dr Lucio Scriha Dr Michael Scriha Mr Anthony Spagnol Rev. Dr Mgr Edgar Vella Mr Luca Zaltron Ms Carmen Zammit

Camilleriparismode CNR-IVALSA Consiglio Nazionale delle Ricerche Istituto per la Valorizzazione del Legno e delle Specie Arboree, Firenze.

Commission for Catholic Cultural Patrimony, (KPKK) Curmi Bros.

Customs Department - Intelligence Office Heritage Malta Malta Customs Medavia Mediterranean Aviation Company Ltd Ministry for Finance, Good Causes Fund Office of the Prime Minister Senglea Good Friday Commission Senglea Parish Voluntaries Salesian Community Senglea

PHOTO CREDITS Raymond Agius Attard Jonathan Borg Daniel Cilia Mario Caruana Fabian Mangion Rayden Mizzi Ian Noel Pace Mark Micallef Perconte Atelier del Restauro Ltd church.mt/photos goodfridaymalta.com Senglea Parish Archives

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INTRODUCTION

Contents

Introduction ..................................................................................................................................... 9

Rev. Can. Robin Camilleri, Archpriest, Senglea Collegiate Chapter

Ir-Redentur: Iconography and art for the purpose of ritual .............................................................. 23

Sandro Debono

Senglea’s Holy Redeemer and the other Misteri: a historical reappraisal from new documentary sources ................................................................. 39

Jonathan Farrugia

Conservation and restoration: Safeguarding a national icon for future generations ....................................................................... 95

Valentina Lupo & Maria Grazia Zenzani

Comparative photographic study: Before and after the restoration process .................................. 145

Joe P. Borg

Appendices 1. Scientific analysis on the manufacturing technique of the statue of the Redeemer.............................................................................................. 157 Matthew Grima, Heritage Malta Diagnostic Science Laboratories

2. Monitoring the enclosure of the Redeemer ....................................................................... 165

Michael Formosa, Wood Conservator

3. The proposed approach for the statue preservation ........................................................... 171

Benedetto Pizzo, CNR-IVALSA, National Research Council of Italy,

Istituto per la Valorizzazione del Legno e delle Specie Arboree, Florence, Italy

Bibliography ..................................................................................................................................... 183

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8

INTRODUCTION

Introduction Rev. Can. Robin Camilleri Archpriest, Senglea Collegiate Chapter

“God so Loved the World…”

(Jn 3:16)

T

HE MIRACULOUS STATUE OF Christ the Redeemer, which is venerated inside the Oratory of the Holy Crucifix at the Collegiate Basilica of Senglea, is first and foremost a potent portrayal of man’s redemption from sin and an eloquent reminder of God’s love for mankind. The effigy of the suffering Jesus, stumbling under the weight of the heavy cross, is the ultimate expression of this infinite love of God towards us. Indeed, in the words of the Evangelist, ‘God so loved the world that he gave his

only Son so that everyone … may have eternal life’ (Jn 3:16). The expression chosen by God to convey the mystery of his infinite love towards us is one of suffering, revealing itself in the redemptive immolation on Calvary of the Son of God made man. The Holy Cross on which Jesus Christ shed all his blood for our salvation lies at the very centre of our faith. In his first letter to the early Christians at Corinth, the Apostle of the Gentiles emphasizes this centrality: ‘During my stay with you, the only knowledge I claimed to have

Fig. 1 The statue in procession during the feast of Christ the Redeemer, 9 March 2018 FIG. 1

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IR-REDENTUR – HISTORY, ART, AND CULT

was about Jesus, and only about Him as the Crucified Christ’ (1Cor 2:2). In his letter to the Galatians, the Apostle Paul goes on to outline what should be our earthly response to Christ’s redemptive immolation on the Cross. Paul himself sets the example in his exhortative statement to the Galatian community: ‘The life I now live in the flesh I live by faith in the Son of God, who loved me and gave himself to me’ (Gal 2:20), meaning that Jesus’ immolation on the Cross should be mirrored in our earthly life through a selfless commitment of fidelity to Our Lord.

The miraculous effigy of the Holy Redeemer at Senglea vividly reminds us that, through His passion and death, Jesus carried the sin of fallen mankind and overcame it through His sacrifice, His redemptive atonement, His expiatory act, and His merit. In the words of theologian Hans Urs von Balthasar, this redemptive healing of humanity offers us access to the Triune God and constitutes a reopening leading to our ‘divinization’ as God’s children. The figure of Jesus Christ bearing the Cross becomes the ultimate portrayal of the Son of God taking upon Himself our sins and giving Himself for our salvation.

An Endless Flow of Pilgrims

Fig. 2 The statue of Christ the Redeemer after the conservation project, during the week of his devotional feast, March 2018

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One cannot speak of the miraculous effigy of Jesus Christ the Redeemer at Senglea without referring to its cult over the centuries. The unceasing manifestations of devotion towards this sacred image, be they private or in groups, constitute a most eloquent testimony of the overwhelming veneration with which this effigy is regarded by the faithful across the Maltese islands. In recent years great national pilgrimages have paid tribute to the intercessionary powers of this miraculous statue. These manifestations include the great pilgrimage of July 1944 when the effigy was carried in procession from Paola to the Senglea basilica; the 1974 Holy Year celebration when the statue was the rallying point of a national Way of

the Cross service at the Independence Arena in Floriana; the May 2000 sojourn of the miraculous effigy at Qala in the sister island of Gozo; and a number of pilgrimages which were held between 1982 and 2007 at Valletta, Cottonera, and other venues, such as the St Vincent de Paule Residence for the Elderly and Mt Carmel Hospital in Attard. All these occasions were truly national manifestations of faith and trust in God’s infinite love and mercy as represented in the holy effigy of the suffering Jesus.

This love and mercy continues to be reflected in the constant flow of pilgrims from all walks of life who make their way to Senglea to pour out their innermost tribulations at the feet of Him who gave up His own life for our redemption.

This flow of pilgrims is especially strong during the penitential period of Lent, as well as during the month of June which also marks Senglea’s deliverance from the 1813 pestilence thanks to the intercession of the Holy Redeemer. It has also become customary for parishes from all over Malta to hold penitential and prayer visits at the oratory of the Holy Crucifix annexed to Senglea basilica, where the miraculous effigy is kept for public veneration. There, in the silence of that oratory, where the pilgrim meets the poignant and penetrating gaze of the blood stained figure of his suffering Redeemer, all hearts are opened, and all troubled souls find solace in a profound sentiment of filial trust in God’s mercy, in the firm conviction that one’s prayers are truly being heard. Indeed, in front of Him ‘every knee would kneel … and every tongue confess that Jesus is Lord to the glory of God the Father’ (Phil 2:10–11).

When, as a seminarian before my ordination to the priesthood, I was attached to the parish of Senglea, and began to experience at first hand the devotional phenomenon that surrounds the effigy of the Holy Redeemer, I realized that this was not just a traditional manifestation of popular piety that is passed on from one generation to another.

I was soon made aware that these expressions of devotion were truly a profoundly genuine religious experience of a close relationship of the

FIG. 2

INTRODUCTION

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IR-REDENTUR – HISTORY, ART, AND CULT

FIG. 3

Fig. 3 The statue while in procession during the feast of Christ the Redeemer before the end conservation project

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faithful with Jesus as represented in his passion and death on Calvary for our redemption. As time went by, I could see how God’s power operates in the human heart especially during the many adverse vicissitudes which mark our earthly sojourn. In this respect, I have become aware not only of innumerable material healings, but more so of spiritual repentance from the dark bondage of sin and the genuine conversion of many who had veered from the path of righteousness. All these people, each in their own way, would have experienced the redemptive power of the Holy Cross of Jesus Christ and obtained that peace of heart which only God can grant to his faithful believers.

Devotion towards the miraculous effigy of the Holy Redeemer was especially manifest during the 2016 Jubilee of Mercy which was proclaimed by the Holy Father Pope Francis. At the express wish of H.G. Archbishop Mgr Charles J. Scicluna, the Senglea shrine housing the statue of the Holy Redeemer was designated as one of the venues of pilgrimage in connection with the special Jubilee indulgence. This took place on 9 January 2016 at a special ceremony attended by innumerable pilgrims, in which the main portal of the oratory

of the Holy Crucifix was declared open for the Jubilee Year. That was a year when an endless flow of pilgrims made their way to Senglea, prompting the archbishop to declare the shrine ‘open for all future time beyond the Jubilee, so that the People of God would continue to benefit from God’s love, mercy and forgiveness …’. The archbishop also exhorted the parish of Senglea to maintain an efficient platform of pilgrim support in order to guarantee the good running of these devotional manifestations.

The widespread veneration of the miraculous effigy of the Holy Redeemer is also evident at Senglea in the weekly presentation of newborn babes from all over Malta who, together with their parents, participate in a special religious service which is held every Sunday inside the oratory of the Holy Crucifix. Many are also the newborn children who, at the request of their parents, are baptized at Senglea in thanksgiving for the many graces attained through the intercession of the Holy Redeemer. The regular occurrence in the parish registers of names such as Redeemer, Redent, Eemer, and other variants bears ample evidence of this pious practice.

The nation’s esteem and reverence towards this sacred effigy are found in the words expressed

IR-REDENTUR: ICONOGRAPHY AND ART FOR THE PURPOSE OF RITUAL

Ir-Redentur

Iconography and art for the purpose of ritual Sandro Debono

T

HE PROCESSIONAL STATUE OF Christ falling under the weight of the cross, popularly known as the Redentur (EN. Christ the Redeemer) at Senglea parish Church is a good example of processional statuary in Malta, with particularly reference to function, purpose, iconography, aesthetics and most of all vicissitudes. Indeed, although this material culture is certainly dictated by necessity, it does nonetheless connect with the broader narratives of art history, albeit usually removed from any considerations of what is considered to be fine arts in the strict sense of the word also due to constant renovation which has oftentimes been detrimental to the study of this genre.

There are two main considerations to acknowledge when studying processional statuary in context. First, these works had to serve a specific, designated purpose and were conceived and created with this purpose in mind. Suzanne Verdi Webster, perhaps, best explains this need and requirement.1 Processional statuary, she claims, was conceived to connect with viewers when paraded along the streets and in public spaces. It had to be clearly seen and read from multiple view points so that devotees would connect with the statue from various angles and in rapid succession. This very specific type of statuary would have required such necessities as open wounds and trickles of blood all over the saintly body in order to sustain a continuous narrative and a meditative tool of the passion.

Realistic features such as glass eyes and crystal tears, not to mention nails made of horn or bone to make the hands look more realistic, helped achieve such purpose. Such details would have certainly underpinned the belief that spirits did inhabit the physical world and satan, to mention one example, was indeed a real presence that could be encountered in the streets.

The second consideration is about context.

Indeed, it is difficult to the segregate the production of papier-mâché statuary from the broader remit of artistic production that stands as a constituent element of art history. In the case of the production of eighteenth century Good Friday statuary, this would have happened in parallel to the artistic contributions of Antoine Favray (1706–98) and Francesco Zahra (1710–73) to mention a few. Zahra in particular, come from a family of scalpellini who produced traditional stone reredos commissioned by local parish authorities.2 Exclusive repertoires might not be the case in Maltese art history; a painter could have been a sculptor, a carpenter also practicing as a sculptor and both working in various media.

This overlap also concerns iconography.

Works by Melchiorre Cafà (1636-1667), the two most prominent being the Statue of St Paul the Apostle (St Paul Shipwrecked Collegiate Parish Church, Valletta) and the Virgin of the Rosary (Dominican church, Rabat), were the prototypes to emulate irrespective of choice

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IR-REDENTUR – HISTORY, ART, AND CULT

of material. This suggests an overlap between high baroque artistic production and the local context. Cafà’s Virgin of the Rosary is perhaps the more emulated of the two. Notarial deeds, such as the one for a version commissioned for Balzan Parish Church in 1773, suggest that the procurators went to great lengths to ensure that this would be the case.3 Even when variations or new iconographies were introduced, such as the case of the version commissioned to Mariano Girada (1771–1823) in 1803, a compromise of sorts would have still been a necessary requirement.4 The St George (Qormi Parish Church) by Pietro Felici (1669–1743) is one other example of Cafà’s works being acknowledged as a prototype. This polychrome statue of St George is most probably derived from a wax model, now part of the MUZA collection, which has been recently proposed as a study for Cafà’s St Eustache at Santa Agnese in Agone (Piazza Navona, Rome).5 This overlap certainly suggests

that processional statuary was not considered an isolated production from the rest of what is now acknowledged to be an as yet unwritten history of sculpture in Malta. Iconographies bridge the two strands in spite of purpose and aesthetic quality (Figs 1, 2).

This paper shall review the context of the devotional image of the Senglea Redentur, intentionally broadening it to include a more articulate historical and art historical context for processional statuary that goes beyond main stream art history studies. The connections and overlaps proposed rethink, at least in part, the dialectic between processional statuary, art history and devotional practices and how the three are potentially much more connected than first thought. In doing so, this paper might, to all intents and purposes, be also read as a case study for new readings in Maltese art history informed much more by a socio-political art historical narrative, beyond mainstream kunstgeographie

FIG. 1

FIG. 2

Fig. 1 Melchiorre Cafa’s St Paul, St Paul’s Shipwreck Parish Church, Valletta Fig. 2 The Virgin of rhe Rosary, Dominican Priory Church, Rabat, Malta

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SENGLEA’S HOLY REDEEMER AND THE OTHER ‘MISTERI’

Senglea’s Holy Redeemer and the other Misteri: a historical reappraisal from new documentary sources Jonathan Farrugia

Status quaestionis

S

ENGLEA BOASTS THE POSSESSION of one of the main shrines in the Maltese Islands: the oratory of the Holy Crucifix where the statue of Christ carrying the cross – locally known as Ir-Redentur – is displayed all-yearround for the veneration of the devotees who come from all over Malta and beyond to pray and to render thanks.

Such an important statue and its context – namely the oratory itself, the Good Friday procession, and the confraternity that was responsible for them – have been the subject of many articles and studies, including a couple of books, that sought to illustrate their history according to the documentation available.

Two in particular need to be mentioned here as they are the major sources of information on the history of the unconquered city of Senglea and the Good Friday traditions found therein.

The major work is the three-volume history of Senglea entitled L-Isla fi Ìrajjiet il-BaΩilka – Santwarju ta’ Marija Bambina, compiled and written by Rev. Alexander Bonnici, OFM Conv. and published between 1981 and 1991, thanks to the interest and work of former archpriests, Rev. Can. John Sladden and Rev. Can. Vincent Cachia. Mention should also be made of the book focusing only on the Good Friday procession and its context, Il-Ìimg˙a l-Kbira fl-Isla, written by Mario Caruana and

Fabian Mangion in the jubilee year of 2000.

Other works include a number of articles published in local newspapers and other publications that focus on other details related to the above.

The extensive restoration carried out on the statue of Christ carrying the cross during 2017–18 also brought with it the necessity of reorganizing and thorough cleaning of the oratory and its sacristy. This has providentially brought to light some hitherto unknown manuscripts, some of which date to the very first years of the existence of the confraternity of the Holy Crucifix. The contents of these will be published for the first time in this study and are therefore fundamental for getting a more accurate idea of the history of the place and its contents because they give details that revise some points that are found in previous publications. While reading the present book, one has to keep in mind that these documents were not available before and therefore it is understandable that, where some details were not clear, previous researchers based their theories on assumptions that had always been taken for granted.1 This study seeks to clarify these unintentional mistakes, while also illustrating more precisely the history of the devotion towards this important statue, rather than keeping to the popular belief and traditions.

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FIG. 1

The sources

Fig. 1 The statue of Christ the Redeemer after the conservation project, during the week of his devotional feast, March 2018

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The main sources for this study are the newly discovered manuscripts found in a sealed wooden box in the storage areas of the sacristy of the oratory of the Holy Crucifix. Several of these manuscripts are of utmost importance. First of all there are two volumes of the Libro delle Consulte recording the minutes of the private and general meetings held by the confraternity from 1716 to 1790 and from 1845 to 1877. These provide several precious details regarding decisions related to the day-to-day running of the confraternity, including any disciplinary measures. Then there is the Libro Mastro A which contains the annual handing-over reports and inventories of the procurators of the confraternity from 1717 to 1883. It is easily noticeable that, with the passing of the years, details became scantier and scantier; however, the earliest reports provide many minutiae which help us arrive to some concrete conclusions. Other noteworthy manuscripts discovered in this box are the earliest volumes of the Esito delli Procuratori which contain the lists of expenses made by the confraternity from its first months of existence: 1715–40, 1818–65, and 1865–78. These roughly cover the expenses

made in the first 150 years of the life of the confraternity and provide fundamental details related to when many of the items of interest in this study were actually made and how much they cost. Particular insights are offered by the volume covering the years 1818–65 when the devotion towards the statue of Christ carrying the Cross multiplied owing to the vow made by the then-archpriest Rev. Can. Vincenzo Cachia and the other members of the chapter related to the plague of 1813.

There are also other documents in the parish archive which had been available previously. Of singular importance is the note left by Archpriest Cachia in the Liber Defunctorum, vol. iv, wherein he explains the origin of the annual votive procession of Christ carrying the Cross celebrated in June, known locally as ‘Tal-weg˙di’.2 Important sources from outside the parish archive include the reports of the pastoral visits made in Senglea by various bishops, especially during the eighteenth century. Such reports are significant because they give important insights related to the statues which, in my opinion, have been overlooked by previous researchers.

There is also the record of the libel made by the sculptor Pietro Paolo Azzopardi against Antonio

CONSERVATION AND RESORATION: SAFEGUARDING A NATIONAL ICON FOR FUTURE GENERATIONS

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CONSERVATION AND RESORATION: SAFEGUARDING A NATIONAL ICON FOR FUTURE GENERATIONS

Conservation and Restoration:

Safeguarding a national icon for future generations Valentina Lupo & Maria Grazia Zenzani Atelier del Restauro

PART ONE

THE TECHNIQUES USED TO INVESTIGATE THE MANUFACTURING PROCESS AND STATE OF CONSERVATION OF THE STATUE OF THE REDEEMER INTRODUCTION

T

HE TECHNICAL STUDY OF THE sculpture consisted in the scientific examination of the constituent materials in order to understand how the statue was constructed, the typology of materials used, and its state of conservation. The project was an integrated research in order to arrive to scientifically and historically proven conclusions.

X-radiography allowed us to observe the interior structure of the sculpture, while examinations of wood samples and cross-sections of polychrome samples complimented the scientific studies.

Archival research was moreover carried out to assign a period of execution and fully understand both the artistic and devotional development of the sculpture since its creation.

Visual observations in normal, raking, and UV light Surface examination of the statue was carried out under normal diffuse and raking light (780-

400nm). The structure of the outer surface, surface characteristics, and deterioration phenomena were observed at a macroscopic level by means of both light arrangements. These observations helped to give a more detailed view of the construction of the statue and its state of conservation. The statue was exposed to UV light by means of ultraviolet tubes mounted on a holder. The use of ultraviolet light (range 400200nm) was carried out to distinguish variations in the different coatings applied and the various overpaintings present.

X-ray radiography The diagnostic imaging based on the use of X-rays1 allowed, in an increasingly efficiently and with high resolution, a non-invasive analysis of the internal structure of the statue, including identification of discontinuities or in homogeneities of the overlying materials.

The use of such radiation for the analysis of the statue is linked to the fact that X-rays can cross

previous page Fig. 1 Detail of face, statue of Christ the Redeemer Fig. 2 Some of the tools used by the conservators during the project

FIG. 2

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IR-REDENTUR – HISTORY, ART, AND CULT

FIG. 3

FIG. 4

inter-layers of the material also of considerable thickness.

The statue was first taken for a full scan to the Customs Department at the Hal Far Groupage complex.2 Through the use of a NUCTECHTM MT Series,3 an innovative mobile X-ray inspection system, a total of 12 full scans of the statue were carried out on the sides, front and back. (Figs 3, 4, 5) The statue was also scanned diagonally.

Though we were aware that the scan will not yield high-resolution images (owing to the fact that the equipment is normally used to scan large containers), the scan was carried out to understand the exact position of the internal wooden structure (anima) and whether or not a metal skeleton is present. An advanced screening feature of the equipment was also especially useful to distinguish between organic and nonorganic materials by means of introducing cold and warm coloured zones to the monochrome X-ray images.

The scans were then useful to pinpoint specific areas to X-ray using another radiographic system.

Once the results from the scans were studied in detail another X-ray campaign was commissioned by Atelier del Restauro to Heritage Malta’s Conservation Division, this time using a portable Seifer Eresco X-ray tube in-situ at the church. Three areas were specifically X-rayed in detail (Fig. 6).

The X-rays gave also an overview of the different thickness of metal wire, nails, and filling inside material. It also gave useful results regarding the state of conservation of the preparatory layer of the statue.

Borescope inspection A boroscopic inspection4 was carried out by Medavia Technics to visualize the interior of the statue. This was done using an Olympus Iplex IV8000 borescope with a 4 mm diameter flexible probe. Two types of optical adapters were used FIG. 5

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COMPARATIVE PHOTOGRAPHIC STUDY

Comparative Photographic Study: Before and after the restoration process Joe P. Borg 145

IR-REDENTUR – HISTORY, ART, AND CULT

BEFORE

BEFORE

146

AFTER

APPENDICES

Appendix 1

Scientific analysis on the manufacturing technique of the statue of the Redeemer Matthew Grima Heritage Malta Diagnostic Science Laboratories

T

HE ATELIER DEL RESTAURO commissioned Heritage Malta’s Diagnostic Science Laboratories (DSL) for scientific examination and analysis to understand the manufacturing technique of the statue of the Redeemer and assess its state of conservation.

By visually examining an object, preliminary information on the object’s state can be assumed.

However, similar to what happens in the medical field, diagnostic science needs to be applied fully to understand the situation at hand. As a result, a two-part scientific strategy was implemented: the first involving X-radiography (XRAD) to examine the internal structure of the statue and the second a pigment analysis strategy to investigate the manufacturing technique and comparing the oldest layers to any retouchings.

X-radiography (XRAD) The Atelier del Restauro had preliminarily imaged the whole statue at the Customs Department Hal Far Groupage complex, whereby knowledge of the overall supportive internal structure was recorded (Fig. 1).

It was established that a horizontal beam was supported from two major avenues; there was support from the posterior part where the horizontal beam rests on a vertical beam and, with the aid of a fly-nut, holds the beam from

above. At this point DSL’s high-resolution imaging set-up was requested to focus on these specific areas in order to better understand their mode of manufacture and state of conservation.

While very fine details such as cracks were captured, the fine detail of the wooden support was not since the wooden beam is surrounded by dense material, hindering any more fine detail from being captured. Still important information regarding the statue’s structure has been obtained.

From the recorded radiograph (Fig. 2) it was established that the horizontal beam is joined to the vertical one by a nail. While the exact type of joint cannot be interpreted, it is possible that

FIG. 1

Fig. 1 Nuctech inverted X-ray scan.

In this inverted image, metallic components appear black (Credit: Customs Department)

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FIG. 2

Fig. 2 The radiograph highlighting the supportive structure inside the statue, providing detailed information on the manufacturing technique.

Several details emerge including the horizontal beam, fly-nut mechanism, several nails, support plate, and arm and leg internal support rods

it is in the form of a mortise-and-tenon or halflap joint (Fig. 3). It is imperative to note that the horizontal and vertical beams do not overlap. The protruding part of the structure was modified to contribute towards the artistic manufacturing decision taken with regards to the posterior frame size of the figure.

There is no evidence of a major recess. This claim is supported by two major physical features.

As seen in the figure, the fly-nut appears to be inserted into a bolt, possibly fused via molten metal to two metal plates which are fixed to the horizontal wooden beam by four nails. The flynut’s wings are much wider than the bolt’s entry hole. Since the fly-nut is directly tied to the horizontal beam, indentations of its wide shape would be seen on the pigment surface should

Fig. 3 A sketch (not to scale) of the possible joint in question as interpreted from the X-rays recorded and Nuctech images provided. Note how the horizontal beam had to be reduced due to it protruding from the figure’s posterior part (dashed line), according to how the artist developed the work) FIG. 3

158

the horizontal beam have recessed. Secondly, the superficial layer of Christ’s lower back would show signs of material expansion in the form of a fracture in the fabric support, if recessing occurred.

Analysis of the statue’s stratigraphy The cross-section elevation of the whole pigment thickness allowed for the examination of the stratigraphy, that is the sequence of colours applied to an object one on top of each other.

It is, in fact, common practice for pigmented surfaces to have paint re-applied over them over time, mostly in relation to historical restorations.

The Christ the Redeemer statue is no exception to this trend. In total, 11 samples (Tables 1, 2) were elevated from the statue to analyse the stratigraphy development over time, to compare colour applications from different areas to each other and to date, where possible, the pigment layer’s application.

Pigment samples were first examined by optical microscopy to document them and take note of each colour and pigment morphology,

APPENDICES

Appendix 2

Monitoring the Enclosure of the Redeemer Michael Formosa Wood Conservator

A

S PART OF A PREVENTIVE conservation approach, various investigations were proposed to ensure that the enclosure of the Redeemer statue was safe for the artefact and thus prolong its life.

The monitoring of relative humidity (RH) and temperature (T) was essential to try and understand whether the past ambient conditions inside the enclosure could have affected the state of conservation of the statue of the Redeemer and also predict and any further deterioration.

Accompanying this monitoring, actual wood samples were removed and placed in the enclosure to monitor the actual wood moisture content and any fungal activity which may be promoted as a result to the ambient conditions inside the enclosure. Additionally, a test was carried to measure the air exchange rate of the enclosure.

Consultations with the Atelier del Restauro were made throughout the whole project, including discussions regarding the state of conservation of the statue which suffered from mild insect degradation and the painting surfaces had mould deposits. The enclosure was then inspected and a monitoring programme was planned. The duration of this programme was to be a period of not less than twelve months. During this time the statue was temporarily removed from the enclosure for conservation purposes.

The following actions were recommended and discussed:

Carry out graphic and photographic • documentation of the enclosure, oratory, and church; • Monitor relative humidity (RH) and temperature (T) in various locations; • Measure and calculate wood moisture content (WMC); • Inspect microscopically samples collected from the statue’s wooden support, as well as from wooden shelves inside the enclosure, for any fungal deterioration; • Monitor sacrificial wood samples for both WMC, as well as microscopically, for any development of fungal deterioration; • Calculate the air exchange rate of the enclosure; • Measure moisture content of the walls inside the enclosure; • Further recommendations.

Fig. 1 Plan of the church, oratory, and the enclosure

Graphic and photographic documentation Photographs were taken digitally by a DSLR camera. A separate microscope camera was used to document wood sections investigated under the microscope. The whole church complex was documented graphically, using computer-aided design software. Elevations and a plan of the showcase, better referred to as enclosure, were made and accompanied by plans of both the oratory and church (Fig. 1).

FIG. 1

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back of the choir furniture. The volume of the enclosure was accurately calculated in order to predetermine the actual air-water content inside the enclosure and also instead of in order to calculate the amount of gas to be used to carry out the air-exchange rate test (Figs 2, 3).

Monitoring relative temperature (T)

FIG. 2 CHOIR/ALTAR LEVEL

CHURCH LEVEL

ORATORY LEVEL

ALTAR LEVEL

ENCLOSURE LEVEL ENCLOSURE VENTILATION HOLES LEVEL CHOIR FLOOR LEVEL

FIG. 3

Fig. 2 3-D reconstruction of the enclosure Fig. 3 Various levels

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The oratory is adjacent to the enclosure, while the church choir is located just behind the back of the enclosure. A 3-D reconstruction of the enclosure was also carried out. Various floor levels were accurately measured in order to find the difference between the enclosure and the church choir levels. There are three ventilation holes at the back of the oratory which lead to the

humidity

(RH)

and

The main purpose of this monitoring campaign was to try and predict whether the ambient conditions inside the enclosure may contribute to the deterioration of the statue. Furthermore, recommendations to try and stop or slow down any deterioration will be given. This study mostly highlights preventive conservation. Preventive conservation is the measure to be taken prior to considering any direct and invasive interventions.

Through the science of preventive conservation, one addresses the way the material interacts with the environment, including use and misuse.

The monitoring of RH and T was planned for a duration of not less than 12 months. The monitoring started on 9 February 2016. Five Hobo 08–002-02 data loggers were placed in the following locations: 1. Inside the showcase; 2. Oratory. Data logger was placed on a masonry moulding; 3. Externally on the church roof; 4. On top of the choir furniture; 5. In the crypt located just below the enclosure.

Before the monitoring commenced the data loggers were calibrated using various saturated salt concentrations.

Deterioration of the masonry walls inside the enclosure Most of the deterioration problems are attributed to water in both liquid and vapour states. Liquid state may be defined as free water coming from

APPENDICES

Appendix 3

The proposed approach for the statue preservation Benedetto Pizzo CNR-IVALSA, National Research Council of Italy, Istituto per la Valorizzazione del Legno e delle Specie Arboree, Florence, Italy

T

HE PRESENT CHAPTER DESCRIBES the proposed approach for the longterm preservation of the statue of the Redeemer within the niche where it is currently hosted. The first part of the chapter, which describes the constitution of the statue, is based on a visual inspection carried out in 2017 (when the statue was in course of restoration within the sacristy of the oratory dedicated to the Holy Crucifix and which involved the identification of some wood elements of the structural parts of the statue). Then the niche where the statue is usually kept (that is, the environment of preservation of the statue) is briefly analysed, based on a measurement campaign carried out by the Atelier del Restauro’s team. Finally, the suggestions for the statue preservation are presented and the adopted approach fully explained. This approach originates from: a) all the observations mentioned above; b) the attempt to respect the original materials that constitute the statue; c) the knowledge acquired by the author in the field of wood technology and conservation during several years of experience developed at the Trees and Timber Institute of the National Research Council of Italy; d) the attempt not to preclude any possibility of adopting future preservation strategies; and e) last but not least, the respect for the Maltese tradition of devotion to Christ the Redeemer.

Constitution of the statue Specific endoscopic observations carried out together with the Atelier del Restauro’s team established (among the other things) that: • Several reeds and straw are present inside the statue, supporting and giving consistency to the fabric of the Redeemer’s tunic from the inside; • Several ropes are wrapped around the wooden anima of the statue. The real function of the ropes is uncertain; that is, it is unknown if they have structural function or if they are useful just to keep in place the reeds and the straw or if they do both functions; • A piece of wood at the base of the wooden anima is also present. It seems to be laid directly on the wooden boards constituting the support of the whole statue, and is oriented almost perpendicularly to the anima (which is slightly inclined). This base seems to be the same that is visible in one of the reports prepared by the Atelier del Restauro (Fig. 1).

It is apparent that the wooden anima of the statue is of paramount importance for its stability and structural integrity. This anima is inserted into a hole prepared in the boards constituting the base of the whole statue (they will be hence referred more simply as ‘support boards’). This is

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FIG. 1

wood basis of the anima 2nd boards layer (inner) wooden anima wood wedge 1st boards layer (outer) Fig. 1 Picture taken from the ‘Condition Report and Treatment Proposal for the Conservation and Restoration – Christ the Redeemer, Senglea’

by V. Lupo & M.G. Zenzani and representing the full X-ray scan of the statue. Blue indicates the position of the anima. The white circle evidences the piece that should constitute the wood base observed at the endoscope.

Fig. 2 Aspect of the junction area between wood anima and support boards viewed from below the statue.

Fig. 3 Particular of both the anima and the wood wedge inserted in it

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FIG. 2

FIG. 3

well evident in Fig. 2, where two layers of boards (oriented perpendicularly the one to the other) are recognizable, in addition to the wood base

(the same seen by the endoscope), the anima, and a wood wedge inserted in it.

It is interesting to observe that the wood wedge is in fact inserted within the anima, which is constituted of a unique element (at least, at its beginning), partially split in two parts by the same wedge. This can be better observed in Fig. 3.

From the inspection it could be hypothesized that the junction area is constituted in the following way (starting from the bottom) (Fig. 5): • Two layers of boards (that we have called the support boards), where the outer ones are oriented perpendicularly to the axis of the Redeemer (that is, along the short side of the base) and the inner ones which are parallel to the axis (that is, along the long side of the base); • A wood base, much shorter than the support boards (although perhaps thicker) and laid on their inner part. The base is most probably connected to the boards with nails or similar connecting elements. Basing on the visual inspection, it could not be possible to establish where these elements were inserted. There are nails visible from below, that is on the outer boards and close to the wood basis. These nails could, in fact, represent the connection elements mentioned. On the other hand, it is also possible the they simply connect the two board layers and that the base was nailed/ connected to the inner boards, e.g. hammered from above (that is, from the part which is currently inside the statue); • A hole was originally made in both these board layers and the base, to host the lower end of the wood anima; • The wood anima plays a fundamental structural role for the statue because it sustains part of the weight of the Redeemer elements (which include the body, the chest, and the iron wires and nails used in the inner parts), in addition to the other connection at the Christ’s elbow.

• A wood wedge was inserted longitudinally within the lower end of the anima, partially

EvEry timE our gazE mEEts thE mErciful gazE of thE bElovEd Effigy of thE rEdEEmEr, our hEarts arE EnkindlEd with lovE for our nEighbour, with sEntimEnts of rEpEntancE for our sins, and with conviction and promisE that wE livE our livEs in proximity to

god and our nEighbour

†CHARLES J. SCICLUNA ARCHBISHOP OF MALTA

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