The chapel of Saints Crispin and Crispinian, located within the collegiate church of St Paul’s Shipwreck in Valletta, stands as an important cultural and historical monument.
The artistic and conservation significance of the church, particularly its frescoes and decorative elements, highlights the enduring value of religious art in Maltese heritage.
The saints
Saints Crispin and Crispinian are venerated as the patron saints of cobblers, curriers, tanners and leather workers. According to historical accounts, they were martyred during the reign of Emperor Diocletian, with their execution traditionally dated to October 25, 285 or 286.
Detail of the wall painting featuring Saints Crispin and Crispinian before (above) and after conservation efforts (below).
Historical and artistic significance of St Paul’s Shipwreck church
A portrait of painter Attilio Palombi.The church of St Paul in Valletta was originally built in 1570 under the design of Girolamo Cassar and funded by the cathedral church.
By 1639, the original structure was deemed insufficient for the growing population, leading to the construction of a new church over the next 40 years.
Contributions were made by prominent entities, including the grand masters, bishops and the Maltese Università. Notable architectural contributions include the dome designed by Lorenzo Gafà and the 19th-century neo-classical façade designed by Nicola Zammit.
In the early 20th century, the collegiate chapter commissioned the decoration of the church’s vault, dome and apses. This work was carried out by the Roman artist Attilio Palombi, who trained under Cesare Mariani.
Palombi’s work in Malta, particularly the fresco-cycle in the church of St Paul’s Shipwreck, is a testament to his Nazarene/purista artistic style. His frescoes, completed in 1902, depict scenes from the life of St Paul and are complemented by intricate stucco and gilding work by Maltese craftsmen such as Antonio Gauci.
An interior view of the Valletta church.Evolution of religious wall paintings
Religious wall paintings have served as a medium for spiritual and cultural expression throughout history. From prehistoric cave art to the frescoes of Giotto and Michelangelo, these images have provided visual narratives that transcend language barriers.
In Catholicism, particularly post-Council of Trent, religious imagery was defined as ‘Libri Pauperum’ (books for the poor), designed to convey spiritual messages to all, including the uneducated.
Another section of the frescoes before conservation.The ‘Organic Materials in Wall Paintings’ project
The Getty Conservation Institute’s Organic Materials in Wall Paintings Project (OMWP), which began in 2003, was inspired by research undertaken at leading Italian conservation institutions, such as the Florence-based Opificio delle Pietre Dure (OPD) and by work of Leonetto Tintori (1908-2000), a well-known Italian wall paintings conservator.
The objective of the OMWP project has been to improve wall paintings conservation practice by enhancing the support that scientific investigations can provide by identifying organic materials in wall paintings.
Microscopic stratigraphy from one of the fresco paintings by Palombi.Organic materials are particularly vulnerable during conservation intervention and identifying them prior to treatment is critical. These materials deteriorate faster than inorganic components and, often, only traces remain in centuries-old murals, making these organic components challenging for the study of wall paintings.
Portable, non-invasive methods are important in the study of wall paintings.
Conservation challenges
The frescoes underwent restoration during the 1960s under Oscar Testa; however, no documentation or reports survive, complicating the understanding of the materials and methods used. Subsequent interventions were either undocumented or insufficient, leaving the decorative elements in a severely degraded state.
Prior to the recent restoration, the condition of the frescoes was as follows:
• Structural deterioration: 40% of the plaster preparation layer had detached from the ceiling.
• Paint layers were powdered and fragile due to the absence of binding mediums.
• Salts and water infiltration caused discolouration and further degradation.
• Material losses: large sections of plaster and paint were completely lost.
• The remaining paint layers were unstable and at risk of detachment.
• Previous restoration damage: invasive overpainting and inappropriate materials disrupted the integrity of the original artwork.
Large sections of plaster and paint were completely lost.Conservation methodology
The conservation efforts involved the following:
• Structural stabilisation: fibre rods were inserted into plaster sculptures for reinforcement, sealed with compatible stucco to repair cracks and material losses.
• Missing sculptural elements were reconstructed to match the original design and method.
• Surface plastering (intonaco) and paint layer consolidation: 5% Primal AC solution mixed with distilled water was applied using Japanese paper to stabilise loose paint layers, while syringe injections of Primal AC were used to bond detached layers to the underlying stone support.
Syringe injections of Primal AC were used to bond detached layers to the underlying stone support.• Salt and water damage mitigation: special absorbents were employed to extract salts from the surface and underlying layers, preventing further degradation.
• Aesthetic restoration: polychromatic integration saw areas of paint loss carefully retouched using reversible colours to ensure visual harmony and reversibility.
• Gilding restoration: Gold leaf was applied where necessary, matching the original carat and shade.
• Documentation: comprehensive photographic and written documentation was maintained throughout the process, ensuring transparency and providing a reference for future conservation work.
Gilding reintegration: Missing decorative elements and gilding were restored using gold leaf of the same karat and shade as the original.
Conclusion
The chapel of Saints Crispin and Crispinian within St Paul’s Shipwreck church serves as a remarkable example of Malta’s cultural and religious heritage.
Despite significant conservation challenges, recent interventions have successfully stabilised and restored its decorative elements, preserving them for future generations.
This project underscores the importance of scientific methodologies and meticulous planning in the conservation of historical artworks.
Acknowledgments
This work was made possible with the support of archpriest David Cilia, the Chapter of the Collegiate and assistant collaborator Noel Bugeja.
Fr Charles Vella is a warranted conservator.