Her name is not always frailty

The second volume of Giovanni Bonello's 'More Histories' series brings together a collection of 14 of his writings

December 16, 2024| Times of Malta 3 min read
The book's coverThe book's cover

With the new series More Histories, published by Fondazzjoni Patrimonju Malti, Giovanni Bonello continues his mission to record and recount Malta’s micro-history through six thematic volumes. In the second volume Blaming it on Eve, Bonello strives to collect and present revaluations of history with women as protagonists, or at least as equal players of history.

Blaming it on Eve: An Anthology of Stories on Women in Malta,

by Giovanni Bonello,

published by Fondazzjoni Patrimonju Malti and Kite Group, 2024

Having given us an exciting tour of male villains, rogues, and assorted miscreants in our history, Giovanni Bonello now turns his inquisitive eye and witty pen on the daughters of Eve, so often too easily and unjustly blamed in the past for most of the evils that beset humanity in general.

The second volume of his More Histories series brings together a collection of 14 of his writings, most of which have appeared in this newspaper. Twelve of these refer to the people and events in the time of the Order.

This time, however, all have been extensively reworked and accompanied by full references and an interesting selection of illustrations.

There can hardly be any doubt that man has dominated historical accounts with deeds of good and evil, reflecting the social dominance he has enjoyed (and so very often tragically abused) over the ages. But then, they say, behind every man, famous or infamous, there lies a woman. Moreover, as the French constantly remind us, in all deeds good or bad, we should keep an eye on the female of the species.

Agnolo Bronzino, <em>Portrait of Laura Battiferra</em>, oil on panel, c.1560, Palazzo Vecchio, Florence. Source: The Yorck Project, 2002Agnolo Bronzino, Portrait of Laura Battiferra, oil on panel, c.1560, Palazzo Vecchio, Florence. Source: The Yorck Project, 2002

As was the case with the first volume, this too is beautifully and elegantly produced. Irritatingly the style used in the previous volume where the captions of the illustrations are placed at the back of each essay with the endnotes, arguably a first in the world of publications, is maintained. To paraphrase Macbeth, what’s ill began makes itself strong by ill.

The first essay refers to a macabre account of how a 19-year-old woman killed her parents and two young children in Valletta in 1672. The author came across this story of ill-fated love in a pamphlet published in Bologna and his innate sleuthing instinct sent him on a chase to get fuller details. The result was surprising, to say the least.

When the young knight Agostino Grimaldi (1639-60) from Modica, an Adonis noted for his extreme good looks, came to Malta, he became the object of desire of the top whore of the island – a blonde beauty.

Guido Reni, possible portrait of Beatrice Cenci, oil on canvas, 1599. (Courtesy of Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome)Guido Reni, possible portrait of Beatrice Cenci, oil on canvas, 1599. (Courtesy of Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome)

Little did she, and even the other wanton females, know that Agostino was Teflon-coated against vice. He never allowed anybody to view his naked body, even refusing all medicaments to be applied to those parts of his anatomy the sun never kissed. Universally loved and respected, this paragon of knighthood met an untimely end during the war of Candia, aged 21.

On the other hand, Grand Master de Valette may have been of sterner stuff dealing with invading Turks and unruly natives but he seems to be far more pliable when it came to female charms. The great warrior, whose armour does not seem to have reached below his waist, is recorded to have sired at least three offspring.

One was de-bastardised by royal proclamation while another was brutally murdered by her husband. These activities on the side of de Valette were discovered and proclaimed by Bonello himself who must have loved the opportunity to cock a snook at the arrogance of the high and mighty.

A brother’s ire at the suspicion that his sister was ‘seeing’ a knight resulted in a clash between the grand master and the inquisitor, who sent his men to violently seize the girl from the house that the grand master had ordered her to stay. Documents unfortunately do not make it possible to determine the outcome of this nth clash between two of the foremost authorities of the island.

Jean Raoux (1677&ndash;1734), <em>Portrait de Mademoiselle Fran&ccedil;oise Pr&eacute;vost en bacchante</em>, oil on canvas, 1723 (Mus&eacute;e des Beaux-Arts, Tours)Jean Raoux (1677–1734), Portrait de Mademoiselle Françoise Prévost en bacchante, oil on canvas, 1723 (Musée des Beaux-Arts, Tours)

The review of Thomas Freller’s The Sword and the Boudoir, Amorous Deeds and Misdeeds of the Knights of Malta provides more grist to the mill. Ample evidence is provided that the knights were just as assiduous in chasing skirt as they were in fighting the infidel in the name of Christ, probably more. Willing material was never lacking either in importing women of the street or in local husbands ready to close one or two eyes in the hope of some undeserved promotion. Plus ça change

The notoriety of Malta as one of the sinful capitals, with its bevies of seductive ladies of the night, reached beyond our shores. The Jesuit Gio Domenico Ottonelli (1581-1670), who seems to have made it his life mission to castigate these evil seductresses, wrote about his local experiences. Lewd painters and sculptors also fell into his ken.

Sexual infatuation can make silly unreasoning dolts of even the self-proclaimed high and mighty. The Balì de Mesmes, the Order’s ambassador to the court of France, fell head over heels in love with a young ballerina.

He promised and gave her almost everything in a years-long affair which was not marked by an excess of faithfulness on her part. When finally de Mesmes had had enough of it, instead of retiring gracefully to nurse his offended pride and emptied pockets, he went to publish a long account of the affair. This may have somewhat satisfied his pride hurt but it also made him a laughing stock among the Parisians.

Photograph showing women wearing the għonnella as they march down Kingsway, Valletta, in 1962. Courtesy of the Giovanni Bonello CollectionPhotograph showing women wearing the għonnella as they march down Kingsway, Valletta, in 1962. Courtesy of the Giovanni Bonello Collection

Another paper looks through the records of the Libri Conciliorum in search of any scant references to local females in the first fifty years of the Order’s stay.

Such references are skimpy and the ladies often remain mostly anonymous. It seems that the knights were as adroit in using the sword (or the dagger or their bare hands) against women as they were against the infidel.

Bonello’s insatiable curiosity also brought him to find out the identity of the first Maltese woman translator

Moreover there was little chance of being wounded in return; all they risked were some years in the guva, a few years’ loss of seniority, or being defrocked.

Laura Battiferra (1523-89) has recently been revalued in the ongoing reassessment of the roles of women in history, especially following the publication of Victoria Kirkham’s Laura Battiferra and Her Literary Circle. For us she is relevant because she wrote four poems about Great Siege, not earth-shaking works but of interest since it provides a wee bit more evidence of how wide the Siege was being reported.

After Francesco Furini (1603&ndash;1646), <em>The Birth of Benjamin and the Death of Rachel</em>, oil on canvas, Alte Pinakothek, Munich. (Courtesy of the Wellcome Collection)After Francesco Furini (1603–1646), The Birth of Benjamin and the Death of Rachel, oil on canvas, Alte Pinakothek, Munich. (Courtesy of the Wellcome Collection)

In the absence of trustworthy contraception, the kind of dalliance the knights indulged in often naturally had unwanted outcomes. One solution was to find somebody willing to assume paternity for some regular monetary return. Another was abortion which was also resorted to by the general population.

Many are the anecdotes that Giovanni Bonello has unearthed. The earliest case found dates to 1647 when a teenage resident at the Valletta convent of St Ursula confessed that she had been helped to abort several times. Female slaves were particularly sought after for such services.

In Sienese-born Caterina Scappi, we finally encounter ‘a God-fearing creature, who dedicated her life to works of mercy’. She founded Malta’s first hospital dedicated solely to women and later an even larger premises near the Sacra Infermeria to look after ‘donne incurabili’. Caterina amassed several properties, the income from which she used to further her good deeds, making sure that they remained provided for after her death in her wills.

Bonello’s insatiable curiosity also brought him to find out the identity of the first Maltese woman translator. In 1874 Giovanni Papanti decided to honour the fifth centenary of the death of Giovanni Boccaccio by publishing translations of one of the Florentine master’ novelle into the known dialects of Italian and all the foreign languages spoken in Italy. He ended with over 700 versions.

Anon., <em>Portrait of Agostino Grimaldi</em>, oil on canvas, Modica. Courtesy of Salvo BonfirarroAnon., Portrait of Agostino Grimaldi, oil on canvas, Modica. Courtesy of Salvo Bonfirarro

What was described as a translation into Arabic turns out to be actually a translation into Maltese by Jane Dalzel Onofrio. And this sent Bonello on his quest to find more details about this lady and of course he manages to tease a little information, thanks to his tireless efforts and a little priceless help from a fellow researcher.

Another paper deals with specific problems that arose out of three mixed marriages between local women and British men in the early British period. They were cases of a clash of cultures and religions, fuelled by nascent nationalistic sentiment.

In one case a whole riot arose following the marriage of a Maltese Catholic and an English Protestant. The locals were upset because the Maltese lady had opted to tie the knot in the Anglican cathedral and moreover betraying her nation by wearing an English bonnet! In the confusion, the unhappy couple split up ‘fleeing in different directions’.

&lsquo;Il Moretto&rsquo;, A scene of St George&rsquo;s Square, Valletta, showing three women wearing the faldetta, oil on canvas, private collection, Malta. Photo: Daniel Cilia‘Il Moretto’, A scene of St George’s Square, Valletta, showing three women wearing the faldetta, oil on canvas, private collection, Malta. Photo: Daniel Cilia

The problems of mixed marriages persisted well into the British period with the local Church refusing to recognise the validity of a marriage by a Maltese Catholic celebrated anywhere in the world unless celebrated according to Catholic rites. This anomaly was only removed in 1975.

The last paper seeks to unravel some of the myths and enigmas connected with the origin of the iconic Maltese għonnella. The first direct reference seems to be by Count Ciantar in 1772 but there are possible depictions in earlier pictures and prints. In great contrast to the enveloping honesty provided by the għonnella, there are numerous references to the osé blouses worn by the local ladies that left absolutely nothing to the imagination, even as late as 1851.

Length of faldetti could vary from waist to half calf, while black seems to have become the dominant colour by the late nineteenth century. The arched head support grew larger supported by whalebone or by cane.

The għonnella also seems to have become a proud symbol of Malteseness versus colonial habits. Perhaps Mrs Borg would have avoided the ensuing riot had she opted to don the għonnella instead of the English bonnet she chose on her way to be married to her English beau!

             

 

 

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