History, architecture and art dominate our churches in such a way that they may be considered as veritable art museums. However, delightful architecture, fine canvases and exquisite statuary by renowned artists are not the sole works making up this patrimony. Other craftsmen with diverse talents deserve particular attention, as their artefacts complement the major works, enhancing the end result.

The bronze ornaments designed by Bugeja.

One such craftsman is Salvu Bugeja, whose splendid works may be admired all over Malta, especially in churches and various festa decorations.

The son of Annetto and Lorenza née Agius, he was born in Żurrieq on March 15, 1920.

After completing his schooling at Żurrieq primary school and St Augustine’s secondary, he joined the dockyard as an apprentice and, eventually, spent the rest of his working life in this industry.

Concurrently, he attended art lessons at the Malta Society of Arts, Manufactures and Commerce from 1937 to 1938 at Palazzo De La Salle, Valletta, under Ignazio Cefai, and at the Malta Government School of Arts from 1938 to 1939 under Edward Caruana Dingli.

Having also a love for music, he took lessons from Maestro Ferdinando Falzon and Maestro Espedito Deguara, mastering four instruments – the saxophone, violoncello, clarinet and the double bass – with great aptitude.       

At this time, he married Josephine and went to live at Birkirkara. In 1950, they moved to Sliema. Salvu and Josephine had four children – Mary, Joe, Doris and Maris.

The design made in 1975 for the platforms of the Good Friday processional statues.

Although as yet he had not started wood carving for a living, from an early age he enjoyed grabbing a pencil and in a very short time would sketch a bouquet of flowers in a vase, a putto and even the face of Our Lady. Hence, he realised that beyond painting, he was also inclinedtowards design. He thus began developing this craft.

The ornamental bed of the Entombment of Jesus Christ.

His first attempt at fostering this came in 1956 when St Catherine Band Club of Żurrieq decided to order a new bandstand. As the committee knew that Bugeja was artistically gifted, they commissioned him to try and work out the decorative motifs on a design by Carmelo Vassallo of Rabat. Thus, he succeeded in completing his first bandstand decorative sculpture.

This early work followed the traditional classical style as was then taught in art schools.

Two years previously, he had set up an independent workshop where he created numerous decorative sculptural works for private households. However, his best known works were for band clubs, churches and festas.

The silver plinth in the niche of Maria Bambina.

He came up with a design for the platforms of the Good Friday processional statues, the first one being that for the statue of Jesus the Redeemer

He always stressed the importance that a craftsman is to keep in mind the destina­tion of the work at hand because different environments required different methods and materials.

Altar cloth with gold thread embroidery on red velvet for the altar of the Holy Crucifix (2002).

A full catalogue of all his works would fill a book. Here I will focus solely on his numerous works carried out for the Senglea basilica.

Anyone who enters the Senglea basilica dedicated to the Nativity of the Blessed Virgin Mary is immediately struck by the many works of art with which it is adorned. In the latter decades of the 20th century, the church was greatly embellished by Bugeja’s craftsmanship and artistry. His connections with Senglea started in 1974 when he designed and modelled the bronze ornaments to be placed around the unique set of 16 circular alto relievo marble figures of the apostles and evangelists that embellish the side pilars.

Subsequently, he executed a series of works for this church. In 1975, he came up with a design for the platforms of the Good Friday processional statues, the first one being that for the statue of Jesus the Redeemer in 1977. He worked until 1982 on all the elegant sculptural works for the same predellas. Later, he designed and worked on the plinth for the Entombment of Jesus Christ in 1985.

The sopraporta above the main door of Senglea’s basilica.

In the meantime, Bugeja designed and worked on the support for a plinth which was to be placed in the niche of Maria Bambina. In 1980, this was covered with silver plates by John Bartolo.

Other works for the basilica were an ambone (1981), a sopraporta over the main door (1983-1984), four lantern benches (1986 and 1990), a throne for the statue of the Blessed Trinity (1988) and various small items for both the titular feast days and Good Friday.

The Senglea basilica is also fortunate to possess quite a good amount of embroidery artifacts which were carried out following intricate designs created by his charcoal pencil. These were mainly executed by Griscti’s Embroideries Ltd, of Valletta.

Altar cloth with gold thread embroidery on red velvet for the altar of Maria Bambina (1983).

Highly charm­ing are the altar cloths placed on the altars of the Bambina, of St Joseph, of Our Lady of the Rosary and of the Assumption, made between 1983 and 1986.

In 2002, the main altar in the of Oratory the Holy Crucifix was embellished with a superb altar cloth made in France. This was the last piece designed by Bugeja for Senglea and remains a fitting memento of his affection towards this basilica.

Other embroideries, finely made after designs prepared by Salvu Bugeja are: the white lamé valance decorating the ornamental bed of the Entombment (1985), the red velvet valance for the main door curtain (1987), the white lamé valance for the high altar baldacchino (1992), and the blue velvet pelmet for the niche of the statue of Maria Bambina (1995).

His work and commitment towards Senglea’s basilica brought him very close to the city. Annually during Good Friday week, and once or twice during the first week of September, when the basilica was graciously decorated for the titular feast of the Nativity of the Blessed Virgin, he used to come to scrutinise and admire the works of art preserved in the basilica. Very often, he stated with emotion that Senglea’s basilica was deeply ingrained in his life.

The natural weakness of his age, and a brief illness, led to his death on August 28, 2010, at the age of 90.

Salvu Bugeja was a very lucid, devout, humble and never idle designer of his own fancy, and the interpreter-craftsman who gave soul to his designs. One of Malta’s leading designers, his works form an artistic patrimony that will surely continue to be appreciated by artistic connoisseurs in future. Truly, he deserves our admiration and gratitude.