The Metropolitan Cathedral museum houses one of the most important collections of late medieval panel paintings in Malta. Unfortunately, during the past centuries, many such panels, scattered in various local churches and rural chapels, were lost due to neglect or vandalism.

During cleaning of the oxidised varnish. Photo: Amy Sciberras

The old medieval Mdina cathedral was embellished with a remarkable amount of these archaic panels which were venerated on the various altars and in the chapels within this venerable holy edifice. Pride of place is predominantly reserved to the polyptych of St Paul.

The earthquake of 1693 was instrumental for the Cathedral Chapter to take the bull by the horns and eventually dismantle the severely damaged old cathedral. This decision was crucial to make way for the new Baroque cathedral under the supervision of the most prolific Maltese architect of the 17th century, Lorenzo Gafà.

Following the grand transformation, many of the old church furnishings and paintings were replaced, removed or relocated. The polyptych was dismembered, leaving only the central icon of the enthroned St Paul for public veneration. The accompanying panels depicting the Pauline episodes together with the other medieval panels were practically abandoned in the spaces of the vestry and sacristies.

One of the panel paintings that ended up in this unfortunate situation depicts St John the Baptist in the wilderness. This painting might have embellished the altar of the Beheading of St John the Baptist on the right-hand side of the main altar, section 14, as described in a late 17th century plan of the old cathedral conserved in the cathedral archives.

John the Baptist was an ascetic Jewish prophet known as the forerunner of Jesus Christ. The Baptist preached about God’s final judgement and baptised repentant followers in preparation for it. His greatest strength was his focused and faithful commitment to the call of God on his life.

As stated by Antonio Espinoza Rodriguez, this panel-painting is attributed to Tommaso de Vigilia (active Palermo 1444-1497), a Sicilian painter in the religious genre. His style reveals a Catalan-Provençal connection and bears a marked International Gothic imprint.

The painting depicts a beardless, bare-footed, adolescent Baptist, standing in a barren rocky ambience which may remind us of the Judean wilderness. A golden halo encompasses the firm physiognomy of the youthful ascetic, with his raised right hand showing a pointed finger symbolising the authority of the “prophet” who is about to preach.

The late medieval panel painting representing St John the Baptist before (left), during and after treatments by conservation director Amy Sciberras and her team. Photo: Manuel Ciantar, Suzanne Ciantar Ferrito

The iconography of John the Baptist follows a repeated pattern in the vestments and attributes or symbols. One of the attributes points to the red cloak cascading from the shoulders together with the camel skin garment. The panel depicts the protagonist dressed in a fine red cloak embroidered in gold-thread leaf-motif pattern disseminated all over the textile.

This might sound odd with the biblical reference to the humble ascetic prophet: “what did you go out into the wilderness to see? ...a man dressed in fine clothing?”(Lk 7:33) In many instances since the early Middle Ages, this saint has been uninterruptedly depicted wearing a red mantle, many times displaying a fine silk, or velvet fabric. Although this seems not to be in conformity with the Holy Scriptures, artists donated this attribute to exalt the saint to the heavenly princely status of a martyr. Red is the liturgical colour for the feasts and commemoration of the martyr saints and the Baptist is one of the most prevalent.

Moreover, this panel depicts the Baptist holding the scroll with the legend: “Ecce Agnus Dei” (Behold, the Lamb of God). This citation refers to the biblical episode of the baptism of Christ in the River Jordan. (Mt 3:11)

This tempera on panel, measuring 166 by 56.05 centimetres, is probably a fragment of a large composition of the type known as “Sacra Conversazione” in which groups of saints, seemingly engaged in conversation, occupy a unified pictorial space round an enthroned Madonna. Refined and elegant in execution, the panel clearly reflects the cosmopolitan nature of Sicilian paintings at that time. According to Espinoza Rodriguez, Franco-Flemish and Italian influences fuse, resulting in an art that harks at Catalonia. Bottari (1954) attributes the painting to a French painter working close to Tommaso de Vigilia in Palermo.

The panel has been restored several times by both Giuseppe Calleja (1830-1915) in 1872 and Samuel Bugeja (1920-2004). The latest conservation treatment was entrusted by the Cathedral Museum Commission to the present author, Amy Sciberras, in 2019.

Refined and elegant in execution, the panel clearly reflects the cosmopolitan nature of Sicilian paintings at that time

The painting was consigned to Ms Sciberras already having Japanese paper adhered to its painted surface, and it was only around halfway through the treatment that it was safe to uncover the paint layer. Japanese paper had been applied due to the panel exhibiting severe liftings, detachments and flaking of the paint layer, to the point that is was practically fragmented. The wooden support also exhibited past insect deterioration, as well as cracks and fractures. Non-original wooden members were also found attached to the panel’s verso.

The verso of the panel before treatments (left) and after addressing deterioration phenomena of the wooden support. This included reversing non-professional past interventions, hence revealing the original support. Photo: Manuel Ciantar, Suzanne Ciantar Ferrito

The conservation programme entailed thorough documentation and analysis carried out both before and throughout the entire conservation procedure. This included multispectral imaging using non-invasive scientific means, such as ultraviolet fluorescence (UVF) and infrared (IR).

Treatments by leading conservator Ms Sciberras and her team were carried out in four main extensive and delicate phases which included: (i) consolidation treatments of the fragmented paint layer, (ii) treatments addressing the wooden support (iii) cleaning of the varnish/past overpaint, and (iv) integration of losses.

Stabilisation of the fragmented paint layer demanded injecting through the Japanese paper a compatible consolidant beneath paint/gesso liftings, using a syringe. Localised weight and moderate pressure ensured the gradual lowering of the widespread and numerous paint liftings and hence their re-adhesion. It was then possible to address problems and deterioration of the wooden support.

Past interventions, consisting of wooden members attached to the panel’s verso (framing the verso), which included cross-bars, were restraining the panel’s natural movement. This also applied to non-original wooden members which were nailed along all the four margins of the panel. Thus their removal was considered crucial for the painting’s stability. Other past interventions, such as textile patches adhered to the verso to conceal biodeterioration, and the surrounding non-original yellow paint, were also removed since these were not aiding in any way in conserving the panel.

Upon the removal of the wooden framing, it became clearly evident that the painting had an added part, namely a wooden bar, measuring c. 5.5cm, attached to the left-hand side (as seen from the verso). This had been hidden by the said framing, which was possibly applied to adjoin well this seemingly later intervention (which from the front completes the representation of St John the Baptist).

Details showing liftings of the paint layer and overlying Japanese paper, which liftings were eventually lowered, consolidated and re-attached. Photo: Manuel Ciantar, Suzanne Ciantar Ferrito

Moreover, numerous rusted nails and screws were found to have been hammered directly through the paint layer and into the wooden support and were further contributing to the formation of cracks and fissures. Hence, together with wood conservator Vince Abela, and using specific equipment, these were carefully removed. Wooden plugs (cylindrical inserts) were then specifically cut and fixed in the corresponding lacunae.

Irregular cracks and fractures were also treated through the application of V-shaped grooves and inserts, since these needed reinforcement. The joint between the main panel and the additional side member was reinforced as well. Ultimately, overall consolidation of the wooden support was carried out, fully stabilising the panel.

It was then possible to remove the Japanese paper from the paint layer for the first time in many years. Subsequent to further non-invasive scientific studies, documentation and testing, the oxidised varnish, which was obscuring the paint layer, was thinned down using an organic solvent mixture. Past retouchings applied onto the original were removed, hence uncovering more original paint. On the other hand, acceptable past retouchings covering extensive losses of the original were retained. This decision was taken as such retouchings chromatically integrate significant, complete losses of the original (around the Baptist’s feet). They are also a continuation in design of the added piece which also completes the painting, since crucial aspects such as St John’s hand and the ‘Ecce Agnus Dei’ emblem are found on this added piece.

Moreover, to date, there is no available evidence as to how the background scenery at the base was originally. Hence the retouchings in question, which now also form part of the painting’s history, were respected and retained.

Ultimately, lacunae were infilled accordingly and chromatically integrated using mainly the tratteggio technique. Tratteggio involves the application of a series of vertical lines that, viewed from the distance, form the colour (or pattern) that integrates the lacunae with the original.

We can now boast that this important panel, which has been conserved with the most recent methods of conservation, will again find its place in the medieval hall for all visitors to enjoy.

Acknowledgement

Special thanks to the Cathedral Museum Commission for entrusting Amy Sciberras and her team with this prestigious project, to Manuel Ciantar and Suzanne Ciantar Ferrito for the professional photography, and to wood conservator Vince Abela. The project was made possible by the Mdina Cathedral Museum.

Mgr Dr Edgar Vella is director of the Cathedral Museum, the diocesan inventory compiler and secretary to the Christian Cultural Heritage Commission.

Conservator Amy Sciberras directs a team of conservators and has been entrusted with restoration projects of national and international importance. She may be contacted via www.amysciberras.com or e-mail info@amysciberras.com.