Treasures of Malta

Ed. Giovanni Bonello No. 90, Summer 2024, Vol. XXX, No. 3,

Published by Fondazzjoni Patrimonju Malti

One of the Knights’ most hallowed treasures was the relic of the right hand of St John the Baptist. It was also one of the top must-see objects for many of the distinguished visitors who were drawn to the island. Together with that other great treasure of the Knights, the Madonna of Philermos, it was taken away by Grand Master Hompesch and both have ended up in a monastery in Montenegro.

Prolific German scholar Thomas Freller delves into the history and the vicissitudes of the relic, which is traditionally believed to have been a gift of the Turkish sultan Bajezid III to the grand master in Rhodes in 1484. Oddly enough, however, there are records of visitors viewing a right hand of the Baptist in Rhodes in 1413. Moreover, yet another right hand of the saint is still in display at the Topkapi Palace in Istanbul. In the medieval frenzy to get relics which, in addition to their sacred value, would help draw pilgrims to the various sanc­tuaries, every imaginable and unimaginable object mentioned in the Bible could be found all over Europe, sometimes twice over, if not more.

The 90th issue of Treasures of Malta, the flagship publication of Fondazzjoni Patrimonju Malti, is as usual a pleasure to welcome in our homes, especially in these torrid days as it gives one a perfect reason to stay indoors and turn over its pages in the cool.

Francesco Maffei (c.1605–1660), The Beheading of St John.

Giovanni Bonello investigates how Caravaggio’s Beheading has had such a great influence on Baroque depictions of the subject. His revolutionising of the iconography of the subject has left its strong imprints on the mind of various artists, some to small but significant extents, others to much more obvious ones. Among the artists identified who were inspired by Caravaggio, Bonello mentions Paladini, Pasquale Buhagiar, Cassarino, and several others. Still, however, as is only to be expected, none have ever approached the sublime divine level of the original.

Nicholas Joseph Doublet’s favourite object is the hat that used to belong to the Blessed Ignazio Falzon (1813-65), which today lies at the Jesuits’ church in Valletta. This is a typical 19th-century tricorn clerical hat that has been fully restored from its precarious condition and is considered to be a second-class relic by the Church. Falzon, who considered himself unworthy of taking Holy Orders and remained a cleric, spent his life at the service of others and was particularly keen on proselytising Protestants. When he died in odore di santità, his brothers had donated his belongings to the convent of St Catherine in Valletta.

The hat of the Blessed Ignazio Falzon, before and after restoration.

Eighteen works by the Mexican artist Juan Patricio Morlete Ruiz (1713-72) are to be found in Verdala Palace and San Anton Palace, depicting views of Mediterranean ports and scenes in France and Italy based on black and white prints by other artists. Three of them depict Mexican views. First mentioned in an 1826 inventory, it is not known how this only complete set of Ruiz’s works ended up in Malta.

The 90th issue of Treasures of Malta is as usual a pleasure to welcome in our homes, especially in these torrid days as it gives one a perfect reason to stay indoors and turn over its pages in the cool

David Dandria pays a greatly deserved tribute to Guido Lanfranco (1930-2021) and his exceptional pioneering work in teaching and popularising science, biology in particular. But everything that pertains to Malta was grist to his mill and his curious mind. In the process, Lanfranco enriched the islands he loved and was so sad to see ravaged by soulless exploitation. His is a marvellous legacy, the result of his insatiable passion for teaching.

Lanfranco was truly genial, with a fantastic dry sense of humour, and with whom I had the honour of sharing some years, too few really, of lecturing. His pioneering publications are still quite valid today, illustrated by his more than competent drawings.

When he later added folklore to his range of interests, he went on to publish a number of excellent studies, enriched by his charming naif-style of drawings.

The reliquary of the right hand of St John the Baptist, a water­colour by Alberto Pullicino.

He also made countless clay figurines depicting salient folkloristic activities, just at a time when they were dying out due to modernity.

The nation owes much to Lanfranco and to his family who have decided to donate his unique priceless collections to the University, the National Library, the National Archives, and Heritage Malta. Even in death, Guido Lanfranco cannot stop himself teaching.

Kevin Casha concludes his two-part article on the fantastic cache of cameras held by ‘the king of camera collecting’, Paul Vella. Casha enthuses over the 2,400 cameras in this priceless collection and elaborates on some of the most extraordinary specimens, and gives details about their pioneering owners. These include Emmanuele Sciortino, Giustino Vella and his children, and Giuseppe Cassar.

More recent cameras are those that belonged to the world-famous Carmel H. Psaila, including one that was given to him as a wedding present. Other cameras are singled out for their curiosity values, like the Concealed Vest Camera No. I, which could take pictures through a vest pocket’s buttonhole.

Charles Allingham (?), The Count of Beaujolais (?).

Konrad Buhagiar investigates the possible connections bet­ween the painter Charles Allingham and Louis-Charles, the Count of Beaujolais, who died soon after arriving in Malta to recover his health and was buried at St John’s. The link could be an unsigned portrait of a young nobleman, possibly painted by Allingham, which Buhagiar tentatively identifies as the young count.

Was it painted from life in London when the two could have well frequented the same social class?