Just as every couple’s story is unique, so is each couple’s big day, especially their wedding ceremony. For Salvatore – son of Filippo Camilleri and Maria née Abela – and Victoria, daughter of Vincenzo Oliva and Francesca née Camilleri – the big day was November 23, 1890. In St Julian’s church, Senglea, in front of Fr Carmelo Pace, they exchanged matrimonial vows and become a married couple.

The couple was blessed with three children, the firstborn being Francesco. He was born in Senglea on November 11, 1891, and was baptised at Senglea collegiate church.

When still young, encouraged by his uncle Saverio Oliva, he started focusing on the skill of sculpture. He attended what was known as ‘the night school’, where art was taught in the evenings to children and teenagers, studying with a certain Micallef, a master in design.

In 1910 and 1912, Camilleri was awarded two certificates issued by the Board of Education, second- and first-class respectively, in a freehand outline drawing exam.

In 1924, Camilleri took part in the British Empire Exhibition, obtaining a silver medal for his carved stone works.

One must be mindful that towards the end of the 19th century, Senglea boosted many skillful artists and talented craftsmen. Camilleri’s uncle, Saverio Oliva, was one of them.

Little is known about Oliva’s life, except that he studied with Aristide Bonnici, the famous Senglea-born sculptor and design teacher. In fact, many study exercises in design and figure signed by Oliva and his teacher Bonnici still exist today. Among these are practices in anatomy and classical architecture.

It is quite impressive that, despite time restrictions, training involved a voluminous amount of exercises. In the collection of designs held in the family archive are several engravings, including a copy of Oliva’s study. These pictures may possibly have been used by the student to practise his technique.

On March 1, 1889, Oliva achieved the sculptor’s A-warrant from Queen Victoria specifying that “Saverio Oliva is appointed wood carver (in Malta) to his Royal Highness the Duke of Edinburgh”.

In the 1900 electoral register, we find that he resided at no. 89, Strada Vittoria, Senglea, and had a vote. At a time when only qualified or wealthy men could vote, this proves that, although Oliva came from a humble family, he was recognised by the British authorities. His success in art may have earned him this privilege.

Although numerous designs still exist today, due to the lack of details as to where these works were executed, very little is known as to where the works are located. However, some do have an additional note. These include: sacristy furniture and a set of wooden Carte Gloria for Lija parish church; a girandola and a set of candlesticks for Qrendi’s parish church; and the Via Sagra frames for the Ospizio Sant’Anna, Senglea.

Concurrently, Oliva also worked for private entities. Among these, he produced an antependium, with a lamb at its centre, for the private chapel of a certain Lorenzo Magro.

Of particular interest is a frame design with the note: “Dis. ed esecuzione per il Principe Alfredo, Duke of Edinburgh”. Prince Alfred was the third son of Queen Victoria and he was familiar with Malta. This design, dated December 6, 1887, was a very prestigious commission, proving that Oliva was one of the best sculptors of his time.

Camilleri learned and worked with his uncle. Together, they received commissions and helped each other in accomplishing them. Oliva was growing old and found a much-needed aid in his nephew Francesco. Thus, most likely, a commission was taken by Olvia, but was not necessarily executed by him.

A curious fact concerns an elegant predella made for the statue of Our Lady of the Lily, in Mqabba, in 1914. Documents in the Mqabba parish archives mention only Oliva. However, the design of this predella is signed by Camilleri, and everything indicates that he executed the sculpture and the inlaying. This give an indication as to why Camilleri never became as well-known as his uncle... he always worked in his shadow.

Towards the end of the Victorian era, everything had to be artistic. Furniture in houses used to have sculpture, and more so the works in churches. Although this involved a lot of work, it had a consequence. The artist was referred to as ‘carpenter’. Thus, although Oliva had a sculptor’s warrant, on his death certificate he was listed as a carpenter. The same can be said for Camilleri’s toolbox on which a brass plaque reads ‘Francesco Camilleri Carpinter’ (sic). Alas, in those days, such artists were not as appreciated as they are today.

Camilleri was a perfectionist and meticulous person in everything he did

After the death of his uncle, Camilleri continued accepting commissions in houses and churches until around 1927. However, few designs exist. Among these works, it is worth mentioning those in St Francis’ church, Valletta. The church itself had just been enlarged and a dome was added. Hence, the choir had to be rebuilt. The design of the choir stalls was done by Camilleri who was quite familiar with this church.

Camilleri also worked on the plinth for the statue of St Agata in Cospicua. In addition to the small drawing dated August 5, 1922, the full-size design still exists. He also designed another plinth with the Nome di Maria: “Fatto in chiesa di San Guliano in Mare Capt. A. Buonanno”. This church is located in Senglea, and Buonanno may have been the benefactor who paid for it. Camilleri manufactured a girandola for Ospizio Sant’Anna, Senglea, dated January 10, 1925.

There are hundreds of other designs, signed and dated by Camilleri. Unfortunately, there is no reference to the place where the works were carried out, a challenge still to be tackled.

A design of an antependium bears this note in its lower part: “Disegno ed esecutione per l’artale della Madonna del S. Rosario”. The signature ‘Francesco Camilleri sculptor’ appears next to it. Although the locality to where the antependium was intended to be placed was not mentioned, it was for the altar of Our Lady of the Rosary in Mqabba parish church. It was made in 1920s and, in all probability, Camilleri also made the antependiums for the altars of the Agony of Christ and of St Anthony of Padova in the same parish church.

Due to the irregularity in payments received for commissions accomplished, Camilleri decided to enter the dockyard as a pattern maker and continued working there until his death. His job was to make wooden models of the badges of British ships that entered Grand Harbour. These were then cast in bronze. Camilleri often worried about how to make a particular badge and regularly worked until late at night on these designs in the dim light of a kerosene lamp.

He also spent hours at the National Library to research pictures or get ideas for particular badges. At a time when photocopiers did not exist, he first prepared a preliminary sketch, later developing it into a detailed design. Camilleri created many such designs, a significant number of which still exist.

On March 8, 1924, Camilleri’s father, Salvatore, died. Two years later, on June 21, 1926, he suffered the loss of his 33-year-old sister. Francesco, who lived with his parents, thus found himself burdened with the responsibility of his widowed mother and the rest of the family.

On September 18, 1930, Camilleri married Salvina née Taliana from Rabat, Malta, daughter of Carmelo Taliana and Paolina née Bugeja. The wedding ceremony was held at St Francis’ church, Valletta. He then moved to a small apartment at no. 69E, Strada Zekka, Valletta, where his mother, Victoria, passed away on September 29, 1931. The couple had three sons: Salvatore, Carmelo and Victor.

After entering the dockyard, and especially after he got married, lack of time and family commitments constrained Camilleri to accept very few commissions.

After World War II, since the Governor’s Palace in Valletta had been hit during enemy action, Camilleri was asked to sculpture the corbels of the palace gallery. Although he was offered £100 for each corbel, he refused the offer as he was then 54 years old and felt a certain uneasiness going up and down scaffoldings.

Camilleri died at the Valletta family home on June 22, 1948 – 75 years ago – after suffering kidney disease. He was buried at Santa Maria Addolorata Cemetery, where other family members are also buried, including his uncle Saverio Oliva.

Documents show clearly that Camilleri was a perfectionist and meticulous person in everything he did. The breakdown of accounts of some of the works, apart from the material used, show the number of days and hours he spent working on each particular commission.

Sculptors have the unique ability to transform raw materials into three-dimensional works of art that can capture the imagination and inspire emotion. Camilleri deserves better recognition. Despite his impressive body of work, he has not yet received the level of appreciation he rightly merits. It is important to shine a spotlight on him and acknowledge his contributions to the world of sculpture.

 

Acknowledgments

The author acknowledges the use of information and images provided by Stephen Camilleri.