Treasures of Malta, No. 88, Christmas 2023, Vol. XXX, No. 1

Fondazzjoni Patrimonju Malti

Victor Pasmore’s print Vertical Development elegantly graces the cover of the Christmas edition of Treasures of Malta, while Giulia Privitelli gives a succinct account of Pasmore’s artistic credo which should enhance the reader’s appreciation of the print.

It also serves as a teaser for the Fondazzjoni’s latest exhibition, In Search of Line, which is being held at the FPM’s new premises in St Paul Street and which will remain open till January 14.

This, the latest in the series of Fondazzjoni exhibitions, is the subject of exhibition curator Sarah Chircop’s interview with Robert Brewer Young, which provides an excellent insight on the thinking behind it and the planning involved. Young is a renowned luthier and a polymath who has been in constant consultation with the organisers.

Maltese folk music and its traditional instruments have in recent years been receiving a little more attention and appreciation through the efforts of a handful of scholars, folklorists and researchers.

Self-Portrait by Blanche Ellul-Sullivan.

For long, this heritage has been neglected as it was seen as something that belonged to the lower classes, while the younger generation follows modern trends. It has also been catching the interest of foreign experts who point out the value of looking after this aspect of our heritage.

Sofia Almagro Carrasco, the Spanish scholar who for three years formed part of Heritage Malta conservation team, gives an excellent overview of past efforts and developments and what can be done to overcome this “disconnection from Maltese society”.

It is vital to hold exhibitions, live events, and, above all, create a permanent collection or repository of traditional instruments, many of which are in imminent danger of being lost forever, to raise awareness.       

Cosmana Navarra (1600-1687) has recently achieved a degree of unmerited notoriety due to her connection with the goings-on regarding the foundation at Qala. In reality, she is Malta’s outstanding female patron of the arts, who used her money to fund the building of the church of St Paul at Rabat and embellish it with some outstanding artistic donations.

There is also a tenuous connection between the lady and FPM since she was at one time resident in Palazzo Cumbo-Navarra at Mdina which the foundation has turned into a marvellous museum: the Palazzo Falson Historic House Museum. Nadette Xuereb gives an excellent account of a lady who broke the glass ceiling much before anyone noticed it was there.

The difficulties that women faced to make their way in artistic circles up to quite recent times can be appreciated in the contribution by Margherita Amodeo on her aunt Blanche Ellul Sullivan (1907–2002).

Scots Street by Richard Demarco

An artist of no mean ability who painted some delightful pictures of flowers as well as portraits of a considerable quality, Ellul Sullivan deserves much better recognition, not least for her pioneering activities as a lady artist in a male-dominated field. Perhaps a retrospective exhibition or an extensive publication might lead to a fuller appreciation.

George E. Camilleri’s favourite object is a set of four charming still-lifes, including a splendid Bread, Butter and Knife, by a young Esprit Barthet, with whom both he and his father had a long professional association.

Succinct account of Pasmore’s artistic credo

Joseph Borg writes about the artistic links that Richard Demarco fostered among Malta, Scotland, and even beyond. Demarco, a Scottish artist and art impresario, established a long-standing relationship with influential local artists from the late 1960s, like Richard England, Emvin Cremona and Gabriel Caruana, which proved extremely useful in helping them to reach out beyond our shores.

Two of his works are featured in the paper, with one watercolour, The Road to Qala (1968), having a distinct echo of the watercolours of Edward Lear.

Kathrina Farrugia-Kriel, an authority on dance, analyses Princess Poutiatine’s teaching class notes which throw a deep light on her approach and methods in teaching ballet. In researching the pioneering activities of this émigré Russian princess, the author also interviewed past students.

Poutiatine’s studio in Sliema included a full-size replica of the stage of the Royal Opera House. Her method also stressed the importance of physical discipline that would lead to health and well-being. Farrugia-Kriel has noted her music choices and teaching points.

The French had chosen an inauspicious day when they picked on September 2, 1798, to continue their pillaging of church silverware by turning their attention to the silverware of the archconfraternity of St Joseph. Since the feast of Our Lady of Good Counsel was that day being celebrated in Rabat, the town was full with people from the villages around and all that was needed a spark to start an insurrection.

Jeremy Debono describes the silverware of the archconfraternity that had been hidden away even before the arrival of the French troops and which today we can still cherish and enjoy in the oratory attached to the church of St Mary of Jesus in Rabat.

Rector’s medallion from the archconfraternity of St Joseph.

In part 4 of his series on warriors, garrisons, militias and fortifications in Malta through the ages, Charles Debono focuses on the century preceding the arrival of the Order of St John when the island was under the rule of the Aragonese. It was a time subject to regular Moorish razzias with the local militias – the dejma – armed to provide an element of defence.

At one time, these men at arms were estimated to number 4,000. A number of coastal watchtowers were also built during this parlous time which was also marked by the rapidly advancing Ottoman empire from the east.

Mark Barton and Franco Davies conclude their two-part paper on Maltese maritime swords by describing a number of specimens from the start of the French period to the present.

A single example of a sword of the short French period exists in a contemporary watercolour while examples from the British period must obviously be more numerous. Although one officer sword is known from this time, the authors are sure that several more exist on the island, while there is an example that belonged to the Royal Dockyard Battalion.

Post-independence examples of the local armed and naval forces have the same ceremonial swords although a new engraving was introduced in 1973.

Bonuses in this issue are most useful subject and illustration indexes of the previous volume.

And now to first things last. The editorial tightly blows the FPM’s horn regarding their latest exhibition as well as drawing our attention to a couple of other important exhibitions in Malta and Gozo.

Announcement is also made of coming publications which include the story of local cinematography and the first of the long-expected second series of Giovanni Bonello’s Histories of Malta which this time will have a different format. It has been 10 years since the first series, but we are all sure that the wait will be worth it.