Malta’s ecclesiastical heritage includes items and artifacts that are oftentimes considered as having secondary importance. This is the case with church candlesticks, which come in different sizes, shapes and formats. A large portion of this heritage dates to the 18th century, when candlestick production was booming, and a significant portion of these are still in use. Some attest to the skills of Malta’s 18th-century craftsmen in no small way, particularly the larger versions, with examples that are known to have been designed by high-profile Maltese artists of the time, such as Francesco Zahra or Mariano Girada.

This candlestick that is the subject of this article, pertaining to the Friars Minor of the Franciscan church of St Mary of Jesus, in Valletta, is a case in point. It is of a unique candlestick design, possibly purposely designed and executed on commission by the Franciscan Fathers.

It does not follow any particular prototype of a candlestick, with some having been produced in huge numbers following templates or designs that would have been chosen from samples available at the sculptor’s workshop.

This particular candlestick suggests the hand of a craftsman active in the first half of the 18th century, probably also working on commissions for sculptural projects, given that Maltese sculptors of the time would not specialise in such artifacts and focus exclusively on candlestick production. It may well be the case that this might have been one of a pair, as 18th-century sources do mention pairs of large-scale candlesticks, generally described as “torcieri”, but no archival evidence so far suggests or points towards this hypothesis. 

This candlestick had not been in use for quite some time when it was discovered, and its state of conservation was a matter of concern. Emotive reactions might not be in line with the science of conservation practice but it was shocking indeed to find this beautifully carved ecclesiastical candleholder in an appalling state, yearning for attention. Bits and pieces of its fine carvings were missing.

The artifact also had extensive, wide structural fissures and most of its core wooden structure was exposed as a result of flaking and extensive losses in the upper preparatory (gesso/bolo) and silver-gilt layers. Additionally, what remained of the upper layers was so soiled with dirt and grime, as well as abraded and overpainted, that none of the little surviving silver was actually showing at that point in time. It was devastating seeing a once-celebrated liturgical artifact in such a depressing and awful state.

Early last year, the artifact was moved to Amy Sciberras Conservators laboratories for further in-depth analysis and conservation following in situ first-aid consolidation treatments. In conservation, first-aid treatments are implemented to temporarily stabilise areas of an artifact that are in danger of immediate loss until a full conservation intervention can be carried out. In this case, the said treatments permitted safe handling and transportation.

Remedial treatments were split in three stages. The first was focused on fully stabilising the artifact, the second focused on the removal of foreign deposits, grime and overpaint from its surface, and the third and final, on integrating missing areas, which in itself involved various sub-stages.

The first stage included reinstating stability by injecting specific consolidants and adhesives to reattach the upper preparation layers to the wooden support. This took several weeks. Certain areas of the wooden core itself needed to be stabilised as well, and these included detached motifs and the crevices in the wooden core that were also addressed at this initial stage. All the artifact’s strata, comprising the wooden structure, preparatory and silver-gilt layers, were fully stabilised.

The second stage focused on cleaning the grime and centuries of accumulated dirt that sat on the surface of the artifact using two different cleaning agents, one water-based and the other organic, depending on the area being treated. This had to be handled with care as particular areas of the candleholder were water-gilt in silver leaf, whereas others had a layer of shellac applied to the silver leaf so as to emphasise details. This gold-like finish – achieved thanks to the application of shellac (resinous yellowish patina) on particular details of the carvings – highlights the play of sculpture with the form and architecture of the candlestick.

However, this difference in the manufacturing technique and the intended contrast between the various elements and features of the candlestick, had to be tackled in a more specific manner, and the cleaning methodology was adjusted and tweaked according to the area being addressed at a given point in time. The removal of dirt and grime also uncovered localised past interventions, whereby silver paint was applied over the original. In this case, surgical blades were used to mechanically remove such paint and uncover more of the silver leaf.

With the artifact cleaned and fully stabilised, the final stage of the conservation and restoration programme could proceed. Since the artifact was a religious and devotional object, its conservation and restoration had to address reuse during liturgical celebrations. In this respect, it was absolutely important to fully integrate missing areas and motifs.

It was possible to remodel missing details that were part of the repetitive design scheme. Identifying the missing bits and pieces was not difficult at all. Similar wood and conservation fillers with the desired properties (same as wood) were used to integrate and recreate missing motifs in the wooden support. The missing original preparatory layers were also addressed at this stage with the application of a compatible gesso filler. Black Armenian clay was used for the missing areas that were later water-gilt with silver leaf. Only the newly integrated areas were addressed using the water-gilding technique and the intervention kept true to the original finish.

The project brought back to life an artifact that had become a shadow of what it was, and this was achieved in line with the best restoration and conservation practices. Apart from the conservation aspects of addressing forms of decay, stabilising the artifact, and bringing out the original through cleaning treatments, the restorers and conservators also addressed the missing areas and reinstated full legibility and functionality of this ecclesiastical artifact, always abiding by the core principles of conservation and restoration.

The entire conservation programme also entailed regular discussions with other professionals and stakeholders in the field, so as to gain as much information as possible on this historic artifact. The information collate would enable the restoration team to take the right decisions in the circumstances, particularly those concerning the final look and feel of the artifact.

The Friars Minor regained the religious artefact just in time for the Easter festivities

Thanks to the interventions carried out, the Friars Minor of the Franciscan church of St Mary of Jesus have not only regained the religious artefact intrinsically but also part of their traditions connected with the Paschal season, and just in time for the Easter festivities.

 

Amy Sciberras Conservators – Fine Arts Restoration thanks the Friars Minor of the Franciscan church of St Mary of Jesus in Valletta, in particular Guardian Fr Ramon Farrugia, OFM, for entrusting them with this project, as well as art historian Sandro Debono for his crucial insight, analysis and information on the candleholder.

Amy Sciberras directs a team of conservators and has been entrusted with restoration projects of national and international importance. One may contact Amy Sciberras via the website www.amysciberras.com or e-mail info@amysciberras.com.