The year 2023 marked the 250th anniversary of the demise of Francesco Zahra, Malta’s most significant native painter of the mid-18th century. As the year draws to a close, an exceptional artefact designed by Zahra, hitherto unknown, has been restored to its former glory. This is a wooden gilt catafalque for the Dead Christ of Rabat’s Good Friday procession.

The Rabat procession, organised by the Archconfraternity of St Joseph, had at least three other representations of Christ entombed. The last one had been bought in 1754 from the Confraternity of the Holy Crucifix of Vittoriosa when the procurator was Don Michelangelo Grima.

During this period, the Good Friday procession in Rabat underwent several innovations, such as the introduction of papier-mâché statues instead of mannequin ones, made by Saverio Laferla in 1758. Despite these changes, the representation of the Dead Christ remained unaltered for some years, likely because they had just acquired one. However, the need for a contemporary representation soon arose, to align with the procession statues’ evolution.

In 1766, the consulta for all the confratelli rejected four designs by unknown artists, leading to seeking advice from Zahra. Thanks to his expertise and close relationship with figures like rector Mgr Gio Angelo Grech Balzan and Mro Benignio Zerafa, Zahra was entrusted with the design of the new catafalque.

His architectural mastery and directorial role in the project were explicitly stated in a contract between the Archconfraternity of St Joseph and master sculptors Vincenzo and Francesco Dimech dated April 4, 1770: “lavorato secondo le migliori regole dell’arte a tutta perfezione ed intiero genio del Signiore Francesco Vincenzo Zahra direttore ed architetto di detta machine” (executed according to the finest rules in the art world thanks to the perfection and geniality of Mr Francesco Vincenzo Zahra, the work’s director and architect).

The newly discovered artwork, therefore, holds profound importance, particularly in shedding light on the artistic contributions of both Zahra and the relatively lesser-known Dimech brothers.

The restoration process

The catafalque, a fine example of Maltese 18th-century artistic craftsmanship, was in a precarious state.

Unintentional modifications to its enclosure inadvertently restricted air circulation, fostering micro-climatic conditions that were ideal for woodworm proliferation. This silent invasion consumed the wood fabric, leaving the structure severely weakened.

Additionally, elevated relative humidity depleted the adhesive properties of the organic glue used in its original construction, which severely compromised its structural stability.

Detached and broken elements. Photo: James Saliba

The deterioration of organic glues initiated a domino effect, causing the gilded layers to detach extensively from the wood support. The delicate synergy between wood and gold was disrupted, leaving the catafalque’s gilded surface in disarray.

Compounding these challenges, deposited dust on the gilded surface exacerbated the problem, absorbing and maintaining humidity, becoming a relentless adversary that consumed the bonding properties of the rabbit-skin glue in the gilding preparatory layer. This process resulted in severe gilding loss, marked by abrasions that marred the once-glorious surface.

The series of deteriorations over time left the catafalque incapable of supporting its own weight. The once revered piece of art faced irreversible decay.

Alarmed by the advanced state of deterioration and the imminent risk of loss, the Archconfraternity of St Joseph launched a conservation campaign.

Michael Formosa conducted an environmental monitoring campaign within the niche, providing valuable data that enhanced understanding of the deterioration dynamics. This, in turn, facilitated the formulation of a tailored intervention methodology.

Consolidation of the deteriorated wood fabric. Photo: James Saliba

The methodical approach unfolded in two distinct phases, each marked by precision and care. The first phase focused on the preservation of the original fabric, whereas the second phase aimed at restoring legibility by reinstating the aesthetic qualities of the artefact.

Wood conservation expert James Saliba led the direction of the conservation project.

Comprehensive documentation ensured a detailed record of the catafalque’s condition. The restoration initiative began with emergency on-site consolidation and facing to prevent further losses during handling and transportation. Woodworm infestation was eradicated through anoxic treatment by the specialist company SalvArti.

At the restoration labs, Saliba and Agné Bernotaité carried out a meticulous process. Consolidation and readhesion of preparatory layers addressed foundational issues while wood consolidation, structural repairs and re-adhesion of detached elements aimed at restoring stability.

The successful completion of the first phase paved the way for the catafalque’s transition to the second phase ‒ a delicate process focused on preserving its artistic elegance. This phase involved the careful restoration of the catafalque’s golden layers.

The structure before restoration. Photos: James Saliba

The catafalque after restoration.

The gilded surfaces were cleansed of deposited dirt and embedded grime, revealing the true brilliance that had long been obscured. Missing elements were carefully reintroduced and integrated; preparation layers were applied to new components and lacunae delicately filled.

The application of localised bole set the stage for gilding, meticulously integrated using the original water-gilding technique. Burnishing, integration merging and ageing techniques provided the finishing touches. A final protective coating was applied to safeguard the restoration efforts.

The catafalque, rescued from the brink of loss, now stands in renewed splendour. This magnificent funerary structure, adorned with intricate details and gilded brilliance, serves not merely as a relic of the past but as a testament to the local craftsmanship of a bygone era. As it finds its place in the sanctuary of St Joseph, Rabat it invites patrons to appreciate the subtle beauty of a piece that has been gracefully brought back from the effects of time.

The first phase of the restoration process was supported by funds obtained from the Majjistral Action Group Foundation Measure 1: Restoration of assets of artistic and cultural value and the NGO Co-Financing Fund 2022 by the Malta Council for the Voluntary Council. The second phase was aided by the Social Causes Fund of the government of Malta.

The restored catafalque is on display at the sanctuary of St Joseph in the church of Santa Maria di Gesù (Ta’ Ġieżu) at Rabat until December 13. The church is open till late during the Christmas market, Natalis Notabilis (December 7 to 13).