The Maltese sculptor who studied in Valencia, Spain
Mariano Gerada was born in Tarxien, on the 7th of May 1766 at a time when this village had only about 900 inhabitants. His parents Antonio and Theresa nee Mifsud had four children, Mariano being the second eldest. Historical records make mention of two of his brothers, Giuseppe and Salvatore. From what we know, no one in Gerada’s family was an artist or a sculptor and he had very little education, though he knew how to read and write a little in Italian.
According to the Tarxien parish records, Gerada was absent from Malta in the period between 1783 and 1796. In those days, it was not common practice for Maltese to study abroad, but for those that did, the most popular place for artists was Rome where they could see the latest artistic trends in Renaissance and Baroque style. However, as Gerada’s family had business interests of trade in Southeast Spain, Mariano was granted the opportunity to study in Valencia, Spain.
Records show that in Spain, Gerada was an apprentice and trainee of Jose Esteve Bonet (1741 -1802), considered to be the most important Valencian sculptor of the time, awarded the title of Honorary Royal sculptor to King Charles IV of Spain (1788-1808). Bonet also had good connections with famous artists such as painter José Vergara (1726-1799) and sculptor lgnacio Vergara (1715-1776), who had influenced the style and aesthetics of Valencia in the eighteenth century. Documents also show that Gerada studied at the Saint Charles Royal Academy of Fine Arts in Valencia winning no less than four prizes in various competitions. One other person of great importance to Gerada was his mentor at the Academy, painter José Vergara.
Indeed Valencia formed Gerada’s style. His training with Bonet, the Academy and several other artists had a profound influence on his personal style. Furthermore throughout his tuition, he was strongly discouraged from imitating and copying other artists’ work.
In 1796 Gerada returned to Malta. His early works portrayed his personal Valencian style using defined folds, and concern for features and the expression of feelings through emphatic gestures. However Gerada soon had to reach a compromise between his innovative style and that of the local artists of the time, as well as the wishes of conservative patrons. An interesting fact is that after 1813, the works of Gerada became simpler. Some speculate that this change in his style could have been triggered by the death of his elder brother Giuseppe in 1812 and perhaps even the plague that hit Malta in 1813.
Nonetheless Gerada was regarded as the best sculptor in Malta after Melchiorre Gafa (1635-1667). His work, in wood and Maltese stone, mostly statues and processional polychrome statues, are characterized by a very high artistic level and a certain grace, with most harmonious curves and refinements.
Gerada was always loaded with work as he often also worked on small commissions in local homes and churches. The majority of his clients were lay confraternities, church procurators, private people and civil authorities.
Several of his works can be found in Malta and Gozo. One of his first main tasks was the processional statue carved in wood, of Our Lady of Grace in Zabbar (ca.1797) which he also produced in stone, a beautiful street niche on the corner between Sanctuary street and the Żabbar Main road (ca.1801).
In 1803 Gerada went to live and work in Bormla. That year he accepted the commission of the titular statue of the procession of St. Catherine of Alexandria, of the Żurrieq parish. It had to be completed within one year and four months for 700 scudi. In 1806 he started work on the processional statue of Our Lady of the Rosary for the procurator of the Church of the Rosary of Siġġiewi. Here a compromise between the renowned local style based on Melchiorre Gafa’s work and Gerada’s Valencian style had to be reached. His work had to be overseen and approved by the painter Michele Busuttil and sculptor Giuseppe Casha. He finished it in 1808 at a cost of 550 scudi.
In 1808 Gerada also took over a private commission for the statue of the Assumption of Our Lady venerated in the parish church of Hal Ghaxaq, one of his finest works of art and the most beautiful statue of the Assumption on our islands. The pose and gestures of this statue distinctly reflect Gerada’s Valencian style.
In 1814, inside the parish church of Cospicua, Mariano produced the baptismal font, and four years later he made the statue of St. Michael the Archangel considered to be another of his masterpieces. He produced many street niches and statues in Maltese stone. Two most notable stone works are the lion and the unicorn on the fountain to the left and right of Saint John’s Co-cathedral entrance in Valletta produced in 1820. He also produced the Royal coat of arms on the marina gate ‘Porta del Monte’ now Victoria Gate in Valletta.
In Gozo we also find several of his works such as the beautiful Ecce Homo in Għarb church and a work of art representing Saint Elijah in Xewkija.
Unfortunately Gerada started several works which he was never able to complete, like the statue in stone of Saint Rocco in Qrendi Square in 1822, which was completed after his death by his trainee Pietro Paolo Azzopardi and the statue of Saint Joseph in Zurrieq which cost 500 scudi, which was started in 1822 but never completed.
Mariano Gerada died a bachelor at the age of 57 on 24th January 1828. He was buried in the Collegiate Parish Church Of the Immaculate Conception in Cospicua. His nephew, Antonio Gerada (1803-1877) was his testamentary executor and inherited the workshop of his uncle. After his death he had to take care of the commissions and payments that were still pending.
It is worth noting that Mariano’s artistic style did not die with him. Gerada trained three Maltese sculptors in his workshop, Alex Farrugia, Peter Paul Azzopardi and Salvatore Psaila who all made a name for themsleves in the artistic history of our country.