The Crucifixion of Christ on the Golgotha:a salvage project
Art historicAl AnAlysis
The Crucifixion of Christ on the Golgotha at Our Lady of Mercy church in Qrendi is a painting and sculptural group that dates to the late 17th century. It has traditionally been ascribed to Suor Maria de Dominici (1645-1703), although there are other sources that attribute the work to Giuseppe D’Arena (c. 1643-1719).
Originally located in the church’s sacristy, the painting depicts the scene of the Golgotha with saints, with the sculpture of the crucifix placed in front of it to create the iconography of the Crucifixion of Christ on the Golgotha. At the bottom right of the painting, the coat of arms of the donor, Fra Wolfgang Philippus von Guttenberg (1647-1733) is depicted together with the date 1698, although it is possible that this is a later addition.
The painting was created using the oil-on-canvas technique, while the sculpture was made from papier mâché on a wooden cross. The iconography of this work of art is typical of the subject of Christ’s crucifixion with saints, yet some elements stand out.
The Virgin lying in despair on the left of the composition creates an image of Our Lady of Sorrows almost in its own right, while on the opposite side, taking up the forefront of the painting is Mary Magdalene, who is also depicted in another painting dedicated to her, commissioned by Guttenberg and attributed to the school of Preti. Here, her dimensions are larger than the rest of the figures in the group, while her white skin and the light material of her fabrics contrast with that of the other saints, who lie in the shadows. In the background, behind the crucifixion, is a rendition of a church, which may be that of Our Lady of Mercy church in Qrendi itself, although this is not confirmed.
In this work, Christ’s suffering is portrayed through a sculpture, rather than within the painting itself. Such a rendition is almost unique in Malta, as there is only one other known example with the same subject, the Golgotha Group at Our Lady of Sorrows chapel within Siġġiewi parish church. In this case, the painting depicts fewer saints, and was carried out by Michelangelo Marulli, while the crucifix, which is larger than the Qrendi rendition, was sculpted by Giovanni Battista Vanelli and possibly polychromised by Marulli himself.
The artist or artists of the painting and the sculpture must have been very skilled. Unfortunately, there are no surviving documents referring to the commission of the Qrendi artefact, although it has over the years
The appalling condition of the crucifix prior to treatments.
LEFT PHOTO: MANUEL CIANTAR/SUZANNE CIANTAR FERRITO OBO AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION; RIGHT PHOTOS: AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION
before and after conservation treatments. PHOTO: MANUEL CIANTAR/SUZANNE CIANTAR FERRITO OBO AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION been attributed to Maria de Dominici through word of mouth. For the painting and the sculpture to be by de Dominici, the date ascribed to the painting would have to be incorrect, since she left for Rome permanently in 1682. As a result of analysis done during the painting’s restoration process, it seems indeed that the coat of arms and the date are a later addition.
The painting has also been attributed to Giuseppe d’Arena, who, like de Dominici, also formed a part of Mattia Preti’s bottega. Since the titular of the church is also attributed to
D’Arena and the St Mary Magdalene painting is attributed to Preti’s bottega, it could be that there were other works in the same church by the same group of artists. The painting showcases an artist closer in style and ability to D’Arena than de Dominici; however, it is difficult to ascribe it to either artist with any certainty. There is also the possibility that de Dominici carried out just the sculpture of the crucifixion, as she did create such sculptures made from papier mâché during her time in Malta. Unfortunately, since there are no surviving sculptures by the
Consolidation and cleaning treatments of the painting. PHOTO: AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION
female artist, except for the much-amended Immaculate Conception at Cospicua, it is difficult to attribute this work to her. Nevertheless, if the crucifixion turns out to be by de Dominici, it would open an exciting realm of possibilities of study on the artist, particularly on her sculptural oeuvre.
The donor of the Crucifixion of Christ on the Golgotha, Fra Guttenberg, was a prominent benefactor in Malta and one of the main benefactors of Our Lady of Mercy church in Qrendi, which was close to his residence in Malta. Apart from this work, he also donated the painting of St Mary Magdalene, the holy water urn, the main altar front, and a sculpted stone decoration in the
During the removal of varnish and dirt from the crucifix. PHOTO: AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION sacristy, all of which bear his coat of arms.
The painting and crucifix, which used to be held in the sacristy, have been relocated to the side chapel after their recent restoration. This restoration has given the opportunity for the work to be viewed in all its glory and appreciated as well as further studied for its artistic merits.
conservAtion And restorAtion
This meticulous and delicate intervention on both artworks bringing into being the crucifixion scene was carried out by Amy Sciberras Conservators-Fine Arts Restoration. Both artefacts were in a dilapidated state. The canvas was being held onto its old wooden strainer frame simply through notice-board pins which had been inserted from the front, first through a piece of cardboard and then directly into the paint layer. This past intervention, although amateurish, was literally preventing the canvas painting from collapsing. Due to the canvas not being tensioned, severe and broad deformations had formed by time. Other deformities and marks on the paint layer were caused by the sharp edges of the old strainer frame, upon which the sagged canvas was resting.
The painting was also suffering from a severe case of blanching whereby the image exhibited localised but significant white and chalky hazes, concealing some of the figures we see today. This phenomenon may possibly be linked to the painting being exposed to very high humidity levels. Canvas lacunae, past heavy overpaint and losses in the original paint layer were further contributing to the painting’s awful state.
The papier-mâché polychrome crucifix was in no better state. Part of the left hand had become completely detached from the rest of the body. The other arm had also been fragmented and unprofessionally ‘repaired’ in the past, where such damage was being concealed by band-aids. The polychromy not only exhibited a thick layer of grime covering its entire surface in combinations with oxidised and yellowed varnish coatings, but most of the paint layer was unstable and detaching. In fact, certain areas of these upper paint layers had already been lost, exposing the underlying papier-mâché structure.
Amy Sciberras Conservators started by thoroughly examining this ensemble using non-invasive scientific methods. Together with fine arts photographers Manuel Ciantar and Suzanne Ciantar Ferrito, images corresponding to different spectral channels, including
Details showing the poor condition of the painting, prior to treatments. PHOTO: MANUEL CIANTAR/ SUZANNE CIANTAR FERRITO OBO AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION
Uncovered past damages following the removal of band-aids applied by past restorers (left) and the same arm at a later phase of the conservation and restoration process. PHOTO: AMY SCIBERRAS CONSERVATORS – FINE ARTS RESTORATION diffuse light, raking light, ultraviolet fluorescence and infrared, were captured. Through this process of multispectral imaging, which was challenging in itself due to the fragility of the objects, it was possible to identify all forms of decay and delineate a complete conservation and restoration strategy.
Prioritisation of treatments was formulated. The most fragile areas that needed immediate consolidation and stabilisation treatments were identified. Local consolidation of flaking polychromy was carried out by injecting the chosen consolidant into the affected areas and fixed using a heating spatula. To consolidate the exposed papiermâché structure, a different waterbased adhesive was opted for.
Further consolidation of the papier-mâché sculpture was done concurrently with cleaning treatments so as not to incorporate the excessive amount of dirt and grime that had settled and adhered to the surface by time. During this process, the various paint layers applied through the centuries were also identified. What remained from the original, such as the very delicate blood drippings on Christ’s face, were brought to light once again.
Cleaning treatments of the painting, using a combination of organic solvents and aqueous solutions, recovered most of the hues that were previously concealed by the blanched layer of varnish and dirt. Any aged but reversible overpaint was also addressed during this phase. Other treatments carried out on the two artefacts included strengthening the inner framework of the statue, re-attaching the broken arms, and lining of the canvas painting, hence reinstating stability and function.
Losses in the polychromies of both the painting and the crucifix were addressed and integrated following current ethics and practices in conservation so as to attain full readability of this religious, devotional and historic ensemble adorning Our Lady of Mercy church in Qrendi.
Acknowledgments
This conservation project was entrusted to Amy Sciberras Conservators-Fine Arts Restoration by the Qrendi local council, led by mayor David M. Schembri, in close collaboration with St Mary parish church in Qrendi, and made possible through EU funds and the Gal Xlokk Foundation/ Leader programme.
Amy Sciberras directs a team of conservators and has been entrusted with restoration projects of national and international importance. She may be contacted via www.amysciberras.com or email info@amysciberras.com.
Nadette Xuereb is an art historian who specialises in the role of women in the arts during the baroque period. Her undergraduate dissertation and a number of publications focus on Suor Maria de Dominici. She may be contacted via e-mail nadette.xuereb@um.edu.mt.