Religious patronage in Gozo : the Portelli family of prelates (1880-1930)

Abstract

The primary aim of this thesis seeks to identify the various aspects which define the priest as patron. This is achieved by studying the artistic and social aspects of the Portelli family of prelates, and to establish a new model in terms of patronage studies applicable to the late 19th century and the early 20th centuries and how this family possibly reflects the general patterns of patronage but at the same time identifying also differences from these systems which justify aspects of a Micro-historical research. In so doing this research, other peripheral questions will attempt to be answered for instance, who were the Portelli family of prelates? What factors constituted their existence? And what were their roles as ecclesiastical art patrons? This study is made up of six chapters. The first serves as an introductory basis which touches upon the contributions to the field of patronage studies whilst also introducing the discipline of a micro-historical approach. This concludes with a discussion on the methods of how this research was carried out. The second chapter is mainly a contextual one which introduces the reader to a valid historical background formation of the Portelli family of prelates. Having established the context, the last part of the chapter adopts a biographical poise making the reader familiar with the personas central to this study. The next three chapters, form the core discussions of this dissertation and take an investigative approach with each chapter mainly dedicated to one prelate, but with possible links to the rest of the family. Nonetheless the main thrust of these chapters remains in line with the purpose of the research; highlighting the various roles of the ecclesiastic as patron. This starts with the third chapter, where the main protagonist is Don Salvatore Portelli and his role as art patron within the rural parish church of San Lawrenz, Gozo. After establishing the model and patronage patterns, the focus is than directed to the circumstantial factors which impacted the formation of the prelate and placed him at the helm of his parish. This discussion then shifts to the notion of the long serving parish priest who never fully paid for a work of art yet was the mind behind the artistic commissions. A clear understanding of his role as patron is clinched by an idiosyncratic analysis of a select number of artistic commissions undertaken by the said prelate. In this manner, the reader is brought to understand the patronage vision of the prelate who despite the rural situation of his parish, sought to distinguish his patronage from that of other parishes. A subsection of this chapter considers his patronage activities as viewed through print material. The fourth chapter directs the attention onto the figure of Don Pio M(aria) Portelli. The focus is on his role as a priest architect/designer. Having set the context for his artistic education at the Jesuit run Seminary in Gozo, the focus shifts to his practice as an architect. The edifices which he designed are mapped out to give a sense of the geographical influence this family of prelates held within the villages of Għarb and San Lawrenz. The church of Ta’ Pinu and the figure of Don Giuseppe Portelli dominate the discussions in the fifth chapter which starts by establishing the prelate’s kinship links to the devotion of ta’ Pinu. Then the chapter shows how these factors including the family’s publicised devotion through print material paved the path for Don Giuseppe Portelli becoming rector of this church. This is followed by an evaluation of Don Giuseppe’s role as rector and patron of this church with specific reference to his involvement in the artistic commissions. Opening to a wider perspective the discussion than deals the architectural vision of the shrine showing in essence that the patronage activates at Ta’ Pinu Church were not at all insular affairs. The dissertation ends with a final general conclusion outlining the main findings and conclusions drawn out in the core chapters. This dissertation is supplemented by a number photographic images, tables and documentary appendices to be found towards the end. It should be emphasised that the documentation and images have not been included for ornamentation but as an effective contribution to an integral and holistic understanding of the subject. They have been carefully selected to illustrate the argumentation and should be referred to while reading the text. Lastly a word on the quotations. The direct quotations in Italian and the vernacular referred to in this study, are directly extracted from period documentation, and as such, every respect has been paid to retain the authenticity of the alphabetical symbols which fluctuated during the time of print and therefore should not be mistaken for grammatical errors.