The baroque royal image in the collection of the Order of St John : an analysis of political diplomacy and artistic patronage

Abstract

This dissertation aims to analyse the European monarchical seventeenth and eighteenth century portrait in the Collection of the Order of St John in Malta. It majorly focuses on six painted Portraits all preserved at the Presidential Palace, Valletta. The Portraits are in fulllength and the half-length sizes. A number of the Portraits have foreign provenances whilst a single portrait is the work of a Maltese seventeenth century artist. The sitters in the Portraits are: Louis XIV, XV and XVI of France, Catherine the Great and Charles Theodore, Elector Palatine of the Rhine and Elector of Bavaria which are the work of prime court-portraitists; their workshops and their Circles. The Portrait of Charles II of Spain was executed by a Maltese artist.

This dissertation explores the iconographic origins and roles of the Portraits: the political scenario effecting the raison d’être of the Portraits and the issues of Absolutism and Enlightenment. In the case of Catherine the Great the Dissertation will delve also into the role of the Enlightened Despot and how her Enlightened ideologies reflected on her image particularly through her publication of the Nakaz or Instruction: a set of legal principles and human rights for the Russian populace modelled on Montesqieu and the French Enlightenment. On the other hand it will also explore the ideologies and theories of Absolutism as established in France which reach their apogee during the reign of Louis XIV. The dissertation also sheds light on matters of patronage, provenance, and place the portrait in the context of the existing ouevre portraying the monarch.

This study also aims to examine and bring to light monarchical portraits in the Collection of the Order of St John which is intrinsically subdivided into three seperate divions: the Portraits displayed in the Magisteral Palace, those commissioned for the Auberges and the Portraits in the private collections of individual Knights. Hence the disseration will explore the raison d’etre of these portraits within the collection of the Order within the socio-political realities of an Order divided into eight nationalities.

The dissertation delves into commission mechanics and establishes clear attributions through archival research and conoisseurship. This dissertation deals with primary sources in which there is correspondence or declarations related directly to those portraits which came directly from European Courts, therefore establishing clear commission dates and matters of transportation; ports of call and the route taken for them to arrive to Malta. As such this research was attainable through the perusal of archival sources majorly the Archives of the Order of Malta at the National Library through the Corrispondenze with Royal Courts. The role of the Ambassador in the commission are dealt with; the Spogli of individual knights, where portraits in the Inventories are listed and the Ricette of the Order where records of commissions by the Order may be attained. The bulk of secondary sources perused towards the achievement of this dissertation are foreign publications. Major contemporary biographies of the artists are cited. On an international level the subject of the royal portrait in the early modern period has been extensively researched; with scholars publishing on major Baroque portraitists related to my field of study from the 20th century onwards.

I would like express gratitude to the following individuals who all helped in the attainment of this Dissertation; to my tutor Professor Keith Sciberras; to the photographer Mr Joseph P. Borg, responsible for the images of the Portraits under study; to Ms Maroma Camilleri, Deputy Librarian at the National Library of Malta and the staff at the National Library; to the staff at the Notarial Archives, Valletta; to Ms Charlotte Geronimi and Daniela Ciantar at Heritage Malta; the Staff at the Office of the President of Malta for permitting me to commission professional photographs of the Portraits under study and to Ms Bernardine Scicluna, Curator at Heritage Malta for allowing me to peruse the National Inventory.