The works of art within the Church of St Francis of Assisi, Valletta

Abstract

This study aims to provide an art historical analysis of the works of art present within the church of St Francis of Assisi in Valletta. Although the works have already been tackled by numerous scholars, so far, a holistic study of the works within the church has not yet been undertaken. The church presents a vast collection of paintings and sculptures; hence, this dissertation will focus primarily on the major works embellishing the church’s altars, ceiling, dome and choir. The works chosen for the study are contextually analysed according to the history of the church structure and the artistic scene in the Maltese Islands. A stylistic, formal and iconographical analysis along with a brief condition assessment of the works is also included. The study also attempts to delineate some of the works of art which used to form part of the church’s embellishment. This dissertation also comprises an inventory of all the sculptures and paintings in both the church and the friary. The inventory, which includes those works which are barely hinted through this study, provides details regarding authorship, execution date, medium and dimensions. To set a background to the works of art, the introductory chapter proposes a general overview of the various Franciscan Minor Conventual churches founded throughout the Maltese Islands, especially emphasising the one under study. A brief discussion on the origins and establishment of the Franciscan Minor Conventuals in Malta is also included. The first chapter gives an in depth study of the establishment and history of the church of St Francis of Assisi in Valletta, which includes the church’s re-modifications undertaken throughout the years. An architectural appreciation of the church has also been tackled. On the other hand, the second chapter focuses exclusively on the prominent works of art embellishing the church’s altars, whereas the third chapter deals with a vast stretch of paintings embellishing the ceiling, dome and choir. Some repetition of the text will occur on few occasions. This is adopted on purpose to allow the reader to read each chapter independently. Unfortunately, throughout my research I had limited access to the primary sources held within the archives of the church of St Francis of Assisi, Valletta. As a result, I could not find further information about the authorship, execution dates and patronage of a number of works displayed within the church as well as the architectural structure and interior decorations of the church itself. Some of the church’s inventories and other documents related to the works under study were, however, restrictively consulted. Copies of these consulted documents are included in the appendix of this study. Primary data was also acquired from the archives of the Confraternity of the Immaculate Conception, currently preserved within the friary of the Franciscan Minor Conventuals at Valletta, Malta National Library and University of Malta. Throughout the archival research presented in this study I took note and followed on the steps of various art historians, and historians who have professionally tackled the subject, such as Keith Sciberras, Mark Sagona, Christian Attard, John T. Spike, and Bonaventura Fiorini. Alexander Bonnici’s publications, although they do not reflect an academic approach, still provided me with valuable information and references relevant to this study.