The late medieval and early modern Maltese icona

Abstract

This dissertation is intended to trace the development of the altar painting (icona), through the late medieval and early modern period in Malta. It will tackle altarpieces imported through the surprisingly informed patronage in Mdina and Rabat, as well as those produced by the native craftsmen living in the village scattered all over the island. Therefore a number of different works, of varying artistic relevance will be considered. Focusing mostly on style and influences, this study sheds light onto the flow of ideas and techniques that influenced the development of the native tradition, and the way that is spread into the early seventeenth century, remaining evident in the vernacular idiom that characterises the art of that century. The late medieval and early modern context of the commissioning of these altar paintings, as well as the patterns of patronage will be discussed in the first chapter. The following sections will consider on the paintings themselves, starting with the imported works and those produced under their influence. Chapter three will focus largely on the icone that adorned the village churches, which on occasion reflect at grassroots level, a knowledge and influence of the foreign works. The fourth chapter will centre on the change in technique, as well as a new set of foreign influences, that allowed for the popularising and repetition of various stylistic trends set in the previous centuries. Pictures with details of the paintings are included where necessary, to act as a visual back up to a number of stylistic comparisons drawn. The list of icone that will be discussed is not complete, yet will include a considerable number of works, which I had the opportunity to see and study. A couple of now lost, yet documented icone have also been included allowing for further understanding of the artistic situation of the period in question. Furthermore, the paintings will not necessarily be discussed in perfect chronological order, but one, which allowed for a logical understanding of the evolution of this long-lasting tradition. An approximate chronology will be suggested in a comprehensive gazetteer of icone, which is also included in this dissertation. A further appendix cites several extracts from the 1575 Visitation Report of Mgr. Pietro Dusina, quoting all mentions of icone recorded by this apostolic visitor. Much has been written about Malta's late medieval and early modern history. This dissertation hopefullt sheds light upon a less studied aspect of medieval art, the icona, its context and development.