Showing posts with label Valletta. Show all posts
Showing posts with label Valletta. Show all posts

Tuesday, 4 August 2015

Magistral Palace Armoury, Valletta

The Palace Armoury owes its origin to a Statute of Grand Master de la Sengle of 1555 which required that all arms and armour belonging to the Knights of St John were to become the property of the Common Treasury,  to be maintained  for the defence of the Convent. In 1604 Grand Master Fra' Alof de Wignacourt transferred the Order's Arsenal from Vittoriosa to the Magistral Palace in Valletta.

Armoury door, Magistral Palace

Under the rule of Fra' Manuel Pinto de Fonseca (1741-1773) the Armoury moved into the magnificent  first floor gallery in the Palace where it stayed until the modern era when the hall was taken over by the Maltese Parliament.  In Pinto's day the Armoury contained  arms for 25 000 men, but the procurators of the Common Treasury in 1763, directed that the Commandant of the Artillery was to clear  the Palace Armoury of old and obsolete weapons, and that henceforth it was to be used only for new equipment. By the end of the 18th century the Armoury was used  for the display of trophies and historic weapons. What had originated as an arsenal of weapons for use had become an Armoury of Honours (Armeria di Rispetto) to preserve and display the insignia of the Knight's  victories.

The arrival of Napoleon dealt the collection a grievous blow with so items dissapearing that today only 5 721 pieces are left on display in the former stables of the Palace. Although only a fraction of its original size the Armoury still contains an unprecedented collection of pieces of Italian, French, Spanish and German armour. The collection also holds pieces of Islamic and Ottoman arms and armour. Apart from the massed arms of the common soldiers the collection also holds some of the armour that had protected the nobility.

The most  splendid suits of armour date from about 1550-1620 and are connected with some of the Grand Masters and Grand Commanders of the Order. These dignitaries only wore armour of the highest quality, lavishly ornamented, commissioned at the best workshops in Europe. One of them is a complete suit of German armour, about 1550, reputed to have been worn by Grand Master Martin Garzes (1596-1601).

Armour worn by Grand Master Martin Garzes (1596-1601)

There is a Milanese suit of armour, about 1580 that belonged  to Grand Commander Fra' Jean Jacques de Verdelin (1590-1673) and was worn by him in the portrait now hanging in the National Gallery,



Armour that belonged to Grand Commander Fra' Jean Jacques de Verdelin (1590-1673)

The collection includes a suit of half armour with morion and round shield in the style of the famous armourer Pompeo della Chiesa of Milan, c 1550 traditionally associated with Grand Master Valette.


Armour associated with Grand Master Fra' Jean Pariso de Valette

The most sumptuous suit of all is  that of Grand Master Fra' Alof de Wignacourt (1601-1622) in which he was portrayed by Carravaggio. The Wignacourt armour formed a large garniture, a set of many pieces in a homogenous style, used for battle, tournament or display.



Armour that belonged to Grand Master Fra' Alof de Wignacourt (1601-1622)

Of the horse armour belonging to the garniture only the chanfron is extant. in the Milanese style of about 1600, the surface of the armour is russeted, etched and gilded, and scales, floral and armourial motifs are appliqued.


The greater part of the collection consist of battle pieces, arms and armour from the brilliant period of the Order between 1560 and 1600. This is what makes the collection unique. There is little doubt that these pieces are the actual equipment of the numerous knights and soldiers who fought in the Order's wars.

Hundreds of peaked or combed morions that were in general use by pikemen and musketeers survive in the Armoury.



Besides the morions the burgonet type of helmet, usually of buff, was very popular. There are also examples of the distinctive Savoyard helmet.


There are many cuirasses, collars, pauldrons, vambraces and tassets for the use of the heavy infantry. Some of them are of smooth bright steel without decoration, others are adorned with simple embossed volutes. There is also a large group of armour pieces ornamented with Italian style etching with grotesque and scroll work, with sprays of leafwork, with medallions of ancient and allegorical figures, or, most numerous, with bands of armorial trophies. The same design is often repeated. The design is rarely found elsewhere so it can be assumed that these pieces of armour were commissioned by the Order, in large consignments from North Italian workshops, to be manufactured at the same time, in a common manner.

There are also a few examples of a special form of light and movable cuirass, made of overlapping horizontal lames, called "anime", which were probably for galley service, and also waist-coat armour which imitates civilian doublets.


Among the offensive arms, rapiers and staff weapons were in general use by the infantry in the field, on walls and in the galleys. Extremely long rapier blades were not only carried on horseback; they were effectively used in wall defence.


The firearms of the Armoury, flintlock guns and pistols of Italian, French, Spanish and German origin, are from the late 17th century. The early matchlock muskets, the basic weapon of the Great Siege, have vanished. Only rows of powder flasks and primers left over from the period remind us of the fame of Maltese musketeers.










Sunday, 5 July 2015

Clock at the Palace, Valletta

The ornamental clock on top the turret of the smaller courtyard of the Magistral palace in Valletta was created for Grand Master Fra' Manoel Pinto de Fonseca (1741-1773).

The clock has four dials; the main one in the centre shows the hours and minutes; above it  a smaller one registers the phases of the moon. To the left a small dial shows the month while another on the right shows the date.

On top of the turret are four bronzes representing Moorish slaves holding hammers which they swing to strike the gongs. The central two figures are larger than those at the sides, as is the gong they strike with their hammers. On either side of the large central gong are two smaller ones.


The Moorish slaves on the sides strike every fifteen minutes, once each, twice each and three times each , until the hour is complete. Then they strike four times in rotation before the two larger figures take their turn striking the central gong, once, twice, etc according to the hour up to twelve.

The turret is flanked by pilasters and volutes and surmounted by a broken pediment. The weights that wind the clock hang within the turret.


The clock first started to work on Tuesday 22 June, 1745 and has done so ever since.

The position of the clock was chosen carefully, from its high position on the turret it's chimes could be heard across the city.



Friday, 3 July 2015

St Catherine of Italy, Valletta

The little church of St Catherine of Italy, the church of the Langue of Italy is next to the Auberge of Italy and faces Our Lady of Victory in Victory Square, Valletta. The original church was designed by Gerolamo Cassar and dedicated to the patron Saint of Italy, St Catherine of Siena in 1576.


St Catherine of Italy was remodelled in the 1680's when it was given an octagonal floor plan, possibly under the direction of the architect Francois Blondel.  The church was remodeled again in 1713 by Romano Carapecchia who added the porch, now  St Catherine's defining feature.


The altarpiece of the Martyrdom of St Catherine was executed in Naples in 1659 and donated by the artist Mattia Preti to the Italian knights to demonstrate his talent, and as such is one of the first works by the great painter in Malta. 




The Italian knights commissioned Preti to design the painting of the vault of St Catherine's although the work was executed by another artist.


One of the most important dates in the year of the Langue of Italy was the Feast Day of St Catherine, 25th November.On the eve of the feast the Grand Master and the Knights Grand Cross assembled in the church of St Catherine where they assisted at the First Vespers chanted by the Conventual Chaplains of the Langue of Italy.



On the Feast  itself, at 8 in the morning, the Grand Master and the Knights Grand Cross a assembled once more at the Church of St Catherine for a High Mass. At the same time a high Mass  was celebrated in the Chapel of St Catherine in the Conventual church of St John. Then a procession was formed under the direction of the Vice-Prior to carry the Order's most precious relic, the hand of St John the Baptist through the main doors of St John's, down Zachary Street to St Catherine's.


When the relic arrived at St Catherine's the Antiphon of the Benedictus was intoned before the procession then made its way back to St John's, accompanied now by the Grand Master and the Knights Grand Cross holding lighted torches.




Saturday, 14 March 2015

Caravaggio in Malta

On 14 July 1608, the painter Fra' Michelangelo Merisi da Caravaggio was formally admitted as a Knight of Malta before the Council of the Order in Valletta. A mercurial charterer who had been forced to  flee Rome and sought refuge in Naples before arriving in Malta in July, he was the most famous artist of the day and a painter at the height of his powers.The Grand Master Fra' Alof de Wignacourt, a cultured man was keen to bring the most talented artists to Malta, to embellish Valletta and more specifically the Conventual Church of St John. Caravaggio was welcomed with open arms and showered with honours, even though he was an outlaw and a refugee.

Caravaggio's Admission to the Order, 1608
National Library Malta, Valletta.
Archives of the Order of St John, 456
(Liber Bullarum, 1607-1609)

For his part Caravaggio had to  impress the Grand Master.  His first commission was a full-length portrait of the Grand Master, standing and wearing a suit of armour. The result gave the Grand Master such pleasure, that he advised the Council to admit Caravaggio as a Knight. The painting was taken by Napoleon in 1798 and now hangs in the Louvre.

Grand Master Fra' Alof de Wignacourt, 1608
Louvre

Seven works are attributed to Caravaggio during his stay in Malta. These include two portraits of Grand Master Fra' Alof de Wignacourt. Only the whereabouts of the portrait in the Louvre is known, the other depicting a seated Grand Master dressed in the magistral robes is known only from copies.

Grand Master Fra' Alof de Wignacourt
after Caravaggio
Rabat

In recognition of the quality of his work the Grand Master commissioned him to paint the "Beheading of St John the Baptist" for the Oratory of the Conventual Church. (At that time the Oratory was still bare and had none of the ornate Baroque decoration and the painted ceilings and canvasses of Mattia Preti). The great canvas (361 cm by 520 cm) was painted in situ above the altar where it still hands today, in 1608 and finished by a fabulous carved frame bearing the Wignacourt coat of arms. The monumental painting, Caravaggio's largest canvas depicts the fallen Baptist at the feet of the executioner whose left hand grips the head of the saint, while his right hand draws a knife from its scabbard. From the blood spurting out of his neck the artist signed his name: "f. Michelang". As reward for this masterpiece Caravaggio was presented with a gold chain necklace and two slaves.

The Beheading of St John the Baptist
Valletta, St John's Oratory

Caravaggio was commissioned to paint a "Saint Jerome" for the Chapel of the Langue of Italy in the Conventual Church by Fra' Ippolito Malaspina whose coat of arms appear on the right side of the canvas.

St Jerome
Valletta, St John's

The whereabouts of a further St Jerome that was painted for the Magistral Palace, and a companion to the St Jerome of  St Mary Magdalene that was intended to hang in the Chapel of Italy opposite St Jerome are unknown.

 The final painting known to have been produced by Caravaggio in Malta is "The Sleeping Cupid", inscribed on the back with the words "Opera di Michelangelo Marese Da Caravaggio i (n) Malta 1608" now hangs in the Galleria Pitti, Florence.

The Sleeping Cupid
Florence, Palazzo Pitti

Caravaggio's stay on Malta was a short one. Some time between September and October 1608 he was seized and held in confinement in Fort St Angelo, at that time the state prison of the Hospitaller State. The reason for his apprehension is unknown but it is thought that he had an argument with a knight of justice. Others said his arrest was arranged by the artist's enemies who wanted to invalidate his membership of the Order by exposing his presumed killing of Ranuccio Tomassini in Rome. Whatever the reason for his imprisonment Caravaggio was mysteriously freed soon after. No sooner than news of his arrest spread through Valletta than Fra' Hieronomus Varoys, procurator of the Treasury  announced to the Grand Master that the artist had escaped from the dungeons "with such a speed that he could not be undertaken." and fled to Sicily. A murky business.

On 6 October 1608 a commission was set up to consider Caravaggio's crime and to see "with all due diligence" that Fra' Michelangelo be sought for and "summoned to appear before the Council". It is not known what the results of the Commission's investigations were. On 20  November 1608, the Grand Master and the Council convened a general assembly of all the members of the Order serving at the Convent in Malta to try Caravaggio in absentia and to judge him accordingly.

The trial lasted until 1 December 1608 when the General Assembly comprising all the Bailiffs, Priors, Commanders and  Brothers of the Order assembled in the oratory of St John's beneath Caravaggio's masterpiece unanimously decreed that Michalangelo Merisi da Caravaggio be struck off from the Order's annals and expelled tanquam membrum putridum et factidus (like a corrupt and fetid limb).

Caravaggio's expulsion from the Order, 1608
National Library of Malta, Valletta
Archives of the Order of St John, 456
(Liber Bullarum, 1607-1609)

Thursday, 4 December 2014

Sword of La Valette

One of the most precious treasures belonging to the Order of St John was the Sword and Poniard (dagger) of Grand Master Fra' Jean de La Valette. The great victory of the 8th September, 1565 at the end of the Great Siege of Malta earned the admiration and gratitude of Christendom. The crowned heads of Europe vied with each other to honour the Order in the person of its victorious Grand Master Fra' Jean de La Valette.

The gifts of the king of Spain, Philip II, a sword, poniard and gurdle,  were to become among the most treasured emblems of the Order of St John. On the sword were engraved these words: PLUS QUAM VALOR VALETTE VALET. The gifts were presented to La Valette by an envoy from the king, Fra' Antonio Maldonado. He delivered a eulogy before a large gathering of members of the Order and many foreigners who were on the island at that time.


Fra' Antonio Maldonado  acclaimed the Grand Master as the greatest of leaders in Christendom and exhorted him to maintain the struggle against the enemy. La Valette was deeply moved by the envoy's words. He replied that without the intercession of the Virgin Mary, whom, he had implored in battle, the victory would have been impossible.  In gratitude he had already proclaimed 8th September, the Feast of the Nativity of the Blessed Virgin, was to remain a national feast day of the island, and that from now on teh Sword and Poniard would be carried, unsheathed, in the ceremonies of thanksgiving carried out on that day as a sign of readiness to take up arms in defence of |Christianity.


La Valette decreed that the Sword and Poniard should be kept in the Treasury of the Order. When Valletta was built and the Magistral Palace completed, the treasures were kept in the Armoury and only removed in accordance with the instructions of La Valette. On these occasions the Sword and Poniard were carried by a favourite page of the Grand Master- usually the son of a high ranking nobleman. These gifts, now became regalia and added to the splendour of the Order's ceremonial.


The gurdle was made of gold while the Sword and Poniard were masterpieces of the jewelers art. The hilt and pommel were enamelled and embossed in gold with decoration of emblems of knighthood finished off with scrolls.  The precious stones which encrusted both hilt and pommel gave a flashing brilliance to the weapons when held aloft.


The last appearance of the Sword and Poniard in the Conventual Church of St John at the celebration of Victory was in 1797, a few weeks after the election of Grand Master Hompesch and nine months before the surrender of Malta to Napoleon and the French. it was then that the Sword and Poniard were taken from the Treasury of the Magistral Palace.


The whereabouts of the girdle is unknown but the Sword and Poniard presented to La Valette by Philip II were taken to France where they are now on display in the Louvre.

Tuesday, 2 September 2014

Holy Infirmary, Valleta

In 1571 the Knights of St John transferred their Convent (headquarters and seat of government) from Birgu (Vittoriosa) across the Grand Harbour, to the new city of Valletta. At the General Chapter of the Order held on 7th November 1574, during the magistry of Fra' Jean de la Cassiere (1572-82), the decision was taken to build a new conventual hospital, 'in order to provide a house or the needs of the sick who up to the present have been uncomfortably cared for at the infirmary at Birgu.'  The site chosen for the new hospital was a prominent position at the south-eastern side of Valletta, above the St Lazurus Curtain, near the entrance to the Grand Harbour.

The new hospital, which would be known as the Sacra Infermeria (Holy Infirmary), was built around a courtyard,  like the Order's great hospital at Rhodes. This building was later referred to as the Lower Courtyard or Cortile di basso. The two main wards were built at right angles, the one fronting St Lazarus Curtain was in later years known as the Old Ward or Sala vecchia, the other retained the name of Small Ward or Saletta throughout the existence of the hospital. On the other two sides of the quadrangle were a series of small rooms on two floors. The main entrance was on the North Street facade of the Old Ward, facing the esplanade of Fort St Elmo. The scale and ambition of the new hospital, and the prominence of its position  near the entrance of the Grand Harbour reflected the scared duty of caring for the sick that was at the heart of the Order of St John's identity, the duty that gave the Order its original name and which remained fundamental to the Order's  vocation.


The work and direction of the Holy Infirmary expanded greatly during the rule of Grand Master Fra' Hughes de Loubenx Verdale (1582-95). From this time on the hospital also oversaw the charitable activities of the Order; the house of unwanted infants, the hospital for women, and the refuge for prostitutes, as well as treatment outside the hospital for less serious diseases, and for poor law relief for the Maltese and the Rhodians who had followed the Knights. The hospital at Birgu (Vittoriosa) had not catered to pilgrims, few of whom passed through Malta, or or the Maltese population who had their own  hospital at Rabat. So the work of the conventual hospital at Valletta was a significant departure from the hospital at Rhodes, which had not served the Greek population.

On 4th February 1660 a decision was taken by the Order of St John to enlarge the hospital, the first stone being laid by Grand Master Fra' Raphael Cotoner (1660-63). The expansion was completed by 1666, under the rule of his brother Fra' Nicholas Cotoner (1663-1680). The Old Ward was extended in the direction of Old Hospital Street, the new extension being known as the Great Ward or Sala Grande. The join between the old and the new wards was marked by two altars placed back to back in the area where the Saletta joined the two wards at right angles. The Old Ward and the Great Ward from then on formed one continuous hall, later referred to as the Long Ward.

 At 155 metres in length, 10.5 metres in width and over 11 metres in height the Long Ward was at that time one of the largest and most impressive interiors in all of Europe. This magnificent room has a wooden coffered ceiling and its floor was paved with stone slabs. Along the walls are niches which served as latrines for the patients. Those in the Old Ward have rectangular recesses in the sides which seem seem to have been used as cupboards. The windows along the top of the wall adjoining St Lazarus Curtain provided light and air. At the far end of the hall, immediately below the ceiling are the coats-of -arms of the Order of St John and of Grand Master Fra' Gregorio Caraffa (1680-90).


In winter, the walls of the Long Ward were hung with tapestries and the beds were draped with curtains. In summer the curtains were replaced by mosquito nets and the tapestries were replaced by a series of paintings by Mattia Preti (1613-99), depicting scenes in the history of the Order of St John.( By 1881 only one of these painting had survived, illustrating Grand Master Pierre d'Aubusson in the act of venerating the Relic of the right hand of St John the Baptist. This canvas hung at the back of the hall).

It is recorded that there were 85 paintings hanging in the Holy Infirmary, including the altarpieces of the various wards.All of the larger wards were provided with an altar for the spiritual comfort patients. The altar in the Great Ward was dedicated to the Holy Trinity, that of the New Ward to Our Lady of Mount Carmel and of the Ward for the Wounded to Saints Cosmas and Damian. Other wards had altars dedicated to St. Joseph, the Finding of the Cross and St. John the Baptist.

 The number of beds in the hospital varied over the years. In 1787 its complement of beds was 563, which could be increased to 914 in an emergency, by placing 351 extra beds in the corsie or free middle space along the length of the six largest wards.  These beds were for single occupancy, in an era when many hospitals imposed a regime of bed-sharing. The Great Ward had 64 beds for the use of  patients with a fever, the acute cases being ranged on one side and the chronic cases on the other. The Old Ward had 22 beds for the treatment of civilians, members of religious communities and pilgrims with medical illnesses. The Saletta or Small Ward had 20 beds for the terminally ill. No women were allowed to enter this ward, not even close relatives of the patients.

Under the length of the Long Ward, beneath ground level runs the Sala Magazzeno Grande or Great Magazine Ward. This ward has an exquisite cross vaulted ceiling and heraldic bosses at the centre points where the groin meets the top.These bosses show in relief the Lion Rampant of Grand Master Fra' Jean de la Cassiere and the Cotton Plant of the Grand Masters Raphael and Nicolas Cotoner alternating with bosses of the Cross of the Order. The Great Magazine Ward is reached by the gradual slope of a grand balustrated staircase that descends in two flights from near the northern end of the Long Ward. The Great Magazine Ward had 109 beds for the use of sick galley slaves, for invalid sailors and soldiers from the Order's land and sea forces,and also for a few disabled men "who deserved well of the Order" and a small number of shipyard workers.


At the back of the Great Ward but not communicating with it was a block known as the Falanga which was built c1596 and enlarged in 1636 that had 120 beds. This ward was meant for the reception of patients with contagious and venereal diseases. The section reserved for the treatment of syphilis was made up of two sections, the Stufa (stove) and Falanga proper. The Stufa was a basement room containing the stove that heated the rooms above.Three rooms on ground level were where patients received hot water baths and on the first floor where the patients were taken to rest after the hot air treatment. The Falanga proper had five rooms for patients receiving mercury treatment for the same disease.

The Sacra Infermeria had other specialized wards, in advance of the normal practice at the time. The Sala per i Feriti or Ward for the Wounded  had beds for 29 civilian surgical cases. The Sala Nuova or New Ward had 21 beds for patients suffering from dysentery. The Sala di San Giuseppe or St Joseph's Ward had 20 beds for sick convicts.There were two Lithonomy Wards for patients operated on for the removal of bladder stones. The Sal dei Cavalieri of Knights' Ward had 19 beds for members of the Order of St John suffering with medical ailments. The Palombara (Dovecot) consisted of a number of small rooms wit 29 beds for contagious diseases like tuberculosis and ringworm. Two wards with 19 beds for members of the Order with surgical complaints and two rooms with 10 beds for civilian surgical cases.

One room with 18 beds was reserved for the mentally sick. In 1779 it was recommended that they be transferred to a magazine that had up to then been used for the storage of wood, as these individuals were a source of disturbance to other patients. The basement magazine had windows that opened onto Wells Street at the back of the Infirmary. Passers by used to stop and taunt the inmates and goad them into reaction. This part of Wells Street became known as the "Street of Lunatics."

In May 1679 a further room was added for the reception of patients suffering from contagious diseases and in 1687 a hall was built to house the hospital library. At the rear of the hospital close to the Falanga block was the Routa (wheel). This was a room containing a cot revolving on a vertical axis. The room communicated with the street outside by means of an aperture in the wall.Through this opening babies born out of wedlock or unwanted infants, referred to as eposti and bastardi were deposited to be take care of the the Infirmary staff. The whole apparatus was contrived to protect the identity of the person depositing the  unwanted infant.

Further enlargement of the Holy Infirmary was carried out in 1712, during the rule of Grand Master Fra' Ramon Perellos y Roccafull. These additions comprised the Upper Quadrangle bounded by Hospital, North and Merchants Streets with the main entrance or Porta principale opening onto Merchants Street. The courtyard was surrounded by the pharmacy, its laboratory and residential quarters for the medical staff and lay administrative officials. This became known as the New Hospital or Infermeria Nuova. In the centre of the Upper Quadrangle was a stone fountain decorated with the escutcheon of Perrelos y Roccafull that supplied water to the kitchen, pharmacy and the laboratory.

The supreme head of the Infirmary was the Grand Master. He visited the hospital every Friday "in procession", where on arrival he donned an apron to serve the sick and distribute food and medicines to the poor gathered in the courtyard. Ceremonial visits of the whole Convent in procession took place on Feast Days and on Maunday Thursday and on the Sundays between Easter and Ascension, when the Grand Master and other high dignitaries of the order laid aside their symbols of rank as they entered the Infirmary to attend Mass in the Great Ward. Every evening after Vespers, the priest and the clerici also came in procession to the "palace of the sick" to recite the ancient prayer which dated back to at least the time when the Order was at Acre:

       Seigneurs Malades, pries pour pais que Dieu la mande de ceil 
           en terre.
       Seigneurs Malades, pries pour le fruit de la terre que Dieu le multiplie en
          telle maniere que saincte eglise en soit servie et le peuple soustenu.
       Seigneurs Malades, pries pour l'apostell de Rome et pour les
          cardennaus et pour les patriaches et pour les arcevesques et
          pour les evesques et les prelats,-

and for the king of France, and of Germany, and of England and the King of Cyprus and of Jerusalem - that "God may give them peace and the will to conquer the Holy Land." The 'Lords the Sick' were also asked to pray for all pilgrims and for all Christians travelling by sea, that God would conduct them all in safety; and for all Christians who had fallen into the hands of the Saracens, and for all those who had given alms to the Hospital; and for the souls of their own  mothers and fathers, and for their benefactors; and finally, begging that the good God would give them peace, the petition closing with the Pater Noster.

The Great Ward of the Hospital
From the 1584 Edition of the Statutes

The official head of the Infirmary was the Grand Hospitaller, Pilier of the Langue of France. This position was one of the highest dignities in the Order of St John. The French knights were so jealous of this privilege that they "acknowledged no superior authority but that of the Grand Hospitaller", who alone was permitted to enter the infirmary without leaving at the door the insignia of his office, a requirement to which all others, of no matter what rank were required to submit. Not even the Inquisitor was permitted to set foot within the Infirmary without prior permission.

Fra' Joseph de Limerie Des Choisy
Grand Hospitaller 1729
(St Johns Church, Clerkenwell)

It was the prerogative of the Grand Hospitaller to appoint the Infirmirian who was the senior knight responsible for the day to day administration of the hospital. The Infirmirian had an apartment on the upper floor of the Infiremeria Nuova emblazoned with the coats of arms of eighteen Infirmerians who had governed the hospital from 1681-1765. These armorial bearings ran in a frieze beneath the ceiling around the wall of the apartment. The Infirmerian was a professed knight who like the Grand Hospitaller belonged to the French Langue. He had the dinner and supper bells rung to summon all the officials who ensured that the food was properly served to the patients and that the beds were clean and comfortable.

The Holy Infirmary was professionally staffed by well qualified and experienced medical and surgically trained staff, who had often studied abroad in Italy, and in France. Regulations drawn up in the 17th century stipulated that three doctors and one surgeon must sleep in the Hospital every night. By 1725 the  professional staff consisted of three resident senior physicians, three resident junior physicians, three resident surgeons, two junior surgeons (practtici) six barber-surgeons (barberotti) and a phlebotomist for blood-letting who was helped by two assistants for the application of leeches, cataplasms and blisters. The principal surgeons and physicians served in teams in the hospital for a month at a time, overlapping with their successors for three days. They visited the wards daily and recorded on a tablet, which hung at the head of each bed, the food and remedies prescribed. A general consultation was obligatory once a week for all doctors and their salary was docked if they failed to attend it. A medical school was opened by the Jesuits in 1595, and  in 1676 the Holy Infirmary became a teaching hospital, with its own School of Anatomy and Surgery, established by Grand Master Nicholas Cotoner. Nursing was carried out by fourteen so-called servants or guardians (servi or guardi). Forty-four baptized slaves and Turks selected from the slave prison were forced to do the cleaning, washing and all the other menial work..

The distribution and serving of food to the sick at meal times was the duty of the novice knights. Service in the hospital was obligatory once a week for all novices at the Convent with members of each Langue having  a day of the week in which they were on duty. At the stroke of the big bell of St John's each morning the knights on duty processed to the hospital. The Langue of Provence was on duty on Sundays, Auvergne on Monday, France on Tuesday, Italy on Wednesday, Aragon on Thursday, Germany on Friday and Castille on Saturday. While there were knights who voluntarily  nursed the sick, the regular visits were confined to feeding the patients. A small table, covered with a cloth and with water and salt upon it was placed beside each bed. The food was brought into the middle of the ward where an official read out the name of each patient and the diet he had been ordered, which was then carried to the bedside by a knight. Great emphasis was placed on the importance of a proper diet in the care of the sick. Rice, vermicelli, herbs and chicken were provided for the very ill, while the stronger patients were offered meat.pigeon, game sausage and potatoes.

The knights and civilians were provided with silver soup bowls, cups, spoons, and plates, however the slaves and convicts were only given pewter utensils. The silver was provided to the Infirmary at various periods by the Langues of France, Italy and Aragon and also the Common Treasury. When the Order was still at Rhodes, the Arangonese knight Fra' Giovanni de Villaragut, Castellan of Amposta, had endowed the Infirmary with a yearly sum of money to meet the comfort of the sick including the provision of silver plate. It is for this reason that the crest of the Commandery of Villaragut was chosen in 1684 to mark the Holy Infirmary silver to facilitate its identification and safeguard against theft. By 1725 the Holy Infirmary possessed 1150 pieces of table silver but in 1795 owing to the financial predicament of the Order at that time part of this plate had been sold.

Reporting to the Infirmirian, were two knights called Prud Hommes or Comptrollers who were in charge of the expenditure of the hospital. They also distributed alms, soup and old linen to the poor and supervised the management of the hot baths and mercurial anointing. The Prud Hommes  had their own secretar(scrivano), who noted everything that concerned their work in separate books. They supervised the work of the  linciere who was a secular, in charge of the linen, furniture, laundry and hospital equipment, making sure that everything was properly maintained and repaired. A steward or butler (bottigliere)was in charge of  the wine bread and oil etc which was supplied to the patients according to the vouchers of the comptrollers. An under clerk noted the food prescribed by the doctors and handed the list to the comptrollers. The armourer (armoriere)  was usually a servant-at-arms who was responsible for looking after the cleanliness and security of the silver plate. Two cooks, a purveyor and assistants provided meat for the allowances, which they could not receive in the kitchen until inspected by the comptrollers.

Following the capture of the Malta by Napoleon in 1798 and the expulsion of the Order of St John, the Holy Infirmary was taken over by the French for their sick soldiers and sailors. When the French left Malta two years later the former Holy Infirmary remained in use by the British garrison until 1920, when a new hospital was built at Mtarfa. The old hospital was then turned into the headquarters of the Malta police. At the outbreak of World War 2 in 1939 the police evacuated the building which was hit and severely damaged by the aerial bombardment. Of the great complex of hospital buildings, only the Great Ward, the oldest part of the Holy Infirmary survived. It is used today as The Mediterranean Conference Centre.

www.mcc.com.mt/

Sunday, 17 August 2014

Castellania, Valletta

The Castellania at the corner of Merchants and St Johns Streets in Valletta was the seat of the Civil and Criminal Courts of the Order of St John. The Castellania, which replaced an earlier building erected during the rule of Grand Master La Cassiere, was designed by the Maltese architect Francesco Zerafa. Work began in 1757 but had to be suspended a year later following  Zerafa's untimely death. The Castellania was completed in 1760 by another Maltese engineer Giuseppe Bonici.


The main entrance was on merchants Street with small shops on either side on the ground floor. The beautiful symmetrical facade was carved by  Sicilian Maestro Gian and depicts in high relief the figures of Truth and Justice and an inscription in Latin recording  that the Castellania was built during the rule of  Grand Master Pinto de Fonseca.


The Castellania contained an elaborately carved chapel, also the work of the Maestro Gian which was consecrated by the Vice-Prior of St Johns on 15th November 1760. The building also contained accommodation for the Castellano or President of the Court and next door was the prison. The Castellano was a Knight appointed by the Grand Master by rote from each of the langues according to seniority. He held the office for two years, and was always preceded by a page bearing his staff of office. The hall is adorned with the coats-of-arms of the Castellani.

Saturday, 19 July 2014

Holy Infirmary Pharmacy, Valletta

The Sacra Infermeria or Holy Infirmary was extended in 1712 during the rule of Grand Master Fra' Ramon Perellos y Roccafull with the construction of the Upper Quadrangle bounded by Hospital, North and Merchants Streets. The new main entrance, the Porta principale opened onto Merchants Street.

The Upper Quadrangle became known as the New Hospital or Infermeria Nuova. Arranged around the courtyard were premises to house the pharmacy, its laboratory and accommodation for lay members of the hospital staff. In the centre of the quadrangle was a fountain decorated with the escutcheon of Fra' Ramon Perellos y Roccafull that supplied water to the kitchens, the pharmacy and to the laboratory.

The Pharmacy was located under the arcade on the ground floor of the Infermeria Nuova, just inside the Porta Principale. In charge of running the Pharmacy was the Pharmacist who was assisted by five apprentices (lavoranti), a Reader of Prescriptions (lettore di recetti) and a barber-surgeon for the clysters or enemas, (barberotto dei clisteri).

The Valletta Pharmacy was especially renowned for its beautifully painted Maiolica  jars used for storing drugs and medicines. These jars were of different shapes and sizes and were decorated with the figures of saints, foliage and flowers, the arms of the Order of St. John and the names of the drugs and herbs they contained.

Pharmacy jar, (detail.) Mailoica, 16th century.
(St John's Gate)

Pharmacy jar. Maiolica, 16th century
(San Anton Palace)

Pharmacy jar in the shape of an owl. Maiolica, 16th century
(San Anton Palace)

Pharmacy jar. Maiolica, 16th century
The decoration shows a Carrack of the Order.
(St John's Gate)

Pharmacy jar. Maiolica, 16th century
(St John's Gate)

Pharmacy jar with arms of Grand Master Fra' Nicolo Cotoner (1663-1680) Mailoica
(St John's Gate)

l.Pharmacy jar labelled Creta Gallica Mailoica, 18th century
Creta Gallica means 'French Chalk', a substance similar to talcum powder.

middle. Pharmacy jar with arms of Grand Master Fra' Manoel de Vilhena (1772-1736)
Mailoica, 18th century made in  Caltagirone, Sicily labelled Sapo Mollis  Mailoica, 18th century
Sapo Mollis means 'soft soap', a type of olive oil based soap

r. Pharmacy jar labelled Sang. Dragon Maiolica, 18th century
Sang Dragon means 'Dragon's blood', a plant resin that is deep red.
(St John's Gate)

Pharmacy jar labelled Spicel Rad. Maiolica, 18th century.
Spicel Rad, or Spigelia, means 'Pink Root', a wildflower.
(St John's Gate)

Pharmacy jars Maiolica, 17th and 18th century
(St John's Gate)

Pharmacy jars. Paris, 18th century
(Palazzo Falzon)

Mortar Bronze, 1690-1697 for grinding ingredients
(St John's Gate)

Mortar Bronze 1775-1797 for grinding ingredients
(St John's Gate)


 The Nuova Infermeria received a direct hit during the aerial bombardment of WW2. The Pharmacy was completely destroyed.