Bank of Valletta is supporting an extensive restoration project at the Mellieha Sanctuary dedicated to Our Lady. The project includes the restoration of the wall-painted ceiling and the restoration of the titular wall-painting of Our Lady. The conservation and restoration works are entrusted to Atelier del Restauro.

The original part of the Sanctuary is one of the oldest churches in Malta. Originally it was a natural cave that was then enlarged and hewn in an elliptical shape. The restoration project involves two phases. The first phase, which has been completed, focused on the original paintings on the ceiling of this cave. These paintings date back to the late 1500’s. The ceiling features The Eternal Father in the centre, with the upper part of the walls featuring a multitude of bishops.

The second phase of the restoration project was launched during the press conference. Works will focus on the titular painting, which represents Our Lady with Baby Jesus in her arms, and is very probably a painting of the XIV century. This does not exclude that their might be an older painting underneath. So far we know that there were two other overpaintings over the present one. It will be very interesting to see what the research and the restoration project will unveil in this regard.

Works carried on the painting on the ceiling feature a series of bishops. It is believed that they might represent a meeting held in the 5th Century AD by the Melivetan Council in North Africa. It is said that these bishops stopped in Malta and among them, there were Sylvanus, bishop of Malta at the time and also St Augustine.

The sanctuary was very popular on pilgrimage routes in the past. It was extended and modified several times between the 17th and 19th century through funding by several benefactors that included Grand Masters Wignacourt, Rafael Cotoner and Pinto.

The original painting of the bishops was painted against a gilded ceiling by an unknown artist. The gilded ceiling was over-painted with a cloudy sky with the Eternal Father in the centre. This painting is dated towards the end of the 18th century and is almost a perfect replica of a painting found at the St Helen Parish Church in Birkirkara and attributed to renowned Maltese artist Rocco Buhagiar.

The paintings underwent several other restoration interventions, namely one undertake by Maltese artist Francesco Zahra (1710-1773) and the last documented  restoration intervention, by restorer Samuel Bugeja in the early 1970’s.

The conservation and restoration project was entrusted to Atelier del Restauro and led by conservators Maria Grazia Zenzani and Valentina Lupo. Following a detailed condition assessment report, the project commenced in November 2012.

Many of the problems afflicting the wall painted ceiling were found to be due to the fact that the wall support is carved rock. The resulting high humidity levels and moisture infiltration led to severe deterioration. The team of restorers encountered salt efflorescence, detachments in the pictorial film as well as voids between the rock and the preparatory layer.

Prior to the commencement of the conservation treatments, a diagnostic scientific campaign was carried out to identify the composition of the materials used, manufacturing techniques and causes of deterioration. Consequently, it was deemed necessary to commence the work by first carrying out emergency treatments in order to stabilise the numerous parts in danger of being lost due to their instability. Ensuring adhesion of the paint layer was imperative due to the extensive detachment present, including flaking and powdering of the paint layer.  Void areas between the stone and plaster layer were located and a grouting intervention was necessary to consolidate the detaching layer. A poultice was then developed for the removal of salts patinas, consisting of sulphates, nitrates and chlorides.

Thanks to the stratigraphic analysis various cleaning tests were carried out for the safe removal of the yellowed and depolymerised varnish layer applied during the last restoration intervention and over-paintings. Following the interventions on the structure of the ceiling and the pictorial layers, the conservators moved on to the aesthetical element. The chosen integration method re-established the former unity of the wall paintings.

The project was carried out using reversible conservation-grade materials which permit the transpiration of the rock support and avoid the concentration of humidity on the painted ceiling, a major factor contributing to the degradation of these wall paintings. Ethical considerations were taken into account during every step of the conservation process following the European Confederation of Conservator-Restorers' Organisation’s (E.C.C.O) Code of Ethics.

The public can now fully understand and appreciate the beauty of the wall paintings of this historico-religious monument as being part of our national cultural heritage.

“We have undertaken a holistic restoration project of the Sanctuary, which takes into account both on the architectural and the artistic side,” said Fr Joe Caruana, Parish Priest at Mellieha Parish Church and Sanctuary. “Following the restoration of the painted ceiling, we are very excited to see the Titular Painting of Our Lady restored so that the Sanctuary can once again be considered complete.”

“This is yet another restoration project that Bank of Valletta is proud to be associated with. In giving our support to this restoration, Bank of Valletta is giving back possibly the oldest church on the islands to the Maltese community, definitely an important landmark and a critical piece of our national heritage,” commented Charles Borg, Chief Executive Officer at Bank of Valletta. “This project is perfectly aligned to the vision behind the Bank’s extensive Community Programme. Similar projects undertaken by the Bank over the recent years included the restoration of the cupola at St Catherine of Italy Church in Valletta, the painted ceilings at the Verdala Palace and the restoration of the Alof de Wignacourt Armour to name a few. Our efforts are triggered by our vision to be the patron of national heritage, enabling current and future generations to appreciate our rich past.”