"Marchesi Family"

Count Saverio Marchese (1757-1833): his picture gallery and his bequest to the Cathedral Museum

 

Source: Proceedings of History Week 1982. [Malta : The [Malta] Historical

Society, 1983(28-43)]

[p.28] Count Saverio Marchese (1757-1833): his Picture-Gallery and his Bequest

to the Cathedral Museum

John Azzopardi

Picture collecting in Malta as elsewhere was the favourite pastime

of the Knights, the nobility, wealthy people and a few scholars and art lovers

centuries ago. Local and foreign artists commissioned to decorate our churches

and palaces were also asked to decorate private houses and furnish them with

portraits and other paintings. Two art collectors in the 18th century, Marquis

Carlo Antonio Barbaro (1721-1793) and Marquis Testaferrata are known to have

organized private museums at Valletta and Marnisi, limits of Zejitun

respectively, following the example of Gian Francesco Abela (1582-1655) who in

the 17th century organized a five-room archaeological museum at Marsa, known as

Cabinetto San Giacomo which he later left to the Jesuits and which was the

corner stone of the Cabinetto di Antichità, the predecessor of our National

Museums. [1]

Inventories of the many art collections in private houses may have

been compiled by their respective owners in their own lifetime but they were

certainly compiled in the interests of heirs and claimants immediately after

their death. Many of these inventories are scattered in private archives but the

public archives, namely the Notarial Archives, the Archives of the Law Courts,

the newly organized Archives of the Fabrica di San Pietro and the Acta Civilia

of the Maltese Inquisition and the volumes of the Spogli of the members of the

Order of Malta contain many inventories of property including works of art. A

study or even a list of these inventories would enormously contribute to our

knowledge of art history in Malta.

An important art collection in the early 19th century was that of

Count Saverio Marchese, fourth son of Cavaliere Giuseppe Isidoro and Serafina

Marmier. [2] Born in Valletta on 12 September 1757, Saverio was educated in Rome

at Collegio Novo, run by the Padri Scolopi. On 12 January 1784 he [p.29] married

Anna Maria Camilleri Bianchi of Senglea: the nuptial mass was celebrated by the

Inquisitor himself in the chapel of the Holy Office. [3] Saverio was greatly

respected by the Order and the Church. On 8 March 1793 Grandmaster De Rohan

invested him with the personal title of Count of Maimon. [4] For four years —

between 1805 and 1809 he directed the Public Works Department as Commissario

Generale dei Beni Publici. On 9 February 1833, shortly before his death, the

companionship (Cavaliere) of St Michael and St George was bestowed on him. [5]

The Count kept his art collection at his residence in Merchants Street, Valletta

corner to St. Dominic Street. [6] He also had a country house, Villa Marchese,

at Attard. [7] He died on 25 November 1833 and is buried in the family tomb at

Attard Parish Church.

Marchese’s main contribution was in the field of Culture and

Education. In 1823 he was appointed a member of the Committee set up to make a

minute investigation into the system of education in the University of Studies

and on 13 September 1824 he was appointed a member of the newly formed General

Council of the University under the chairmanship of the Hon. John Hookham Frere.

[8]

Count Saverio Marchese cultivated literature, especially poetry, [9]

the arts, history and especially local art history, [10] archaeology, [11] and

also the [p.30] Maltese language. [12]

An obituary note in the Malta Government Gazette referred to his

death as a public loss and said of him:

‘As a nobleman of great erudition and well versed in ancient and

modern literature no less than for the urbanity of his disposition and pleasing

manners, his friendship was always sought and valued, by the most distinguished

residents in Malta, both native and English. In Italian poetry, his compositions

have been read in public and private circles, with delight and admiration and

his taste for the fine arts attracted to his house visits from the most

distinguished foreigners that have from time to time landed in our islands and

who never failed to express their high sense of his accomplishments and

political refinement.’ [13]

Above all Saverio Marchese was a connoisseur of art and a collector

of paintings, drawings and especially prints. He was enough fortunate to acquire

at moderate prices a part of the precious collection of old prints belonging to

Cavalier Francesco Seratti of Tuscany. [14] The history of this rare collection

is worth recounting. Francesco Seratti was the Grand Prior of the Order of Santo

Stefano in Florence. Between 1793 and 1795 he was Governor of Livorno, then in

1796 Secretary of State in Florence. Following the French Invasion he fled to

Sicily where he stayed at the service of King Ferdinand but on his way back he

was attacked by pirates and taken (with his collection) to Algiers where he died

in 1811. [15] His precious collection of prints [16] was [p.31] acquired by a

Turk and sent to Malta to the Jews Cesana and Fano. [17] These two gentlemen

sold the collection to Canon Bellanti [18] who resold a good part of it to John

Robert Steward of the Commercial Firm Struthers Steward and Co., [19] residing

at 61, St Christopher Street, Valletta. Besides being a close friend and

neighbour of Count Marchese, Steward was also a collector and connoisseur of old

prints and drawings. [20] Before leaving Malta in 1815 Mr Steward ceded at

moderate prices a part of his collection to Count Marchese, a second part he

auctioned at his residence on 2 and 3 March 1815 [21] and a third part he

conveyed to London. [22]

[p.32] Of all the old collectors Saverio Marchese was one of the

earliest, to my knowledge, to have left his collection of paintings, drawings,

prints and art books as a legacy to a public institution — the Cathedral Church.

Moreover the Count kept a most detailed register of all his

purchases from 1793 till his death in 1833. The register, running into forty

manuscript pages, is entitled PRIMO COSTO. Spesa della Raccolta di Stampe,

Quadri e Disegni ed anche argenti e d’altri giocali fatte dal Conte Saverio

Marchese fin dal anno 1792. The purchases over a span of forty years amounted to

about four hundred (an average of ten each year). About a hundred persons are

documented to have provided art treasures: including painters and artists,

second hand dealers, local craftsmen as jewellers, sculptors, builders,

silversmiths and occasional sellers. [23] Through agents or intermediaries works

of art were also [p.33] received from Paris, Munich, England, Rome, Livorno,

Venice, Milan and Florence. [24] Objects acquired included paintings, drawings,

prints, maps, frames, books, manuscripts, handmade paper, furniture, silverware,

some jewellery, coins and medals, ceramics and even a relic. Entries are

registered by date of acquisition, and give details of name, surname, at times

nickname and location of seller, description of object, artistic attribution and

occasionally a few artistic comments, older provenance when available and any

eventual disposal by donation, sale or part exchange. Sincere thanks are due to

Dr. John A. Cauchi who brought the register to my attention, thus giving me the

opportunity to document the provenance of many paintings, old master drawings

and especially engravings and etchings.

This register records 85 acquisitions of paintings and these

pictures must have formed a substantial, if not the main part, of Count Saverio

Marchese’s picture-gallery.

The 85 paintings acquired include 26 religious subjects, a good

number of still life paintings and landscapes, some battle-pieces and one

portrait of Grandmaster Perellos. Only a few of the religious paintings are of a

devotional character; the greater part includes popular biblical scenes as well

as saints pictured in the background of a landscape. Among the religious

subjects are some of a high artistic quality as Scourging of Christ by Palma il

Giovane, St Jerome and St John the Baptist, both coming from the circle of Adam

Elsheimer and Adam and Eve by Bernardo Strozzi.

All the pictures, with the exception of 18, are given an attribution

— the attributions given are as good as those of their contemporaries. The

collector scrupulously distinguishes between an original and a copy, between a

fairly certain and a dubious attribution, between an artist or his pupil or his

style. In four cases he gives an alternative attribution (Guido or Sirani,

Baciccio or Cangiagio, Locatelli or Van Falens, Correggio or Turchetti). In

three cases of landscapes he records that the figures were added by another

artist. Placido Costanzi completed a landscape of Van Bloemen, Filippo Lauri

completed a work by Agostino Tassi and the elder son of the painter Schranz

completed a landscape by Giuseppe Grech.

Fifty nine names of artists are recorded — thirty four of these are

of an [p.34] Italian origin. Seven artists have a Flemish or a Dutch origin,

namely Jourdaens, Wadder, Sadeler, Snyders, Bernaerd, Van Falens and Van

Bloemen. Another five artists belong to the French school, namely Volaire,

Petignon, Bisson, Perelle and of course Favray. The Maltese interest is limited

to two Maltese artists, Michele Busuttil and Giuseppe Grech and three others who

had settled in Malta, namely Favray, Schranz and his elder son.

An analysis of Marchese’s register of purchases reveals that the

main bulk (sixty out of eighty fine paintings) was acquired in the first decade

of the 19th century and more precisely between 1813 and 1817 when no less than

50 paintings were purchased. Those were also the years of the acquisition of the

Serratti collection.

Acquisitions are recorded from the painters Giorgio Pullicino,

Busuttil, Schranz and the Roman landscape painter Filippo Benucci, who lived for

some time in Malta. Ghita Grech, sister of the painter Antonaci Grech, provided

one of the finest paintings in the collection, Adam and Eve expelled from Eden.

Four acquisitions were obtained from the Diana Hotel. The Parish Priest of

Attard Don Martino Zerafa, Salvatore Ittar, Mastro Antonio Ebanista, Signor

Ricci Romano, Signor Zamboni Romano, Signor Medeschini. Mr Henry Steward

(possibly another member of the Commercial Firm Struthers Steward & Co) and the

second hand dealers Mattio II Gaup, Celestre, Mustaccia and Cabaretta all

provided Saverio Marchese with pictures. An acquisition is also recorded from

the inheritance of a certain Mr Bruno.

The largest group (sixteen paintings) was acquired from Marchese’s

great friend Filippo Benucci who was himself a painter and designer of

lithographs. [25] It is curious that Benucci’s lithographs of Malta and his

drawings, [p.36] engraved by Filippo Giuntotardi, do not figure in what is left

of Marchese’s collection of prints. Benucci arrived in Malta in 1810. Later he

settled in Munich but through his agent Lapira continued to provide Marchese

with prints including some by Dürer, Callot, etc. Marchese also provided Benucci

with ceramics and other objects.

A group of nine paintings was acquired from the Maltese painter

Giorgio Pullicino whereas a total of eight pictures was purchased from the

second hand dealer Mattio.

Only three pictures were bought at what may be considered an

excessive price: a Wolves and Dogs, attributed to Snyders, bought for 250 scudi,

a canvas showing David purchased for 150 scudi a Still Life painting by Nicholas

Bernaerd, also acquired for 150 scudi. The last one is not known to be extant;

the first one preserved in the Cathedral Museum has turned out to be a copy —

although an excellent copy — of an original by Snyders preserved at the Brera

Gallery, Milan; the second one, David, is preserved in the Museum stores.

The great majority of Saverio Marchese’s collection was indeed

acquired at very moderate prices. To quote a few examples: two fine 16th century

oils on copper, St Jerome and St John the Baptist, both coming from the circle

of Adam Elsheimer, only cost ten scudi; the Scourging of Christ by Palma il

Giovane was acquired for fifteen scudi whereas the famous Explusion from Eden by

Bernardo Strozzi was only bought for 10 scudi (three times that amount was paid

to Schranz for the picture’s relining and restoration).

A few valuable items, however, received a fair estimate of their

true value. These include the fine oval on copper by Orizzonte and Placido

Costanzi (51 scudi) and the two grand harbour scenes by Antonio Schranz each

costing 60 scudi.

Not that all these purchases were paid for in cash. Thirteen

pictures were paid in kind or partly in kind. Exchanges were accepted especially

by Benucci and Mattio, the second hand dealer. Marchese offered in exchange

other pictures, prints, ceramics, books (included one on the Index),

manuscripts, a silver clock, an ivory pax and a stock of old linen tassels.

Marchese’s register does not fail to note a few subsequent donations

and [p.36] sales. The donations included a Nativity by Michele Busuttil.

Baroncino Sceberras D’Amico bought from Marchese a few paintings, namely two

landscapes by Locatelli. A Head on panel by Correggio or Turchetti purchased for

three scudi and four tarì was restored in Rome by the painter Candida for 10

scudi and two tarì and resold to an Englishman, Mr Corner, for the value of 102

scudi: the exorbitant profit of 86 scudi and 6 tarì being taken care of by

Marchese’s friend, Benucci.

Although the main bulk of the Marchese collection was presumably

obtained by purchase, the collection certainly included other items acquired by

inheritance from the family. These included the family portraits and a number of

canvases painted by a great friend of the Marchese family, Antoine Favray. [26]

Several members of the family had been portrayed in Rome by Batoni, [27] while

others were portrayed by Favray, including Saverio himself and his wife

Serafina. [28] The collection also included a portrait or self-portrait of

Favray.

The collection also included 26 pictures acquired from the side of

his wife Anna Maria, all listed in an appendix to their last will and including

originals by Francesco Zahra, Giuseppe Arena, Manno of Palermo and Melchior Roos

as well as copies by Stefano Erardi. The group included 6 still life paintings,

8 religious subjects and 8 family portraits.

Finally the Count’s collection also included a small group of copies

on canvas in the Count’s own hand. Saverio was fond of documenting pictures of

historical interest and also fond of drawing on paper objects of archaeological

[p.37] value. Detailed descriptions of historical interest accompanied these

copies. [29]

In his last will stipulated in the acts of Notary Cristofano Frendo

on 2 May 1831, Count Marchese made detailed provisions regarding the fate of his

priceless collection of paintings, drawings, prints and art books. He did not

want to let the collection disperse but tied it up with the conditions of a

pre-legacy, except for the family portraits, the paintings belonging to his wife

and the pictures located in his country villa. He himself had no children and

his preference for the male line induced him to limit the safe keeping of the

legacy to the line of his only extant brother Vincenzo, to the exclusion of his

two sisters Maria Amalia married to Giovanni Baptista Grognet and Marcella

Ferdinanda married to Dr Gioacchino Bencini. The collection was only to be

preserved by the Count’s nephew Dr Giuseppe Maria Marchese and his sisters

Teresa, Serafina and Irene as well as their children. [30]

[p.38] But Saverio Marchese also contemplated a situation that was

likely to happen and that in fact did happen 63 years later; the extinction of

the four lines of his brother Vincenzo. In that eventuality he had determined:

‘I want to have the above mentioned paintings, drawings and prints deposited and

preserved for ever in the hall and library of the Cathedral Chapter.’ [31] Count

Marchese’s gesture is certainly one of the earliest examples of a legacy of a

substantial art collection to a public institution. Saverio’s example, however,

was followed at the turn of this century by a few others who donated other

collections, even though less significant in number and value. Donations or

bequests to our national museums were made by Dr Edgar Parnis in 1912-1913, Mrs

Zammit Clapp in 1918, Count Messina in 1920 and Mrs Salvina Zahra of New York in

1965. Important collections were also donated by Prof. John Borg (1873-1945),

Antonio Sciortino (1879-1947), Chev. Edward Caruana Dingli (1877-1950), Olaf

Frederick Gollcher (1889-1962) and George Borg (born 1906). In 1960 notary

Francesco Catania bequeathed his complete collection to the Parish Church of St

Paul’s, Rabat. The twenty-fifth day of November 1983 marks the one hundred and

fiftieth anniversary of the death of Count Saverio Marchese. His fine and

generous gesture deserves to be commemorated. His example too deserves to be

followed.

[p.39] APPENDIX I

Paintings acquired by purchase. Source: Count Marchese’s Register of purchases,

entitled Primo Costo.

1-2       1796. Purchased from the painter Antonie Favray at the price of 11

scudi two canvases executed by Favray himself representing (1) Greek Costumes

and (2) Turkish Costumes.

3-6       1804. From painter Giorgio Pullicino for 25 scudi: (3) Two Putti by

Cangiagio; (4) Two Putti by Baciccio; (5) Fair of Frascati, artist unknown and

(6) Conspiracy of Masaniello, artist unknown. Item no 4 later included, at an

estimate of 50 scudi, in a part exchange with a canvas depicting Wolves and

Hounds (see item 45).

7          Before 1806. From painter Giorgio Pullicino for 12 scudi and 6 tarì

(7) St Francis by Jourdaens. The picture was preserved in the Count’s country

house at Attard.

8-9       1807. From the second-hand dealer Mattio nicknamed Il Guapp for 4

scudi 6 tarì (8) Flowers and Monkey, artist unknown and (9) Hunting Scene with

Dogs, copy after Castiglione. The former was kept in the Count’s country house,

the latter not pleasing the purchaser was resold to the Russian Mr Frederick,

through the dealer Sigismondo Dimech, for 18 scudi, 9 tarì.

10        1808. The Christ Child carrying the Cross, on copper, for 3 scudi.

Artist and seller unknown.

11        1808. From Mattio for 7 scudi a Flemish Landscape by Wadder.

12-13   1808. From Mattio estimated at 46 scudi 8 tarì, Two Battle-pieces by

Antonio Tempesta. Paid for by other objects. Placed in the Attard Country house.

14        1809. From Mattio for 20 scudi Mocking of Christ attributed to

Carracci. Placed in the country house.

15-16   1811. From Mattio for 2 scudi 8 tarì two unattributed paintings. (15)

Venetian Flowers and (16) Portrait of Grand Master Perellos.

17-18   1811. From Diana Hotel: (17) Job mocked by his wife by Sadeler for 7

scudi 6 tarì and (18) an unattributed Landscape for 2 scudi 6 tarì. Item 17 was