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Dun Gwann Azzopardi, the Wignacourt museum’s curator, tells Gilbert Calleja about the Museum’s history, artefacts and present role on the local cultural scene
The Wignacourt Collegiate Museum will be celebrating its 25th anniversary since first opening its doors to the public back in 1981.
 Standing right by St Paul’s grotto and the adjoined chapel, it was first intended as a pilgrims’ and cult centre and as the residence of the chaplains of the Order officiating St Paul’s grotto.
There are three subjects which assure you Dun Gwann’s attention: St Paul, Rabat, and art, but there is much more to this humble priest than meets the eye. An art historian of international repute, he has contributed extensively to Caravaggio studies, particularly on the artist’s stay in Malta. For many years he served as curator to both the Wignacourt museum and the better known Cathedral Museums in Mdina and their priceless archives. He was the first curator of the Cathedral Museum in its new premises at the Old Seminary, a post he held for 35 years until his retirement at the age of 65.
Dun Gwann is a conventual chaplain (ad honorem) of the Sovereign Military Order of Malta, Chevalier des Palmes Academiques and Prelatus ad honorem of the Holy See. He also received the ‘Medalja ghall-Qadi tar-Republika’. For thirteen years (1973-1990) he also directed the microfilm project of various ecclesiastical Archives in conjunction with St John’s University, Minnesota.
It all started with Juan Benegas de Cordoba, he tells me. This Spanish gentleman had, early in 1600, wanted to promote the cult of St Paul and Grand Master Alof de Wignacourt had used him as an intermediary in negotiating with Pope Paul V, the Papa Borghese, to take over the site. In around 1617, the Grand Master instituted a body of chaplains of the order with a residence under his jurisdiction.
“With their good administration the chaplains embellished the place with works by the best artists, sculptors, painters, and silversmiths,” Dun Gwann says. These works make up most of the present collection on exhibition.
During the British administration the chaplains were replaced by diocesan priests under the jurisdiction of the Bishop. The property was administered by the government until 1962 when an agreement between archbishop Mikiel Gonzi and governor Sir Guy Grantham was reached.
“During and in the years following World War II, the building had served as a centre for refugees, an infirmary, a victory kitchen, a government school and many other functions related to community services.” he said, “In 1981 the building was officially opened as a church museum. It is run by a dedicated group of volunteers who welcome visitors during weekdays from 10.00am to 3.00pm.”
Dun Gwann explains how the building had three large gardens, one of which was taken by the government for the building of the adjacent schools and their playgrounds. The Baroque palace stands above a vast labyrinth of Punic Roman and early Christian catacombs which were partly converted to a fifty-room air raid shelter during WWII.
“The shelter is one of the many attractions the museum has to offer,” he says, “but more important are perhaps the artefacts on display. We have an extensive picture gallery but also a wide array of objects, from archaeological items to embroidered ecclesiastical vestments and furniture. From maps to manuscripts. The museum has also a Baroque chapel, an 18th century organ and many miscellanea. Finally there is also the Lorenzo Gafa underground passage linking the ‘college’ to St Paul’s Grotto.”
The Wignacourt also welcomes scholars and university students who want to research in its archives. Also available on demand is a library with rare editions, including the official records of the chaplains of the Order and their detailed accounts, drawings and a prints collection. This abundance of documents and artefacts is usually completed by the ever useful advice and insights of Dun Gwann.
I asked Dun Gwann what his favourite pieces are from the entire collection. “The late 15th, early 16th century marble statue of St Paul,” he says at once. This gothic styled statue which has adorned the parish church’s façade for ages will be undergoing restoration. At present it is on display at the museum allowing visitors to examine it from arm’s length.
Predictably the second object Dun Gwann names as a personal favourite also deals with the life of St Paul. The curator’s second favourite is Alessandro Algardi’s gilt bronze medallion representing the beheading of the Apostle. This work was subject of a seminar organised by the Art Unit of the University of Malta and the work was restored by Sante Guido.
Other Dun Gwann favourites are the 1601 Book of Hours by Pigouchet, Pope Paul’s chasuble and the Baroque chapel with its small cupola made up of three concentric circles. The Book of Hours was the subject of a talk by Martina Caruana given as part of a series of lectures which are currently being organised by the Malta Historical Society. The next lecture will deal with a unique manuscript military map of Malta dated 1833, which will be published in the form of a souvenir print in a limited edition.
“The highlight for the anniversary celebrations will be an international symposium on the cult of St Paul in the Christian churches with particular reference to Malta,” he says. “We have invited a variety of foreign participants ranging from archaeologists, historians, art historians and other scholars. Other activities include an exhibition organised in conjunction with Din l-Art Helwa, one by contemporary artists and another showing a selection of drawings for works in Maltese churches by the late Chevalier Vincent Bonello. We will also host a lecture on the Baroque concept of ‘the triumph of death’.”
Among his publications and edited works are “St Paul’s Grotto, Church and Museum at Rabat Malta”, published in 1990 on the occasion of Pope John Paul II’s visit to Malta, “The pre-1530 legacy of the Order of St John in Malta – the study and text of an eighteenth century index of transcripts 1436-1530” and various catalogues of archival collections and exhibitions such as Francesco Zahra, Anton Inglott and others.
In 2002, Toni Cortis, Thomas Freller and Lino Bugeja edited a 400-page publication, “Melitensium Amor”. This festschrift’s aim “is to give due recognition to Dun Gwann’s contribution to Maltese historiography and artistic heritage”, the editors wrote in their introductory note.
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