{"objects":[{"sourceId":{"label":"Source ID","value":"3655"},"primaryMaker":{"label":"Primary Maker","value":"Sandro Botticelli"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34681/full"},"displayDate":{"label":"Date","value":"1500-1550"},"invno":{"label":"Registration Number","value":"FAS/P/141"},"description":{"label":"Description","value":"Madonna and Child/Mater Admirabilis, Style of Botticelli"},"id":{"label":"Id","value":"504057"},"title":{"label":"Title","value":"Madonna and Child"}},{"sourceId":{"label":"Source ID","value":"3656"},"primaryMaker":{"label":"Primary Maker","value":"Valentin de Boulogne"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/38678/full"},"displayDate":{"label":"Date","value":"1624"},"invno":{"label":"Registration Number","value":"FAS/P/186"},"description":{"label":"Description","value":"Judith decapitating Holofernes, Valentin de Boulogne"},"id":{"label":"Id","value":"504058"},"title":{"label":"Title","value":"Judith beheading Holofernes"}},{"sourceId":{"label":"Source ID","value":"3657"},"primaryMaker":{"label":"Primary Maker","value":"Guido Reni"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34668/full"},"displayDate":{"label":"Date","value":"c. 1619"},"invno":{"label":"Registration Number","value":"FAS/P/188"},"description":{"label":"Description","value":"Risen Christ holding the Cross, Guido Reni"},"id":{"label":"Id","value":"504059"},"title":{"label":"Title","value":"The Risen Christ embracing the Cross"}},{"sourceId":{"label":"Source ID","value":"3661"},"primaryMaker":{"label":"Primary Maker","value":"Mattia Preti"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34684/full"},"displayDate":{"label":"Date","value":"Late 1650s - early 1660s"},"invno":{"label":"Registration Number","value":"FAS/P/219"},"description":{"label":"Description","value":"Martyrdom of St Catherine, Mattia Preti"},"id":{"label":"Id","value":"504060"},"title":{"label":"Title","value":"The Martyrdom of St Catherine of Alexandria"}},{"sourceId":{"label":"Source ID","value":"3663"},"primaryMaker":{"label":"Primary Maker","value":"Stefano Erardi"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34689/full"},"displayDate":{"label":"Date","value":"1660s"},"invno":{"label":"Registration Number","value":"FAS/P/316"},"description":{"label":"Description","value":"Christ and the Samaritan Woman by Stefano Erardi"},"id":{"label":"Id","value":"504061"},"title":{"label":"Title","value":"Christ and the Samaritan woman"}},{"sourceId":{"label":"Source ID","value":"3665"},"primaryMaker":{"label":"Primary Maker","value":"Giovanni Francesco Camocio"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34674/full"},"displayDate":{"label":"Date","value":"Early October 1565"},"invno":{"label":"Registration Number","value":"FAS/MAPS/41"},"description":{"label":"Description","value":"Produced in Venice by Giovanni Francesco Camocio, this is one of four maps that represents the final phases of the Great Siege of Malta in 1565. This map, the third state, represents the arrival in September 1565 of the Gran Soccorso which consisted of the Catholic Armada. This was the turning point leading to the surrender of the Ottoman Turks to the Order of St John. These maps quickly spread the news of the goings-on of the Siege. They were derived from illustrated war reports sent from Malta. The first, third and fourth states of the Great Siege map series form part of MUŻA\u2019s Cartographic Collection, while the second state belongs to the Map Collection of the Faculty of Science at Charles University in Prague, Czech Republic. These two institutions collaborated to successfully include these four maps in UNESCO\u2019s International Memory of the World Register, an honour achieved in 2017."},"id":{"label":"Id","value":"504062"},"title":{"label":"Title","value":"Disegno del Porto di Malta"}},{"sourceId":{"label":"Source ID","value":"3668"},"primaryMaker":{"label":"Primary Maker","value":"Theodoor Van Thulden"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/47084/full"},"displayDate":{"label":"Date","value":"1625-1669"},"invno":{"label":"Registration Number","value":"FAS/P/189"},"description":{"label":"Description","value":"The largest canvas at MUŻA is this \u2018Allegory of the Good Government of the City of Antwerp\u2019 by the Flemish Baroque painter, Theodoor van Thulden. The attributes of mythological figures are ascribed in praise to the city of Antwerp. Fame sounds her trumpet while the Gorgon lies defeated at the feet of Chronos who personifies time. Demetre, goddess of agriculture and fertility, holding a Cornucopia of fruit and crops, is accompanied by Mercury, god of commerce. Amaltheia, with another Horn of Plenty overflowing with gold and riches, lifts the veil to reveal a personification of Antwerp in all her beauty and splendour. A river god, representing the waters of Antwerp\u2019s large and busy harbour, observes the putti playing. A beautiful and noble peacock sits high on the rocks on the right. This painting is from Van Thulden\u2019s middle period showing the impact of Peter Paul Rubens with whom he collaborated. It is possibly a commission from his time in Antwerp."},"id":{"label":"Id","value":"504063"},"title":{"label":"Title","value":"Allegory of the Good Government of the City of Antwerp"}},{"sourceId":{"label":"Source ID","value":"3672"},"primaryMaker":{"label":"Primary Maker","value":"Anonymous"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34669/full"},"displayDate":{"label":"Date","value":"1500s"},"invno":{"label":"Registration Number","value":"FAS/S/114"},"description":{"label":"Description","value":"This marble statue shows a nude bearded Hercules in contrapposto pose, holding the club with which he stunned the invincible Nimean lion. It could not be killed with the weapons of mere mortals because its fur was impervious to attack. Hercules strangled the lion with his bare hands and is shown here proudly holding its pelt. This is one of the surviving items from the first known public collection in Malta, which was that of the Order of St John's Vice Chancellor, Gian Francesco Abela (1582-1655). He owned a large collection of various items in his villa, also known as 'Il Museo di San Giacomo', on Corradino Heights. The statue, known as the 'Ercole Maltese', was once considered to be a genuine antique due to the classical pose and accurate anatomy of the figure. It has recently been dated to the Renaissance as a copy after the antique."},"id":{"label":"Id","value":"504064"},"title":{"label":"Title","value":"Hercules"}},{"sourceId":{"label":"Source ID","value":"3674"},"primaryMaker":{"label":"Primary Maker","value":"Melchiorre Cafà"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/38675/full"},"displayDate":{"label":"Date","value":"1663"},"invno":{"label":"Registration Number","value":"FAS/S/40"},"description":{"label":"Description","value":"The Maltese sculptor Melchiorre Cafà was admired as a brilliant virtuoso of the Roman Baroque. His talents even attracted the attention of the great sculptor and architect, Gian Lorenzo Bernini. He died in Rome at the young age of 31, leaving behind a number of unfinished commissions. This work is a model for the \u2018Charity of St Thomas of Villanova\u2019 in the Pamphili family chapel in the Church of S. Agostino in Rome. The bozzetto was executed with great confidence and boldness, particularly as Cafà pushes the figures of Charity and the children outside the niche that frames the central figure of St Thomas of Villanova. The elongation of the figures and the fleeting movement in the drapery show unprecedented originality in the sculptor\u2019s style and technique. He died before finishing the marble sculpture which was completed by Ercole Ferrata in whose bottega Cafà worked."},"id":{"label":"Id","value":"504065"},"title":{"label":"Title","value":"The Charity of St Thomas of Villanova"}},{"sourceId":{"label":"Source ID","value":"3676"},"primaryMaker":{"label":"Primary Maker","value":"Antoine Favray"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34688/full"},"displayDate":{"label":"Date","value":"1750s"},"invno":{"label":"Registration Number","value":"FAS/P/248"},"description":{"label":"Description","value":"Maltese lady visiting her lady friend, Antoine Favray"},"id":{"label":"Id","value":"504066"},"title":{"label":"Title","value":"The Visit"}},{"sourceId":{"label":"Source ID","value":"3684"},"primaryMaker":{"label":"Primary Maker","value":"Giuseppe Hyzler"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34696/full"},"displayDate":{"label":"Date","value":"1821"},"invno":{"label":"Registration Number","value":"FAS/P/336"},"description":{"label":"Description","value":"Self portrait by Giuseppe Hyzler"},"id":{"label":"Id","value":"504067"},"title":{"label":"Title","value":"Self-portrait"}},{"sourceId":{"label":"Source ID","value":"3686"},"primaryMaker":{"label":"Primary Maker","value":"J. M. W. Turner"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34673/full"},"displayDate":{"label":"Date","value":"1830"},"invno":{"label":"Registration Number","value":"001-01"},"description":{"label":"Description","value":"On permanent loan from HSBC, this view of the Grand Harbour captured from Fort Ricasoli is by J. M. W. Turner, the most important British Romantic artist of the 19th century. As Turner never stepped foot on Malta, his only source for this particular scene could have only been drawings by artists who had visited the island. Yet speculation on whose work he ultimately relied on prevails. This view steers away from strict topographical conventions to one imbued with Turner\u2019s characteristic poetic eloquence. In true Romantic spirit, the emphasis on capturing constantly changing light and weather conditions is revealed by the restless brushwork and the preference for an overall sketchiness rather than a meticulous approach to detail. The tall masts and inflated sails of the ships, and the stronger colours of the passage and fishing boats in the bustling Grand Harbour become the main protagonists against the Valletta promontory backdrop. Insignificant in size but not in importance, the two fishermen in the immediate foreground act as the visual stepping stone for the spectator\u2019s interaction with this view."},"id":{"label":"Id","value":"504068"},"title":{"label":"Title","value":"View of the Grand Harbour"}},{"sourceId":{"label":"Source ID","value":"3688"},"primaryMaker":{"label":"Primary Maker","value":"Amadeo Preziosi"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34697/full"},"displayDate":{"label":"Date","value":"1880"},"invno":{"label":"Registration Number","value":"FAS/P/1202"},"description":{"label":"Description","value":"\u201cVeiled Oriented lady with parasol (signed & dated 1880)\u201d, Amadeo Preziosi (1816-1882), watercolours on brownish paper."},"id":{"label":"Id","value":"504069"},"title":{"label":"Title","value":"Veiled Oriental woman with parasol"}},{"sourceId":{"label":"Source ID","value":"3693"},"primaryMaker":{"label":"Primary Maker","value":"Christopher Ganer"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34677/full"},"displayDate":{"label":"Date","value":"Late 18th century"},"invno":{"label":"Registration Number","value":"FAS/F/65"},"description":{"label":"Description","value":"The main highlight of the Drawing Room display of the 19th-century galleries is the one and only musical instrument in the MUŻA collection. Known as a square piano, it is considered to be a transitional piece during the experimentation phase before the classical upright piano reached its fully-fledged stage in its development. Neo-classical in style, this instrument would have primarily been constructed by a furniture or cabinet maker, with its musical component consisting of a keyboard and a simple yet complex system of stretched horizontal strings, a sound board and a series of tiny tightly-knit hammers for its playability. As the sound that emerges from this square piano is low and soft, it was typically used only in domestic settings. Such a square piano as this one would have provided light entertainment for the family and during private party functions."},"id":{"label":"Id","value":"504070"},"title":{"label":"Title","value":"Square Piano"}},{"sourceId":{"label":"Source ID","value":"3695"},"primaryMaker":{"label":"Primary Maker","value":"Giuseppe Calì"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34707/full"},"displayDate":{"label":"Date","value":"1867"},"invno":{"label":"Registration Number","value":"FAS/P/1058"},"description":{"label":"Description","value":"Death of Dragut (1867), Giuseppe Cali (1846-1930), oils on canvas"},"id":{"label":"Id","value":"504071"},"title":{"label":"Title","value":"The Death of Dragut"}},{"sourceId":{"label":"Source ID","value":"3697"},"primaryMaker":{"label":"Primary Maker","value":"Esprit Barthet"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34703/full"},"displayDate":{"label":"Date","value":"1964"},"invno":{"label":"Registration Number","value":"FAS/P/2267"},"description":{"label":"Description","value":"\"Marie Tal-Bajd\"(1964),Esprit Barthet,Oil on canvas"},"id":{"label":"Id","value":"504072"},"title":{"label":"Title","value":"Marì tal-bajd"}},{"sourceId":{"label":"Source ID","value":"3700"},"primaryMaker":{"label":"Primary Maker","value":"Anton Inglott"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34695/full"},"displayDate":{"label":"Date","value":"1940-45"},"invno":{"label":"Registration Number","value":"FAS/P/671"},"description":{"label":"Description","value":"Triptych 'Ave Maria', by Anton Inglott, oil on canvas"},"id":{"label":"Id","value":"504073"},"title":{"label":"Title","value":"Ave Maria Triptych"}},{"sourceId":{"label":"Source ID","value":"3705"},"primaryMaker":{"label":"Primary Maker","value":"Antonio Sciortino"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/34670/full"},"displayDate":{"label":"Date","value":"1937"},"invno":{"label":"Registration Number","value":"FAS/S/317"},"description":{"label":"Description","value":"\u2018Speed\u2019 is one of Antonio Sciortino\u2019s equine sculptures but it aims to express an abstract concept, that of speed. The horses seem to blend into one another as they race forward and are reduced to little more than horizontal lines. The stylisation of the sculpture betrays an Art Deco influence, but the concept and the use of lines to depict movement look towards Futurism. The lines are the gushes of displaced air caused by the forward projectile movement of the horses. Only the horses\u2019 heads with flaring nostrils and their front legs remind us that this is a figurative work. Sciortino felt strongly about this piece, describing it as a strong power passing through which no obstacle can stop, leaving behind a force leading in the opposite direction."},"id":{"label":"Id","value":"504074"},"title":{"label":"Title","value":"Speed"}},{"sourceId":{"label":"Source ID","value":"3707"},"primaryMaker":{"label":"Primary Maker","value":"Victor Pasmore"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/38672/full"},"displayDate":{"label":"Date","value":"1973"},"invno":{"label":"Registration Number","value":"FAS/P/2347"},"description":{"label":"Description","value":"What is the Object of there? Point of Contact No. 17', Victor Pasmore, screenprint and mixed media (see also 42603-4)"},"id":{"label":"Id","value":"504075"},"title":{"label":"Title","value":"What is the Object over There? Points of Contact No. 17"}},{"sourceId":{"label":"Source ID","value":"4641"},"primaryMaker":{"label":"Primary Maker","value":"Anonymous"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/40631/full"},"displayDate":{"label":"Date","value":"early 14th Century"},"invno":{"label":"Registration Number","value":"FAS/P/802"},"description":{"label":"Description","value":"Crucifxion with Annunciation, c.13th cent, Siculo Byzantine school, fresco"},"id":{"label":"Id","value":"504203"},"title":{"label":"Title","value":"Crucifixion and Annunciation"}},{"sourceId":{"label":"Source ID","value":"3703"},"primaryMaker":{"label":"Primary Maker","value":"Emvin Cremona"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/40633/full"},"displayDate":{"label":"Date","value":"c. 1957"},"invno":{"label":"Registration Number","value":"FAS/P/2343"},"description":{"label":"Description","value":"Abstract 'Composizione' 1957, by E.V. Cremona, oil on canvas"},"id":{"label":"Id","value":"504202"},"title":{"label":"Title","value":"Abstract"}},{"sourceId":{"label":"Source ID","value":"4642"},"primaryMaker":{"label":"Primary Maker","value":"Jan van Scorel"},"primaryMedia":{"label":"PrimaryMedia","value":"/internal/media/dispatcher/40632/full"},"displayDate":{"label":"Date","value":"1542"},"invno":{"label":"Registration Number","value":"FAS/P/164"},"description":{"label":"Description","value":"Portrait of a Lady, circle of Jan van Scorel"},"id":{"label":"Id","value":"504204"},"title":{"label":"Title","value":"Portrait of an unknown lady"}}],"count":22}