The Knights of Malta: A Unique Legacy of Craftsmanship and History
Teryn Edwards – Priory Administrator
In our museum, we are proud to showcase two striking figures that combine history, artistry, and a poignant story of resilience. These two late 19th or early 20th-century knights, crafted from rolled metal, bear the arms of two prominent knights of the Order of St John of Jerusalem: Claude de la Sengle and Ramon Perrellos. Known as Figures A and B, they are not merely decorative pieces, but a testament to a unique chapter of history.
The knights were likely crafted by a convalescent Australian soldier around the time of the First World War. It is believed they were created as part of occupational therapy during the soldier’s recovery on the island of Malta, a strategic British naval base at the time. Recycled materials, particularly cigarette tins, were used to create the metal components, giving the figures a distinct, almost whimsical quality. The use of such materials underscores the resourcefulness and ingenuity required for their creation in the midst of war and limited resources.
The story behind these figures speaks to the therapeutic practices employed during the war, where soldiers, many of whom had experienced trauma, were encouraged to engage in creative activities as part of their healing process. The figures stand as a symbol not only of the Knights of St John but also of the quiet strength and perseverance of the soldiers who lived through such challenging times.
The pieces were donated to the museum by Charles A. Campbell, GCStJ (1937–2011) who held the position of Priory Secretary for a record 22 years, 1975–1997. His generosity ensures this unique piece of history will be preserved for future generations. We are deeply grateful for his contribution, as these figures offer an intimate glimpse into a time of war, healing, and the enduring legacy of the Order of St John.
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The two metal knight figures featuring the coats of arms of Claude de la Sengle and Ramon Perrellos hold a fascinating story that intersects with both the history of the Knights of St John and the broader context of the First World War. While the exact details of these particular figures may be elusive in historical records, we can extrapolate some interesting insights based on the available information and the cultural and historical backdrop.
The Knights’ Heraldry
Claude de la Sengle and Ramon Perrellos were two significant figures in the history of the Sovereign Military Order of Malta (Knights of St John).
- Claude de la Sengle (c. 1494-1557) was the 48th Grand Master of the Knights of St John, serving from 1553 until his death in 1557. He is best known for defending the island of Malta against the Ottoman siege of 1565, although he himself passed away before the siege. His legacy as a military leader and a protector of the Order is commemorated in various ways, including through his heraldry.
- Ramon Perrellos (c. 1637–1720) was the 64th Grand Master of the Order, serving from 1697 until his death in 1720. Perrellos oversaw a period of relative peace for the Order, and under his leadership, Malta enjoyed increased prosperity, though it was also a time when the Order focused on reinforcing its military and cultural role.
The heraldic symbols associated with these Grand Masters—likely depicted on the figures—would have been an important part of their identities and the tradition of the Knights. The symbols of the knights often served as a visual representation of the Order’s power, nobility, and martial legacy.
The Craftsmanship and Materials
The fact that these figures were crafted from recycled cigarette tins and other metals adds an intriguing layer to their history. During World War I, Malta was a key British naval base, and soldiers stationed there—particularly those recovering from wounds—often had limited access to materials for creating personal items. Many engaged in forms of handicrafts or art as part of their recuperation process.
The use of cigarette tins as raw material is particularly telling of the resourcefulness required during wartime. It’s possible that these figures were crafted by a soldier undergoing convalescence, perhaps as part of a therapeutic program designed to aid in physical and psychological healing. Occupational therapy was commonly used during the First World War to help soldiers regain motor skills, distract from trauma, and rebuild a sense of purpose and creativity. The figures, crafted from such humble materials, would have offered not only a form of therapy but also a connection to the rich history of Malta and the Knights of St John, two elements that would have resonated with the soldiers’ sense of duty, honour, and belonging.
A Connection to Australia
Although not confirmed, the connection to an Australian soldier is particularly interesting. Australia played a significant role in the First World War, particularly in the campaigns of Gallipoli and the Western Front, and many Australian soldiers were stationed in Malta for convalescence due to its strategic location. The fact that these figures were possibly created by an Australian soldier recovering in Malta speaks to the broader role that soldiers from the British Commonwealth played in the defence of Malta and the Mediterranean region during the war.
It’s not clear exactly when the figures were made, but if they date from the First World War period, they would be among the many personal artifacts created during the post-war healing period, a time when soldiers were processing the trauma of the war through artistic expression and craft.
Why These Particular Knights?
Claude de la Sengle and Ramon Perrellos weren’t just random figures chosen from the ranks of the Order. Both Grand Masters represented ideals that would have resonated deeply with any soldier—especially one recovering from the horrors of war.
Claude de la Sengle is best remembered for his role in the Great Siege of 1565, which was one of the most defining moments in the history of the Knights. Though he passed away before the siege itself, de la Sengle’s leadership in preparing the Order for that historic battle made him a figure of enduring strength and resilience—qualities that would have echoed with the soldier crafting his likeness. The act of shaping metal into the form of de la Sengle, a leader who defended Malta against overwhelming odds, could have been an expression of the soldier’s own desire for strength and survival.
Meanwhile, Ramon Perrellos led the Order during a period of peace and rebuilding following decades of conflict. Under Perrellos’ leadership, the Knights focused on revitalising Malta, restoring the island’s defences, and consolidating their power. After the immense trauma of war, it’s possible that the soldier was drawn to Perrellos’ story of renewal and restoration—an echo of the soldier’s own journey to rebuild his life after the ravages of battle.
The decision to craft these two knights—one a symbol of strength and endurance, the other of renewal and peace—was likely not coincidental. For a soldier recovering from the trauma of war, these knights could represent both the internal struggle to survive and the hope for a future of healing and restoration. Their coats of arms—displayed proudly on the figures—linked the soldier’s personal journey with the broader history of Malta, an island that had played a pivotal role in both the Knights’ story and the soldier’s own recovery.
These figures, though made from humble materials, embody much more than their craft. They serve as a reminder of the therapeutic power of creativity, the value of resourcefulness, and the human capacity to rebuild—even after war. Crafted in a time of recovery, they offer us a glimpse into the emotional and psychological journey of a soldier who, like the knights he recreated, faced unimaginable challenges and found a way to rise again.
The Role of Charles A. Campbell
The donation of these figures by Charles A. Campbell is a reminder of the enduring significance of preserving history. Museums play a vital role in safeguarding not just objects, but the stories and memories they carry. By donating these figures, Campbell has contributed to ensuring that future generations can understand the creativity and resilience that emerged in the wake of the First World War.
Conclusion
While the specific maker and full details of these figures may remain somewhat mysterious, their historical and emotional weight is clear. The figures of the two knights are not only a testament to the craftsmanship of an Australian soldier but also a reminder of the deep connection between the Knights of St John and the history of Malta—an island that played a pivotal role during the First World War. Preserving these figures in the museum is an important step in honouring both the legacy of the Knights and the soldiers who, through adversity, found ways to heal and express their creativity.
If you have access to anything related to these figures or can trace their provenance further, that will certainly enrich the story even more.
