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F’aċċident li ma jitwemminx, kelb tat-triq f’Oman, sab u salva tarbija tat-twelid meta ġarrha f’ħalqu mid-deżert sa ġiet salvata min-nies. L-awtoritajiet f’Oman fetħu investigazzjonijiet wara li dan l-aċċident seraq l-attenzjoni tal-pajjiż kollu, bl-Għarab jaqsmu bejniethom l-informazzjoni permezz tal-internet.

L-istorja seħħet f’Kharbika, Oman. Raġel li kien qed isuq rota lemaħ kelb mitlub miexi fit-triq b’xi ħaġa f’ħalqu. Imbagħad lemaħ qtar tad-demm fit-triq u għalhekk mar qrib tal-kelb biex jarah mill-qrib. Ma setax jemmen lil għajnejh. Il-kelb kellu tarbija tat-twelid, li ma kinitx ilha mwielda aktar minn ftit sigħat u kienet għadha bil-kurdun imwaħħal.Ir-raġel ħaseb li l-kelb kien se jiekol lit-tarbija, u li seta’ jagħmel għalih, iżda hekk kif inġemgħu aktar nies, il-kelb deher jitlaq lit-tarbija minn ħalqu. In-nies skantaw bir-reazzjoni tal-kelb, l-aktar għax kien kelb mitluq! Huma qalu li l-ħarsa f’għajnejn l-annimal kellha elf tifsira…. “Għinuh” jew “x’dinja krudila.”

Jidher li l-kelb kien qed iqarreb lejn sptar (jew jipprova jsib wieħed) biex iwassal lit-tarbija fis-sala tal-emerġenza. It-tobba baqgħu perplessi għax ma emmnux lil għajnejhom, peress li t-tarbija ma kinitx feruta u min jaf il-kelb kemm kien ilu jżommha f’ħalqu.
Mirakolożament it-tarbija ġiet salvata!

Waqt li l-awtoritajiet fetħu investigazzjoni,biex jaraw x’wassal għal dan l-abbandun, il-pulizija ċċekkjaw l-isptarijiet kollha għax ħasbu li l-kelb seta’ seraq lit-tarbija minn xi wieħed mill-isptarijiet, iżda l-ommijiet kollha kellhom it-trabit tagħhom. Ebda tarbija ma kienet nieqsa.

Madankollu, xhieda fl-ispatrijiet qalu lill-pulizija li aktar kmieni, tifla marret fl-emerġenza u ma riditx lit-tabib jinvistaha, kemm-il darba kien se jagħmel xi referenza għat-twelid. Għalhekk ħarbet. 

Il-Pulizija hi tal-fehma li din it-tifla taf tkun omm it-tarbija. Wellditha u ħallietha xi mkien fejn in-nies ma setgħux isibuha, iżda l-kelb sabha u kien jaf fejn għandu jmur biex isalvaha!

U minn dan kollu jirriżulta wkoll li anki fl-aħrax tad-deset, il-klieb jistgħu jitqiesu bħala anġli neżlin mis-sema.

At the entrance of Valletta, next to the new House of Parliament, stand the ruins of the Royal Opera House. This ‘Teatro dell’Opera’ was built in 1861 on the site of a demolished house, known as ‘Casa La Giornata’, the residence of the Turcopilier of the Auberge d’Angleterre (English Auberge). 

There were several reasons which led to the building of a new Opera House at Valletta. The Manoel Theatre had become too small to house an ever increasing number of people. The Manoel’s stage became too small to stage certain type of operas such as those of Rossini, Donizetti, Puccini and Verdi. The number of tourists visiting the island was increasing, some wanted to visit this theatre for an opera night. The need for a new bigger theatre was being felt and an English architect Edward M. Barry was chosen for the project. The facade of the Opera House was typically Corinthian and it had a colonnade on all its sides. Its cost amounted to £60,000 which was a huge sum of money at the time.

An attraction of this theatre was the salon, which was placed over the entrance hall. This hall was lit by five large windows. The theatre’s painting-room and the workshops were on the roof. As the Opera House was one of Valletta’s attractions, the local government tried its best to manage this ‘musical heaven’. The day to day running was left in the hands of a committee which was appointed by the government of the day. By time the new theatre started to be very popular with both the Maltese and the families of the British servicemen who were stationed in Malta. The village elite used to dress up in their best attire and hire a ‘karozzin’ (Maltese traditional horse-driven coach) to take them to Valletta to watch an opera at this theatre.

History

The Royal Opera House opened on the night of 9 October, 1866, with Bellini’s famous opera ‘I Puritani’. Month after month, year after year, the opera seasons went on uninterruptedly, even during the First World War. There was only one exception; that is a brief interruption from 1874 to 1877 following a fire. This incident had destroyed the theatre’s interior fittings and decorations. It was reopened on 11 October, 1877, with Verdi’s new opera Aida. The theatre became more beautiful with boxes in five tiers and a pit which could accommodate more than 1,000 persons.

The Second World War brought the end of a long story of famous operas, composers’ visits and resonant voices. During this great war, one direct hit from an air attack brought the theatre to its knees. There were many attempts to rebuild the Royal Opera House. In the end it was decided to convert the site into an open-air theatre known as Pjazza Teatru Rjal.

Għeluq snin in-nanna kien jaħbat nhar il-festa ta’ San Pawl, fl-10 ta’ Frar. Iżda, ommha u missierha kienu semmewha Marija minħabba li kienu Mostin u lil Santa Marija kienu jħobbuha wisq. Elise u Luca kellhom lill-ħabib tal-qalb tagħhom, Gordon li kien jiċċelebra għeluq sninu jumejn biss qabel in-nanna, jiġifieri fit-8 ta’ Frar. Billi dik is-sena kellu l-lucky birthday, il-mamà tiegħu ħasbet biex torganizzalu festin żgħir u tistedinlu erbat iħbieb minn tiegħu.

Xi jiem wara li rċivew l-invit id-dar, Elise u Luca marru l-Belt mal-mamà tagħhom biex jixtru rigal għal Gordon. Xtrawlu ġakketta u qalziet blu tal-jeans għax żgur kienu jogħġbuh daqskemm kien iħobb jilbes il-ħwejjeġ tal-jeans. Kif kienu hemm, xtraw dublett iswed għan-nanna ħalli jagħtuhulha rigal ukoll f’għeluq sninha. Imbagħad la rritornaw id-dar, il-mamà kebbet iż-żewġ rigali fil-karti bojod irrigati bl-aħdar ċar, li kienet xtrat mill-Belt ukoll, u qegħdithom fuq il-pultruna tas-salott b’tali mod li setgħet tagħrafhom minn xulxin. Poġġiet ir-rigal ta’ Gordon quddiem ir-rigal tan-nanna billi huwa kien se jirċevih l-ewwel. Imma r-rigali ma baqgħux f’dik l-ordni għall-ħin twil għax malajr ċaqalquhom minn posthom Elise u Luca meta daħlu jilagħbu fis-salott bil-moħbi tal-mamà.

Dakinhar tal-festin, Elise u Luca marru xi ftit kmieni għand Gordon għax il-mamà tiegħu, li kienet tħobbhom daqslikieku kienu wliedha, riedet tagħtihom ftit ikel u ħelu żejjed qabel jaslu l-mistednin. Fil-fatt, wara li lestew il-homework, libsu, ħatfu wieħed mir-rigali bl-addoċċ mis-salott u telqu bil-pass lejn id-dar ta’ ħabibhom li kien joqgħod ftit bibien ’il bogħod mid-dar tagħhom. Peter ma kienx mistieden u baqa’ d-dar mal-mamà jara l-cartoons.

Hekk kif messew il-qanpiena tal-bieb ta’ barra, il-mamà ta’ Gordon marret tiġri tiftħilhom. Daħħlithom fil-kċina u hemmhekk sabu lil Gordon jistenniehom b’dik is-soltu tbissima fuq wiċċu. Kantawlu Happy Birthday u tawh ir-rigal. It-tifel fetħu f’kemm ilni ngħid, iżda nħasad xħin sab dublett iswed. Ommu riedet tmut bid-daħk u Elise u Luca ħmaru nar bil-mistħija. Kienu tawh ir-rigal tan-nanna Marija bi żball. Bla telf ta’ żmien, marru lura lejn darhom biex jeħdulu r-rigal li kien verament tiegħu. Il-mamà riedet tikolhom bl-għajjat malli saret taf  x’kien ġara. Mill-ewwel indunat li din il-balbuljata kienet saret għax l-għorrief uliedha ma kinux ħallew ir-rigali fejn qegħdithom hi.

Wara ftit, reġgħu marru għand Gordon u l-mamà marret magħhom ukoll. Skużat ruħha miegħu u m’ommu f’isem Elise u Luca. Sa mnalla ħadd mill-mistednin ma kien għadu wasal għax min jaf kemm kienu jaqgħu iżjed għaċ-ċajt dawk iż-żewġt itfal imqarbin! Il-biċċa malajr mietet fuq ommha għax malli ra dik il-ġakketta u dak il-qalziet tal-jeans li tawh Elise u Luca, Gordon kien pront tefagħhom fuqu u tgħidx kemm iddandan bihom waqt il-festin quddiem il-mistednin. Kien jaf li Elise u Luca kienu jħobbuh u li ma kinux tawh rigal b’ieħor apposta. Imma kien jaf ukoll li l-praspar kienu jikluhom bil-ħobż u issa kien drahom sew dejjem joħorġu b’xi waħda ġdida.

Charles B. Spiteri

Biċċa papiru użata biex issir il-maskra ta’ mummja, jaf fiha l-eqdem kopja ta’ vanġelu.

Il-materjal reċiklat fih parti mill-Vanġelu ta’ San Mark, li kien miktub fl-ewwel seklu u, skont l-esperti, hu eqdem minn dak misjub, b’madwar mitt sena.

Il-kitba, li aktarx tkun pubblikata, ħarġet fid-dawl mill-ġdid permezz ta’ teknika li ntużat u li tippermetti li l-kolla użata għall-infaxxar iddub mingħajr ma tagħmel ebda ħsara lil-linka fuq il-papiru. Madankollu teqred l-artifatt oriġinali.

Waqt li l-Faragħuni kien ikollhom forom tad-deheb, kienet ħaġa komuni għall-Eġizzjani fi grad inqas li jindifnu b’maskra tal-papiru, żebgħa u kolla – speċi ta’ papier-mâchè.

Peress li l-papiru kien jiswa l-flus, in-nies kienu jerġgħu jagħmlu użu minn dawk il-papiri li jkollhom il-kitba fuqhom.

Xjenzjati fil-Kulleġġ Acadia Divinity f’Wolfville, Nova Scotia, neħħew il-kolla biex wettqu s-sejba.

Craig Evans, professur tal-Istudji tat-Testment il-Ġdid, qal lil LiveScience: “Qed niksbu dokumenti qodma mill-ewwel, it-tieni u t-tielet seklu, li ntużaw biex jagħmlu l-maskri tal-mummji.” Żied jgħid li s’issa nstabet ukoll kitba  Griega klassika, fosthom poeżiji ta’ Homer, dokumenti bibliċi u karti ta’ negozju li jmorru lura eluf ta’ snin.

A characteristic of the Maltese Islands is the pealing of bells. These are heard in old parts of towns and villages especially when one is passing by a major church. The visitor may wonder at the different peals and frequency of ringing.

The best two localities, famous for ringing bells, are Ħal Qormi (St George’s) and Birkirkara (St Helen’s). Their bells have kept the traditional rule of informing the faithful of events occurring in the locality.

The bells start the day very early. At around 4.30 am the ‘Pater Noster’ is rung with 33 strokes. 33 stands for the number of years Our Lord spent on earth. The other three main ringing times are at 8.00 am, midday and sunset. Many people associated these ringing times with a prayer called ‘Angelus’. The day ends with the ringing of the last bells an hour after the evening ‘Angelus’. This is referred to as ‘De Profundis’. In some localities, their bells ring again another hour after ‘De Profundis’ to remind the faithful that the first hour of the night had already passed.

The celebration of Mass has its particular pealing. Mass is announced by a few strokes of a bell fifteen minutes before it starts. This gives enough time for the faithful to leave home and gather in church. Another particular pealing occurs when a church is elevated to the dignity of a Collegiate. In this case the bells ring a two-toned peal for fifteen minutes to inform everyone that the members of the church’s Chapter will gather for matins and vespers.

In former days, the church bells used to peal to announce that someone in the parish was dying. This started by nine strokes which were followed by three strokes every hour until the passing bell was rung. The passing bell was followed by the death bell. These last two types of bells are still very common in old towns and villages. There was also a special bell peal called ‘Gloria’ when an infant died.

Feast days and sermons had their special pealing. On a festive season, before High Mass and vespers of the titular feast the church bells ring in four periods. When the feast is of secondary importance, the bells ring in three periods of ringing. When there is a special sermon the church bells ring a few minutes before it starts. 

Christmas traditions in Malta seem to be a combination of lay and semi-religious manifestations. The crib is one of the main semi-religious activities. Some folklore writers think that the first crib was introduced in Malta in 1617/18 by Blackfriars in their Rabat church. This crib was lit up on Christmas Eve with earthenware lamps burning inside paper lanterns.

Cribs were later introduced in state hospitals. Then the locals started producing their own for their homes. Maltese crib figures started to be made out of clay. Only the figure of the Infant Jesus and sheep were made out of wax. The Maltese created two types of cribs – small ones (know locally as ‘il-grotta’) and bigger ones. One of these crib makers was Maestro Saverio Laferla. His fame was widespread all over the islands, so much so that an eighteenth-century diarist entered the following comment for the 19 January 1761: ‘the death has occurred of Maestro Saverio Laferla, a barber, acclaimed for his skills in making cribs and statues of papier-mâché.’

In the 1870s we come across a large-scale mechanised crib at Ħal Qormi. It seems that this crib created such a sensation that 7 years later there was another one at Tas-Sliema. By the turn of the twentieth century the large-scale cribs became so popular with the Maltese that we find several references to them in the local press.

Nowadays we find cribs in many Maltese homes. Schools and other public institutions such as old people’s homes and hospitals also have their own crib. The crib’s popularity increased due to the activities of two crib clubs – one in Malta and another in Gozo. Both clubs organise a crib exhibition a few days before Christmas Day.

Clay crib figures have become popular again. We find two types of crib figures – the Maltese and Palestine types. The Maltese figures are dressed up in local costumes while the Palestine type wears biblical attire. The main figures of the Virgin and St Joseph as well as the three Magi (sometimes referred to as ‘kings’) are always dressed up in biblical style. Many Maltese open their crib to the public. Some of theses cribs are exhibited in garages and small chapels. The local press usually features some addresses to help both locals and tourists visit these cribs.

Floriana, Valletta’s suburb, is full of public gardens and memorials. The main memorials are assembled along the main route – Floriana’s St Anne Street – and before Valletta’s entrance area.

As you pass by Porte des Bombes on your right you will find the Dante Alighieri memorial. This was erected on the initiative of the Società Dante Alighieri. The monument is based on the winning design of Vincent Apap. It shows this Italian poet standing on rocks while in deep meditations. The pedestal is a rarity as it consists of 3 roughly cut boulders, symbolising Paradiso (paradise) Purgatorio (purgatory) and L’ Infermo (hell) the three ‘divisions’ of Dante Alighieri’s greatest literacy work – La Divina Comedia.

A few meters away along the same street, there is the Manoel de Vilhena Memorial. This monument was originally placed in the ‘Piazza d’Armi’ of Fort Manoel on Manoel Island. The monument was erected on the initiative of Fra Felician de Mont Savasse, a knight of the Order of St John. The figure was cast in bronze in the Order’s foundry by Aloisio Bouchut. The monument was relocated first in Valletta in ‘Piazza Tesoreria’ and later at the entrance of the Maglio Gardens. In 1989 it was relocated again to its present location in Pope John XXIII Square to make way for the Independence Monument.

At the end of St Anne Street there is the War Memorial. It was erected according to the design of Louis Naudi. This square-faced obelisk was constructed in Maltese lower globigerina limestone. At the bottom there are 4 commemorative plaques. The obelisk is a good example of British pre-war military and colonial art.

The Air Force Memorial is found at the left of the War Memorial. It consists of a column which is topped with a gilded eagle. At the bottom of this monument, there are circular plaques bearing the names of the fallen Air Forces heroes. It was designed by Charles Wheeler and Hubert Worthington. This monument is reminiscent of the pro-Anglican post war period. It is worthwhile to mention that every year wreath laying ceremonies takes places in front of these two memorials, in the presence of the President of the Republic, the Prime Minister and other dignitaries.

Next to this monument there is the Christ the King Memorial. Designed by Antonio Sciortino to mark the beginning of the 20th century, the 1900 Holy Year dedicated to Christ the Redeemer and the Eucharistic Congress of 1913. This congress was held in Malta. The bronze works were cast in the Rome Buongirolami foundry. The central figure represents Christ in a moving pose while the other figure represents Malta, in a veneration act. In former times this monument was the starting point of pilgrimages which used to end at St John’s Co-Cathedral. 

In front of the Maglio Gardens’ entrance there is the Independence Memorial. It was erected in 1989 showing a female figure representing Malta being unwrapped from a big, long bandage.

The knights of St John built long kilometres of fortified walls. They also built palaces and ‘auberges’ as places of residence. On the other hand, they seemed not to be keen to build castles. Throughout the years they only built one at Boschetto, a few kilometres away from Rabat/Mdina – Verdala Castle. The Maltese nobles built a few but only one is on a large scale – Selmun Castle.

Verdala Castle

The Grand Master, as head of the Order of St John, had his own castle – Verdala Castle. It was built during the time of Cardinal Grand Master Huges Loubenx de Verdalle as a summer palace. This castle is on high ground to benefit from cool summer breezes. It was built according to the design of Girolamo Cassar in 1586. It has a square plan. Next to it there is its chapel with its titular painting, a work of Mattia Preti.

This edifice is three storeys high and its corners are in the form of a tower. In case of enemy attack, from its rooftop, messages could be sent to the Valletta Magisterial Palace (today the President’s Palace). Its major attractions are a series of paintings depicting the life of Grand Master de Verdalle, executed by Filippo Paladini and its elliptical staircase. The castle is used by the Head of State as a summer residence. As sometimes this palace is opened to the public, I suggest that you ask the Tourist Information Office whether you could visit this historic place of interest.

Selmun Castle

The other castle was built on the plans of Maltese architect Domenico Cachia, around the year 1786. Its design was influenced by eighteenth-century architectural trends in Europe for fortified villas. It was built at the expense of a Maltese noble family. This castle stands on Mellieħa ridge. At its corners there are bastioned turrets. This castle is famous for its imposing hall as well as its banqueting room. It is worthwhile to mention that later this castle was used as a residence of the British petrol firm’s (BP) chairman residence. Subsequent it was turned into a hotel, a restaurant and tea rooms for a number of years. 

A large sanctuary stands on a hillock in the locality known as Ta’ Għammar, half-way between the Gozitan villages of Għarb and Għasri. This sanctuary has a particular story to tell. It started with the building of a small chapel by the Gentili family, dedicated to the Assumption of Our Lady. Around 1592 this chapel became the property of Filippinu Gauci who repaired it and commissioned a new titular painting. The chapel started to be know as ‘Santa Marija ta’ Pinu’ (Pinu is a name which orginated from Filippinu).

It was rumoured that a certain spinster from Għarb was invited by Our Lady to frequent this chapel in order to pray. One morning this woman was rather late and decided to recite her prayers while proceeding on her way to the chapel. As she approached the chapel’s footpath she heard a voice coming apparently from within the chapel: ‘Come! Come!’ She paused for a while and the voice continued: ‘Come today, for you will not be able to come back for a whole year.’ She went to fetch the key and entered the chapel. The voice continued: ’Recite three Hail Marys in honour of the three days that my body rested in the tomb.’

Many people got to know about this story and rumours started to be added. The church authorities wanted to put an end to these rumours published the true story in a diocesan newspaper. People started visiting this chapel. Priests began celebrating Mass from under a canopy which was erected in front of the chapel. As prayers were answered by Our Lady the offerings increased. Many holy pictures of the titular painting were printed. People started taking some oil from the lamp which was lit in front of the effigy. When they returned home they would anoint their sick with this oil.

The Gozitan Bishop decided to build a church next to this chapel. Its foundation stone was laid in 1920. The sanctuary edifice was completed after 16 years. Today this sanctuary is the main Marian church in Gozo. It is still visited by many people asking for the intervention of the Mother of God on their behalf. One of the visitors was Pope John Paul II who said Mass on the sanctuary parvis. In the ceremony he placed a halo of golden stars studded with diamonds around the head of the Marian effigy.