MIRIAM DUNN HEARS ABOUT TWO CHAPELS DATING BACK OVER 600 YEARS THAT TELL A WEALTH OF HISTORICAL TALES
Nestled away in the Maltese countryside are two chapels that are not only picturesque, but significant examples of mediaeval architecture on the island.
The two chapels of Hal Millieri and Bir Miftuh have been placed under the care of Din L-Art Helwa, which has been responsible for restoration work on both projects.
The heritage group’s director of educational services, Salvator Mousu’, explained that both chapels provided a wealth of historical information, much of which dates back well before the Norman times.
"For example, excavations in the countryside where the Annunciation chapel in Hal Millieri is situated, between Zurrieq, Qrendi, Imqabba and Kirkop, revealed many important indications of a Roman settlement," Mr Mousu’ said.
The chapel in question was constructed around 1480, on the same site as that where an earlier one had stood in the thirteenth century, serving the local population, which was sparse and lived in clusters of farmhouses.
"Bir Miftuh chapel"
Mr Mousu’ explained that by the later part of the 17th century, the population suddenly began dropping dramatically, although the chapels remained centres of devotion for some years. But in time, two of the four churches were pulled down and the others were abandoned, before Din L’Art Helwa took over the safeguarding and restoration of the Annunciation chapel in 1968.
Describing the chapel as "the best preserved example of a mediaeval church in Malta", Mr Mousu’ highlights typical traits of its architecture.
"For example, the entrance is down three steps, which is typical of these chapels," he said. "One has to bear in mind that all mediaeval chapels derived from caves, so the entrance was always downwards."
The chapel also boasts the finest examples of mediaeval wall paintings on the island.
Mr Mousu explained that these murals contrast sharply with the later frescos, in that the figures depicted are painted in a simple and straightforward style.
"They are also eastern saints, having been painted before the Knights came and adopted the western ones," he added.
There are various tales as to the derivation of the ‘Hal Millieri’ name, as Mr Mousu’ admitted.
But one is that 1,000 Sicilian prisoners were forcibly sent to Malta and settled in the area. Certainly it is thought that the Sicilians influenced the Maltese in their methods of building during the mediaeval times. This followed what is regarded as the darkest period of Maltese architecture, after the Arabs had left, taking their skilled workers, and 90% of the people living in caves.
Legends also vary as to the origin of the name of the Santa Marija ta’Bir Miftuh chapel.
One line of thought is that the name has been compressed from the original phrase ‘Bir ilma tfuh’ (sweet smelling water well) and that the chapel was originally a cave in which a hermit lived and made perfumes from dried flowers and water.
It was a tradition for hermits living in this way to make their living as best they could, partly, as Christians, to escape persecution, especially from the Berbers.
"The picturesque chapel of Hal-Millieri"
Mr Mousu’ described the chapel, which is situated in Gudja and could date back to as early as 1430, as being the "birth of confidence".
"One has to bear in mind that Malta had been through a dark age of architecture, but this chapel, which was bigger than any others at the time, showed that the Maltese builders found the confidence to undertake a project on a bigger scale," he said.
In fact, the church was originally significantly larger, originally having eight arches (there are now six) and was probably once in the shape of a cross.
The arches are typically mediaeval in the way they continue right down to the ground.
It is likely that some of the church was pulled down to be used as building material (scarce at the time) for the new parish church in Gudja when this was built in the late 17th century.
The Bir Miftuh chapel boasts some interesting fragments of frescos of the Last Judgement which date back to around 1480. Unfortunately, many were damaged during attacks carried out by the Turks when they invaded, who also chipped off a crucifix on the outside of the chapel.
The fresco was also painted over as the style fell out of favour, but was rediscovered in the latter half of this century.
The restoration work, carried out by Din L-Art Helwa, enables us to see how the paintings compare to earlier works, for example the appearance of more symbols, and also how the artist composed the work in three or four tiers of figures.
The first tier would be dedicated to the apostles and Mary, with the figure of Christ dominating the centre. The second tier usually held figures of angels, those to the right of Christ aiding the elect, to the left castigating the damned. The entire right of the fresco belonged by convention to the righteous whilst the left depicted the terrors of Hell.
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