facing future

Challenges
through Intercultural
Dialogue MALTA 2008
 Produced and published: © The Clearing House, 2007

Art Director: Ramon Micallef

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info@clearinghouse.com.mt - www.clearinghouse.com.mt

Printed in the EU

ISBN 978-99932-0-511-1
 W
e have recently celebrated the 9th of May, Europe Day. It is a
day when we commemorate the Schuman Declaration which
encapsulated the very foundations and the vision of what we know
today as the European Union. It was the first step towards years of European
cooperation. This year we have accomplished 51 years of working together,
which in turn have produced concrete action and practical results for our citizens.
Europe was hardly ever based on cooperation. Cataclysms in various
shapes and forms engulfed Europe throughout the ages. Intolerance
was Europe’s cataclysmic hallmark of the twentieth century.
Abraham J. Heschel1 once said that , “Racism is man’s gravest threat to
man - the maximum of hatred for a minimum of reason” and as Europeans we
know that this is the bitter truth. Europe’s task has been to invert Heschel’s
equation, minimising hatred and maximising reason. And today the European
Union stands as a testimony to Europe’s religious, linguistic and cultural
diversity. We are today a community of values, united by our diversity and
our determination to prevent such a threat from overwhelming us again.
That is not to deny there are problems in Europe. Racism and xenophobia
stem from fear of the unknown, of the different, and in uncertain times they
are never far from the surface. At a time when public concern about migration
keeps rising, the EU is intensifying its efforts to promote intercultural dialogue
fo rew o rd and to integrate minorities into Europe’s mainstream. It is today more and more
concerned about preserving essential European values like tolerance, diversity
and peaceful dialogue. That is reflected in our adoption of EU rules on equality,
action plans, EU programmes, and intercultural and interfaith dialogue.
2008 is the European Year of Intercultural Dialogue and it is by respecting each
others culture that we can start to truly respect one another. Over the past weeks
the European Commission’s Representation Office in Malta together with the
European Parliament’s Office in Valletta, the Forum Malta Fl-Ewropa, the Ministry
of Education and Europe Direct Malta, in collaboration with the French Embassy,
organised a number of activities celebrating our cultural diversity. Football,
food, music, debates, languages loomed large and provided a wise basis for
the enhancement of mutual understanding in our ever-increasing multicultural
society. Our work took us mostly to schools, maybe not so much as to teach
our future generation on how we should be tolerant, and how we should respect
those of a different culture but rather to learn from them. We live in a society
where our children know more about tolerance than us. We live in a society
where we teach children our prejudices, our misplaced fears, our intolerances
when we could see that in the minds of our children these do not exist.
We had over 30 different events mainly targeting school children. We could
see that intercultural dialogue at that level was seamless, a fact of life. Respect
towards other cultures was a given. It is not the same when we grow older.
As Europeans we must recognise that the main challenge facing us is the
reconciliation of different cultures and different faiths. We should be committed
to embrace this diversity and celebrate it as it makes us what we are.
We wanted to make a further contribution this year under the label of
promoting “intercultural dialogue”. This is why, in collaboration with the
Parliamentary Secretary for Tourism and the Malta Tourism Authority we
have also put together an exhibition of photographic works to celebrate this
theme, together with other global challenges like climate change and the
preservation of natural habitats and national and world heritage. Here too our
responsibility as Europeans screams out loud. Our hope is that through these
artistic works we can spur on more meaningful action and effective results.
We hope you will enjoy the works exhibited and the catalogue we have
produced as a keepsake of this celebration. We encourage you to keep it
as a reminder that you too can do your bit towards these objectives.
Joanna Drake
Head of the European Commission Representation in Malta
1 Jewish theologian and philosopher, 1907-1972
facing future
Challenges
through Intercultural
Dialogue MALTA 2008

the auberge d’italie

by Dr Arch Jevon Vella

T
he Knights of the Order of St John originally built the building we know
as the Auberge d’Italie. It currently houses the Ministry for Tourism and
Culture and has been fittingly enough, chosen as the venue for this
photographic exhibition celebrating the European Year for Intercultural Dialogue.
In recent times, it has also housed the General Post Office, was turned into a
museum and served as Law Courts. During the Second World War, the basement
was used as safe storage for the original records and registers of the Public Registry.
Twice in April 1942, the building was hit by enemy action. First, a bomb pierced
the courtyard and exploded in the basement, destroying one of the retaining walls
and ceiling. Luckily, the top floors went unscathed. More than two weeks later, the
top floor was hit and part of the roof and a section of the wall were brought down.
Again, extensive damage to the building was circumvented due to the sheer mass of
the stonework that bore the brunt of the explosion. However, according to Gambin
(2003), the section that housed the Natural History collection fared worse.
The Auberge d’Italie is the second building in Valletta to bear this name. It is bounded
on three sides by Merchants, Zachary and Melita Street. A small church dedicated to Santa
Caterina d’Italia, built in 1576, abuts one of the shorter sides, completing the urban block.
The Order of the Knights was almost since its inception, divided into langues or
languages, each in accordance with the European region or territory from which its knights
hailed. Separate auberges or inns were built to accommodate knights of a particular
language, and traditionally the inns were sited close to the section of fortifications defended
by its knights. For the language of Italy, these were the immediate bastions of St Peter and
St Paul. Additionally, the pilier (conventual bailiff acting as president of a particular language)
held a particular sinecure so that the head of the Italian langue was also admiral of the
fleet. The gathering of commanders of the navy, called the Congregation of the Galleys
was in fact held in the grand hall just beyond the main entrance of the present building.
The first Auberge d’Italie in Valletta was built on part of the site currently occupied
by the Presidential Palace. That building originally served as the Magisterial Palace
for the Grandmaster of the Order, and in 1572, Grandmaster Fra Jean l’Evesque de
la Cassière (1572-81), first gave Girolamo Cassar the brief to annexe all the houses
adjoining the original Palace and to convert the ensemble into a larger whole.
The Auberge therefore, had to be sited elsewhere, and construction of the new
building started sometime between 1575 and 1576. It was eventually completed
after successive modifications and enlargements well into the next century.
The most significantly visible remodelling is the new façade by Mederico
Blondel des Croisettes and/or Lorenzo Gafà (military engineer and architect to the
Order respectively). According to Zammit (1929), it was executed in 1683, during
the Grandmastership of Fra Gregorio Caraffa della Roccella (1680-90), when the
second floor was built, and both effigy and inscription placed on the main doorway.
Around 1713, Romano Carapecchia was responsible for the remodelling of the
façade and portico of the Church of Santa Caterina, and according to De Lucca
(1999), executed minor alterations to the Auberge, notably the main entrance.
What remains of the original building by Cassar is debatable. The
coffered vaulted ceiling is most probably his, and given the main doorway
is disproportionately small when compared to the rest of the architectural
elements on the façade; it might as well be a relic of the original single-storey
building. The massive, diamond-shaped, rusticated corners at ground floor level
may also be leftovers from the first façade and if this assumption is correct,
then the footprint of the building must have remained unaltered in time.
While, historical and material evidence is scarce however, in its present
state and context, the disposition of the Auberge is in keeping with the typical
practice of Roman Mannerist palazzo. The design revolves around a singular,
arcaded, square-like courtyard, with equally spaced windows overlooking the
space. The windows on the main façade however follow a different rhythm,
and the sizes of the openings are in fact located regardless of the size and
disposition of the rooms behind the façade. Most rooms, especially those at first
floor level, are interconnecting through an enfilade that has been preserved.
Symmetry has been only preserved on the outer walls of the building but
the irregular rhythm of placing of the windows is typically Mannerist, and may
be reminiscent of the older building, and the design programme is a convenient
way of articulating an otherwise sombre façade. According to Hughes (1967), the
older windows seem to have been remodelled during the sixteenth century with
consoles added even later. (Hughes also mentions another window created by the
Royal Engineers and later blocked up). Given their more refined detailing, first floor
windows and associated projections may well be seventeenth-century additions.
The scale of the building within the relatively narrow confines of Merchants
Street is imposing and the later elaborate Baroque centrepiece depicting Caraffa
surrounded by war trophies and military paraphernalia adds to the dramatic effect.
Interestingly, Vincenzo Bonello (1970) and recently Giovanni Bonello (1999)
suggest that the main entrance was originally located on the side of the building
facing St James Cavalier. They separately argue that the barrel-vaulted side entrance
(located behind what is now the Valletta Police Station and BOVI offices) in the
extreme corner of the building, was the original entrance. The theory put forward by
Vincenzo Bonello is based on the assumption that all Auberges were designed to
have an open space in front of them. Moreover, according to Giovanni Bonello, the
dining rooms in all auberges are located immediately next to the main entrance.
Using the paintings of Matteo Perez d’Aleccio as reference, Mahoney (1988)
on the other hand, had argued that in spite of the fact that such paintings are not
meant to be taken as accurate representations of buildings, they are nevertheless
accurate when showing the orientation and disposition of buildings within the
urban context. In d’Aleccio’s works and those executed by others, the Auberge
is always represented with its main façade facing Merchants Street. This building
would have had its main entrance situated more suitably on the main axis of the
longer, more imposing façade. One must bear in mind however, that by the time
d’Aleccio depicted his buildings, the Auberge would have already been modified.
In any case, the second Auberge d’Italie was originally not intended to be built
here so a deviation from the norm would be acceptable. It would be more plausible
to assume however, that both entrances are concurrent; one on an asymmetrical
façade, meant to be uniquely viewed from the square in conjunction with the church
of the langue; the other, centrally located on a cleaner and longer elevation, not
unlike those at the Magisterial (now Presidential) Palace. Eventually, due to site
restrictions and a change in the building programme, one entrance lost out in
favour to the other; one blocked off when the building was extended over the
square and the other remodelled as was deemed appropriate at the time.
Most of the ground floor rooms are typically spanned with masonry
arches and xorok or ceiling slabs, and given their dimensions, were meant
for accommodation rather than as stores or stables, as would have been the
case with a palazzo. Hughes theory for this is argued by the fact that there is
ample space in the basement for storage, though it would be rather difficult to
imagine horses to be kept there. He concludes that Cassar’s plan underwent
little modifications, particularly at ground floor level, and if this is so, then the
additional floor must have followed the underlying structural configuration.
This theory is supported by two facts; that the rusticated quoins dominating
the corners of the façade are interrupted by a heavy horizontal band that may
have formed part of a deep cornice; and the staircase squeezed at back of house
was originally either built as a simple access to the roof or else added later. In
any case, it does not bear an aura of importance that would be expected of a
grand staircase leading to the piano nobile of such an important building.
The style evolved by Cassar was partly an expression of a local vernacular
tradition and partly in keeping with Roman Mannerism. Rustications for
instance, owe their roots to military architecture and first came in fashion in
Florentine buildings of the Quattrocento. From then onwards, their use became
popular in Rome, and until the Baroque period formed an integral feature of the
architecture of that city. In Valletta, they became an excuse to adorn the corners
of buildings in keeping with city planning regulations issued by the Officio delle
Case, insisting among others that corners should be decorated with shrines.
Rusticated corners and variations on the theme, such as panelled corners,
express strength, frame the corners of the building, and provide relief in
an otherwise bland elevation. Together with massive, strongly horizontal
facades with large, unarticulated surfaces and heavy, elongated windows,
they became the hallmarks of Cassar’s design. After all the Order represented an
austerely religious and military regime and the ascetic architecture was perfectly
suited in keeping with this tradition. It may be positively argued therefore, that
Cassar’s designs are born out of these strict and practical parameters.
When the Knights first sat down to plan Valletta, they decided to have no collachio
or concealment areas where they could retreat in contemplative segregation. Instead,
the whole of the city was to act as one, large, restricted quarter where only members
of the Order were allowed access. As building costs soared, the plan was quashed
and plots of land in Valletta had to be sold to merchants and traders to bring in
the much-needed cash. Eventually, the local population was gradually but steadily
allowed to enter and develop the building sites according to preset regulations.
Back then, intercultural dialogue may have been established for the wrong
reasons, but sure enough, the presence of the auberges in Valletta are a
small testimony to the melting pot of cultures that Malta was and still is.
References
Bonello, Giovanni, Art in Malta - Discoveries and Recoveries, Patrimonju Publishing; Valletta, 1999.
Bonello, Vincenzo, ‘Posizione storica dell’architettura maltese dal ‘500 al ‘700’ in L’ architettura a Malta; Rome, 1970.
De Lucca, Denis, Romano Carapecchia Master of Baroque Architecture in Early
Eighteenth Century Malta; Midsea Books, Valletta, 1999.
Gambin, Kenneth, One Hundred Years of Heritage 1903-2003; Heritage Books, Malta, 2003.
Hughes, J. Quentin, The Building of Malta during the period of the Knights of St. John of
Jerusalem 1530-1795, New revised edition; Progress Press, Malta, 1967.
Mahoney, Leonard, History of Maltese Architecture from Ancient Times up to 1800; Malta, 1988.
Zammit, T., Valletta - An Historical Sketch; Malta, 1929.
facing future
Challenges
through Intercultural
Dialogue MALTA 2008

cultural landscape
PLACE OF WORSHIP

Robert Cordina

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MOORING POST

Reuben Demanuele

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 “Climate change obliges all
S A LT PA N S

Reuben Demanuele

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up of a couple of sentences, in oder to fill not more than 3 lines of us to take urgent action.
Each part of civil society
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must contribute to ensuring a

sustainable future of our planet.
Thanks to their outreach and
role in our societies, religions
and communities of belief are
well placed to make a valuable
contribution in mobilising them for
a sustainable future. Let’s unite
in our common endeavour and
prove that the preachers of a
clash of civilisations are wrong.”
José Manuel Barroso - President of the European Commission
 RURAL RARITY

A r o n Ta n t i

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R E F L E C T I N G C U LT U R E next page VIEW FROM MDINA

A r o n Ta n t i Wolfgana Brinkoetter

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V A L L E T TA

W AT E R F R O N T

Wolfgana

Brinkoetter

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SIEGE BELL

Wolfgana Brinkoetter

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B O AT

Wolfgana Brinkoetter

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M O S TA D O M E

Wolfgana Brinkoetter

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WIND PUMP

Wolfgana Brinkoetter

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CHURCH

Wolfgana Brinkoetter

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FILFLA

Wolfgana Brinkoetter

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MDINA

Wolfgana Brinkoetter

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DINGLI

Wolfgana Brinkoetter

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MGARR gozo

Wolfgana Brinkoetter

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C I T TA D E L L A

Wolfgana Brinkoetter

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C I T TA D E L L A

Wolfgana Brinkoetter

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 SAINTS C O M M U N I C AT I O N (dyptich)

Wolfgana Brinkoetter Wolfgana Brinkoetter

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F E S TA

Janusz Wozniak

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URBAN LANDSCAPE

Janusz Wozniak

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MIST

Janusz Wozniak

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VIEW FROM DINGLI

Lisa Camilleri

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VIEW FROM L-AHRAX

Lisa Camilleri

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S A N D Y B AY

Lisa Camilleri

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M D I N A AT D U S K

Peter Paul Barbara

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V A L L E T TA U N D E R

THE CLOUDS

Peter Paul Barbara

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GOZO SILHOUETTE

Valentina Lupo

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TRADITIONAL COSTUME

Valentina Lupo

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M O S TA D O M E
Shirlae Carruthers
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GREEN
Liubov Kovalenko Farrugia
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ANT
Liubov Kovalenko
Farrugia
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MDINA STREET
Liubov Kovalenko
Farrugia
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“The environment is not only natural but
also a sacred place. Community and
loyalty between man, nature and the
Creator is a basic principle of Judaism,
Christianity and Islam alike. Climate change
requires us to rethink how we channel
imagination, ingenuity and entrepreneurship
into creating a world, free of dependence
on fossil fuels, and yet prosperous and
connected as never before. This would
not mean that we should get away with SPIDER

what we have achieved. We should Liubov Kovalenko Farrugia

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only rethink our achievements and look It will be made up of a couple of sentences, in
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at them from a different point of view.”

Janez Janša - The President of the European Council
UNFINISHED GRAFFITI

Jeremy Oliver Pace

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 GNEJNA TOWER

Mario Abdilla

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HAL-MILLIERI CHAPEL

Mario Abdilla

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FORT ST ANGELO

Mario Abdilla

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HAGAR QIM

Kenneth Borg

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 C O T T O N E R A G AT E

Kenneth Borg

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 C H A P E L AT TA’ B R A X I A

Kenneth Borg

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CHAPEL

Kenneth Borg

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TA’ G O R D A N L I G H T H O U S E HAGAR QIM

Michael Bellizzi Michael Bellizzi

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as much space as possible around the photo as much space as possible around the photo
BLUE GROTTO

Michael Bellizzi

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 CHADWICK LAKES

Michael Bellizzi

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VIEW FROM NADUR

Michael Bellizzi

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LOOKING UP

Chris Agius Burke

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facing future
Challenges
through Intercultural
Dialogue MALTA 2008

intercultural dialogue
 SPIRE

Peter Paul Barbara

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BEHIND THE FENCE

Peter Paul Barbara

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TURKISH CEMETERY

Peter Paul Barbara

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CROSS AND CRESCENT

Peter Paul Barbara

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F U N D A M E N TA L

Peter Paul Barbara

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EMERGENCY IN THE CITY

Didier Lauterborn

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TA L K I N G W I T H A N A N G E L

Didier Lauterborn

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A TRIP THROUGH

THE AGES

Didier Lauterborn

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 GLASSBLOWERS

Shirlae Carruthers

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CLEANING

Didier Lauterborn

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 PA I N T I N G AT M D I N A

Shirlae Carruthers

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POLO SWEETS

Mario Abdilla

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 IL-BANDA T’INDRI

Mario Abdilla

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facing future
Challenges
through Intercultural
Dialogue MALTA 2008

climate change
 “Intercultural dialogue
is a key instrument
to building bridges
between people and
to safeguarding peace
based on mutual
respect. Intercultural
dialogue therefore is also
an important contribution
to the European
Union’s relations with its
M I G R AT I O N I S N AT U R A L
neighbouring countries,
A r o n Ta n t i in particular in the
Mediterranean region”.
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EP President Pöttering
 REVENGE

A r o n Ta n t i

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 M A R S A P O W E R S TAT I O N

Peter Paul Barbara

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S E N I O R A LT E R N AT I V E

A r o n Ta n t i

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 MARSA CREEK

Peter Paul Barbara

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GRIGAL

Peter Paul Barbara

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CLOSE SUN

Peter Paul Barbara

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INDUSTRIAL LANDSCAPE

Peter Paul Barbara

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STEEL AND POLLUTION

Peter Paul Barbara

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