First October 2021 by The Malta Independent

ISSUE 328 OCTOBER 2021

A CAPSULE OF THE WORLD

In this issue the 2nd Chapter of

THIS IS WINE ST EMILION TO THE UNCONVERTED

VERSAILLES EVERYWHERE “Yesterday I was clever, so I wanted to change the world. Today I am wise, so I am changing myself.” Rumi

W NPE ROV E D

IM CIPE RE

More than good

EDITORIAL

VERSAILLES EVERYWHERE

“One shoe can change your life.” “Perhaps the greatest risk any of us will ever take is to be seen as we really are.” “Be kind, have courage and always believe in a little magic.” “A dream is a wish your heart makes when you’re fast asleep.” “Where there is kindness, there is goodness. And where there is goodness, there is magic.” “No matter how your heart is grieving, if you keep on believing, the dream that you wish can come true.” “I want to tell you a secret that will see you through all the trials that life can offer. Have courage and be kind!” Sometimes we need to revert to children’s fairytales to learn the basics of life. All quotes, Cinderella, Walt Disney. ON THE COVER: Mousquetaire à la pipe II, Pablo Picasso (1881-1973), oil and Ripolin on canvas, 146 x 96.5 cm. Signed ‘Picasso’ (upper right); dated and numbered ‘5.11.68. II’ (on the reverse). Painted on 5th November 1968. Photograph courtesy Christie’s. © Christie’s Images Limited 2021. See feature page 30. THIS PAGE: Upper Princely Quarters – The Upper Concert Room. New Palace, Park Sanssouci, Potsdam, Germany. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, photographer Hans Bach. See feature page 16. EDITORIAL CONTENT AND SALES MANAGER SEAN ELLUL SELLUL@INDEPENDENT.COM.MT DESIGNER CONRAD BONDIN CBONDIN@INDEPENDENT.COM.MT PRODUCTION MANAGER ANDRE CAMILLERI ACAMILLERI@INDEPENDENT.COM.MT PUBLISHER STANDARD PUBLICATIONS, STANDARD HOUSE, BIRKIKARA HILL, ST JULIAN’S. TEL: 00356 2134 5888, WEB: WWW.INDEPENDENT.COM.MT FACEBOOK FIRSTMAGAZINE INSTAGRAM FIRSTMAGAZINEMALTA PRINTER PRINT-IT. FIRST IS PUBLISHED AS A COMPLIMENTARY MAGAZINE WITH THE MALTA INDEPENDENT ON SUNDAY AND IS NOT TO BE SOLD SEPARATELY. NO PART OF THE PUBLICATION MAY BE REPRODUCED WITHOUT THE PRIOR AGREEMENT OF THE PUBLISHER. FIRST MAGAZINE SINCE 1993. ISSUE NUMBER 328.

CONTENTS

SANSSOUCI. Frederick the Great’s ‘fanfaronnade’, the Neues Palais. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, photographer Andre Stibietz.

THE ORIENT EXPRESS. The World’s most Famous Train. Grand Suite Istanbul Venice Simplon-Orient-Express. © Belmond/Martin Scott Powell.

Inspired Running Destinations. Promenade des Anglais, Nice. Photograph Arno Smit.

THiS IS WiNE 2nd chapter in this issue

EXCLUSIVE SERIES: THIS IS WINE. St Emilion to the Unconverted. Photograph courtesy Château Angélus © Deepix.

Christie’s Delights. Iconic names at Christie’s 20th Century Evening Sale. Au jardin, la famille de l’artiste, Claude Monet. © Christie’s Images Limited 2021.

CONTENTS [ISSUE 328. OCTOBER 2021]

The World’s most Famous Train. Ever fabulous, even at 100.

Notes on Mammograms.

THE ORIENT EXPRESS

SANSSOUCI

The Stuff of Fairytales. Frederick the Great’s Neues Palais.

EXHIBITION

Unmasked. At Gallery 23 in Balzan.

BREAST CANCER AWARENESS

CASA CABANA’S Inspiring Interiors. Photograph courtesy Vendome Press.

ENVIRONMENT AWARENESS

#saltnudes Notes on the Dead Sea.

AUCTION

Christie’s Delights. The incredible 20th Century Evening Sale.

COFFEE TABLE

Mediterranean Culinary Academy’s Apple Treats. Photograph Jessica Zammit.

Joie de Vivre. Casa Cabana’s Inspiring Interiors.

THIS IS WINE

St Emilion to the Unconverted. The 2nd chapter in This is Wine: its storied place and taste.

APPLE TREATS

For To Make Tartys In Applis. Apple Pie and Fritters with Mediterranean Culinary Academy.

TRIBUTE. DAPHNE CARUANA GALIZIA AUG 26, 1964 - OCT 16, 2017. Still Life with Flowers on a Marble Tabletop, Rachel Ruysch, Rijksmuseum.

Inspired Running. Why you should run and 3 inspiring destinations.

DAPHNE CARUANA GALIZIA AUG 26, 1964 - OCT 16, 2017. An October Tribute to Daphne.

HEALTH & FITNESS

TRIBUTE

Environment Awareness. The Dead Sea #saltnudes. Photograph Ariel Schalit/AP.

THE ORIENT EXPRESS

GOLDEN AGE OF TRAVEL

The Orient Express An icon of art deco design and an enduring symbol of luxury, the world's most famous train is 100 years old. Follow in the footsteps of Marlene Dietrich and Leo Tolstoy – and Agatha Christie's Hercule Poirot – aboard the Venice SimplonOrient-Express. Photography courtesy Belmond. This page: The Grand Suite Paris © Belmond/Martin Scott Powell.

THE ORIENT EXPRESS

Above and facing page: Inside the Grand Suite Istanbul, Venice Simplon-Orient-Express © Belmond/Martin Scott Powell.

he inaugural Orient Express service launched on 4 October 1883 by the Compagnie Internationale des WagonsLits. Originally a long-distance passenger train service operating between Paris and Giurgiu in Romania, The Orient Express epitomised luxury and comfort, at a time when travel was still relatively rough and basic. The original route ran from Paris, Gare de l'Est, arriving in Giurgiu via Munich and Vienna. At Giurgiu, passengers were ferried across the Danube to Bulgaria, to pick up another train to Varna, where they then completed their journey to Constantinople by ferry across the black Sea. By 1889 the entire trip was by rail in unmatched luxury, with sleeping and restaurant cars, fine cuisine, salon cars with smoking compartments and ladies drawing rooms, mahogany paneling, velvet drapery and deep leather armchairs. By the turn of the century, in 1906 the Simplon Tunnel was built connecting Brig, Switzerland and Domodossola, Italy, cutting the trip from Paris to Venice significantly, and by 1921 the Orient-Express was running an extended Simplon-Orient-Express route to Istanbul. This would provide the perfect setting for one of Agatha Christie's most famous works and subsequent numerous movie adaptations, Murder on the Orient-Express, in which her star detective Hercule Poirot investigates the murder of a fellow passenger. During its time, the train has carried a long list of famous passengers including novelist Leo Tolstoy, revolutionary Leon Trotsky, Hollywood starlet Marlene Dietrich, Lawrence of Arabia and the spy Mata Hari.

100 years later, now owned by Belmond, the Venice Simplon-Orient Express still has a panache and style that transports you to another world. With its polished wood, sumptuous upholstery and antique fixtures and art deco finishes, the train epitomises the opulence and elegance of the Golden Age of travel and is a design lover’s dream. The Venice Simplon-Orient-Express travels throughout Europe from March to November and embarks on the iconic journey to Istanbul once a year, with classic routes reaching to London, Paris, Venice, Berlin, Prague, Vienna and Budapest. The legendary train is made up of 17 original 1920s and 1930s carriages, each of which has its own unique history. Each carriage played a part in the famous trains of the era that pioneered the way for international travellers to cross borders in style and luxury. The train comprises the original sleeping cars of the 1920s and 30s, along with three dining cars: Etoile du Nord, Cote d’Azur and L’Oriental, complete with a baby grand piano in the bar car. In 2019 three Grand Suites, Venice, Istanbul and Paris, were launched on the train, with another three added for this year's season, Vienna, Prague and Budapest, named after the iconic European cities the train has historically travelled to every year. In reality the Grand Suites are like jewel boxes - mini luxurious hotel rooms on wheels, with just three to a carriage, finished with scrupulous craftsmanship from hand embroidered cushions to intricately carved marquetry, mosaics, silk patterns and velvet, en-suite bathrooms with Venetian glass sinks, double beds and a private living area with underfloor heating.

THE ORIENT EXPRESS

he rest of the accommodation on the train is more compact but still luxurious and oldworld bijoux, with a tiny bar and plush daytime sofa that transforms into twin or double bunks with crisp damask sheets.

This page: A double cabin, Venice Simplon-Orient-Express © Belmond/Helen Cathcart. 11

THE ORIENT EXPRESS

long with the beautiful decor, and to complete the full immersion into the 'Golden Age of Travel' experience, the team on board are decked out in royal-blue livery trimmed in gold braid, with leather brimmed blue caps and white gloves. Although black tie is not a prerequisite, according to Belmond's website, "on the Venice Simplon-Orient Express, evening dress for dinner is absolutely part of the experience. As the train moves into the inky night, the glittering art deco champagne bar beckons. Be assured that whichever route you choose, you’ll be embarking on an adventure for the senses and the imagination..." And who wouldn't want to dress up for the occasion, and twirl back (with a bit of bubbly) to the Roaring Twenties?

THE ORIENT EXPRESS

Left: The Venice Simplon-Orient-Express Piano Bar © Belmond/Matt Hind. Below: Elegant dining on board the Venice Simplon-Orient-Express © Belmond/Martin Scott Powell. Bottom: The Venice Simplon-Orient-Express Bar Car '3674' © Belmond/Louis Vest.

new title

Specifications: 325 x 240mm | 320 pgs | Hardback + Jacket | 2021

The Darmanin family of artists were the most prolific marble-producing firm in nineteenth-century colonial Malta. Besides carrying out diverse decorative art commissions for the local market, they secured many others from distinguished patrons outside Maltese shores. Being masters of their art, the Darmanin marmisti thrived and remained relevant throughout the century. Their work garnered the admiration of the British royal family, colonial officials and also attracted international acclaim. This publication takes a look at the marble output of these local artists and reveals the compelling impact that the British Empire had on their artistic production. Available also at

www.kitegroup.com.mt

3-7 November

“

The Darmanin Artists: Decorative Marble Production for the British Empire is sure to become the essential reference work on the Darmanin artists. The quality and diversity of their output richly deserves to be more widely appreciated.” Kate Hay Formerly Assistant Curator, Victoria and Albert Museum, London

Pre-publication offer €85

€65

THE DARMANIN ARTISTS

DECORATIVE MARBLE PRODUCTION FOR THE BRITISH EMPIRE

by JESSICA MUSCAT

I would like to order _______ copy/copies of The Darmanin Artists: Decorative Marble Production for the British Empire, at €65 each. Name & Surname Address Email

Mobile

Send the order form together with a cheque payable to Kite Group, 13, Triq il-Franġiskani, Ħamrun or order your copy online www.kitegroup.com.mt

www.kitegroup.com.mt

9993 2592

info@kitegroup.com.mt

SANSSOUCI “And as I always say, if it’s not Baroque, don’t fix it.” Cogsworth, Beauty and the Beast

THE STUFF OF FAIRYTALES A pinch of Cinderella, a sprinkling of Beauty and the Beast, a smidgen of Dangerous Liasons and just a touch of Alice in Wonderland. This is the stuff that wondrous fairytales and great novels are made of. This is Neues Palais, Sanssouci, built by Frederick the Great in 1763. Referred to by the king himself as a "fanfaronnade", the New Palace, was intended to illustrate Prussia's political strength after the Seven Years' War. Photography courtesy Prussian Palaces and Gardens Foundation Berlin-Brandenburg.

SANSSOUCI

This page: The Baroque style New Palace is one of the largest palace buildings of the time with a length of 220 metres, over 400 sandstone statues and figures on the facade, over 200 rooms including magnificent ballrooms, a theatre and sumptuously furnished living rooms for the guests of the Prussian king, Frederick the Great. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, SPSG, photographer Andre Stibietz. 17

SANSSOUCI

uilt by Frederick the Great, King of Prussia, as his summer palace, Sanssouci in Potsdam is Germany's Rococo fairytale-like answer to Versailles. As the name 'Sans, souci' (carefree) proclaims on the garden side of the palace, this summer residence was primarily intended to serve the private interests of the king. Here he wanted to deal with philosophy, music and literature and one day be buried in the crypt next to the castle. Under the direction of Georg Wenzeslaus von Knobelsdorff, a one-story castle in the style of the French 'maison de plaisance' was built from 1745 to 1747 according to the king's exact specifications. The influence of King Frederick's personal taste in the design and decoration of the palace was so great that its style is characterised as 'Frederican Rococo'. The Rococo style suited the light-hearted purpose of the retreat that Sanssouci was meant to be. In contrast to Baroque's heavier themes and darker colours, Rococo was characterized by an opulence, grace, playfulness, and lightness. In 1763, twenty years after his creation of Sanssouci, Frederick started construction on the Neues Palais - the New Palace, the last palace that he had built in his park. The spacious palace complex, referred to by the king himself as a "fanfaronnade", as boasting, was intended to illustrate Prussia's political power after the Seven Years' War to the rest of the world. Built in the Baroque style it was a demonstration of the unbroken productivity of the Prussian state after the hardships of the Seven Years' War, 1756 to 1763. Frederick the Great had the New Palace built between 1763 to 1769 at the western end of the Sanssouci Park at the end of an approximately two-kilometrelong, dead-straight main avenue.

Designed by Johann Gottfried Büring, Heinrich Ludwig Manger, Carl von Gontard and Jean Laurant Legeay, the New Palace is one of the largest palace buildings of the time with a length of 220 metres, over 400 sandstone statues and figures on the facade, over 200 rooms including magnificent ballrooms, a theatre and sumptuously furnished living rooms for the guests of the Prussian king. At the centre of the palace an enormous dome rises, at the top of which were placed the Three Graces supporting the Prussian royal crown. The north and south auxiliary wings are also crowned with domes topped by gilded eagles. The large complex clearly served for representation, filled with marble, stone and gilt, in stark contrast to the intimate and rather modest and more relaxed Sanssouci Palace. While Frederican Rococo was employed at Sanssouci, Frederick had the New Palace built in varying forms of Baroque architecture and decoration. He preferred Rococo and Baroque to the Neoclassical style that was already in vogue across Europe. Frederick almost never stayed in the New Palace except when rulers, friends and family members were accommodated in the palace during the summer festival season - then the king himself lived in the royal apartment built for him in the southeast wing, which comprised of two antechambers, a study, a dining salon and a bedroom, among others. The Schlosstheater in the New Palace is one of the few remaining theaters from the 18th century that is regularly used. Contrary to the prevailing fashion at the time, the auditorium was equipped with rising rows of seats. A royal box was not necessary because the king preferred to watch the performances at close range in front of the orchestra pit or from the third row.

Facing page: Part of the king's royal apartments at the New Palace. For Frederick the Great, the function of the New Palace as a guest palace implied that the guest apartments as well as his royal apartment should be furnished as valuable as possible. The guests should be shown what the Prussian handicraft was able to do and what the king could afford in terms of valuable foreign items of equipment. Only in a few castles of the 18th century is such a range of the most precious materials such as marble, silk and porcelain as well as the most elaborate furnishings such as furniture, chandeliers and paintings to be found. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, SPSG, photographer Leo Seideljpg. Overleaf page 20: The private writing cabinet of Frederick the Great is furnished with exquisite tortoiseshell furniture from the Johann Melchior Kamblys manufactory. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, photographer Leo Seidel. Overleaf page 21: The ornate Grotto Hall in the New Palace, based on the model of Italian and southern German garden halls. The walls are encrusted with over 20,000 different shells, stones, marble, quartz and semi-precious stones, and includes artefacts from the famous “top of Kilimanjaro” to fragments of the floor mosaic from the Church of the Holy Sepulcher in Jerusalem. Part of the design of the Grotto Hall is a marble floor depicting marine animals and plants and an 1806 ceiling painting, Venus and Amor, the Three Graces and Putti. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, SPSG, photographer Celia Rogge.

SANSSOUCI

fter Fredericks's death in 1786, The New Palace fell into disuse and was only used occasionally for festive events and theater performances by his successors. It was not until 1859 that German Crown Prince, Frederick William, later Emperor Frederick III, would inhabit it again regularly in the summertime. His son, Kaiser Wilhelm II, made the New Palace his main residence and had the historical ensemble expanded with a garden terrace, riding stables, and a train station. Photograph this page: The lacquered Oval Cabinet in the Lower Princely Quarters, which includes one of the four porcelain chandeliers hanging in the New Palace. © Prussian Palaces and Gardens Foundation Berlin-Brandenburg, SPSG, photographer Hans Bach. 22

Available online from www.horizons.com.mt and from leading bookshops T: 2144 1604 | E: info@horizons.com.mt |

Horizons Malta

MALTA’S MEDITERRANEAN VOCATION Evarist Bartolo, Minister for Foreign and European Affairs Pope Francis greets Evarist Bartolo, Malta’s Minister for Foreign and European Affairs at the Vatican, accompanying Prime Minister Robert Abela for discussions with the Pontiff

As our world becomes smaller and smaller through communication technology, swift air transportation and a complex international economy, the value of peaceful and cooperative relationships between nations is increasingly becoming more important. This consideration has guided me during my latest post as Minister for Foreign and European Affairs because above all Malta’s relationship with Europe and beyond affects the livelihoods, the standard of living of each one of us living on these two Mediterranean islands between the south of Europe and North Africa. Malta is committed to working within the international community intensely for the common good of Maltese citizens while continuing to be an agent that promotes peace and dialogue through every fora in which we participate during the year. Malta is also planning to improve its diplomatic activity in all countries, but especially in those countries and cities in which till today we do not have a diplomatic presence. The coming year will also be a very important year for the strategic role of our country within the United Nations. If events proceed as planned, as from next June, Malta will intensify its preparations in order that in 2023 and 2024 we will have a non-permanent seat within the United Nations Security Council. Recently, the Ministry for Foreign and European Affairs also designed the government’s Strategy for the Foreign Policy for the next two years. We are aware that in order to be effective such a strategy needs to have the input and the participation of all the social partners. Such input will enable us to analyse in what ways our diplomats around the world can reach the expectations of Maltese citizens, public entities, civil societies and business enterprises, especially in these challenging times and in this critical period during which, through supporting each other, we will start recovering from the effects brought forward by the pandemic. In the past weeks, the Ministry for Foreign And European Affairs started to intensify its work to gradually establish a diplomatic presence in Brazil and Ethiopia. Diplomatic officials have already visited these two countries and started to plan the way forward. Taking such decisions is critical in order to implement part of our strategy for Africa, especially because this continent is considered by the present government as a region with great opportunities. As a country, we should also do our utmost to be aware of the changes and transformations in the gulf and the indo-pacific regions. In the past years, we have invested heavily in order to provide humanitarian assistance in those regions which were affected by natural catastrophes and crisis. The ministry assisted distant countries like India and the

Dominican Republic and neighbouring countries like Libya and Tunisia. We are convinced that we have to show our international solidarity at any time and we have to support other people immediately when they need our support. For the coming years, we are committed to strengthening such support through the Assistance for the Development Fund. During the coming months, we will continue to encourage neighbouring Libya to find a solution to their country’s problems. A United Libya acting in the interests of the Libyan peoples with the help of African and European countries will enable everyone to meet its challenges. Furthermore, we continue to insist on the need to create more jobs and wealth in the African countries where migrants are leaving to seek better ventures in other countries, thus enabling them to find it in their own country of origin. Next year, Malta will continue to be a valuable voice in favour of multilateralism. It is very important that a small state like ours continues to emphasize that international conflicts cannot be solved through the work and initiatives of only one country, most of the time working in isolation. Instead, we believe that we have to use the platform of international organisations in order to reach through an open dialogue a common consensus in favour of peace. This principle will characterise the work of the government in the international field, with special attention given to the Mediterranean countries and the Mediterranean region. We strongly believe that our future generations have the right to live in a country within a Mediterranean region that reflects peace and prosperity. During my recent brief encounter with Pope Francis, when I accompanied Prime Minister Robert Abela to the Vatican, I had the opportunity to refer to my recent participation in the G20 Interfaith Forum in Bologna. Participants from around the world then welcomed Francis’s message that “true religiosity consists in adoring God and loving one's neighbour.” During this Forum, once again, I emphasised that there cannot be peace in Europe, if there is no peace in the Mediterranean and that it is time to call a Conference on Security and Co-operation in the Mediterranean. Representatives of the Italian Government and the Vatican attending the Forum welcomed this proposal which was also endorsed in the final document of the G20 Interfaith Forum. We will continue to strive to make international relations relevant to the daily needs of Maltese and Gozitan citizens and will spare no efforts to maintain our Mediterranean vocation. This is not also beneficial to all Maltese and Gozitan citizens but indeed to the Mediterranean region and Europe itself.

‘We need to revive the spirit of Helsinki, not only for Europe itself but also for the Mediterranean,’ Evarist Bartolo, Minister for Foreign and European Affairs told the Mediterranean Conference organised recently by the Organization for Security and Co-operation in Europe (OSCE) in Vienna, Austria. Minister Bartolo said that the best road to take for a resilient post-pandemic recovery and security in the OSCE and Mediterranean Region would be to call a Conference on Security and Co-operation in the Mediterranean.

EXHIBITION

A COLLECTIVE EXHIBITION

Unmasked

The Crowds We Crave II, Celia Borg Cardona, oil on canvas, 110x110cm.

Over eighteen months ago, a global health pandemic forced a re-structuring onto our collective way of life. Covid19 imposed a universal change of pace, a re-thinking of public and personal health, and a complete overhaul of social and community living. Unmasked at Gallery 23 in Balzan, brings together the work of sixteen artists in a collective exhibition that memorialises what was lost and longed for during the pandemic. Alex Dalli, Alexia Coppini, Andrew Borg, Andrew Smith, Arja Nukarinen Callus, Catherine Cavallo, Celia Borg Cardona, Debbie Bonello, Elena Degenhardt, Francesca Balzan, Henry Falzon, Jeni Caruana, Karl Froman, Marisa Attard, Nick Inguanez and Sarah Calleja each contribute to the show, with work ranging from sculpture to painting to iPad drawings. Photography courtesy Gallery 23. 25

EXHIBITION

or Unmasked, each of the artists was invited to freely interpret themes related to the pandemic and its associated restrictions the result is a collection of work that ranges from abstracted interpretations of its impact, to literal scenes of forfeited normalcy. Unmasked makes its protagonists the people behind the masks, the forgotten faces, and the fading crowds and gatherings. Unmasked explores these and many other themes through a varied and vibrant collection of works. In bringing these visual interpretations together in one space, the exhibition invites artists and viewers alike to contemplate a feeling of shared wistfulness – to reflect on everything that was missed during the past year and a half, and perhaps consider what might have been gained. Unmasked is open to audiences by private appointment, with visitors invited to contact Gallery 23 directly for bookings. All exhibited works can be viewed online at www.gallery23malta.com ABOUT GALLERY 23. Gallery 23 offers an exclusive, alternative exhibition experience focused on quality sense-provoking fine art. Located in the heart of Balzan, it is run independently by Alexia Rausi and Rachel Said. Unmasked, until 7th November 2021 at Gallery 23, No. 23, Triq L-Idmejda, Balzan. Tel +356 9942 8272, email info@gallery23malta.com, web www.gallery23malta.com

Reunion, Jeni Caruana, gouache on paper, 72x51cm.

An Embrace, Sarah Calleja, acrylic on canvas, 80x80cm.

PROMOTION

Sustainable Mobility: Towards a Healthier Future The reduction of transport-related emissions is at the top of the local agenda, with the electrification of the vehicle fleet being encouraged as an effective way towards improving air quality. A total of €5million in local grants and €15million from the EU recovery and resilience funds have been allocated for 2022 alone, to support the reduction of internal combustion engine vehicles and to encourage cleaner and sustainable alternatives; this building on the initiatives from previous years which were very well received, writes the team at Transport Malta. Photography Andrew Roberts (electric charging) and William Jones (Valletta).

eanwhile, from the present 2021 budget, €700,000 are being used for the promotion and purchase of pedelecs and category L vehicles such as mopeds, motorcycles with or without sidecars, tricycles, and quadricycles. In addition, already as of 12th October 2021, the grants for new electric cars and new plugin-hybrids have increased by €3,000. Over the years, these schemes have also been 28

extended to reach a wider segment including the logistics sector, private companies, NGOs, and micromobility substitutes. Such financial incentives aim to reduce the burden of the initial costs of purchasing an electric vehicle therefore making them increasingly attractive, even pricewise, in comparison to ICE vehicles. This, coupled with the Government drive and commitment for the installation of charging infrastructure, makes the shift toward a healthier mode of commuting even more achievable.

PROMOTION

Still, when transitioning from the commonly accustomed-to internal combustion engine to an electric vehicle, there may be some concerns and doubts, and for this reason, Transport Malta has ensured that individuals who either wish to test drive an electric vehicle prior to purchasing same or, who would prefer not to own a private vehicle, have the possibility of opting for a car sharing solution where the fleet is fully electric. Through the present concession agreement in place, users can use an app to book and unlock a car and rent it for the period of time for which they need it. This shift away from private vehicle ownership and towards shared transport is also being witnessed in other European countries, especially amongst the younger generation. The local scenario is being studied, with the aim of highlighting and promoting the benefits with the various groups in our society, depending on their needs and differing lifestyles. Transport Malta believes that knowledge is key in achieving new transport systems and will continue reaching out to the public, listening, understanding, and developing systems that address transport needs whilst having the least negative impact on the environment.

t is no mystery that urban areas are commonly characterised by traffic and congestion, leading to poor air quality and the occupation of precious land space. The range of transport alternatives is growing, with non-polluting options such as bicycles, pedelecs, and e-kickscooters penetrating the mobility scene. Over time, cycling has become increasingly popular, and it is anticipated that it will take a more prominent role as a safe alternative to the private car. Following the regularisation of micromobility, the Authority is presently working on a related Strategy and Guidelines document aimed at reflecting the growth in uptake which has been noted in recent years. In addition, through the European Mobility Week initiative, which is spearheaded by the Commission, grants are provided on a yearly basis, following a competition for permanent sustainable mobility measures and small activities and events, to tackle urban transport challenges at local level by experimenting with practical and innovative solutions. During the past years, 20 different localities have benefitted from the various grants offered. Projects implemented include e-bike sharing initiatives, smart parking systems, transport on demand services, pedestrianisation of areas, the purchase of electric vehicles for the

provisions of community services, and the launching of mobile apps to promote sustainable mobility. Also, during the summer period, a series of workshops focusing on sustainable mobility, walking, cycling, road safety, electromobility, micromobility, and accessibility are delivered to SkolaSajf students. Transport can also significantly contribute to achieving attractive cities. Major cities are designing neighbourhoods where residents can satisfy most of their daily needs within walking or cycling distance. Malta has a particular advantage in this regard, as the close proximity of urban cores allows for the access of a range of services and retail to be reached by alternatives other than the car. The scope here is to prioritise pedestrians, improve accessibility, and create spaces for the enjoyment of children and residents. Residents are also becoming more aware of the need for having outdoor spaces for socialising and moving around safely. For this purpose, the sustainable mobility team within Transport Malta is looking into local challenges as a basis for the development of Sustainable Urban Mobility Plans (SUMPs) and Sustainable Urban Logistic Plans for Malta and Gozo.

inally, now that school has commenced once again, it is imperative to utilise our roads in a safe and controlled manner for many purposes, including the accompanying of children to school. Readers are therefore encouraged to check for the least congested routes prior to their commute. To support this, Transport Malta shall be establishing a National Access Point Platform where traffic-related information will be stored in a more user-friendly manner. As part of the Back-to-School campaign, pedestrians too are encouraged to play their part and follow traffic regulations, utilising pedestrian crossings in an appropriate way and avoiding shortcuts which could lead to unfortunate accidents. Should it be necessary, one may always contact the free emergency towing service on 80073399.

AUCTION

Christie’s Delights Christie’s upcoming 20th Century Evening Sale this November reads like an Art World Who’s Who, an art text book come to life and exploding with work by Picasso, Monet, Chagall and Miró to name a few. Even if you are not into “Art with a capital A”, as Gombrich writes in the introduction to his classic The Story of Art, these iconic names are familiar to most people, drawing big interest and bigger auction results. Here’s a snapshot of what’s up for grabs. Photography courtesy Christie’s.

his November, Christie’s 20th Century Art Evening Sale in New York will be highlighted by Pablo Picasso’s Mousquetaire à la Pipe, dated and signed 5 November 1968. An estimate is available on request; in the region of $30,000,000. A leading example of the musketeer series that came to be highly definitive of the artist’s late career, this work is remarkable for its inventiveness and variety, its vibrant palette and rich brushwork, dynamism, and overwhelming joie de vivre. Mousquetaire à la Pipe is among the most impressive of the great Musketeer series. During a period of convalescence in late 1965, Picasso began to re-read a number of literary classics – including Alexandre Dumas’ The Three Musketeers. By spring of 1966, the tale had taken up residence in the artist’s psyche, and as the following year began, the figure of

the musketeer had effectively entered Picasso’s repertoire. Part historical and part fantastical, the musketeer figures were vessels through which the artist portrayed himself. Picasso’s 1968 group of musketeer paintings marks the peak of Picasso’s interest in this subject, and during the fall of this year he produced the finest examples of the genre. This is one of two musketeer paintings that Picasso painted on 5 November 1968; the other example is in the collection of the Museum Sammlung Rosengart, Luzern. The example on offer portrays a musketeer with a notably grandiose presence, more than filling the near five-foot canvas to tower above the viewer. Just as he had done throughout his career with the figure of the harlequin and the minotaur, Picasso used the musketeer figure as a way of visualizing a heroic stance in life, to affirm his ability – through wit, skill, and creativity – to remain master of his fate during this final stage of his life.

Left page: Mousquetaire à la pipe II, Pablo Picasso (1881-1973). Signed ‘Picasso’ (upper right); dated and numbered ‘5.11.68. II’ (on the reverse). Property of a Distinguished American Collector. Oil and Ripolin on canvas, 146 x 96.5 cm, painted on 5 November 1968. Estimate on Request. Photograph © Christie’s Images Limited 2021. Above: 3 Le serpent glisse vers l’azur parsemé de flèches, Joan Miró (1893-1983). Property from The Stella Collection. Oil on canvas, 27.5 x 50.2 cm, painted in 1954. Estimate: $1 million – $1.5 million. Photograph © Christie’s Images Limited 2021. 31

AUCTION

Above: Au jardin, la famille de l’artiste, Claude Monet (1840-1926), painted in 1875. Estimate: $12 million – $18 million. Photograph © Christie’s Images Limited 2021. Below: Autoportrait, Marc Chagall (1887-1985). Property from The Stella Collection. Gouache, pastel and charcoal on paper laid down on canvas, 50.2 x 60.8 cm, executed in 1940. Estimate: $500,000 – $700,000. Photograph © Christie’s Images Limited 2021.

n the same sale, Christie’s New York is also pleased to offer Pablo Picasso’s Femme accroupie en costume turc (Jacqueline), 1955 (estimate: $20 million – $30 million), a masterpiece that has remained in a private and important collection of a single family for three generations, since 1957 – just two years after its creation. The work was originally purchased by a collector who developed personal relationships with leading contemporary artists starting in the 1950s. The collection includes works by Picasso, Joan Miro, Marc Chagall, Henri Matisse, Georges Braque and Max Ernst, among others, which were acquired either directly from the artists or through the preeminent gallerists of the time such as Daniel-Henry Kahnweiler and Galerie Maeght, and subsequently kept in the same family for three generations. Picasso’s powerful portrait depicts Jacqueline Roque, the final great love and muse of the artist’s life. It is among the most radical depictions from an important series of eleven seated portraits of Jacqueline that developed out of Picasso’s landmark series, Les femmes d’Alger (based on the eponymous Delacroix masterpiece), considered his single greatest achievement after World War II. Here Picasso honed in on the frontal, seated figure that emerged in the culminating Femme d’Alger works. Clearly in awe of his striking new muse, he has transformed her into a majestically seated odalisque, rendered in an elaborate combination of lines, patterns, and jewel-like color. In a nod to his friend and rival Henri Matisse, who had passed away just one year prior in 1954, Picasso approaches the canvas with a distinctly Matissean style, employing costume and decoration as a way of evoking the seductive fantasy of Orientalism, and using pattern as a way to experiment with pictorial construction.

On offer from the same collection is Joan Miro’s Le serpent glisse vers l’azur parsemé des flèches, 1954 (estimate: $1,000,000-1,500,000) in the Impressionist & Modern Art Day Sale and Marc Chagall’s Autoportrait, 1940 (estimate: $500,000-700,000), a highlight of the Impressionist and Modern Works on Paper Sale. Both works are borne from a direct relationship with the artists. In particular, the collector’s close friendship with Chagall sparked his involvement in arranging for the artist’s contribution to Lincoln Center in New York and to the Vatican in Rome, and he played a highly active role in establishing the Chagall museum in Nice, France.

Gold MELITA Gold

MALTA

This issue is available in four denominations; €100 wighing 1oz, €50 weighing 1/2oz, €25 weighing 1/4oz and €10 weighing 1/10oz. Melita coins are legal tender and classed as investment gold, and their price is based primarily on the spot price of gold on the international markets. These bullion coins are exempt from any Value Added Tax. Each coin is set in an individually numbered sealed card that certifies the coin within.

Available online at www.maltacoins.com or Lombard Bank, 67, Republic Street, Valletta

Real size illustrations Weight

Alloy

Diameter

Quality

Face Value

Thickness

Edge

Year of Issue

1oz

31.103g (1oz)

Fine Gold 999.9

34mm

Proof-like

€100

1.78mm

Milled

2021

1/2oz

15.55g (1/2oz)

Fine Gold 999.9

27mm

Proof-like

€50

1.40mm

Milled

2021

1/4oz

7.77g (1/4oz)

Fine Gold 999.9

22mm

Proof-like

€25

1.06mm

Milled

2021

1/10oz

3.110g (1/10oz)

Fine Gold 999.9

16mm

Proof-like

€10

0.80mm

Milled

2021

in collaboration with

www.lombardmalta.com • www.maltacoins.com

AUCTION

nother leading highlight of Christie’s 20th Century Evening Sale is Claude Monet’s Au jardin, la famille de l’artiste, 1875 (estimate: $12 Million – $18 Million). Publicly exhibited only a handful of times since its creation, the painting was last seen at auction in 1984 and has remained in the same collection ever since. Filled with the warm glow of summer sunshine and the vibrant hues of flowers in full bloom, Au Jardin, la famille de l’artiste is a romantic portrait of the artist’s family, glimpsed in a private moment as they enjoy the calm, tranquil atmosphere of their garden. At the time the work was created, Monet was living in Argenteuil, a lively suburb of Paris, located on the right bank of the Seine just eleven kilometres west of the capital. The painting eschews any details that suggest the rapidly changing character of the town at this time. Instead, the composition restricts its view, focusing on the lush abundance of the intimate space of Monet’s garden, allowing the artist to portray Argenteuil purely as a place of comfort, leisure and peace.

Above: Swamped, Peter Doig (b. 1959). Oil on canvas, 197 x 241 cm, painted in 1990. Estimate on request. Photograph © Christie’s Images Limited 2021. Below: Femme accroupie en costume turc (Jacqueline), Pablo Picasso (1881-1973). Property from The Stella Collection. Oil on canvas, 92 x 73 cm, painted in 1955. Estimate: $20 million – $30 million. Photograph © Christie’s Images Limited 2021.

eter Doig’s 1990 masterpiece Swamped (estimate on request) will be a leading highlight of Christie’s New York Marquee Week this November, featured in the auction house’s 21st Century Art Evening Sale. The painting stands as the most important of Doig’s canoe series, considered the pinnacle of his oeuvre, and has established a world auction record every time it has appeared at auction. It was last sold at Christie’s New York in 2015 for $ 25.9 million, a new record at the time. It is now poised to break the artist’s current record of $28.8 million. Peter Doig’s canoe paintings have come to be icons of contemporary art, and Swamped is among the earliest and most exquisitely rendered of the works in the series. Swamped has stood as an important touchstone for Doig in scores of major exhibitions around the world. The origin of the series of canoe paintings was born out of a dream sequence in the 1980 film, Friday 13th; specifically from the famous scene where protagonist Jason Voorhees shoots out of the water to grab his only survivor from behind, dragging her into the icy water, and she wakes up in a hospital to find it was just a dream. Doig has continued to return to this film still and its image of the solitary canoe over time The subsequent paintings are now widely recognized to be his most accomplished. 35

COFFEE TABLE

Joie de Vivre CASA CABANA "We want this book to inspire you to be bold, creative, and eccentric, much as we enjoy being at Casa Cabana", writes Martina Mondadori in the introduction to her new book, an immersive visual anthology on home decorating and entertaining from cult interiors magazine Cabana. Photography courtesy Vendome Press.

n 2014, Martina Mondadori Sartogo launched the mold-breaking design magazine Cabana. Born in Milan in 1981 she represents the fourth generation of the Mondadori publishing family. Based in London, Cabana magazine is a biannual publication that is distributed worldwide. Thanks to its unique printing techniques, limited-edition production, fabric covers, and graphic design, Cabana is an authentic collector’s item, with each issue forming a piece of the overall collection.

This page: Creating charm with a collection of classic blue and white porcelain for all occasions. Facing page: Bedroom detail with antique embroidered fabric. Vintage fabrics add layer, depth and personality to a room. 37

COFFEE TABLE

rom the simplest object to the rarest collectible, from rural huts to cosmopolitan dwellings, Cabana explores the intellectual and emotional intimacy that creative people share with buildings and their surroundings, while also celebrating the passion and endurance of artisanal creations. “Martina and her collaborators travel the globe to uncover eclectic, vibrant interiors that tell the stories of the people who live there. These are homes that have been lived in and collected for over generations”, writes Aerin Lauder, in the foreword to this new book. “The stories invite us along on remarkable journeys and cultural explorations in every corner of the world... feeding our wanderlust and appetite for beauty.” “Take it as a vast mood board - a visual atlas that might trigger your imagination. Let the associations between rooms and tables, pattinas and decors, carry you away”, writes Martina Mondadori. This sumptuous volume of stunning photographs, personal essays, and Italian recipes shows readers how to achieve the look made famous in interiordesign circles by the groundbreaking and effortlessly cool Cabana magazine. Casa Cabana presents the publication’s distinctive aesthetic, drawing on some of the world’s most stylish interiors as the backdrop for the Casa Cabana Accessories collections, with iconic Renzo Mongiardino fabrics featured throughout.

Above: “... Table linen: as my mother once said, the cloth is to a table what the floor is to a room or the shoe to a successful look. It sets the mood and is your ground to work with.” Right: “...it is good to mix patterns, materials, textures. Add objects and flowers – strictly unmanicured. Allow creativity. Don’t follow rules, but PLEASE keep it simple. And joyful.”

COFFEE TABLE

“I

grew up very much in a matriarchal environment, seeing my mother, grandmother, and aunt mastering the art of welcoming their guest and making them feel at home. It was all in the small gestures: the way they offered roasted almonds in ceramic bowls, poured prosecco in Murano glasses, laid the table seamlessly yet perfectly. It was never a pretentious table, even for the most important occasions. It would never flaunt grandeur - quite the opposite, in fact”, says Martina Mondadori. “First of all the table linen: as my mother once said, the cloth is to a table what the floor is to a room or the shoe to a successful look. It sets the mood and is your ground to work with. I never once saw them use a plain colour, and this might have been the seed of what Casa Cabana has become, which i hope to illustrate in the pages of this book. Stripes, florals, paisleys... Just as in the rooms we feature, it is good to mix patterns, materials, textures. Add objects and flowers (strictly unmanicured). Allow creativity. Don’t follow rules, but PLEASE keep it simple. And joyful.”

Top: Use this as “a vast mood board – a visual atlas that might trigger your imagination. Let the associations between rooms and tables, pattinas and decors, carry you away”, writes Martina Mondadori. Facing page: The inside of these cabinets are painted a bright cardinal red for a dramatic pop of colour. 41

COFFEE TABLE

evel in the details and accents capable of transforming any home into a Cabana-worthy abode, including tablecloths, china, glasses, cushions, and more, as author and Cabana founder Martina Mondadori introduces us to her coterie of tastemakers who share their secrets on entertaining, lifestyle, and design. Discover creative polymath Patrick Kinmonth’s thoughts on country living, design gallerist Jamie Creel’s tricks for creating an unusual table setting, and acclaimed cook Skye McAlpine’s mouthwatering recipe for peach and saffron crostata, as you step behind the glossy pages and immerse yourself in Cabana’s singular joie de vivre.

Above: Mellow yellow to illuminate your space and create your own sunshine – yellow is a happy and youthful colour which is full of positivity. Right: Each copy of Casa Cabana is bound in one of four Cabana fabrics created in collaboration with Schumacher – Sasha Diamond Ikat, Daria Paisley, Floral Sisal, or Saz Paisley, selected at random.

ABOUT THE AUTHORS: Martina Mondadori - the founder and editor of cult interiors magazine Cabana - grew up in Milan, where her father was chairman of one of Italy’s biggest publishing houses. After an early career in publishing and luxury branding, she launched the limited-edition design magazine Cabana in 2014 to great acclaim. Aerin Lauder is the style and image director for Estee Lauder Companies and founder of the global luxury lifestyle brand Aerin, which develops curated collections in the worlds of beauty, fashion accessories, and home decor. Casa Cabana by Marina Mondadori. Foreword by Aerin Lauder. Published by Vendome Press. Hardcover, 280 colour illustrations, 320 pages. Each copy is bound in one of four Cabana fabrics created in collaboration with Schumacher – Sasha Diamond Ikat, Daria Paisley, Floral Sisal, or Saz Paisley, selected at random.

ST EMILION The second chapter in This is wine: its storied place and taste.

“Fruit of the earth, work of human hands, blessed be God forever” FRANCE – BORDEAUX – RIGHT BANK – ST EMILION

ST EMILION TO THE UNCONVERTED St Emilion is one of the largest wine producing appellations producing close to 4% of Bordeaux wine with 5500 hectares of vineyards (almost the size of Gozo) and roughly 800 winemakers and growers. There are very few large estates and the average chateau is about 7 hectares in size (land area of Fifla). The most striking feature of this vast terrain is not only its diversity of terroir but the diversity of land even within individual estates, writes Kris Bonavita. This page: Bordeaux’s Place des Quinconces, is one of the largest city squares in Europe (approximately 25.6 ha). Laid out in 1820, it was intended to prevent rebellion against the city. Monument aux Girondins (detail), Place des Quinconces. Photopgraph Philippe Oursel.

THIS IS WINE ulius Caesar in a series of battles against Gallic tribes, to gain political umbrage back in Rome and pay off his debts, finally conquered Gaul in 52 BC. And so began the slow Romanisation of France. This would see various retired military veterans settle in colonies, specifically on major trading routes inland; and the plantation of vine and olive in desirable parcels of land that to this day form the backbone of areas like Bordeaux, and in particular St Emilion. While Greek or Punic colonies would focus on the coastal ports of the Mediterranean, it would take the Romans to build roads and bridges inland, quarter fields and irrigation canals, and plan towns to connect the hinterland to the vast sea trading empire. Chateaux in the region to this day boast of their historical roots as Roman plantations, even if they owe much of their renown at least from the Middle Ages to the insatiable demand of the English for claret or red wine and in particular of the St Emilion kind. Ironically Caesar did not think the nearby island of Britannia worth conquering with its inhabitants being deemed uncivilizable. Yet it would be the English who founded the nearby trading town of Libourne and built much of medieval St Emilion as a point of reference to the various vineyards whose wines they adored. In the 1300s King Edward III had a penchant for St Emilion gracing his banqueting table, when most of Bordeaux was part of the duchy of Aquitaine and under his sovereignty. A major source of conflict in the Hundred Years War against the French kings of the time. It was under the three centuries of British rule that the picturesque village of St Emilion enjoyed political and economic autonomy, governed by the establishment of a Jurade or group of magistrates, in return for the best wines being sent back to England. In addition, its landmark position on the pilgrim route to Santiago di Compostella ensured that settling monks would be at the forefront of the maintenance of vineyards and continuing tradition of winemaking. Under this chequered backdrop St Emilion emerged from relative obscurity to become the first and the largest wine exporting region of Bordeaux. However its fame would take a long time in the making. Partly due to its lack of easy transport to the town of Bordeaux, St Emilion unlike the left bank regions was not included in the Great Bordeaux Classification System of 1855. It required its own gumption to set up exactly a hundred years later in 1955, a classification system entirely of its own, under the auspices of the legendary Jurade (the oldest wine society in the world) to decide what constituted good St Emilion wine.

THE HILL OF A THOUSAND ESTATES… ST EMILION WINE GUIDE

his brings us to the wine. St Emilion is one of the largest wine producing appellations producing close to 4% of Bordeaux wine with 5500 hectares of vineyards (almost the size of Gozo) and roughly 800 winemakers and growers. There are very few large estates and the average chateau is about 7 hectares in size (land area of Fifla). The most striking feature of this vast terrain is not only its diversity of terroir but the diversity of land even within individual estates. Chateaux often have multiple separate parcels of land divided according to terroir but equally due to ancient laws of property organization. Each parcel is often home to specific varieties of grape that best suit the land and are often vinified separately to be blended into a final wine at the bottling stage. It is this unique blending style of predominantly subtle wines that gives St Emilion its fondly characteristic smooth but opulent balance. This makes the wine much more drinkable at a young age in contrast to left bank Cabernet Sauvignon based blends that tend to be more tannic and need longer cellaring.

The micro climate of the region is dependent upon the temperate influence of the Atlantic Ocean and the two rivers and estuary nearby, even if less than the Left Bank appellations, being further away from the ocean. This provides an even distribution of rain and moderately hot summers. Yet the variation in temperature and rainfall can result in very different vintages. In general St Emilion is one of the most consistent regions in producing great wine. The best recent vintages in order of ranking are 2018, 2009, 2015, 2016, 2019, 2010, 2005, 2000. Each vintage has its own characteristic highlights. Mixed difficult vintages for St Emilion are 2017, 2014 and particularly 2013 may need to be drunk young. However this distinction is really down to the particular and varied terroirs that this region enjoys. St Emilion, possibly not as much as Pomerol, can be drunk relatively early for a Bordeaux wine even after four or five years but has great aging potential especially in good vintages.

ST EMILION

This page: Château Angélus. Bond lovers may have noticed that a bottle of Château Angélus 2005 features in the new Bond film No Time to Die. Angélus has also starred in two other Bond films – Angélus 1982 starred in the Casino Royale, while the 2005 vintage was also in Spectre. Photography courtesy Château Angélus, © Deepix. Overleaf: Château Ausone, one of the top 4 classified winemakers from the Saint Emilion appellation, is considered by some to produce the quintessential Saint Emilion. Photography courtesy Château Ausone. 47

THIS IS WINE

ST EMILION

ST EMILION The Art of Blending Where Merlot is Queen

t Emilion like Pomerol is a right bank (to the Gironde estuary) Bordeaux region, whose claim to fame is the exacting blend of Merlot plums with other grape varieties, chiefly Cabernet Franc and sometimes Cabernet Sauvignon, to create wines both rich and floral yet with great aging potential. Unlike Pomerol which tends to be chiefly Merlot, St Emilion is a balanced blend of grape varieties with rich lush Merlot taking centre stage and Cabernet Franc adding floral and tannic structure. One rough estimate is 60% Merlot to 30% Cabernet Franc to 10% Cabernet Sauvignon. The exceptions to this rule are Château Cheval Blanc, considered by many as the top St Emilion estate, which is predominantly Cabernet Franc with Merlot as a backdrop; and venerably ancient Château Figeac which gives importance to all three varieties (albeit from some 100 year old vines). Carmenere, Petit Verdot and Malbec are also grown in small quantities. This is all due to the predominance of cooler clay and calcium rich soils on the limestone plateau of St Emilion which are better suited for the growth of early ripening Merlot. Cabernet Franc also does well on limestone but thrives best on the gravel slopes and hills, which bring out its strong floral aromatics and wood and spice textures. This is in contrast to the left bank Medoc’s warmer gravels and sands, more reliable in ripening the Cabernet Sauvignon grape. With this in mind, St Emilion can be broadly divided into three groups of terroir:

Plateau and Slopes or Cotes: The village of St Emilion is situated on a large limestone high elevation plateau endowed with a terrific mineral vein where most of the well established wineries are located; rarely more than a stones throw away from the village. In particular one part of the plateau gives way to a series of slopes or cotes where other important chateaux are situated, including three of the top four; Angelus, Pavie and Ausone. The limestone soils provide good drainage in wet weather while their depth ensures the vines’ roots have access to water, calcium and other nutrients during the summer ripening months. It is this fortunate combination that gives St Emilion wine its rich textures and signature minerality. Merlot grown on limestone tends towards lusciously rich almost sweet but soft tannins veering to the earthy mid palate flavours with good structure and aging potential. The slopes or hills with their varying limestone and clay mix grow grapes with a fuller spectrum of fruit, floral and wood spice aromas noticeable in the initial palate and finish.

Foothills or Graves: In the northwest corner of St Emilion, the plateau gives way to foothills or graves along its fringes, a vast terrace made up of gravel beds with clay. Formed as a result of glacial activity two million years ago, the free-draining Quaternary gravels found here are similar to those of the best terroir in the left bank appellations. In particular five famed hills also have parcels of heavy clay terrain similar to the adjoining Pomerol region and are

home to two of the greatest and oldest chateaux, Cheval Blanc and Figeac, both of which also successfully manage to grow Cabernet Franc and Cabernet Sauvignon as a result of the gravel soils. But it is there clay soils rich in nutrients and minerals that give the grapes grown in this terroir an opulent richness all of their own. If this were Burgundy, the Figeac Hills would be an appellation in its own right with grand cru and premier cru climats such is its distinct finesse and unique ability to extract the best expression of Cabernet Franc.

Terraces: Immediately south of the limestone plateau gently sloping down towards the Dordogne river is a sandy plain or valley flats with gravel and alluvial soils, where lighter but equally elegant St Emilion is made. Perhaps the most noted chateaux having sandy terroir are Corbin and Canon La Gaffeliere. The deeper alluvial soils provide more of the well rounded fruity characteristics to the grapes.

To Grand Cru or not Grand Cru?

he right bank Bordeaux wines of St Emilion and Pomerol have the distinction of not being included in the Great Classification of 1855. This is partly due to the fact both regions where until at least the 19th century not producing wine of great importance but equally as a result of being cut off from the shipping links to Bordeaux and its trading connections to greater red wine drinking markets like London. Ironically today top wines from both regions sell better than even the top wines graded in 1855. However, St Emilion decided to take things into its own hands and set up its own distinct classification system in 1955. Unlike the left bank classification this system is revised every ten years to the angst or gain of many chateaux. There are four levels of classification, the first two of which are equal to the First Growth chateaux of the left bank: 4 chateaux (Cheval Blanc, Angelus, Ausone, Pavie) are rated Premier Grand Cru Classe A; 15 chateaux are rated Premier Grand Cru Classe B; and 63 chateaux are rated Grand Cru Classe. Two estates have chosen not to apply for the recent reclassification on the grounds of irrelevant entry requirements. Some 200 winemakers have been bestowed the title Grand Cru, which they can use on their labels, due to their ownership of terroir situated in an area considered as such and abide by the rules set up by the region. It is important to note that the title of Grand Cru alone is not earned on the grounds of the wine’s quality produced in that estate. The rest of the vineyards occupying roughly one third of terroir in the region are not classified and therefore can only use the term St Emilion on their labels. Regardless of official classification the level of quality and consistency varies considerably even in some well rated chateaux, where other unclassified chateaux are more esteemed, such as Château Tertre Roteboeuf and Le Dome. As such the most reliable way of distinguishing one chateau from another is by checking wine critics and popular ratings of their various wines and vintages, over and above terroir and winemaking style.

Signature winemaking styles of St Emilion

eing one of the largest wine regions with a diversity of terroir; a multitude of chateaux; and contrasting wine making philosophies; St Emilion produces a wide range of wines blended with different percentages of grape varieties. In practice many chateaux grow Merlot on differing soils which are then blended together to good effect. Famously the relatively small size of some estates has brought rise to a diversity of innovation and experimentation in winemaking, like the garigistes movement. However, there are families of telltale signs that illustrate the type of terroir and chateaux style that has come to be associated with great St Emilion wine. Merlot grown in this area tends to produce rich and exotic aromatics with a hint of prized minerality, almost a taste of chalk, especially from the more limestone terrain. Cabernet Franc (especially from older vines) and Cabernet Sauvignon add floral notes and tannic texture respectively and contribute to the aging potential of the wine. Sauvignon’s harsh tannins tend to soften and mellow further when ripened to full effect and oak barrelled. The late ripening Cabernet Sauvignon is one of the reasons why St Emilion is the last region in Bordeaux to complete harvesting. The wines gain a silky but rich complexity with age.

Decadent and flamboyant – dark fruit with an exotic minerality

t the risk of overgeneralization grapes grown on the limestone plateau and slopes/cotes region tend towards bolder even flamboyant fuller bodied wines with a longer finish and stronger minerality. They are known for their concentration of sweet dark fruit flavours, like plum, blackberry and black cherry; and chocolate, even liquorice. Aging can result in more earthy and spicy aromas like tobacco and truffle. In contrast grapes grown on sandier and gravel soils like the graves regions offer a lighter and fresher medium bodied style of wine veering towards the tart red fruit variety of flavours. The warmer but fast draining sands and gravel tend to produce lighter coloured and softer aromatic grapes. In contrast the deeper and wetter soils of the alluvial flats produce grapes that tend to be more diluted in flavour and result in less complex table wines. In all, the wide selection of wine styles, quality and price range make St Emilion one of the best regions to treasure hunt for good value great wine. Coming Next: Pauillac for Aliens.

THIS IS WINE

THIS IS ST EMILION

hese outstanding St Emilion wines have been chosen from a vast range for their high acclaim among international wine critics, their popular ratings, medium price point, rich terroir and great vintages. Our team have been

given complimentary bottles from local suppliers to taste and give our view on how they best express and characterize the various distinct styles. St Emilion wine is a blend of terroirs – Merlot grown on a variety of limestone and clay soils masterfully blended together with

Cabernet Franc and Sauvignon having small but powerful back up roles. The wines have been placed in order of price but here is the list according to terroir for those so inclined: Limestone clay plateau: Château La Serre, Château Petit Faurie de Soutard. Limestone clay plateau and slopes: Annonce de

Bélair-Monange. Limestone clay plateau and slopes and sand foothills: Château Fonroque. Limestone clay plateau, slopes and terraces: Château Laroque. Clay, chalk and sand slopes: Château La Confession, Château Dassault. Iron-rich sand and gravel foothills/terraces: Château Bellerose Figeac, Château Corbin. As for highlights in character and style they are all medium bodied but roughly in order of full to lighter mouth feel: Château Dassault is concentrated, voluptuous and flamboyant; Château La Serre is beautifully and powerfully traditional in form and content; Château Fonroque is opulent and complex in symphony; Château Laroque is young and vibrant with a crushed fruit core throughout; Annonce de BélairMonange is polished and suavely intense in the mid-palate; Château La Confession is balanced floral and fruity with high energy on the attack and finish; Château Petit Faurie de Soutard is serenely rich and grandiose; Château Corbin is ruggedly ripe and deeply expressive; Château Bellerose Figeac is refined, soft and integrated with hidden depths. Bordeaux wines in the 40 to 70 euro price range when well rated have all the panache and depth of much more expensive wines but are still enjoyable as being a cut above more mass produced cheaper wines. St Emilion wines fortunately come in a good range of prices to suit everyone but 50 euros is a ballpark for well classified good vintages. A word of caution, I find the Vivino popular ratings too critical, especially when it comes to St Emilion, where the wine making skills are some of the most refined in the world. Young to medium aged red wines should be decanted for a few minutes to a few of hours (depending on personal preference and age and type of vintage) to increase aeration and allow the wine to soften and unfurl its character and bouquet (it can be well worth the wait). Red wine should be served at 15 degrees. Please note that the tasting notes are deliberately by a wine aficionado not by a professional sommelier. If wine is good it should be distinguishable to amateurs otherwise there would be no public interest.

Above (Clockwise from left): Annonce de Bélair-Monange, Château Laroque, Château Petit Faurie de Soutard, Château Bellerose Figeac, Château Corbin, Château La Confession, Château Dassault, Château Fonroque. Centre: Château La Serre. 52

ST EMILION

Château La Serre 2016 Grand Cru Classé

Château La Confession 2015 Grand Cru

Château Fonroque 2016 Grand Cru Classé

€78 from Mirachem Vivino popular rating 4/5 Overall critics 90/100 Jeff Leve 90/100 80% Merlot 20% Cabernet Franc Terroir: 35 year old vines planted on chalk, clay and sand soils on limestone plateau south east of St Emilion near Pavie-Macquin. Vigneron: Luc D’ Arfeuille.

€67 from Mirachem Vivino popular rating 3.9/5 Overall critics 90/100 Jeff Leve 93/100 71% Merlot 27% Cabernet Franc 2% Cabernet Sauvignon Terroir: 40 year old vines on clay, chalk and sandy soils on slopes North West of St Emilion.The Cabernet Franc comes from 70 year old vines. Vigneron: Jean Philippe Janoueix.

€62 from Vini e Capricci by Abraham’s Vivino popular rating 4.1/5 Overall critics 91/100 Jeff Leve 93/100 90% Merlot 10% Cabernet Franc Terroir: 30 year old vines on limestone plateau, limestone clay hillsides and sand and loam foothills north of St Emilion village. Vigneron: Alain Moueix.

TASTING NOTES: THE BOLD AND BEAUTIFUL – A NICE JUICY STEAK TOPPED WITH A MUSHROOM AND CREAM SAUCE, SIDE ORDER OF FRENCH FRIES. La Serre is dense ruby red almost cherry wood in colour. On the nose, deep intense aromas of lush ripe fruit; red plum, red cherry and red currant; are interwoven with earthy truffle and oaky vanilla bean and allspice. The flowers and minerals, a bittersweet almond blossom and rose petal concoction. The wine is medium to full bodied with a lush mouth feel, crisp acidity, fleshy soft tannins and very balanced fruit core. The finish a sweet maraschino cherry and chocolate confection. Upon decanting for an hour the tannins are more supple with hints of savoury, but have enough complexity to hold the fruit flavours, now more berry, in suspended animation giving a longevity and richness long after drinking. This wine feels very integrated with an expressiveness that is singularly consistent, having a timbre and spice depth that leaves you contemplating every feature. I would suggest drinking this wine at all stages from the first pour right through to its evolution in the glass and decanter.This wine has all the characteristics of a hallmark vintage with bold shapes and serene and soave core. But it’s not just good terroir and good weather, the structure is flawless showing incredible winemaking skills. If you want to taste what 2016 in St Emilion was all about, it’s right here in a bottle.

Supplier details: Mirachem also have Angelus, Ausone, Balestard La Tonelle, Barde Haut, Beau-Sejour Becot, Le Carillon de L’Angelus, Canon, Canon La Gaffeliere, Cap de Mourlin, Figeac, Grand Mayne, Larcis-Ducasse and Pindefleurs among others. Mirachem, Mira Building, Triq Kan K Pirotta, B’Kara. Tel 00356 2148 8590. Web wine.mt

TASTING NOTES: THE PLUM AND FLOWER ORCHARD – TORTELLINI ALFREDO WITH SMOKED PANCETTA, MUSHROOMS AND CREAM. On opening La Confession is deep ruby red almost dark plum in colour. The initial bouquet is a fragrant menagerie of roses, orchard plums dark, ripe and sweet; with side notes of red currant and cranberry. Wood aromas of vanilla, young leather, slight cedar and spiced treacle, liquorice and fresh wet forest also make their mark. Upon tasting, the initial impression is of soft silky tannins with a marked acidity and a medium bodied mouth feel. The finish has an afterglow of dark fruit. Upon decanting for three hours, the wine opens up effortlessly. The bouquet shifts from full floral to more plum almost rich fruitcake, and the palate expresses a fuller range of fruit, spice and herb flavours. I suggest decanting this wine for one to two hours to enjoy more of the fleshy and complex Merlot fruit and spice without losing out on the refined Cabernet Franc flowers and wood. As such this wine is a beautiful balance between delicate fragrant notes and bold fruit flavours working in tandem as seen in good St Emilion.There is something for everyone in its high intensity and lively soave expression.

TASTING NOTES: NUTCRACKER SUITE – BEEF STROGANOFF STRIPS OF SIRLOIN STEAK WITH MUSHROOMS AND CREAM ON A BED OF SAFFRON RICE. Upon uncorking Fonroque is a damask garnet red. A complex bouquet of mushroom, dry leaf and wet earth is woven into sweet wafts of dark cherry, blueberry and red plum. Wood and savoury tones of leather, cigar box, rosemary and roasted light game also make their mark. On the palate a nicely weighted bevy of spiced fruit built on a polished structure and smooth finish. The wine is medium dry with a soft acidity and silky tannins. A slight mineral vein of pencil shavings underpins the whole experience with caramelized bittersweet almond and cocoa in good measure. Upon decanting for an hour the flavours feel more composed and expressive; the wine feels like its come out more of its shell. I don’t think this needs long decanting.There is an air of Pomerol opulence in the way the Merlot grapes grown on great but differing soils perform stunningly together with the Cabernet Franc respectfully playing second fiddle.The wine is sweet and soft like all good St Emilion but equally flamboyant and elegant.

Supplier details: Vini e Capricci also have Cadrans de Lassegue, Château Mangot and Château Cap d’Or among others. Vini e Capricci by Abraham’s, Gozitano Agricultural Village, Mgarr Road, Xewkija Gozo. Tel 00356 2156 3231. Web viniecapricci.com

THIS IS WINE

Annonce de Bélair-Monange 2016 Grand Cru

Château Corbin 2014 Grand Cru Classé

Château Dassault 2015 Grand Cru Classé

€60.72 euros from Farsonsdirect Vivino popular rating 4/5 Overall critics 89/100 97% Merlot 3% Cabernet Franc Terroir: Limestone on thin clay on the plateau; blue clay and limestone on deep clay on the slopes planted with 25 year old average vines south west of St Emilion village. Vigneron: Edouard Moueix. Second wine in limited quantities of Château Bélair-Monange Premier Grand Cru Classé B.

€58 from Vini e Capricci by Abraham’s Vivino popular rating 3.9/5 Overall critics 89/100 Jeff Leve average 90/100 90% Merlot 10% Cabernet Franc Terroir: 40 year old vines on clay soils and gravel sand soils with iron-rich clay on gentle slopes very close to Pomerol near Chateaux Cheval Blanc and La Dominique.

€46 from Farsonsdirect Vivino popular rating 4.2/5 Overall critics 91/100 Jeff Leve 91/100. Wine Enthusiast 93/100 75% Merlot 20% Cabernet Franc 5% Cabernet Sauvignon Terroir: 35 year old vines (some of which are much older) on sand, and sands over clay and chalk soils with iron deposits on the northern slopes of St Emilion. Winemaking style: complete phenolic ripeness (Rolland style).

TASTING NOTES: MY ANGEL – STEAK TAGLIATA WITH PORT AND CREAM REDUCTION, BUTTERED HARICOTS AND NEW POTATOES. Upon pouring Annonce de Bélair-Monange is a velvety garnet red with a complex bouquet that ranges from floral to fruit to oak. Fresh violet and apple tree blossom, crushed raspberry, crunchy cherry and blackcurrant, come to mind with dry tobacco leaf and vanilla soon following. Upon tasting the initial impression is of a medium bodied wine with soft tannins and acidity and a dry finish with a coherent structure and a nice intensity throughout. Wet under leaf, roasted hazelnut, ground mace and chalky undertones also make their mark. Upon decanting for three hours the bouquet is as intense, but the wine has evolved to express more savoury notes, maybe light game, tomato, even celery, and deeper and darker fruit flavours. The mouth feel is invitingly smooth but remains present for longer. I would decant this wine for a few hours just to let it unfold beautifully. What is striking about this wine is what St Emilion does best, strengths of balance and integrity in the mid tones or mid palate that remain pleasurably coherent throughout, regardless of how floral, youthful or fruit oriented the style of wine might be.This is Merlot on superb limestone with a Moueix polished twist.

Supplier details: Farsonsdirect also have Angelus, BelAir Monange, Figeac, Canon, Cheval Blanc, Monbousquet, Larcis Ducasse, du Pressac, TertreRoteboeuf, Le Petit Cheval, Trotte Vieille, Teyssier, Barde Haut, and Petit Figeac among others. Farsonsdirect, The Brewery, Mdina Road, B'Kara. Tel 00356 2381 4444. Web farsonsdirect.com 54

TASTING NOTES: THE SPANISH GALLEON – BREADED AND FRIED LAMB CUTLETS WITH MASHED POTATOES AND RICH GRAVY SAUCE. On opening Corbin is a dense intense garnet red with a full bouquet of fruit and wood aromas ranging from red and black berries to cedar and leather. Undertones of earthy leaf, wet timbre and baked spices, anise and clove, also make their mark. Dry violet flowers give an air of plush power and deferred aging. On the palate the medium bodied wine has a quenching acidity and textured tannins with a sherry dry pleasing finish. Toasted notes of golden syrup and chocolate are also present. For a difficult St Emilion vintage Corbin seems to have been richly spared the clement weather. Upon decanting for three hours the bouquet and flavours of fruit, wood and spice are more expressive and equally integrated or in sync. The tannins more palatable, providing a welcome structure to a wine with amplitude and attitude. I suggest decanting the wine for three hours to allow the tannins to relax and blossom to full effect. The wine is full of verve, the Cabernet Franc has aged gracefully into the woody shadows allowing the Merlots to come through with full effect. This has fun depth and I would say is at the right drinking age even if there is room for further cellaring.

TASTING NOTES: THE IRON GAUNTLET ON A SATIN CUSHION – ROAST HOG ON A SPIT RUBBED WITH WILD HERBS DRENCHED IN ITS OWN FAT. Dassault is opaque brooding ruby red verging on purple. Upon opening an opulent bouquet of truffle, wet forest floor, roasted wild boar heavily laced in rose petal, myrrh, smoky frankincense, pervade the room – think Medieval banquet. Dark rich plums both fresh and preserved, cherry and tobacco anchor the whole experience with chocolate, anise and coffee acting as a backdrop. This medium to full bodied wine has structure and shape throughout with a fleshy fruit attack, silky tannins and fresh acidity, balanced off with high alcohol and a pleasing creamy dry finish. Upon decanting for three hours, the tertiary savoury and earth, and secondary spice and wood aromas and flavours have fused together to express more of a honeybee-dripping crushed mulberry preserve satin core. This wine is voluptuous in shape, intense in content, with finesse throughout. Decanting this wine for a few hours has its rewards but dip in from the minute you open.Venerably old vines both Merlot and Cabernet Franc have brought forth a wine that already tastes graciously aged from the outset; so any cellaring is tantamount to ennobling what has long taken place in the deep clay-caressing roots and soil where this comes from.

Supplier details: Farsonsdirect also have Angelus, Bel-Air Monange, Figeac, Canon, Cheval Blanc, Monbousquet, Larcis Ducasse, du Pressac, Tertre-Roteboeuf, Le Petit Cheval, Trotte Vieille, Teyssier, Barde Haut, and Petit Figeac among others. Farsonsdirect, The Brewery, Mdina Road, B'Kara. Tel 00356 2381 4444. Web farsonsdirect.com

ST EMILION

Château Laroque 2016 Grand Cru Classé

Château Petit Faurie de Soutard 2011 Grand Cru Classé

Château Bellerose Figeac Prestige 2009 Grand Cru

€44.70 from The Store Vivino popular rating 4.1/5 Overall critics 93/100 Jeff Leve 93/100 95% Merlot 4.5% Cabernet Franc 0.5% Cabernet Sauvignon Terroir 50 year old vines on red clays on the limestone plateau and chalk and clay soils on terraces and slopes close to Chateau Troplong Mondot and Rocheyron to the northeast of Saint Emilion. Vigneron: David Suire.

€42.80 from The Store Vivino popular rating 3.9/5 Overall critics 87/100 Jeff Leve average 89/100 65% Merlot 30% Cabernet Franc 5% Cabernet Sauvignon Terroir: 30 year old vines on clay, limestone and sandy soils high on the plateau with a slightly cooler northern exposure just north east of St Emilion village.

€34.25 from S. Rausi Trading Ltd Vivino average all years rating 4.1/5 Overall critics 86/100 Jeff Leve 85/100 80% Merlot 15% Cabernet Franc 5% Cabernet Sauvignon (est.) Terroir: Some 50 year old vines from a small vineyard of iron-rich sand and gravel in the Figeac hills north of St Emilion close to Pomerol. Winemaking style: Michel Rolland’s team.

TASTING NOTES: CIDER HOUSE RULES – FOCACCIA WITH LASHINGS OF PARMESAN AND PROSCIUTTO DI PARMA, CHERRY TOMATOES AND GREEN PESTO OLIVE OIL DRESSING. On pouring Laroque is a ruby mahogany red. On the nose a sweet strawberry florality is followed by red cherry and blackcurrant laced with oaky cigar box, leather and vanilla. The aromas come through on the palate with a nice grip of red fruit remaining long after drinking. Meaty savoury and wood undertones keep the fruit in check. The wine is medium dry bodied with a welcoming mouth puckering acidity interwoven with tannins that are fleshy but not too strong. Upon decanting for an hour the wine remains faithful to its fresh red fruit core wrapped with a fragrant red apple orchard presence with more of the spice, oak and delicious savoury notes. I suggest decanting this wine for one or two hours just to relax the tannins slightly but overall this is a vibrant and exciting drinker with a supple approachable composure fit for even the most hardened non red wine enthusiast.This is St Emilion at its most fashionably mid-palate fruity with blends of Merlot grown on different soils working their magic as only right bank wines can do.This wine will age beautifully.

Supplier details: The Store also have Chateau Bellevue St Goerges, Alexis Lichine Selection Noblesse, de Monturon, Le Barry and Legende among others. The Store, Triq taz-Zwejt, San Gwann (Industrial Estate). Tel 00356 2144 4364. Web thestore.mt

TASTING NOTES: THE NIGHTINGALE – SPAGHETTI BOLOGNESE WITH RICH MEAT TOMATO SAUCE. Upon pouring Petit Faurie de Soutard is a deep crushed garnet. The bouquet a rich blend of rose and pomegranate orchard leaves with fruit aromas of red plum and cherry all interwoven like some fruit and spice punch. Undertones of wood barrels, baked spices and dark chocolate can also be found. Upon first tasting the wine makes good on its promise with a maraschino cherry pudding mouth feel and finish. The wine is light medium dry with a high but pleasing mouth quenching acidity and mellow structure. Upon decanting for a while the bouquet gives way to a sweet savoury character on the lines of apple rhubarb crumble with roast walnuts and cream. This wine is at perfect drinking age and does not need much decanting maybe an hour at most. A strong example of how a Merlot Cabernet Franc blend ages gracefully with the floral and fruit notes folding in to allow more of a spicy wood and nut and preserve dimension, all the while the Cabernet Sauvignon keeping everything serenely in check.

TASTING NOTES: LA BELLE FERRONNIÈRE – EGGS BENEDICT WITH STREAKY BACON ON TOASTED ENGLISH MUFFINS WITH HOLLANDAISE SAUCE. Upon uncorking Bellerose Figeac is soft garnet red. A deep bouquet in the wood and spice range of cedar, tobacco, and vanilla on the nose; with dark cherry, blackcurrant syrup and wild strawberry soon following. Gamey undertones of mushroom, smoke and wet leaf also make their mark. Upon tasting red fruit flavours become more noticeable with a medium dry bodied mouth feel and pleasing finish of creamy toast brioche noticeable in more aged St Emilion, as opposed to the chalky minerality of younger wine. I suggest gently decanting this wine for five minutes just to remove the sediment and let the wine breath enough to open up fully. This wine is at the right window of drinking with all the freshness of autumn and early spring fruit fully integrated with spicy oak aromas all in a complex adorable palate. A good example of St Emilion of the Figeac hills variety with its elegant poise but firm touch.

Supplier details: S. Rausi Trading also has Chateau Badon La Gerelle, La Croix Calendreau, Figeac, and Comte de Baulieu among others. S Rausi Trading Ltd, Empire Stadium Str, Gzira. Tel 00356 2131 6210. Web srausi.com/shop

APPLE TREATS “Good apple pies are a considerable part of our domestic happiness.” Jane Austen

For To Make Tartys In Applis Tak gode Applys and gode Spycis and Figys and reysons and Perys and wan they are wel ybrayed colourd wyth Safroun wel and do yt in a cofyn and do yt forth to bake wel. Take good Apples and good Spices and Figs and raisins and Pears and when they are well chopped and coloured well with Saffron, put them in a coffin (pie shell) and bake well.

English apple pie recipes go back to the time of Chaucer and this recipe for Tartys In Applis, taken from The Forme of Cury, a Roll of Ancient English Cookery, compiled about A.D. 1390, by the Master-Cooks of King Richard II is the earliest known apple pie recipe in the world. The recipe calls for good apples, good spices, figs, raisins and pears, with saffron used for colouring, combined and placed in a cofyn - the pastry shell. According to Mrs. Beeton’s Dictionary of Every-day Cookery published in 1865, in her recipe for Apple Tart or Pie, “Many things are suggested for the flavouring of apple pie; some say 2 or 3 tablespoonfuls of beer, others the same quantity of sherry, which very much improve the taste; whilst the old-fashioned addition of a few cloves is, by many persons, preferred to anything else, as also a few slices of quince.” She continues to write that apples are “seasonable from August to March; but become flavourless after February.” Mediterranean Culinary Academy's chefs share their recipes for Apple Pie with Rosemary and Cider Batter Apple Fritters. Photography Jessica Zammit.

APPLE TREATS Apple Day is an annual celebration of apples and orchards. Traditionally falling on October 21, it is said that the celebration started in Covent Garden, London in 1990, but today it's celebrated all over the world. Apple Day is intended to be both a celebration and a demonstration of the variety we are in danger of losing, not simply in apples, but in the richness and diversity of landscape, ecology and culture too. It has also played a part in raising awareness in the provenance and traceability of food. Apples come in a variety of shapes, colours, and flavours. According to Friends of the Earth, Malta produces approximately 40,000kg of apples of all varieties every year.

ROSEMARY APPLE PIE The rosemary in this apple pie adds a subtle twist to a traditional favourite. MAKES 1 LARGE PIE FOR SHORTCRUST PASTRY 300g flour 150g butter, cut into 2 cm cubes 75ml water 20g sugar 6g salt 1. Gently mix butter into flour, salt and sugar. 2. Squeeze butter pieces between your fingers to flatten and break down lightly. Leave large chunks of butter in dough for better layers. 3. Pour cold water over mixture and combine. 4. Knead mixture until dough just comes together. 5. Form into two balls of dough and flatten into disks before wrapping in cling film. 6. Allow to chill for 2 hours or so and roll out as needed. FOR FILLING AND PIE 4 Granny Smith/Fuji apples, peeled and sliced juice from 1 lemon 10g cornflour 2 sprigs rosemary 100g demerara sugar pinch salt 1. Preheat oven to 200C. 2. Place apple slices in a bowl. 3. Remove rosemary from stalk, chop finely, add to apple. 4. Add lemon juice, cornflour and sugar, combine and set aside. 5. Remove pastry balls from fridge. Roll one ball out on a floured board and ease pastry into a buttered pie dish. 6. Line pastry case with layers of apple mixture. 7. Roll out other ball of pastry on a floured board, and cut a round of pastry with a pastry cutter. Place pastry on pie, making sure hole is centered. Seal off edges. For this pie, a leaf-shaped cutter was used to cut pastry leaves to decorate surface. 8. Brush with egg yolk, sprinkle with sugar and place in oven. 9. Bake until apples are cooked and pastry is golden brown, about 40 to 50 minutes. 10. Remove from oven and allow to sit for 15 minutes before serving.

APPLE TREATS

VANILLA CUSTARD SAUCE (Sauce à l’Anglaise) This Sauce à l'Anglaise recipe is a classic vanilla custard sauce, which uses milk instead of heavy cream, making it ideal to drizzle over apple pie, cake, desserts, fruit and even ice cream. MAKES 250ML 2 egg yolks 50g white sugar 5g vanilla essence pinch salt 250ml whole milk 10g cornflour

1. In a saucepan whisk together egg yolks, sugar and about half milk. Add 50ml milk to a separate bowl with cornflour, mix to a smooth consistency. This will help stop clumps of cornflour forming in the custard. 2. Put saucepan on a low heat, whisking continuously. Once warm, add in rest of milk, salt and vanilla essence. Whisk continuously. 3. Bring to a boil, add cornflour milk mixture, whisk in and remove from heat. 4. Pass through a sieve and cover with clingfilm. The clingfilm should custard surface custard to prevent 'skin' from forming. Cool and use to serve with a variety of desserts.

APPLE TREATS

CIDER BATTER APPLE RINGS AND FRITTERS These apple fritters are easy and quick to make with simple ingredients. The cider in the batter gives added depth of flavour. MAKES 8-10 RINGS OR 20-25 FRITTERS 350ml cider 230g all-purpose flour 15g dried yeast 4g salt 100g sugar 2 apples 1lt vegetable oil 1. For the cider batter, combine flour, yeast, salt, sugar and cider. Whisk to a smooth mixture and leave in a warm place for 10 minutes to activate yeast and develop flavour. 2. Move to a cooler place until ready for frying. 3. Slice apples horizontally to 1cm thick discs for fritters or rings for apple rings. 4. Half-fill a large saucepan with oil and heat until it reaches 180C on a probe thermometer (For induction: set induction with pot of oil to 180C and wait 5 minutes to heat.) 5. Coat apple lightly in cornflour and dip into batter. 6. Fry in hot oil until golden brown, remove and drain on paper towel. Serve dusted with sugar and custard sauce.

Recipes are from The Mediterranean Culinary Academy's collection developed by their chef instructors and taken from a new workshop which has been developed for this November. For more recipes, or to book a cooking class visit www.mcamalta.com or email contact@mcamalta.com. Share your creations by tagging @mca_malta or sending MCA a photo on their socials. 62

SUNKISSED IN CRETE, HARVESTED BY HAND This olive’s “natural juice” has all its ingredients intact thanks to the diligent process it undergoes from cultivation to pressing. Cultivated in Sitia, on the island of Crete, in an area world-famous for the quality of its olive oil, the olive trees grow in excellent soil conditions and in a special microclimate. Obtained through cold extraction and solely by mechanical means a few hours after harvest, this Extra Virgin Olive Oil is produced exclusively from the superior “Koroneiki” variety which offer a superb balance between bitter, spicy and fruity flavours and a distinct emerald shade.

PROMOTION UM’S PUBLICATIONS ON DISPLAY AND FOR SALE AT THIS YEAR’S BOOKSHOP EDITION OF THE MALTA BOOK FESTIVAL

MARK YOUR CALENDARS It’s official. Malta University Press, the University of Malta’s prestigious scholarly publisher, will for the first time ever, be participating at the upcoming Bookshop Edition of the Malta Book Festival and in a very illustrious manner, will be ‘christening’ the new venue together with all the other exhibitors. Here is a brief yet comprehensive guide of what to expect from the Press that specialises in producing high quality and rigorously peer reviewed works on Malta and the Mediterranean with particular interest in the humanities and social sciences.

WHAT IS MALTA UNIVERSITY PRESS (MUP) ALL ABOUT?

WHEN AND WHERE?

he MUP, currently chaired by Prof JeanPaul Baldacchino from the University’s Faculty of Arts, is administered by a board of scholars representing a variety of disciplines. The Press has recently expanded into digital publishing alongside its conventional print format. Digital books will be sold to libraries and institutions via John Hopkins University Press’ Project MUSE platform. Overall, MUP has been producing quality scholarly publications since its establishment in the 1960s and is the only dedicated academic press of the Maltese Islands. It has recently launched a number of new book series including Critical Studies in Maltese Society, Culture and History and Mediterranean Counterpoints in collaboration with Berghahn Publishers, with plans to launch a series in the Maltese language later this year.

Between 3 and 7 November 2021, at the Malta Fairs & Conventions Centre (MFCC) in Ta’ Qali. Once at the venue, follow the signs to proceed to the MUP stand. Apart from the bookshop, MUP will also be organising a programme of events suited to everyone’s interests.

WHY DID MUP JOIN THE FAMILY OF BOOK EXHIBITORS AT THE MALTA BOOK FESTIVAL AT THIS POINT IN TIME? The Festival Bookshop represents a unique opportunity for the University to showcase and make available its scholarly works to the general public. The pandemic has made it more challenging for local publishers to reach their audiences. Now that the Book Festival is back in its physical format, while still respecting the COVID-19 health authority regulations, MUP and its authors have a great opportunity for meeting readers in person and interacting with them, bringing academic knowledge closer to the community. 64

FOUR EVENTS ORGANISED BY MUP THAT YOU SHOULDN’T MISS! Book launches and presentations remain a staple part of the Malta Book Festival and MUP will be contributing to the programme with four very special free events. Due to current health department guidelines attendance is strictly by booking only and reservations can be made by emailing the Press at mup@um.edu.mt with the event or events you wish to attend and your ID number. Please come to the event with a valid COVID-19 vaccination certificate or a valid negative PCR test, together with your identity card and the event booking confirmation since these will be checked at the door. Attendance is strictly by booking only.

BOOK 1 LAUNCH: THE MALTESE LEGAL

SYSTEM II – PART B Wednesday 3 November at 19:00, South Hall, MFCC The National Book Festival marks the launch of the third volume of The Maltese Legal System, the definitive and comprehensive collection on the Maltese legal system. Join Prof. Kevin Aquilina, Dr Ivan Mifsud and Prof. Patricia Vella de Fremeaux from the Faculty of

Laws for the launch of this landmark publication.

BOOK LAUNCH: 2 WORKING LIFE AND THE TRANSFORMATION OF MALTA

Prof. Roger Ellul-Micallef, Prof. Keith Sciberras, and former Registrar, Ms Veronica Grech, in conversation about the University of Malta’s legacy.

DISCUSSION 4 AND BOOK SIGNING: TREASURE

Thursday 4 November at 19:00, South Hall, MFCC

TROVES OF MALTESE HISTORY

Living memory has witnessed the unparalleled transformation of the ‘workspace’ of the Maltese Islands. The edited volume, Working Life and the Transformation of Malta, documents and critiques this transformation in fascinating detail from 1960 to current times. Join volume editors Dr Manuel Debono and Dr Godfrey Baldacchino, along with Dr Anna Borg for the launch of this important book, as well as to pay tribute to Professor Edward Zammit, whose work on social class, labour and industrial relations helped to form, and shed light on, this dynamic period.

Saturday 6 November, at 14:30, North Hall 1, MFCC

RECTORS IN 3 CONVERSATION – DOCUMENTING THE UNIVERSITY’S LEGACY Friday 5 November, from 20:15 onwards, North Hall 2, MFCC 2020 marked the 250th anniversary of the University of Malta. Ahead of this milestone, Malta University Press published research documenting the University’s rich history, including a biography of Roberto Ranieri Costaguti, the University’s first rector, and a lavishly illustrated collection of essays each examining aspects of the University’s place in Maltese society and beyond. Continuing the celebrations, Malta University Press welcomes you to this event featuring University Rector, Prof. Alfred J. Vella, Rector Emeritus,

Winner of a 2020 Malta Book Prize, The Joannes Gennadius Maltese Treasure Trove in Athens is a beautifully illustrated volume featuring paintings, engravings and photographs of 19th century Malta held in the Gennadius Library in Athens. At this National Book Festival event, Prof. Arnold Cassola will join Judge Emeritus Giovanni Bonello and Dr Theresa Vella in discussing the process of discovering and documenting this fascinating collection.

OTHER HIGHLIGHTS TO EXPECT FROM THE MUP STAND? There will be a plethora of publications on display and for sale, including new and previously out of print titles. Visitors may also benefit from discounts on selected publications, including special Book Festival prices of €40 for The University of Malta: Legacies & Bearings, the beautifully presented history of Malta’s University, and a special series price of €100 for the definitive collection on the Maltese law, The Maltese Legal System I, IIA and IIB. Look out for any offers and discounts available exclusively to visitors of the MUP stand. Keep up to date with further news and information via the MUP website and Facebook page. You may also get in contact with the press by emailing mup@um.edu.mt

MUP at the Bookshop Edition of the Malta Book Festival 2021  3–7 November 2021 The Maltese Legal System II – Part B

 MFCC, Ta’ Qali Rectors in Conversation

Treasure Troves of Maltese History Discussion & Book Signing

Book Launch

Documenting the University of Malta’s Legacy

 Wednesday, 3 November

 Thursday, 4 November

 Friday, 5 November

 Saturday, 6 November

 7:00–8:00pm

 8:15–9:15pm

 2:30–3:30pm

 South Hall

 North Hall 2

 North Hall 1

Participants Prof Kevin Aquilina Dr Ivan Mifsud Prof Patricia Vella de Fremeaux

Participants Dr Manuel Debono Prof Godfrey Baldacchino Dr Anna Borg

Participants Prof Alfred J. Vella Prof Roger Ellul-Micallef Prof Keith Sciberras Ms Veronica Grech

Participant Prof Arnold Cassola Judge Emeritus Giovanni Bonello Dr Theresa Vella

Book Launch

Working Life and the Transformation of Malta

Pre-registration for all Malta Book Festival programme events is mandatory. Admittance to Festival events shall be exclusively on presentation of a valid vaccination certificate.

Book your place by sending an email to

 mup@um.edu.mt

 um.edu.mt/mup

HEALTH & FITNESS “Running is the greatest metaphor for life, because you get out of it what you put into it.” Oprah Winfrey

If you want to live longer and healthier, this is why you should run

INSPIRED RUNNING It’s free, requires no equipment and the scenery can be stunning - it’s no wonder running is among the world’s most popular sports. Our study, published in the British Journal of Sports Medicine, suggests running can significantly improve your health and reduce the risk of death at a given point in time. And you don’t have to run fast or far to reap the benefits, says Željko Pedišić, an Associate Professor at Victoria University.

INSPIRING RUNNING DESTINATIONS

Running is a great way to keep your cardio in check while travelling. These inspiring running spots will keep you on your toes. This page: The iconic Promenade des Anglais in Nice runs for about 7km along the Côte d’Azur. Photograph Arno Smit. 67

OUR STUDY

HEALTH & FITNESS

ast research has found running reduces the risk of obesity, high blood pressure, high cholesterol, disability, type 2 diabetes, heart disease and cancer. It also improves aerobic endurance, heart function, balance and metabolism. These are important components of your overall health status. So, it would be reasonable to assume participation in running increases longevity. But the previous scientific evidence on this has been inconsistent. Our review summarised the results of 14 individual studies on the association between running or jogging and the risk of death from all causes, heart disease and cancer. Our pooled sample included more than 230,000 participants, 10% of whom were runners. The studies tracked participants’ health for between 5.5 and 35 years. During this time, 25,951 of the participants died. When we pooled the data from the studies, we found runners had a 27% lower risk of dying during the study period from any cause compared with non-runners. Specifically, running was associated with a 30% lower risk of death from heart disease and a 23% lower risk of death from cancer.

Rome is filled with green space for running, including Villa Borghese, Villa Alda and Villa Doria Pamphili. 2 This page: The edge of Villa Borghese opens up to a view across Rome’s cityscape. Photograph Betty Subrizi. 69

INVESTING IN DEMENTIA CARE ISUPPORT Assisting carers of people with dementia Active Ageing and Community Care (AACC) signed an agreement with the World Health Organization (WHO) entitled ‘iSupport’. This is a skills and training program which aims to prevent and/or decrease mental and physical health problems associated with caregiving and to improve the quality of life of those caring for people with dementia. Currently, AACC are adapting the iSupport manual to the national context needs.

DEMENTIA-FRIENDLY VILLAGE Initiating a community-based approach to beat the stigma In February of this year, an agreement was signed between AACC and Ħal Safi Local Council to start an initiative in favour of a dementia-friendly village in Malta. In a pro-dementia community people are aware and can better understand what dementia is; therefore, people with dementia can continue to live actively within a community of their choice. As such, the two parties will be working together to achieve a dementia-friendly village with the main objective of reducing the stigma and raising awareness on the condition.

TELECARE ON THE MOVE A technological investment which improves the lives of people with dementia Telecare on the Move, is a new service aimed at providing people with dementia the right to achieve the highest quality of life with the least restrictions placed on their personal liberties. This service thus encourages people with dementia over 60 years of age to continue living in their own home and in the community. AACC will provide a free of charge device which will be connected to a 24-hour call centre and will operate even outdoors. This device will provide assistance to the elderly since it has several functions, which include twoway communication with relatives or a call centre, it works anywhere in Malta and Gozo, it detects falls and its battery lasts up to 3 to 5 days.

DAY AND NIGHT DEMENTIA CENTRES Providing care to people with dementia whilst living in the community For further information contact us or visit the website:

+356 2278 8800

aacc-services@gov.mt

Active Ageing and Community Care

activeagaeing.gov.mt

In September, the Minister for Senior Citizens and Active Ageing inaugurated a new Dementia Centre in Mtarfa which will serve as a day centre and a night shelter for people with dementia in the community. In addition, in November, another dementia activity centre will be opening in the heart of the village of Ħal Safi.

HEALTH & FITNESS Barcelona's Collserola Park is the largest metropolitan park in 3 the world. At 512 metres, the

MORE ISN’T NECESSARILY BETTER

e found running just once a week, or for 50 minutes a week, reduces the risk of death at a given point in time. The benefits don’t seem to increase or decrease with higher amounts of running. This is good news for those who don’t have much time on their hands for exercise. But it shouldn’t discourage those who enjoy running longer and more often. We found even “hardcore” running (for example, every day or four hours a week) is beneficial for health. Nor do the benefits necessarily increase by running at high speeds. We found similar benefits for running at any speed between 8 and 13 km/h. It might be that running at your own “most comfortable pace” is the best for your health.

tallest peak, el Tibidabo is close to the city and has incredible city and sea views. This page: The summit is occupied by Sagrat Cor church, which was started in 1902 and took 60 years to complete. Photograph Biel Morro.

BUT KEEP IN MIND THERE ARE RISKS AS WELL

unning may lead to overuse injuries. These occur as a consequence of repeated mechanical stress on the tissue without sufficient time for recovery. A history of injury and a longer duration of activity increase the risk of overuse injuries. You can minimise the risk by avoiding uneven or hard surfaces, wearing appropriate footwear, and trying not to suddenly increase the pace or duration of running. There is always the risk of sudden death during exercise, but this occurs very rarely. Importantly, we found the overall benefit of running far outweighs the associated risks. Shorter duration and lower pace of running will further reduce the risks.

TIPS FOR BEGINNERS

tart slow and gradually increase the pace, duration and weekly frequency. Set your aim at 50 minutes a week or more, and run at a comfortable speed. Be persistent, but don’t let yourself run out of steam. The benefits will be similar, regardless of whether you do it in one go or in multiple sessions spread across the week. If you don’t like running alone, consider joining a running group or an organised event such as parkrun. Running in a group can increase your motivation and provide a fun social experience.

It can be hard to start running, but it shouldn’t be too hard. If you don’t like running, don’t force it; there are more than 800 other interesting sports to choose from. The benefits of many other sports (such as swimming, tennis, cycling and aerobics) are comparable to the ones we found for running. Željko Pedišić is an Associate Professor at Victoria University. This article was published on The World Economic Forum in collaboration with The Conversation. 71

HEALTH & FITNESS Cheering squad (noun) A group of close friends of family to support and encourage you on your breast health journey. Surrounding and uplifting you during difficult moments. Always there for you when you need them most.

Breast Cancer Awareness

NOTES ON MAMMOGRAMS Is it normal to be nervous before a mammogram? You and your nerves are not alone. Here are some quick thoughts and notes on mammograms and early testing. Photograhy Elia Pellegrini.

hen should I get a mammogram? According to The National Breast Cancer Foundation (US), women 40 and older should have mammograms every 1 or 2 years. Women who are younger than 40 and have risk factors for breast cancer should ask their healthcare professional whether mammograms are advisable and how often to have them. Women younger than 40 with no known risk factors should continue with clinical exams and breast self-exams. Even women who have no symptoms and no known risks for breast cancer should have regularly scheduled mammograms to help detect possible breast cancer at the earliest possible time. Is it normal to be nervous before a mammogram? Yes, and here's what you can do. Talk to someone in the waiting room – you are not alone – connect with others during an experience that sometimes feels overwhelming. Ask for support from friends or get a cheering squad – find close friends or family that can be there for you when you need them most – and maybe start a group text for support. If possible ask for the same mammogram technician each time and start forming a 72

relationship with her so that you feel more comfortable. Ask for mammogram cushions if possible to help relieve discomfort – the cushions are placed on the surface of the image detector, providing a softer more comfortable mammogram. 3 things to share at your next mammogram. The mammographer is present to make the process as comfortable as possible. Tell the mammographer if you are concerned about a certain area. Every person should know the symptoms and signs of breast cancer including change in how the breast or nipple looks or feels; change in the breast or nipple appearance; or any nipple discharge – particularly if clear or bloody. Any time an abnormality is discovered let your doctor and mammographer know. Tell the mammographer if you have had pain in past mammograms. Some level of discomfort is normal during a mammogram due to the pressure from the testing equipment. However, if you have experienced extreme pain during your past mammograms, be sure to let your mammographer know so that they can help you have the best possible experience possible. Tell the mammographer if you are anxious about getting your mammogram. Feeling anxious is normal. Sharing how you feel with your mammographer will help them address any concerns you might have. Information sourced from The National Breast Cancer Foundation (US).

ava i l a b l e at a n y B r o w n ' s o u t l e t

ENVIRONMENT AWARENESS

#saltnudes

his October about 200 people covered in just white body paint walked across a expanse of scorched earth and rocks near the Dead Sea in an art installation meant to highlight that it is receding dramatically by nearly a metre a year. This was part of the latest photography project by American photographer Spencer Tunick – famously known for his large scale nude shoots around the world. This is the third time that the artist has visited the spot in South Israel to highlight the Dead Sea's plight via his characteristic nude subjects. 10 years ago he photographed over 1000 nude models on floating on the water on the shores of the sea – the location of which has now become dry sand and arid sink holes. The photographic work is meant to bring awareness to the environmental disaster of the disappearing Dead Sea, the salty body of water at the earth's lowest point. For this latest work the models were covered in white paint in reference to the biblical story of Lot's wife who turned to a pillar of salt. More from the project can be see online here at The Dead Sea Museum www.thedeadseamuseum.com Photography Ariel Schalit/AP.

Spooktacular Science at Esplora Contributed by Des, Education Programme & Content Developer at Esplora Interactive Science Centre

Skeletons, witches, ghosts and pumpkins are just a few characters or symbols linked to Halloween festivities. Halloween is a holiday linked to all things spooky, creepy and scary. However, not everything is scary during Halloween. Esplora Interactive Science Centre celebrates Halloween with a bang (sometimes literally!) and with a completely different perspective and point of view. Every year, on this occasion, we delve into the scientific reasons of all things creepy through an interactive approach. Over the last few years, Esplora organised a special event for this special holiday and each year took a different swing. This year, instead of celebrating this period on Halloween night, Esplora will celebrate it through a whole thematic week of activities. Irrespective of their age, each member of the family will surely find something fun to do.

Thus, between Saturday 30th October and Wednesday 3rd November 2021, Esplora will be celebrating Halloween. All families will be able to experience special activities focusing on the science of Halloween in an educational and engaging context. Have you ever seen red or blue flames? In the spectacular Fire Show you will be impressed and left in awe. Be amazed by the grand chemical reactions in the Potions Room and get astounded by the complexity of our body organs. Apart from a variety of science shows, you can also engage in several activities around the science centre. Families can join members from the Esplora Team and engage in an experiment or explore something fascinating. You can experiment with mysterious glowing liquids, play around with creepy optical illusions or grow some weird crystal using strange chemicals. Visit us during Halloween week at Esplora to spark your curiosity, generate excitement and encourage exploration of all things different, educational and above all fun! Follow Esplora’s social media channels to find out more about our Halloween celebrations.

For more information visit www.esplora.org.mt, instagram.com/esploramalta and facebook.com/esploramalta

STORIES, GAMES AND CRAFTS FOR CHILDREN

YOU CAN FIND US AT: THE BOOKSHOP EDITION OF THE MALTA BOOK FESTIVAL FROM 3RD TILL 7TH NOVEMBER

Saturday 6th November 10:00 1 12:00, Sunday 7th November 15:30 - 16:30 REGISTER AT info@faraxapublishing.com

10% OFF COUPON CODE BEMBF2021 (A discount of 10% to the already discounted prices on the website) Faraxa Books

Faraxa Publishing

www.faraxabooks.com

info@faraxapublishing.com

+356 9982 0157

TRIBUTE

DAPHNE CARUANA GALIZIA AUG 26, 1964 - OCT 16, 2017

An October Tribute to Daphne

D Still Life with Flowers on a Marble Tabletop, Rachel Ruysch, 1716, oil on canvas, h 48.5cm × w 39.5cm. Courtesy Rijksmuseum, Amsterdam.

aphne loved still lives and had a penchant for paintings with flowers. Readers of Taste&Flair would have seen her regular inclusion of Dutch Golden Age paintings. We hope that she would have liked this one by Rachel Ruysch. 17th century Holland had a flourishing international trade and thriving economy, paralleled by a craze for flowers and gardening. Newly moneyed buyers wanted portraits and paintings that highlighted the beauty of nature. Rachel Ruysch (3 June 1664 - 12 October 1750) was the daughter of Frederik Ruysch, a professor of anatomy and botany. Her artistic talent was recognized early on and at fifteen she was apprenticed to Willem van Aelst, a prominent flower painter who taught her how to arrange a bouquet in a vase to look spontaneous and less formalized. Ruysch became a renowned painter of floral still lifes and achieved international fame in her lifetime. Even though she bore ten children, she nevertheless managed to pursue a professional career as an artist. Her pictures were admired at the courts in The Hague and Germany, and she was appointed court painter to the Elector Palatine. With a long and successful career that spanned over six decades, she became the best documented woman painter of the Dutch Golden Age.