First Magazine March 2022

ISSUE 331 FEB MARCH 2022

A CAPSULE OF THE WORLD

PRAYER for PEACE

“You come here naked. You will go away naked.

You came here defenseless, you will be just as weak and vulnerable when you leave.”

"You came without money, you will leave without money.

That is what being a human being is like. Why so much pride, malice, hatred and resentment?”

Paulina Dembska

EDITORIAL

“We learn from history that we do not learn from history.”

Georg Hegel “When you tear out a man’s tongue, you are not proving him a liar, you’re only telling the world that you fear what he might say.”

George R.R. Martin, A Clash of Kings

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ucked away in the Monumental Garden of Valsanzibio, stands a statue of Cronos, God of Time. almost hiding in the greenery. He leans on a sand block – measuring time and physically weighed down by time. In 1631 the Barbarigo family, a leading Venetian family in the seventeenth century, took refuge here to escape the Black Plague outbreak that raged in Venice and Europe. Zuane Francesco Barbarigo made a solemn ‘vow’ to God that, if his family would be spared from this terrible disease, then he would commemorate and glorify the might of God with a garden refuge. His first-born son, Gregorio – Cardinal and Bishop of Padua and future saint – took this solemn ‘vow’ upon himself and desired the garden of Valsanzibio to be a monumental, symbolic pathway to perfection; a journey that brings man from the false to the truth, from ignorance to revelation. Complete with waterfalls, fountains and ponds; all positioned among hundreds of different trees and plants, inside the monumental complex and representing an essential stage within the itinerary of salvation, there is a centuries-old Boxwood Labyrinth. In the words of Dr. Alessandra Cicogna, Cultural Manager for the Monumental Garden of Valsanzibio, the Barbarigo “thought to create a positive walk, a sort of Paradise, a place there every step wants to say that life is beautiful but very difficult, and the maze here represents the difficulties of life, and the meaning is ‘never give up, because there is always a way out’. It is a place that gives positive energy, and we need a lot in this moment!”

ON THE COVER: Pope Francis. This spring Pope Francis will make an Apostolic Journey to Malta from 2nd to 3rd April.

He will be the third Pope to visit Malta, after St John Paul II and Pope Benedict XVI. Photography Nacho Arteaga.

THIS PAGE: The Statue of Time. Photograph courtesy The Monumental Garden of Valsanzibio, Padua, © Tenuta Valsanzibio s.r.l..

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 331.

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CONTENTS

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Inside Paris’s mythical bar LES AMBASSADEURS. Photograph courtesy Hôtel de Crillon, A Rosewood Hotel © Adrian Houston.

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THiS IS WiNE 5th chapter in this issue

EXCLUSIVE SERIES: THIS IS WINE. THE PHILOSOPHY OF MARGAUX. In this photo: An aerial view of Château Margaux.

Photograph courtesy Château Margaux © Brice Braastad.

POPE FRANCIS. Welcoming the ‘Herald of God’s Mercy’ to Malta.

Photograph Ashwin Vaswani.

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MELITENSIA. The Darmanin Artists, Decorative Marble Production.

Photograph courtesy Kite Group.

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CONTENTS [ISSUE 331. FEBRUARY MARCH 2022]

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59

Parisian Hotspot.

Bar Les Ambassadeurs.

Exercise and also Elderly Care.

PARIS

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MELITENSIA

HEALTH & FITNESS

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ENVIRONMENT AWARENESS Going Electric.

A Family Affair.

The Darmanin Artists, Decorative Marble Production.

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Claude Monet.

Radical Journey from Impressionism to Abstraction.

POPE FRANCIS

Welcoming the ‘Herald of God’s Mercy’.

Pope Francis’s Apostolic Journey to Malta.

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INTERIORS

ART AUCTION

MAINE. Inspiring Coastal Interiors.

Photograph Maura McEvoy, courtesy Vendome Press.

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Inspiring Coastal Interiors.

Capturing the Appeal of the Maine House.

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THIS IS WINE

The Philosophy of Margaux.

The 5th Chapter in This is Wine: Its Storied Place and Taste.

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SUNDAY LUNCH

Cooking with Love.

A Sunday Feast with Mediterranean Culinary Academy.

ART AUCTION. Claude Monet’s pivot from Impressionism to Abstraction.

Massif de Chrysanthèmes, Claude Monet. Photograph courtesy of Sotheby’s.

Sunday Lunch. A Sunday Feast with Mediterranean Culinary Academy.

Photograph Jessica Zammit.

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PARIS

“At five o’clock I was in the Hotel Crillon waiting for Brett. She was not there, so I sat down and wrote some letters. They were not good letters but I hoped their being on Crillon stationery would help them. Brett did not turn up, so about quarter to six I went down to the bar and had a Jack Rose with George the barman.”

Ernest Hemingway, The Sun Also Rises

PARISIAN HOTSPOT

Bar Les Ambassadeurs Located on Place de la Concorde, the bar Les Ambassadeurs at Hôtel de Crillon epitomises the quintessential spirit of Paris, with a focus on the past as well as the avant-garde. Les Ambassadeurs operated as a restaurant from the mid-19th century and soon became a fashionable restaurant and a café-concert nightclub, and a regular destination for the fashionable and some of the best-known figures of art and the demimonde including artists Edgar Degas and Henri de Toulouse-Lautrec. Fast forward to the 21st century and following a four-year transformation and restoration, the hotel and Les Ambassadeurs reopened with a bang in 2017. Overlooking one of the most beautiful squares in the world, this bar at the mythical address at the heart of the French capital continues to enchant as it did well over a century ago.

Photography courtesy Hôtel de Crillon, A Rosewood Hotel.

This page: Inside Les Ambassadeurs at Hôtel de Crillon. Photograph © Adrian Houston.

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PARIS

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PARIS

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he Hôtel de Crillon is one of the jewels of the Place de la Concorde, and their stories are completely intertwined. In 1755 Louis XV commissioned the architect AngeJacques Gabriel to design the Place Louis XV, which would become Place de la Concorde, to showcase his equestrian statue. At the same time, the sovereign signed deeds authorising the sale of the surrounding land.

The Duc d’Aumont, who held the rank of Premier gentilhomme de la chambre du roi - First Gentleman of the King’s Chamber - bought a plot of land at number 10 on the Place. He hired Louis François Trouard as architect and Pierre-Adrien Pâris as architect, designer, painter and collector. The latter designed the interior of the house in the very epitome of 18th century style, with woodwork, friezes and mirrors. The ceilings of the main reception rooms, now listed as Historic Monuments, date from this period.

This page: Located on Place de la Concorde, Les Ambassadeurs at Hôtel de Crillon epitomises the quintessential spirit of Paris. Photograph © Adrian Houston.

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PARIS

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PARIS

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n April 1788, the Count of Crillon became the owner of the property.

Imprisoned and then released after the Revolution, Monsieur le Comte left Paris for his own safety from 1802 to 1811. Presaging its future glories, for a short period during those nine years, his residence became a hotel under the name of Courlande. Elevated to the rank of Duke and Peer of France, Crillon returned to his home. In 1895, the Polignac family, who had inherited the Hôtel de Crillon, commissioned architect Charles Lenormand to restore the Grand Salon, the dining room and the facade, which was listed in 1896.

In 1904, the Société du Louvre bought the Hôtel de Crillon from the Duchess de Polignac’s heirs to transform it into a prestigious hotel. The company sold a great deal of the furniture and decor, including the sublime boudoir designed

by Pâris, which is now in the Met in New York. On March 12, 1909, the first guests arrived to enjoy the French art of living at the Hôtel de Crillon.

This page: Les Ambassadeurs features a trendy, offbeat, musical atmosphere, with a live trio, Les Ambassadrices, playing on some evenings. Photograph © Adrian Houston.

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Parliamentary Secretary and Labour Party Candidate on the 5th and 9th Districts 5th District: Birzebbugia, Ħal Farruġ, Kirkop, Safi, Mqabba, Qrendi, Żurrieq 9th District: Għargħur, Msida, Swatar, San Ġwann, Kappara, Swieqi, Madliena, Ta’ Xbiex

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PARIS

Right: Les Ambassadeurs became a fashionable restaurant and a café-concert nightclub in the 19th century, and a regular destination for some of the bestknown figures of art including artists Edgar Degas and Henri de Toulouse-Lautrec. Café-Concert at Les Ambassadeurs is one of Degas' most well-known pastels.

Photograph: Google Art Project, Musée des Beaux-Arts, Lyon.

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fter the armistice in 1918, Hôtel de Crillon became part of history. It was here that in early 1919 the international delegations laid down the foundations of the League of Nations. During the Second World War, Hôtel de Crillon, initially the headquarters of the Allied forces, was requisitioned by the German military command.

In 1954, Hôtel de Crillon was acquired by the Taittinger family, owners of the famous Champagne House. The avant-garde collections of Pierre Cardin and the British designer Mary Quant were shown in the salons of Hôtel de Crillon. It also served as a

meeting place for artists and personalities of the time: Peggy Guggenheim, Leonard Bernstein, the sculptor César, Sonia Rykiel and Cocteau - to name a few - were regulars at the Palace. In 1992, Andy Warhol, the king of pop art and a regular guest, honoured the Debutante Ball with his presence.

In 1982, Jean Taittinger, President of the Société du Louvre, asked his friend, the fashion designer Sonia Rykiel, to update the interior design. She put her mark on it with yellows and reds in an Art Deco style. The sculptor César designed a monumental bar sheathed in a mosaic of faceted mirror. The 18th century elements, other than the listed items, disappeared over the course of these

renovations. Fifty years after its acquisition, the Taittinger family sold its shares in the Hôtel de Crillon to Starwood Capital Group, which five years later sold them to a member of the Saudi Arabian royal family.

Fast forward to the 21st century and on March 31st 2013, Hôtel de Crillon closed its doors for the biggest restoration in its history. Four years of work. Big names were involved in the work including Karl Lagerfeld, who agreed to oversee the design of Nobile 2, on the 4th floor, a series of suites looking onto the Place de la Concorde.

The “Grands Appartements” became an unprecedented testimony to his love for the 18th century.

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PARIS

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ow a Rosewood Hotel, Hôtel de Crillon’s bar Les Ambassadeurs, with its painted ceilings on the listed heritage register, remains a classic and continues to enchant as it did well over a century ago. Indeed it was awarded the prize for the best hotel bar in Europe in 2018.

It features a trendy, offbeat, musical atmosphere, with a live trio, Les Ambassadrices, playing on some evenings, and an original cocktail menu presented as an illustrated tourist map providing a visual representation of Paris. The city’s neighbourhoods and hidden gems are represented by eight strong flavours while the recipes of each of the ten signature concoctions are inspired by an iconic Parisian location far from the usual welltrodden sites, and are imbued with an amalgamation of these flavours that reflect its history. As Eartha Kitt sings... ‘C’est Si bon’.

This page: In 2018 Les Ambassadeurs was awarded the prize for the best hotel bar in Europe. Photograph © Reto Guntli.

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MELITENSIA

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MELITENSIA

OBJECTS OF DESIRE

A Family Affair Founded by Giuseppe Darmanin in around 1810, the Darmanin family business was the most prominent marble-working firm in Malta and left a substantial body of work within Malta and abroad. Several generations of this versatile family made marble products as diverse as memorial tablets, funerary monuments, ecclesiastical work, carved stonework and mosaic table-tops. During the nineteenth century, the Darmanin family was well-known and respected, attracting a wide range of patrons from the Colonial administration, the British Royal Family, and the growing stream of British visitors, to the Church of St John and local parish churches. They also exhibited their wares at international exhibitions where they won several medals.

Now in this lushly illustrated new book published by Kite Group, The Darmanin Artists, Decorative Marble Production for the British Empire, author Jessica Muscat explores the extent of their production and the patrons they supplied.

Photography courtesy Kite Group.

Facing page: Attributed to J. Darmanin & Sons, Marble table-top, c. 1830-1860s, Private Collection, Malta. Photograph: Alex Attard.

This page: Carlo Darmanin & Son, Marble flooring of the entrance to the Armoury, Grandmaster’s Palace, Valletta. Photograph: Heritage Malta.

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MELITENSIA

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Facing page: Attributed to J. Darmanin & Sons, Marble table-top on a wooden stand (detail), c. 1830–1860s. Private Collection, Malta. Top: Attributed to J. Darmanin & Sons, Table-top with Royal coat of arms of Great Britain, c.

1830–1840, The Royal Collection (RCIN 20591), Windsor Castle Reserve Collection. Photograph: Royal Collection Trust/© Her Majesty Queen Elizabeth II, 2021. Above: Giovanni Darmanin, Marble medallion, c. 1900–1906, The Crypt of Our Lady of the Grotto, Dominican Priory, Rabat, Malta.

Photograph: Alex Attard.

MELITENSIA

his is “the first monograph to be published on the Darmanin firm”, writes Kate Hay, Formerly Assistant Curator, Victoria and Albert Museum, London in the introduction to The Darmanin Artists, Decorative Marble Production for the British Empire, and “sets the firm in the context of the social, economic and artistic history of Malta.”

While the Darmanin family business was the most prominent and respected marble-working firm in Malta during the nineteenth century, “during the twentieth century their name and work became eclipsed. Few people were aware of their mosaic table-tops, which were largely unrecognised even in Malta itself, and few details were known about the firm. The work that remains in Malta is the best-remembered, particularly that at the Presidential Palace, but their mosaic table-tops, many of which were sold to visitors from the United Kingdom and Ireland, are for the most part scattered in private collections, so the scale of this aspect of their production is only now becoming apparent as a result of collaborative research and fieldwork in Malta and the UK.” “Since very few business records of the Darmanin family firm survive, the author, Jessica Muscat has cast her net wide to gather information from parish records, international exhibitions, archives, diaries, publications in Malta and auction records. This book will establish the Darmanin family in their rightful place in the history of nineteenth-century European decorative marble alongside the work of makers in other countries.”

Jessica Muscat believes that “the artistically impressive production of this marble workshop has to date not yet received enough attention. In fact, many works of art by the Darmanin firm were previously unstudied or misattributed. Within the local art-historical context, the name Darmanin is rather more synonymous with papier-mâché ecclesiastical statuary production and other church commissions such as the ledger tombstones at the Mdina Cathedral, than with their secular oeuvre. In fact, a substantial portion of their work was somehow overlooked, a foremost case in point being their marble mosaic table-top production. A significant corpus of table-tops by the Darmanin marmisti made their way outside Maltese shores and appeared in renowned international collections, including the Royal Collection in London. Several others have appeared in various auctions throughout the years. Apart from table-tops which the Darmanins produced for affluent British patrons enjoying their Grand Tour, the family benefitted from other numerous prominent commissions.”

Mark Sagona, lecturer at The University of Malta’s Department of Art and Art History, in the foreword writes that “the Darmanins came to enjoy a solid reputation for the production of marble table-tops which were acquired by British patrons, some of which made their way even to the Royal Collection in London.” In this book Jessica Muscat “explores the mechanics of patronage which resulted in such commissions and the individuals who commissioned them. She places this production within a solid historical context which traces the Darmanins as the descendants of the Durante family of marmisti from Senglea.”

“She also places their production within the context of the decorative arts and this includes the family’s participation in the great international exhibitions.” Indeed the book “reveals the versatility of the firm and the impressive quality of work produced by this gifted Maltese family of artists.”

The Darmanin Artists, Decorative Marble Production for the British Empire, by Jessica Muscat. Foreword by Mark Sagona, introduction by Kate Hay. 320 pages, hardback + jacket, published by Kite Group. Available from www.kitegroup.com.mt and leading bookstores.

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PROMOTION The Campus Book Festival is the second biggest book festival in the Maltese islands, a collaborative effort between the NBC, UM Departments and student organisations to attract primarily tertiary students, but also the general public. It will be the ninth edition of the Festival in 2022, and a special one after two years of not holding it in person. The event can boast of a succession of notable guest authors such as Basma Abdel Aziz, Mark Doty, Caroline Smailes, Hani Shukrallah, and previous EUPL winners such as Pierre J. Mejlak, Walid Nabhan, Immanuel Mifsud.

THE CAMPUS BOOK FESTIVAL

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s a space that aims to promote the exchange of ideas between students, academics, writers and publishers, the Campus Book Festival is committed to the participation of different UM Departments and student organisations.

During the years the Festival has widened its collaborations, and the programme of events is testimony to that.

THE 2022 CAMPUS BOOK FESTIVAL INTERNATIONAL GUEST: JAN CARSON IN COLLABORATION WITH CREATIVE EUROPE DESK MALTA The Irish writer and winner of the European Prize for Literature Jan Carson will be the main international guest for this year’s Festival. Carson is a writer and community arts facilitator based in Belfast, Northern Ireland. She is the author of the novel, Malcolm Orange Disappears, the short story collection, Children’s Children (Liberties Press), two microfiction collections, Postcard Stories 1 and 2 (Emma Press), and the short story collection, The Last Resort (Doubleday). Her novel The Fire Starters (Doubleday) won the 2019 EU Prize for Literature for Ireland, the Kitschies Prize for Speculative Fiction 2020, and was shortlisted for the Dalkey Book Prize 2020. Jan won the Harper’s Bazaar short story competition in 2016 and has been shortlisted for the BBC National Story Prize (2020), Sean O’Faolain Short Story Prize (2016), and the An Post Irish Short Story of the Year Award (2021). Jan’s latest novel, The Raptures was published by Doubleday in early 2022.

At the 2022 Campus Book Festival, Jan Carson will also be joining fellow Maltese EU Prize for Literature winner, Lara Calleja. Calleja is the author of the short story collection Kissirtu Kullimkien(Merlin Publishers, 2020) and Lucy Min? (Merlin Publishers, 2016) and in 2020 was awarded the National Book Prize for Best Emergent Writer. Her first play, ‘Taralalla’, which explores the complex political phenomena behind construction and immigration, opened at Spazju Kreattiv in 2021. In that same year, Calleja won the National Book Prize for short stories with Kissirtu Kullimkien.

The participation of Jan Carson at the Festival is a collaboration between the NBC and Creative Europe Desk Malta.

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PROGRAMME OF EVENTS - HIGHLIGHTS WEDNESDAY • The author interview with Jan Carson: Jan Carson sits down for an interview with Leanne Ellul on her body of works, including her awardwinning novels and short-story collections, as well as her professional career as an arts facilitator.

• Peter Serracino Inglott's intellectual and cultural imprint - 10 years on: A decade since the passing of Rev. Prof. Peter Serracino Inglott, the panel revisits the work of this influential thinker who wrote and lectured about philosophy, aesthetics, politics, education and religion.

THURSDAY • AI in Publishing: Bridging the Gap between Industry and Research in the use of Maltese Language Processing in the Publishing Sector: This panel discussion brings together professionals from the publishing sector and researchers to discuss the technological needs of the publishing industry and how ongoing efforts in the development of Maltese computational tools could be of assistance to the industry.

• Beyond the Prize: the Maltese and Irish scenario: Lara Calleja (Malta) and Jan Carson (Ireland) speak about their major works and what winning European Union Prize for Literature has meant for them and how it shaped their creative careers, and at the same time meet as authors to discuss their respective works. Joseph Lia, Head Creative Europe Desk Malta, will be joining them to highlight the Circulation of European Literary works and initiatives of the Creative Europe programme. Moderated by Robert Pisani.

PROMOTION

The Irish writer and winner of the European Prize for Literature Jan Carson (facing page) will be the main international guest for this year’s Campus Book Festival. She will be joining fellow Maltese EU Prize for Literature winner, Lara Calleja (this page).

• Seminar: Negotiating Literary Translation: Authors, Translators and Publishers: This talk highlights the delicate balance between preserving the author's signature style while rewriting a literary text in another language in a form that a publisher finds marketable to a new readership. The ethical issue of making the translator/translation visible also ties in with the Society of Authors (SoA) campaign for 'Translators on the Covers’ • The elusive essay in Maltese writing: What's the role of the essay in the local context? An exchange that addresses the idea of the public intellectual in essayistic writing and its presence (or lack thereof) in Maltese literature, among others.

FRIDAY • Book discussion: Beautiful World, Where Are You by Sally Rooney: Studenti Graffitti discuss Sally Rooney's Beautiful World, Where Are You, with the participation of Michaela Pia Camilleri, Emily Galea, and Claria Cutajar.

• 10 years of In the Name of the Father (and of the Son): On the occasion of the publication of a new edition, Mark Vella speaks to Immanuel Mifsud and publisher Joseph Mizzi about the first 10 years of the European Union Prize for Literature winning work with piqued many readers' curiosity and moved as many.

• Maltese for foreigners: Maltese is difficult to learn, write and speak - right? In this activity, students of Maltese as a foreign language share their thoughts about spoken and written Maltese and their experience of the language. They might even surprise us with their original writing in Maltese!

• Open Mic: Join us for another Open Mic evening during the Campus Book Festival. Come and read, tell a story, exhibit or play something original. We'll be joined by the winner of the 2021 EU Prize for Literature Lara Calleja.

EXHIBITORS Kampus Kotba – the 2022 Campus Book Festival will be hosting a record number of established publishers and booksellers for its ninth edition. Bringing together the publishers Faraxa Publishing, Horizons, Kite Group, Merlin Publishers, Klabb Kotba Maltin/Midsea Books, Marvellous Malta, and Malta University Press, as well as Mallia & D’Amato Booksellers, Inizjamed, Għaqda tal-Malti Università, Malta Libraries, and Creative Europe Desk Malta.

Visitors to this year’s edition will be able to enjoy a wider book selection on sale thanks to new collaborations forged on the occasion of Kampus Kotba. First-time exhibitors Mallia & D’Amato Booksellers, known for their loyal customer base and book curation, will be contributing with their selection of world fiction and poetry books. Following their participation in the 2021 Malta Book Festival, Malta University Press – the scholarly publisher of the University of Malta– will also be at the Campus Book Festival with their high-quality peer reviewed academic works on Malta and the Mediterranean, which have a particular focus on the humanities and social sciences. The recently-established Marvellous Malta will also be presenting festival visitors with its first publication in a series of photographic books showcasing the natural beauty of Malta.

Exhibitors at the Festival are collectively providing a book selection spanning locally-and internationally-published novels, short-story and poetry collections, non-fiction, drama, translated works, and YA literature, as well as works of research, Melitensia, and more. Also thanks to the continued participation of Malta’s leading and prize-winning publishers, Kampus Kotba is an unmissable opportunity for students and the general public to catch up with the latest publications, while also attending a discussion of interest from the Festival’s programme.

PARTICIPANTS This year the Festival features the participation of DESA (Department of English Students’ Association), HoASA (the History of Art and Fine Arts Students' Association), SPS (Students' Philosophical Society), and Studenti Graffitti. Also contributing will be the Department of Philosophy, the Department of Maltese, the Department of English, the Department of Translation, Terminology and Interpreting Studies, the Department of Artificial Intelligence, Creative Europe Desk Malta and Inizjamed.

DATES Wednesday 23 to Friday 25 March at the UM Quadrangle Wed 23: 9am-4pm, Thur 24: 9am-4pm, Fri 25: 9am-9pm 21

POPE FRANCIS “After we had reached safety, we then learned that the island was called Malta. The natives showed us unusual kindness. Since it had begun to rain and was cold, they kindled a fire and welcomed all of us around it.”

Acts 28:1-2

WELCOMING THE ‘HERALD OF GOD’S MERCY’

POPE FRANCIS’S APOSTOLIC JOURNEY TO MALTA In this year's Pastoral Letter for Lent, the Bishops of Malta write that "every time we read these verses from Chapter 28 of the Acts of the Apostles and hear the name of Malta, our hearts become aflame and a shiver of emotion runs down our spine. This is so not only because our island’s name is mentioned in the Holy Scripture, but also because we renew our memory of the extraordinary welcome which our forefathers gave Paul and his companions in their hour of need to the point that it remained etched in the heart of Luke, the author of the narrative of this event. “The natives showed us unusual kindness”. Luke uses the word philanthropy - friendship.

After the three months that Paul spent on the island, the initial kindness shown by the Maltese towards him and his companions had matured to the extent that Luke concludes his account of their stay in Malta by saying: “they bestowed many honours on us, and when we were about to sail, they put on board all the provisions we needed” (Acts 28:10)." The pastoral letter continues to write that "the visit of our Father Pope Francis to Malta is in itself an event that expresses God’s loving mercy towards us all. Inspired by the loving mercy which Pope Francis has for us Maltese and Gozitans, he wishes to meet us in person to deliver his message."

This page: Pope Francis, photograph Ashwin Vaswani.

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POPE FRANCIS

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ope Francis's first foreign trip of the year will be to Malta, in a visit that had originally been scheduled for 2020 but was postponed because of the pandemic.

Accepting the invitation of the President of the Republic of Malta, the civil authorities, and the Catholic Church of the country, His Holiness Pope Francis will make the Apostolic Journey this spring from 2 to 3 April. The Pope will visit Valletta, Rabat, Floriana and Ħal Far, and Gozo.

Though small, Malta has produced two highranking Catholic churchmen who are close advisers: the former bishop of Gozo, Cardinal Mario Grech, is now based at the Vatican and is spearheading the Pope's unprecedented two-year consultation of rank-and-file Catholics on the future of the church. Archbishop Charles Scicluna, meanwhile, is a top adviser on clergy sexual abuse.

The Pope is due to arrive in Malta from Rome at 10am, where he will be greeted with a welcome ceremony at Malta International Airport. This will be followed by a courtesy visit to the President of the Republic in the “Ambassadors’ Chamber of the Grand Master’s Palace in Valletta at 10.50. At 11.35am he is then scheduled to meet the Prime Minister in the “Pages' Chamber”, followed by an 11.50 meeting with the Authorities and the diplomatic corps in the “Grand Council Chamber”.

This page: Pope Francis puts on a skull cap he was just presented with at the Vatican this February. Photograph: Gregorio Borgia/AP. 27

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POPE FRANCIS

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ater in the afternoon at 3.50 the Pope will depart by Catamaran from the Valletta Grand Harbour to Gozo, where he is set to arrive in Mgarr at 5pm. At 5.30, Pope Frances will have a prayer meeting at Ta’ Pinu and at 6.45 he will depart by ferry to arrive in Cirkewwa at 7.30.

On Sunday 3 April at 7.45am Pope Francis will have a private meeting with the members of the Society of Jesus at the Apostolic Nunciature in Rabat and at 8.30 he will visit the St Paul's Grotto at the Basilica of St Paul in Rabat. At 10.15 he will celebrate a Holy Mass at the Granaries in Floriana.

His program continues in the afternoon with the Pope meeting migrants at the John XXIII Peace Lab Centre for Migrants in Ħal Far at 4.45. The Peace Lab was set up in 1971 following an appeal made by Pope John XXIII, calling for the world to reflect on peace, and is now home to migrants and refugees.

At 5.50 a farewell ceremony will take place at Malta International Airport, where the Pope will depart back to Rome at 6:15.

This page: Pope Francis is greeted at a weekly general audience in the Paul VI Hall at the Vatican this February. Photograph: Gregorio Borgia/AP. 29

INTERIORS

This page: Maria Berman and Brad Horn, founders of the New York City-based architectural firm Berman Horn Studio, took inspiration from the tradition of painted surfaces that defines old New England homes, adding a touch of gloss so that the floor reflects all the glorious light.

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INTERIORS “The sea cures all ailments of man.”

Plato

INSPIRING COASTAL INTERIORS

CAPTURING THE APPEAL OF THE MAINE HOUSE Located in New England, Maine is known the world over for its seafood and legendary Maine lobster and clams, it's very jagged Atlantic coastline, picturesque waterways and forests. Indeed, its rugged coastline, mountains and the sea have inspired artists for centuries, and have lured residents and home owners captivated by its inviting appeal.

In this new book photographer Maura McEvoy, art director Basha Burwell and author Kathleen Hackett explore the soul of Maine in some three dozen of its most original, authentic, evocative and inviting houses.

From coastal farms to cosy cabins the interiors are inspiring and varied.

Here beachside or coastal living, does not have a 'certain' look - rather each house is unique and reflects the history of the house and the present of each owner. Photography by Maura McEvoy, courtesy Vendome Press.

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INTERIORS

Above: The kitchen at photographer Maura McEvoy’s family home in southern Maine, with a spectacular view of the tidal marsh. Left: From the water sailors can see this part of High End, built to recall a lighthouse. High Head was built in 1937 using granite, spruce, fir and white pine harvested on the property, and is an ideal spot to watch boats coming and going. The brick parquet floor and granite walls fit seamlessly into the rugged landscape. Bottom: “Maine chooses you,” says Sharon Mrozinski, one half of the 30-year partnership that is the shop Marston House. Together with her husband, Paul, she has built an international clientele of interior designers and devotees of the vintage French linens, silver, furnishings and objects that bear the hallmarks of the pair’s adopted home state. The kitchen brings to life the offerings of their shop, located downstairs.

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INTERIORS

F

or several years, acclaimed photographer Maura McEvoy and art director Basha Burwell traveled the length and breadth of Maine, ferrying across countless bays and inlets, braving dubious dirt roads, and combing seaside towns in search of houses that capture Maine’s singular character and what the artist Jamie Wyeth once described as: “There’s a quality of life in Maine which is singular and unique... It’s absolutely a world unto itself ”. They often arose at 5 in the morning to capture a sunrise and the ethereal mist suspended over a harbour. They peeked inside sloping barns, behind boat sheds and under hundred-year-old eaves. At an early point, they were advised to create a narrative around what a Maine house meant, but both resisted. Their compass? They kept the dial on “we know it when we see it.”

“Our hope is that The Maine House serves as both a record of and a tribute to the place we all want it to be, the one that plays out in a city-dweller’s fantasy, a child’s dream, an artist’s imagination, a sailor’s aspirations, and a nature lover’s reverie“, writes Kathleen Hackett in the introduction.

One common thread is that the natural world figures largely in Maine houses, and it’s a rare one that doesn’t celebrate it by bringing the outdoors in.

This page: In this former Baptist church, the narthex has become a stage (and kitchen), though the act of cooking and eating in the vast space can feel like performance in itself.

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INTERIORS

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hese are not designer houses: they are homes created by the people who live in them - from writers to fishermen, textile designers to farmers - distinctive for their ingenuity, originality, and fierce individuality. Many are unchanged, inhabited by generations of the same family; some are ingenious conversions.

“These houses conjure dreams and allow the imagination to soar. The photographs by Maura McEvoy and art direction by Basha Burwell are exquisitely evocative of Maine’s hidden places. Kathleen Hackett’s crystal-clear prose complements them. Although there are no people depicted here, this absence is full of the presence of Mainers who love not just their houses but most importantly home itself,” writes Gabriel Byrne.

Here are the spaces that personify the artists whose work is made better through struggle, a Mainer’s point of pride. Here are cottages resolutely unchanged - the warped floorboards and lovingly worn camp sofas sat on by generations of the same family.

Here are the spaces where a life well lived is defined by spirit, creativity, and longevity. As Kathleen Hackett observes in her eloquent text, these are homes that have a kind of visual wealth that money can’t buy, homes that define the very spirit of Maine.

Here is The Maine House.

This page: Here in this Scandinavian-style getaway, this swivel fireplace is based on a French 1960s design.

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INTERIORS

Above: Artworks fill the space of this lobster-red living room of artist Dan Dowd.

Left: Using bright paint, antiques, and curiosities, artist Dan Dowd has transformed the inside of this Maine house into an oasis of modern design and colour.

ABOUT THE AUTHORS:

Photographer Maura McEvoy has spent every summer of her life on the Maine coast. Her work has appeared in House Beautiful, Town & Country, Condé Nast Traveler, Outside magazine, and Martha Stewart Living, among many other publications.

Art director and stylist Basha Burwell sails every boat she can every day she can on her beloved and native coast of Maine. Her clientele includes L.L.Bean, Garnet Hill, and Misha & Puff.

Native New Englander Kathleen Hackett spends her summers in Maine. She is the author of Brooklyn Interiors and has ghostwritten more than two dozen books on cooking and interior design. She is a contributor to Elle Decor, Architectural Digest, and Veranda.

The Maine House, by Maura McEvoy and Basha Burwell. Photography

by Maura McEvoy and text by Kathleen Hackett. Published by Vendome Press. Hardcover, 296 pages, 250 colour illustrations.

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On the cover: For this stone house, the home’s owners suspended a metal rail at cornice height to hang their furniture in the off-season, to prevent water damage.

INTERIORS

Top: Painted furniture is not specific to Maine houses, but in this harbourside cottage, one of a cluster on a former fishing wharf, it is an eminently practical choice for unifying the disparate styles of the chairs that fill the great room. The colour also animates the space as brown furniture never could. The gray-blue colour made perfect sense: Depending on the weather, it mimics the ocean, the sky or the blue spruce right outside. Above: Fireplaces can be found in most houses in Maine, used throughout the year in both summer and winter, and often central.

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THIS IS WINE

The fifth chapter in This is wine: its storied place and taste.

“Fruit of the earth, work of human hands, blessed be God forever” FRANCE – BORDEAUX – LEFT BANK – HAUT MEDOC – MARGAUX

THE PHILOSOPHY OF MARGAUX Margaux is the second-largest vinified region in the Haut Medoc after St Estephe, having around 1500 hectares of vineyards and around 80 chateaux. It is the southernmost region of the Medoc or the most upstream on the left bank of the Gironde River, before reaching the city of Bordeaux and comprises of a number of villages including Margaux itself. The Landes forest to the west shelters the region from the harsh Atlantic winds without losing any of its tempering maritime influence. Many chateaux are centred around the village of Margaux with their parcels of vineyards often intermingled. More than any other region in Bordeaux, Margaux boasts 21 Cru Classe chateaux (about a third of all 1855 Classified wines).

Margaux has a further 20 chateaux which enjoy Cru Bourgeois status, just below Fifth Growth, although many are known for being superior to those of higher classification, writes Kris Bonavita.

This page: Place de la Bourse, Bordeaux. Photograph L. Filipe C. Sousa.

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MARGAUX

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THIS IS WINE

n a fateful flight in 1977 from London to Paris, the Greek owner of a chain of Parisian grocery stores happened to be perusing the Financial Times when he was intrigued by an article that dwelt on the doldrums of Bordeaux estates and the lack of interest in the sale of one particular chateau sitting on the market for two years. Alex Mentzelopoulos decided to visit Château Margaux; the little pile of a neoclassical palace overlying prodigious tracks of land; and taken in by the Palladian style Greek columns overlooking its sweeping grand staircase, bought on a whim with a handshake what was in effect the number one estate since time immemorial.

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a Mothe de Margaux (or mound of a hill) as it is affectionately and eponymously known is so established that it is the only estate to give its name to an entire appellation. And from there on, the Margaux region and Bordeaux have a lot to be thankful for, as one Greek son of an illiterate innkeeper with a foreign accent had a lot to contribute to an industry that was in desperate need of loving savoir-faire.

The oil crisis of the early seventies; a hike in inheritance taxes; and a series of wine scandals, had thrown Bordeaux into a lull which shook the centuries-long establishment and tradition; and in hindsight injected a much-needed bout of new blood and self-reckoning.

Monsieur Mentzelopoulos was not the first foreigner to be enthralled by Margaux. Thomas Jefferson prior to becoming the third president of the United States during his sojourn in Paris as Minister to France extolled its virtues as being without paragon. Ironically two centuries later another American would save the day. Robert Parker, the wine critic, following a spate of abysmal vintages in the 70s when Bordeaux wine prices and chateaux values crashed (apart from bad weather, overuse of fertilizers and pesticides were probably the prime cause), deemed the stellar 1982 vintage Château Margaux as the wine of the century, leading to an explosion of interest from the American market that has not ceased since.

Indeed American rating systems have come to dominate the wine trade and consummately influence the styles of winemaking. The veering towards fruitier and more drinkable younger wines has encouraged the production of second wines from estates with grapes deemed less suitable for the more traditionally crafted grand vin (Château Margaux typically uses only a third of its harvest for their chief wine). At the same time, it provided a means of lowering yield and increasing the quality of the chateaux’s main wine to the benefit of more reasonably priced second wines. This has led to a goldilocks period where over and above the technological improvements in the 80s, married with the centuries-long know-how and culture of choosing the right grape varieties for the right soils, has led to wines that have never been so consistently good up and down the Medoc. Even lesser-known chateaux produce wine today that is of a better calibre than Premier wines of days gone by.

Never has there been such a boon of superior wine even if in lesser quantities; yet never has there been such a boon in wine consumption and wine collecting. This and the ever-increasing interest in wine as a means of investment both in the futures market and in the resale trade has sadly led to a dramatic hike in prices.

In tandem with this vested interest has been the stellar rise of Château Margaux at the forefront of its game. Ironically the iconic 1810 chateau, also known as the Versailles of the Medoc

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for its grand façade and interior, gained its name Margaux as synonymous with its elevated position in the mostly flat embankment. This would translate well to its position as the only Premier Cru or First Growth in the region. Probably it owes its early recognition more as a result of family ties to another great chateau Haut Brion in equally having the accolade of being one of only two chateaux with Premier Cru status outside of Pauillac. At the centre of its holdings is a vast stretch of land that you would be not far off the mark in thinking was just a grey chalk-dusted gravel and dirt patch of rubble. But it is precisely this poverty of soil that is perfect for nothing except Cabernet Sauvignon that gives the chateau its leading signature style of wine and best asset. Margaux is to Pauillac what St Emilion is to Pomerol. A subtly nuanced arrestingly sensual great wine that does more with less and thrives on its varied deprivations rather than richness; and this is true of the entire appellation.

The sale at a bargain price of 16 million dollars would have been inconsequential if it were not for what Mentzelopoulos did next. Alex together with his daughter Corinne set to work immediately by hiring winemaking consultant Emile Peynaud, unheard of in the day, and reassessing what of the six hundred years of hallowed know-how and culture had to be held on to or discarded in lieu of modern technological advancements. A deep look at the terroir and what was growing on that land was at the heart of its Phoenix rise to the apex of Bordeaux wine.

Together with new cellars, vats and barrels, vines were torn out and replanted but eloquently the essence of what Château Margaux did best remained in place to become one of the world’s smallest billion-dollar companies with just 81 staff commanding prices of close to a thousand euros for one bottle of the grand vin. As Corinne heartily puts forward winemaking is about caretaking, passing on something that is greater than us; being wise enough to apply the centuries-old accumulation of knowledge to listen to the needs of the land and the vine in deciding what variety to plant where and in so doing take advantage of the science and art of winemaking today.

Interestingly the vagaries of the chateau’s rise, fall and resurgence mirrors that of the whole region. While the appellation was probably the first to have Ancient Roman vine plantings, it was only in the 12th century that vineyards were sporadically established. Wine production would become more intense in the 16th century, but it is from the 18th century onwards that most of the layout of vineyards at Château Margaux and other estates would take the form they have today.

During this time the wine of Bordeaux would see a healthy transformation from a pale watery liquid that lost all appeal within a few years to the ruby red drops of ambrosia that have been prized and cellared for generations the world over.

MARGAUX

This page – Top: Château Margaux, a neoclassical palace with its Palladian-style Greek columns overlooking its sweeping grand staircase, known as the Versailles of the Medoc. Photograph courtesy Château Margaux © Brice Braastad. Bottom: Château Palmer, a Third Growth, is considered only second to Château Margaux itself. Photograph courtesy Château Palmer © Olivier Metzger.

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THIS IS WINE

This page – Top: The magic of Château Giscours is its immensity. Behind the Château lies a beautiful park bordered by an impressive forest.

Photograph courtesy Château Giscours © Federico Garcia. Bottom: Château Lascombes – Second Grand Cru Classé Margaux.

Photograph courtesy Château Lascombes.

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MARGAUX “Give me good grapes, and I will make good wines.” Peynaud

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t the heart of this metamorphosis was the influence of one French wine oenologist, Emile Peynaud. Widely seen as the father of modern winemaking, the Bordeaux University professor catapulted chateaux into the modern age, using his charismatic bonhomie to convince a vast array of Medoc chateaux and their cellar masters including Margaux to undergo groundbreaking reforms that went against the established grain. Amongst his list of achievements were the practice of harvesting healthy grapes at their full ripeness; selecting only the best possible grapes; focusing less on high levels of acidity; vinifying different parcels of grapes separately; prolonging maceration to extract optimum tannin levels; barrelling in clean and often new oak; and above all else, controlling temperatures in the all-important stages of winemaking, especially the initial fermentation and secondary malolactic fermentation

(the softening of wine where harsh malic acid converts into softer lactic acid) as a means to stabilize the otherwise runaway process, thus reducing the risks of spoilage.

In what has been dubbed as the Peynaudization of Bordeaux, greater, richer, fuller and better-rounded wines are now the norm. From his humble beginnings as a cellar worker for a Bordeaux wine merchant, he influenced a generation of oenologists including Paul Pontallier of Margaux fame and Pomerol’s Michel Rolland who tweaked his innovations to Right Bank winemaking needs. Possibly his greatest talent was his ability to taste wine and foresee its aging potential and realizing what sort of blend and balance in structure and body was required for a grand vin to make the mark. However, his crowning achievement is what wine writer High Johnson has dubbed as the philosopher of wine who contributed as much to wine appreciation as he did to winemaking.

Summa ars celare artem – the greatest art is one which hides itself

P

rogress has not just happened in the winemaking and cellaring stage; vineyard management and vine growing have also improved in leaps and bounds. Deeper knowledge of the vines and soil, as well as more organic and biodynamic farming methods, have become the norm. The philosophy of winemaking today is as much about innovation as it is about caretaking. Observing and listening to the vagaries of time, climate, soil and vine to see how best to extract the most from nature and in the process of nurture marry the two to create one of humanity’s most ancient and yet most noble achievements. Wine tells us

as much about culture and history as it does about nature, science and technology; all because fermented grape juice has properties that allow it to tell a story or biography of where it came from, who made it, and how it has come to be what it is. It comfortably grounds us in providing answers to a destiny which we ourselves to our own questions remain at a loss to answer. Fundamental to all this is hiding one’s tracks, blending and making wine in such seamless and exacting proportions that the very craft and technique is hidden, almost as if it were just naturally always that way and possibly this is what defines the subtle balance, poised strength and panache of Margaux wines.

Wine Buying Guide

M

argaux is the second-largest vinified region in the Haut Medoc after St Estephe, having around 1500 hectares of vineyards and around 80 chateaux. It is the southernmost region of the Medoc or the most upstream on the left bank of the Gironde River, before reaching the city of Bordeaux and comprises of a number of villages including Margaux itself. The Landes forest to the west shelters the region from the harsh Atlantic winds without losing any of its tempering maritime influence. Many chateaux are centred around the village of Margaux with their parcels of vineyards often intermingled.

More than any other region in Bordeaux, Margaux boasts 21 Cru Classe chateaux (about a third of all 1855 Classified wines) with one First Growth, Château Margaux, and five Second Growths Chateaux: Rauzan-Segla, Rauzan-Gassies, Durfort-Vivens, Lascombes and Brane-Cantenac.

Margaux has a further 20 chateaux which enjoy Cru Bourgeois status, just below Fifth Growth, although many are known for being superior to those of higher classification. Indeed one Third Growth Château Palmer is considered only second to Château Margaux itself, and a number of unclassified chateaux such as Bel Air Marquis d’Aligre and Labegorce have considerable bearing. In the recent past, some chateaux even within the classification have not been as consistent or reliable as neighbouring regions, where other chateaux are the epitome of great wine. This is far less the case in the last few years with a prodigy of chateaux producing their best wines ever.

The chief grape due to the preponderance of gravel is Cabernet Sauvignon. Like all Left Bank regions Merlot, Cabernet Franc, Petit Verdot, Carmenere and Malbec are also varyingly used if at all in the blend. Some

white wine is produced using Sauvignon Blanc and Semillon. Being the most south it is the warmest of the famous appellations and often the first in harvesting. In cooler years such as 2017, 2013 the wines can veer towards the more delicate. In drought-stricken years Margaux vineyards having the thinnest soils tend to struggle more than other regions. The best recent vintages are 2015, 2016, 2014, 2018 and the twin years of 2010 and 2009.

Margaux has the most varied types of terroir and soil in the Medoc. It has the seemingly dubious accolade of having the poorest and thinnest soils with the greatest concentration of gravel which is exactly what great wine grapes need. A patchwork of gravel and sand islands and hills are surrounded by streams and marshland. The best vineyards are located here on the elevated terrains and hilly slopes around the villages of Margaux and Cantenac and close to the river where the deep gravel and sandy soils lie.

The loose gravel together with a predominance of sand provides good drainage and is thought to contribute to the intense floral bouquet and soft tannins Margaux is famous for. The gravel also retains heat and reflects light which helps the late-ripening Cabernet Sauvignon. The sterile ground forces the vine roots to extract nutrients deep into the soils resulting in more concentrated fruit.

Other soils are made up of stony and pebbly limestone and clay. Further inland away from the river deeper more clayey soils have vineyards offer a contrasting style of less perfumed wine. Chateaux tend to plant the better suited Merlot in the heavier less well-draining clays. There is also a slight difference in terroir between the northern end and southernmost banks of the region. Wine from the northern end of the region tends to be more fragrant in contrast to stronger but less floral wines from the south.

“You don’t go far wrong with a Margaux.”

Carson to Mrs Hughes in Downton Abbey

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he archetypal Margaux wine is famed for its femininity; its perfumed floral character and sensuous silkiness, yet held together with a dense and powerful dexterity of form or structure. In contrast to the archetypal powerful red Bordeaux, Margaux beams with refined subtlety and balance. Yet, the varied terroir and the fact that most chateaux own parcels of vineyard dispersed around the various villages intermingled with those of other chateaux have resulted in a breadth of wine styles and even quality. Perhaps more than in any other Medoc region, the best wine is not just a product of good terroir but rather dependent upon the choices made in planting the right grape varieties and in the winemaking

and blending styles. Broadly, the intense fragrance, especially of violet, and blackcurrant flavours are believed to be a product of the soils heavy in gravel to the north near Margaux. Vineyards to the south around the villages of Cantenac, Arsac and Labarde tend to produce more powerful wines with stronger plum flavours but less fragrance. The tannins tend to be softer and the wine less powerful or less full-bodied than those of Pauillac but more elegant. Despite their subtlety, the wines age well, even over decades, and gain in complexity with further aromas of truffle, lilac, cigar box and tobacco to dark fruit flavours of cherry and plum making their mark.

Coming Next: Saint Julien to the Uninvited.

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THIS IS WINE

This is Margaux These wines have been chosen from a vast selection for their popular ratings, acclaim among wine critics, superb value quality ratio, rich terroir and great vintages. Our team have been given complimentary bottles from local suppliers to illustrate how best they express and characterize the appellation.

Margaux is chiefly a Cabernet Sauvignon blend with the use of Merlot and sometimes other grape varieties. The large variety of soil types and terroir for a left bank appellation means it is difficult to generalize too broadly but the proportion of gravel and sand lends itself well to a refined and floral expression of Cabernet Sauvignon which arrestingly can also age well despite its subtlety. The clayier soils do their part in the production of lush Merlot that helps soften the blend where Petit Verdot and Cabernet Franc can add mid-palate secondary textures and aromatics. Margaux is known for its signature florality of intense violets and iris; over and above the cedar, plum, pencil lead and tobacco leaf aromas and minerality expected of Left Bank Bordeaux.

What makes Margaux special is its confected elegance or amuse-bouche wrapped integrity.

Over and above the intense signature florality, the gravel and clay mix adds concentration and mid-palate textures or rounded contours to the Cabernet with softer edges and less austerity than its more northern neighbours such as Pauillac. The clay and Merlot provide a tertiary dimension and depth even to younger or purer vintages and often work hand in hand almost seamlessly with the Cabernet and Petit Verdot varieties. The region has about a third of all classified chateaux meaning quality is synonymous and expected especially over the last few decades with chateaux often producing better wine than in their entire history.

Vintage is important in terms of personal taste and structure with the hotter more droughtstricken years being the most challenging since the thin soils and heavy gravel provide easy drainage. Wetter and wintrier years can be relatively more successful for the same reasons.

Margaux wines in the 40 to 100 euro price range have all the complexity and depth of much more expensive wines and are miles above the more mass-produced cheaper wines (just for comparison’s sake a vine is often allowed to produce 6 bunches of grapes in good vineyards meaning less than 2 bottles worth of wine come from three vine trees where mass-produced wines have vines producing up to 30 bunches per vine translating to three bottles of wine per vine or nine bottles per three vines almost five times less concentrated; not to mention the quantities of fertilizers and pesticides that are all but banned in good appellations). In general, the Vivino popular ratings tend to be overly critical (possibly because people are expecting a different profile of wine to what left bank red is all about), where the wine critic ratings ironically can be more spot on.

Young to medium aged red wines should be decanted for a few minutes to a few hours (depending on personal preference, 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, especially with full-bodied wines). Older wines need decanting according to type of vintage. Red wine should be served at 15 degrees.

The tasting notes are deliberately by a team of wine aficionados not by professional sommeliers.

If wine is good it should be distinguishable to amateurs otherwise there would be no public interest.

FOR OTHER TASTING NOTES ON WONDERFUL WINES JOIN US ON INSTAGRAM/FIRSTTHISISWINE Above, from left to right: Château d’Arsac, Château Kirwan, Brio de Cantenac Brown, Château Marquis de Terme, Château Pouget, Château Bel Air - Marquis d’Aligre, Château Angludet, Château Marquis d’Alesme, Château La Fortune, and Château Tour Massac.

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Château Pouget 2009 Fourth Growth Grand Cru Classe sold via Cordier €110.50 from Attard and Co.Wines Vivino popular rating 4.2/5 Overall Critics 90/100 66% Cabernet Sauvignon 30% Merlot 4% Petit Verdot Terroir: 50-year-old vines on gravel and sand soils south of Cantenac.

TASTING NOTES: LES DAMES SUR LA PLAGE. Château Pouget 2009 is deep purple-red with an amber brim. The bouquet is sous bois, plum, raspberry and blueberry with undertones of spiced chai, cinnamon and caramelized anise. The attack is a long elixir of fat and thick sugared dark fruit with a medium-plus body of intense acidity, timbred tannins and strong flavours that stretch themselves past the ripe berry and coffee grind finish. There is a retro-nasal sensory overload that speaks loudly of a bountiful vintage that has aged well and is in its prime. A couple of hours in the decanter allowed more of a wild rose floral theme to come through with some of the mid-palate intensity becoming even more timbred and chaid.

I suggest decanting this wine for good measure but drink from the start and enjoy the soft blossoming over the next few hours. This wine is the closest I’ve come to understanding the term fat; as in a rich heavy-weight dollop of a red with dimpled cushiness. And of course, 2009 which gave us lush fat sybaritic reds from perfect summer ripening conditions, and a dry autumn with diurnal contrasts, played best to Margaux’s florality; leading to elegant secondary flavours in the timbred finish and post-decant evolution. Pencil shavings and cigar wrapping give the gravel away; while a scattering of dry wild roses speak of the autumnal sands. Peppery undertones of incensed star anise rustle about the dry summer heat. Plush 2009 in a bottle and at the crack of perfect drinking age.

Supplier details: Attard & Co. Wines has a range of Bordeaux wines in the Cordier portfolio with a number of well-rated Margaux. Attard & Co. Wines, Canter House, P. Felicjan Bilocca Str., Marsa.

Tel 00356 2123 7555 (Gozo 00356 2156 4570).

Web attardcowines.com

MARGAUX

Château Bel Air – Marquis d’Aligre 2005

Château Angludet 2014

Château Marquis d’Alesme 2017

Grand Cru Exceptionnel €76.36 from Farsonsdirect Vivino popular rating 4/5 Overall critics 90/100 Approx: 30% Cabernet Sauvignon 35% Merlot 20% Cabernet Franc, Petit Verdot, Malbec and Carmenere Terroir: 50-year-old vines planted on gravel, sand and clay soils near Chateau Margaux.

Cru Bourgeois €69 from Mirachem Vivino popular rating 4.2/5 Overall critics 89/100 55% Cabernet Sauvignon 35% Merlot 10% Petit Verdot Terroir: vines planted on soils made up of gravel, pebbles, sand and clay near the village of Arsac.

Third Growth Grand Cru Classe €68 from Mirachem Vivino popular rating 4.2/5 Jeff Leve 93/100 61% Cabernet Sauvignon 33% Merlot 6% Petit Verdot Terroir: 40-year-old vines planted on three separate parcels with gravel, sand and clay soils west of Chateau Margaux.

TASTING NOTES: THE SCARLET AND THE BLACK.

TASTING NOTES: TIGER IN OUR MIDST.

TASTING NOTES: DEJEUNER SUR L’HERBE.

Château Bel Air - Marquis d’Aligre 2005 is velvety amethyst red with a soft halo. On the nose sweet notes of toasted brioche, chocolate, caramelized walnuts, plum and cherry. The bouquet is incredibly complex and fully integrated with a candy bar molasses overtone. The attack a princess of a young wine with cherry and plum notes, raspberry and strawberry syrup leading to a mid bodied lightness of indulgent soft tones fully-fledged with perfect balance of acidity, dryness, velvety tannins and supple structures ending in a theatrical sweetbread finish, the length of which depends upon ones attention span. There is a storm surge crescendo of flavours which concoct into a length and breadth of a grand vin which is multifaceted but equally pure and nicely cotton wool-led in a visceral truffle, wildfowl and purple flower perfume. Upon decanting for a few good hours the fruit has added dimension with a mulberry, bramble and French antique polish wood sheen attesting the venerable age and enigmatically wondrous vintage and Old World winemaking style.

Château Angludet 2014 is deep scarlet with a ruby halo. A miasma of dense aromas; sous bois truffle shavings, bramble leaves and berries, wild strawberry and blackberry; wood notes of cedar and cigar box held together with mineral undertones of pencil shavings, sweet liquorice and a wild rose florality. The attack is fresh cherries with a crisp acidity, mid bodied softness with soave but firm tannins and a creamy dry maraschino and chocolate cassis trifle finish.

After a three hour decant the flower bouquet is more intense with violet, iris and lily in full bloom, the flavours fleshier with a streak of savage wild boar, gravy and goose liver awash. Further decanting proved to be even more beneficial, the spiked berries turning more plump and chew with a side serving of toast, mint, walnut, plum and cassis.

Château Marquis d’Alesme 2017 is scarlet red with crimson bricking. A full spectrum of dark fruit, spice and wood hits the air with an integrated bouquet of plum, blackcurrant, raspberry, vanilla, cedar and cigar box. The attack makes good on the promise with flavours that match the aromas; medium-plus bodied mid-palate corpulence and a tannin textured finish. For a surprisingly young and pure vintage, this already has a depth of tertiary and secondary flavours nicely knitted into the fruit. A slight savoury streak and soft florality hints at the mix of clay and sand soils. After a three hour decant the fruit have turned more berry, bramble and preserved; the structure of the wine has filled in with more palatable and bold tones despite a refreshing mouth quenching acidity. An apple orchard fragrance gives a depth and candour to a backbone of lush swell tannins that are now more corpulent.

I suggest decanting this wine and enjoying it over time to appreciate the various nuances.

I feel like I’m drinking gilded history literally… an otherworldly syncretism where every element is every other element and hard to capture in one breath whether the cherry is timbred, spiced and fragrant, all at the same time, or just cherry. Great as this is, this can sleep gracefully a while longer; beautifully and lovingly crafted with a hint of the queen of Chateau Margaux next door fleeting by.

Supplier details: Farsonsdirect has a vast selection of Margaux amongst which Priere Lichine, du Tertre, Giscours, Malescot Exupery and Rauzan Segla.

Farsonsdirect, The Brewery, Mdina Road, B’Kara.

Tel 00356 2381 4444. Web farsonsdirect.com

I suggest decanting this wine a few good hours for this to come to its own. 2014 is the most Pauillac of vintages in terms of austere power in structure that requires good patience to reap bountiful and lush rewards.This wine has a streak of this regality even if the floral filigree may bewitch you into thinking this is lighter fare.The structure is a roaring edifice of overarching elements that in their youth may give the impression of a shy or hollow reserve but given the right timing either by cellaring or a good decant will rear its elegant head of ethereal power with extreme finesse and fathom deep textures and complexity. From a cloudy summer; dry and long harvest, come things that need patience to savour, but the rewards are entirely worth waiting for. Angludet is quite incredible in being able to capture this raw carnal intensity; it sets out to do great things.Truly special.

Supplier details: Mirachem has a vast selection of wines including the following Margaux: Desmirail, Palmer, and Rauzan Segla. Mirachem, Mira Building, Triq Kan K Pirotta, B’Kara. Tel 00356 2148 8590. Web wine.mt

I suggest decanting this wine for a short while to give the vintage some space.

Despite the freshness of 2017 the shape and core of this wine is entirely in sync, full volume and as approachable as it is now, the decant promises that this can age gracefully.

In fact, the complexity of this wine feels more like a stellar 2016 hence the good ratings. The rich concentration and intensity of this wine is Margaux at its most passionate with a confected elegance of wrapped up flavours and subtle refinement of every element making this so enjoyably delicious.

Supplier details: Mirachem has a vast selection of wines including the following Margaux: Desmirail, Palmer, and Rauzan Segla. Mirachem, Mira Building, Triq Kan K Pirotta, B’Kara. Tel 00356 2148 8590.

Web wine.mt 45

SERVIZZI EWROPEJ F’MALTA YOUR GATEWAY TO EU SERVICES IN MALTA

Servizzi Ewropej f’Malta (SEM) is a government agency committed to making the European Union and its benefits more accessible to citizens and organisations in Malta and Gozo. The services of SEM make it easier for citizens to reap the benefits of EU membership and is meant to serve as the main point of contact for citizens and organisations on EU-related matters.

WHAT IS OUR MISSION?

We are committed to being the primary point of contact on EU-related matters in Malta.

WHAT ARE OUR SERVICES?

We INFORM you and keep you updated on what is going on in the European Union, ENGAGE you in the European Union’s initiatives and opportunities that we benefit from as European citizens, and SUPPORT you in tapping into EU-funding opportunities and in implementing EU-funded projects.

HOW CAN YOU BE INVOLVED?

By following our website and social media platforms to keep updated with information on the European Union. We also participate in radio and TV programmes and organise information and training sessions for interested stakeholders and organisations. Our public debates on the European Union and its future give you the opportunity to have your say on matters that affect you as a European citizen.

INTERESTED IN AN EU-FUNDED PROJECT? WHERE DO YOU START?

Organisations can rest assured to find personalised support to tap into EU-funding opportunities during the application and implementation phases of EU-funded projects.

DO YOU CHARGE FOR YOUR SERVICES?

All of our services are free of charge and delivered by a team of dedicated personnel, committed to giving an efficient and personalised service.

HOW CAN YOU REACH US?

SEM can be reached on 2200 3300, info.sem@gov.mt, facebook.com/servizziewropej, or www.sem.gov.mt

MARGAUX

Château Marquis de Terme 2016

Brio 2016

Château Tour Massac 2010

Fourth Growth Grand Cru Classe €59.37 from S. Rausi Trading Ltd Vivino popular rating 4/5 Jeff Leve 94/100 Approx. 60% Cabernet Sauvignon 33% Merlot 7% Petit Verdot Terroir: 30-year-old vines planted on thick gravel, sand and limestone soils on the Cantenac plateau.

Second wine of Third Growth Grand Cru Classe Cantenac Brown €50.00 from Vini e Capricci by Abraham’s Vivino popular rating 4/5 Overall Critics 89/100 40% Cabernet Sauvignon 49% Merlot 11% Cabernet Franc Terroir: Parcels of land in different parts of Margaux having a mix of gravel, sand and limestone soils.

Cru Bourgeois sold via Cordier €50.00 from Attard and Co.Wines Vivino popular rating 4.1/5 Overall ratings 4/5 65% Cabernet Sauvignon 25% Merlot 10% Cabernet Franc Terroir: vines planted in thin gravel and sand soils in the commune of Cantenac.

TASTING NOTES: QUEEN OF SCOTS.

Château Tour Massac 2010 is rich scarlet red with a shallow light red hue at the edges. Tertiary notes abound with dry violet flowers, forest floor, autumn orchard leaves and black truffle. The mid notes are blackberry, cherry and raspberry compote textured with base note aromas of cocoa nibs, caramel, wild boar, mint and camphor. The attack is smooth fresh cherries and plum with berried depth, a medium-bodied fresh acidity and tongue wrapping dry tannins ending in a strawberries and cream sweet and tart finish. Upon decanting for several hours the midpalate is more comfortingly and ravishingly lush with plenty of bramble berries tinged in oak and spice for depth and plenitude.

TASTING NOTES: THE SECOND WALTZ.

TASTING NOTES: FEMME FATALE. Château Marquis de Terme 2016 is deep and brooding scarlet red. The aromas are red and dark cherries, blackberry and strawberry syrup, with base notes of caramel, wet leaf and truffly undergrowth.

Pencil led, walnut wood and vanilla also make their mark. The attack is a fruit and nut confection with a rocking vibrancy and creamy dry Turkish delight finish.

A racy acidity and mouth quaffing tannins add textures to the medium-bodied mouthfeel. This is full fruit 2016 but with calibre and depth in the tertiaries and minerality. There is a right bank crescendo to the flavours and structure in the mid-palate with a surreal polish and refinement in its outer shell that speak loudly of its terroir. Possibly the well-ripened Merlot and Petit Verdot are doing a great job of supporting roles to the racier Cabernet. Upon decanting for a couple of hours some floral notes are more prevalent with plum and orchard concentration adding an autumnal feel to the now fleshier and mintier undertones.

I suggest decanting this wine for an hour or two based on the relatively young vintage if one wishes a more nuanced approach to a great wine. But this is Margaux with effortless grace and a gravel deep intensity that is bound to please regardless of how long one decants or not.

Supplier details: S. Rausi Trading has a large range of French wines with an emphasis on Bordeaux. S Rausi Trading Ltd, Empire Stadium Str, Gzira.

Tel 00356 2131 6210. Web srausi.com/shop

Brio 2016 is dark claret scarlet red in colour. On the nose plum pudding, blackberry and raspberry syrup; full-throttle fruit with lashings of smoky earth and gamey undertones; laced in pencil shavings, cigar box, bell pepper, caramelized anise and vanilla. The attack is sweet with a mid-body pulsating heart of ripe berries ending in a creamy dry nut wood and clove finish. A soft comfy structure of acidity and tannins fill in on the voluptuous shape with floral notes offering a gentle reminder of where this comes from. Upon decanting for half an hour the flood notes of dark fruit bounce out of the glass turning more fleshy, walnut and prune.

There is a plush and decadent depth with cozy textures along the way.

I suggest decanting this wine just a tad for theatre and rapid evolution. For the Margaux purists amongst us this is too middling and obviously sexy a balance but this is a strong contender for most quaffable second vin on the planet. The combination of amazing terroir, perfect vintage conditions and incredible winemaking skills have resulted in an elixir of drunken bee ripe crushed mulberries with a smattering of fairy dust.

Highly drinkable but equally marvellous concentration for a wine which possibly is already at a perfect window for mulling over.

Supplier details: Vini e Capricci has a vast selection of wines including a number of Bordeaux wines. Vini e Capricci by Abraham’s, Gozitano Agricultural Village, Mgarr Road, Xewkija Gozo. Tel 00356 2156 3231.

Web viniecapricci.com

I suggest decanting this wine for as long as one wishes and taste along the way to enjoy the evolution. If I didn’t know better I would have thought on first tasting I was drinking a younger vintage such is the freshness, verve and energy of the regal and marvel of 2010.

Yet the roaring tannins, structured backbone of acidity and flavour, and tertiary minerality, speak volumes of a wine that can sleep effortlessly for several decades even if this is hugely enjoyable already. This wine wears its terroir on its sleeve with a sandy florality and gravel intensity coming through especially after some gracious patience.

Supplier details: Attard & Co. Wines has a range of Bordeaux wines in the Cordier portfolio with a number of well-rated Margaux. Attard & Co. Wines, Canter House, P. Felicjan Bilocca Str., Marsa.

Tel 00356 2123 7555 (Gozo 00356 2156 4570).

Web attardcowines.com

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MARGAUX

Château Kirwan 2014

Château d’Arsac 2016

Château La Fortune 2016

Third Growth Grand Cru Classe €47.70 from Farsonsdirect Vivino popular rating 4.1/5 Overall critics 90/100 58% Cabernet Sauvignon 36% Merlot 2% Cabernet Franc 4% Petit Verdot Terroir: 30-year-old vines planted on gravel, sand and limestone soils on the Cantenac plateau.

Cru Bourgeois Exceptionnel €43 from Vini e Capricci by Abraham’s Vivino popular rating 4/5 Overall critics 89/100 72% Cabernet Sauvignon 28% Merlot Terroir: 20-year-old vines on gravel stones, sand and clay soils around the village of Arsac.

Cru Bourgeois Superior €39.99 from The Store Vivino popular rating 4.2/5 Overall critics 90/100 74% Cabernet Sauvignon 26% Merlot Terroir: 50-year-old vines planted on gravel, sand, limestone and clay soils between Lascombes and Labegorce.

TASTING NOTES: FIDDLER ON THE ROOF.

TASTING NOTES: CASINO ROYALE.

TASTING NOTES: SILK ROAD.

Château d’Arsac 2016 is a soft dense dark ruby red. A bouquet in full swing of spring floral notes envelopes the room; violet, iris and rosehip, giving way to black and red currant and cherry, with base notes of slight undergrowth, anise, pencil shavings and menthol. This wine sports its pedigree on first appearance with the signature perfume of Margaux unwrapping even in the glass. The attack is blue and red bramble berries with a medium-bodied mouthfeel giving way to a racy acidity and raspy dryness that ends in a soft tannin damson finish. Upon decanting for a few hours the fruit-forward vintage makes more of a mark in the mulled and preserved dimension with some of the flowers folding in to reveal woodier and spicier notes of hot summer bell pepper, tobacco leaf, cedar and incense.

Château La Fortune 2016 is opaque dark crimson verging on the purple. On the nose tertiary earth notes are already prevalent speaking of deep roots and/or shallow soils of sous bois shavings of black truffle. The fruit aromas are cherry dark and red with plush blueberry and subtle aromatics of early summer rose and hibiscus. A trace savoury streak anchors the limestone and clay minerality. The attack is full fruit and more fruit in the medium body soave shape held together by a tongue wrapping dryness and satin brushing tannins vying for attention right through to a sherry cream and oak timbre finish.

Upon decanting for an hour the mid-palate plum and berry speak volumes of a fruit-forward wine in a fruitforward vintage with tobacco and timbre adding layers and depth.

I suggest decanting this wine for about an hour just to let the fruit flesh out more boldly but as such this is good value Margaux on the mid-palate light and ethereal side with all the elegance of aromas in play and a dancing minerality of sand, gravel and clay making sure that this is enjoyable even upon opening at this tender age.

I suggest decanting for a short while to allow the fruit to blush more profusely but as such this has a reserved elegance with an almost right bank magnanimity in its mid-palate assuredness and light acidity of supple structures and approachable balance explaining its popularity. The fruit and wood flavours are well integrated; a nod to how barrelling brings out the best of Cabernet and allowing for an expression of wine where Margaux’s reputation for approachability is understandable.

Château Kirwan 2014 is garnet claret red verging on the cherry orange at the edges. On the nose a delicious confection of dark cherry wrapped in iris, violet and wet forest floor tinged in sweet caramel and vanilla bean for good measure. The spice notes are more prevalent than the tobacco leaf or wood with light savoury undertones giving forth a tertiary dimension. The attack is a dry raspy tongue-tingling cherry and raspberry blend at varying stages of ripening, followed by a medium-plus mouthfeel ending in a toasted walnut wood and nut tart damson finish.

The tour de force in this wine is its multi-faceted balance and almost Pauillac like reserve to the Cabernet even if already fleshy in the mid-palate lush textures. The Merlot also performs seamlessly but efficiently offering a mild acidic backbone to this most Left Bank vintage. Upon decanting for a couple of hours the tannins are more integrated yet satiny; layers of depth have evolved in the flavours and finish with more rounded and ripened fruit speaking of a late Indian summer harvest.

I suggest decanting this wine for a few hours on the grounds of a vintage that is already enjoyable but needs time to loosen up slightly. This is a plush silhouette of a wine with understated elegance and dusted with Damascene like textures at each turn requiring time to savour, enjoy and ponder.

Supplier details: Farsonsdirect has a vast selection of Margaux amongst which Priere Lichine, du Tertre, Giscours, Malescot Exupery and Rauzan Segla.

Farsonsdirect, The Brewery, Mdina Road, B’Kara.

Tel 00356 2381 4444. Web farsonsdirect.com

Supplier details: Vini e Capricci has a vast selection of wines including a number of Bordeaux wines. Vini e Capricci by Abraham’s, Gozitano Agricultural Village, Mgarr Road, Xewkija Gozo. Tel 00356 2156 3231.

Web viniecapricci.com

Supplier details: The Store has a large selection of French wines including a number of well-rated Margaux. The Store, Triq taz-Zwejt, San Gwann (Industrial Estate). Tel 00356 2144 4364.

Web thestore.mt

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SUNDAY LUNCH “The tradition of the Sunday feast accomplishes more than just feeding us. It nurtures us.”

Chef John Besh

COOKING WITH LOVE

Sunday Lunch Fresh Herb Laced Pasta Raviolacci filled with Ricotta and Pistachio Rabbit Nose to Tail Strawberry Mille-Feuille with Crème Diplomat

Rabbit, which has long been a ubiquitous part of Maltese food culture, takes centre stage for this Sunday Lunch. Utilizing every part of the rabbit, without resorting to your nanna’s classic fenkata recipe, the chefs at Mediterranean Culinary Academy have prepared Rabbit Leg Stew, Roast Rabbit Saddle and Sauté Rabbit Offal. Coupled with dreamy fresh herb laced pasta raviolacci, and finished with light strawberry mille-feuille, this is a Sunday lunch feast fit for a king. Cooking Mediterranean Culinary Academy.

Photography Jessica Zammit and Robert Pace.

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HERB LACED RAVIOLACCI WITH RICOTTA AND PISTACHIO FARCE AND A CHICKEN JUS

SUNDAY LUNCH

A fanciful pattern emerges when fresh herbs are placed in the final rolling stage of this fresh pasta, filled with a ricotta and pistachio farce.

SERVES 2 FOR THE FRESH PASTA DOUGH 200g semolina 1 whole egg 3 egg yolks 5ml olive oil 2g salt 10ml water as needed fresh herbs as needed 1. In a mixing bowl add semolina. In a separate bowl mix egg, yolks, salt and olive oil. Add mixture into well. Using a fork mix into well.

2. Using your fingers, slowly incorporate flour into egg mixture, using flour on inner side of well.

3. When dough starts to form and all liquid is incorporated, turn out dough to a lightly floured surface and knead, dusting lightly with more flour if sticky, until dough is smooth, about 10 minutes.

4. Transfer back to mixing bowl, cover with cling film, leave to rest for 10 minutes.

5. Once rested knead for an extra 5 - 10 minutes, cover and rest for a further 10 minutes.

6. Roll out with a rolling pin till dough is thin enough to pass through lowest pasta machine setting ('0').

7. Pass rolled-out dough through machine. Repeat twice.

8. Continue feeding dough, each time reducing thickness until you reach desired thickness. In each setting pass dough through twice to ensure even consistency.

9. On last setting place herbs flat on half of pasta sheet and fold sheet in half to cover herbs. Pass pasta sheet again to get a smooth sheet of pasta with herb laced between pasta sheets.

FOR THE CHICKEN JUS 200g chicken bones 50g chicken skins 30g tomato paste 30g unsalted butter, cold 1 carrot, chopped 1/4 leek, chopped 2 sprigs celery, chopped 1/2 onion, chopped 15ml olive oil 1 garlic clove, chopped 2 sprigs thyme 1. Roast bones and skins on a roasting tray at 220C until golden brown. Remove bones and reserve fat.

2. In a pot on medium heat pan roast vegetables, garlic and herbs until evenly brown. Add tomato paste and cook for a further 2-3 minutes.

3. Add bones and water to cover everything, bring to boil and reduce by three quarters.

4. Pass stock through a sieve, reserving liquid.

5. Simmer liquid and reduce by half until thick.

6. Heat to a boil and add butter, swirl slowly to emulsify.

7. Keep cooking jus to desired consistency. Add chicken fat and stir.

8. Use to drizzle finished raviolacci.

FOR THE RICOTTA AND PISTACHIO FARCE, AND RAVIOLACCI 150g fresh ricotta 2 sprigs parsley, chopped 1 dried ġbejna, grated 25g pistachios, roasted and chopped 1 egg yolk salt & pepper to taste 2 marrows, peeled to strips 300g pasta dough

1. Into a mixing bowl, force ricotta through a fine mesh sieve with a spoon to remove any lumps.

2. Add parsley, ġbejna, pistachios and egg yolk and combine until homogenous. Season to taste with salt and pepper 3. Transfer to a piping bag, forcing out any air, and refrigerate.

4. Using rolled out pasta dough punch out as many rounds as possible with a pasta cutter.

5. Snip piping bag with ricotta farce at 2cm and pipe filling in center of pasta.

6. Dip your finger in water and moisten outer edge of circle. Place a pasta circle on top and gently pinch edges together trying to avoid air pockets so that you are left with a sealed circle.

7. Repeat with remaining pasta. When completed, tidy edges by trimming with a pasta cutter. Place on a tray of semolina to prevent sticking to each other.

8. Bring a large pot filed two-thirds with water to boil.

Add three large pinches of salt. Drop in raviolacci and cook until they float to surface (about 3 minutes).

9. Remove from boiling water with a slotted spoon and transfer to a bowl. Drizzle with good quality olive oil and sea salt.

10. To plate, toss marrow strips a bowl with olive oil and sea salt. Layer marrow strips flat on plate, place raviolacci on top and finish with chicken Jus. 11. Garnish with some freshly picked leaves and finishing salt.

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SUNDAY LUNCH

RABBIT NOSE TO TAIL Making use of every part of the rabbit, when prepared these recipes can be served together or individually.

54

SUNDAY LUNCH

RABBIT STOCK rabbit bones from 1 rabbit 1 garlic clove, halved 1 tomato, chopped 2 onions, chopped 2 carrots, chopped 2ltr water 2 bayleaf 4 sprigs thyme

SAUTÉ RABBIT OFFAL serves 1-2

1. In a large stockpot on high heat add water and rabbit bones, bring up to boil. Reduce to simmer.

2. Remove any fat or impurities that form at surface and simmer for 1-2 hours.

3. Add vegetables and herbs, simmer gently for another hour. Strain through a sieve or a fine-mesh strainer.

For a darker stock roast bones at 200C for 45 minutes and continue process as above.

1. Season offal with salt and place on paper towel. Leave for a minute.

2. In a sauté pan on high heat, add olive oil. Add garlic with skin still on to flavour oil.

3. Add liver and sauté for 1 minute on each side.

4. Add kidneys, and cook for 15 seconds on each side. Add butter to coat offal.

5. Remove offal and place onto paper towel or cloth to absorb any extra fat and serve immediately.

RABBIT LEG STEW serves 2-4

ROAST RABBIT SADDLE serves 2-4

4 rabbit legs 1 medium onion, diced 1 medium carrot, diced 2 bay leaves 1tsp tomato paste 2 garlic cloves, chopped 50ml olive oil 150ml white wine 150ml red wine 1 tbsp sugar 1 tbsp unsalted butter 200ml rabbit stock salt to taste

1 rabbit saddle, boneless 1 sprig rosemary 50ml olive oil 1 garlic clove, crushed salt to taste

1. Season rabbit with salt and pat dry with a paper towel. In a pot on medium-high heat, add olive oil. Sear rabbit in small quantities.

Ensure all rabbit has a dark colour and remove from pan.

2. Add onion and carrot, stir well and reduce heat to medium. Cook until soft, about 5 minutes.

3. Add garlic and tomato paste and stir well.

Cook until garlic has softened slightly, about 2 minutes.

4. Add sugar, white and red wine, and bay leaf, and bring to a boil.

5. Scrape bottom of pan to remove fond. Let wine reduce by around 1/3 and add rabbit.

Bring to a boil and reduce to a gentle simmer, ensuring rabbit is fully submerged.

6. Once most of wine is reduced, add rabbit stock and butter.

7. Leave on gentle simmer until rabbit is tender and braising liquid has reduced to sauce consistency, about 1 hour. Reduce braising liquid further if necessary.

2 rabbit kidneys 1 rabbit liver 2tbsp olive oil salt to taste 1 garlic clove (with skin) 1tsp unsalted butter

1. Preheat oven to 200C. Place saddle on chopping board with loins facing upwards and season well. Tuck neck section inwards, covering about 1/5 of saddle.

2.Fold one side of belly over loins, press well and roll. Once rolled place back side of loin upwards and using twine make 3 knots, one knot at either end and one in middle. This will prevent saddle from opening during cooking.

3. Wet working surface slightly, place a large length of cling film with some excess hanging off table.

4 Place rolled loin to edge of table on top of cling film, season with salt, place rosemary beside meat and cover with excess cling film.

Fold over, and roll ensuring well tightened. To finish, tie both ends of cling film.

5. When a tight roll is achieved, wrap in foil and place on a baking dish. Roast in a preheated oven for 20 minutes.

6. Remove rabbit and allow to rest for 10 minutes. Remove from foil and cling film and place onto chopping board. Pat dry with a paper towel.

7. Place a sauté pan onto medium-high heat, when hot add oil. Roast rabbit till evenly browned, add garlic and fry ensuring garlic does not burn.

8. Remove rabbit and leave to rest for 5 minutes and remove twine.

9. Slice and serve immediately.

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SUNDAY LUNCH

STRAWBERRY MILLE-FEUILLE WITH CRÈME DIPLOMAT Crispy mille-feuille served with a light cream and strawberries is the perfect way to end any meal.

FOR THE CRÈME DIPLOMAT serves 4-6 150ml milk 30g granulated sugar 15g flour 15g cornflour 3 egg yolks 30g butter 5ml vanilla essence 100ml cream 1. Pour milk in a pan on medium heat. When small bubbles form around edges remove from heat.

2. Combine flour, sugar, corn flour and egg yolks in a mixing bowl.

Slowly pour milk over egg mixture. Mix and pour back into pan.

3. Place pan back onto low heat and whisk constantly until thickens.

4. Pass through a strainer into a mixing bowl over cold butter. Allow to cool properly 5. Whip cream to a hard peak and fold into pastry cream.

6. Transfer to piping bag and refrigerate until needed.

FOR THE MARINATED STRAWBERRIES serves 2 150g strawberries, diced 15g demerara sugar 15ml Amaretto 1. Add strawberries to a bowl with sugar and amaretto. Leave to macerate (about 10 minutes).

FOR THE MILLE-FEUILLE serves 2 1 puff pastry sheet 200g Crème diplomat icing sugar as needed 1. Roll out pastry as thinly as possible. Place flat on a tray and freeze (about 30 minutes).

2. Using a knife cut out 6 rectangular sheets.

3. Dust heavily with icing sugar and bake between two baking trays (to keep them flat) for approximately 12 minutes. Allow to cool and dust with more icing sugar.

4. To assemble, place a layer of pastry, pipe Crème diplomat around edge working inwards. Place another sheet on top and repeat. Place diced strawberries in centre and layer another pastry sheet on top.

5. Dust with icing sugar and garnish with marinated strawberries.

Recipes are from The Mediterranean Culinary Academy's collection developed by their chef instructors.

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.

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Social Justice for all | Increase in pensions for 5 consecutive years Child Protection Law | Less persons dependent on social benefits Introduction of Mandatory Reporting against minor abuse First Children’s House | First therapeutic center for rehab of adolescents

facebook.com/michael.falzon

HEALTH & FITNESS

WALKING WORKOUTS Walking workouts are great for heart, bone, and muscle health - and almost everyone can do it, writes Bradley Elliott, Senior Lecturer in Physiology, University of Westminster.

W

alking is good for you, there’s not much doubt about this. As a way of adding physical activity into your life, it has many advantages. There’s a very low barrier to entry, meaning almost everyone, regardless of age or ability, can start walking regularly as a form of exercise.

Walking has clear benefits on keeping our bodies functioning as we get older,

improving cardiovascular health, helping lose fat mass and maintain muscle mass, and helping to maintain bone density as well. And these benefits are true for people of all ages. It seems that the more active you are as a young adult can affect overall health and (in rats, at least) bone and muscle physical function in later life.

Walking outside is also associated with mental health benefits, particularly if you’re able to walk in parks or green spaces. Such

“green exercise” can improve mental health and wellbeing, reduce symptoms of depression, and lower blood pressure to a greater degree than similar urban exercise.

These effects are so strong that walking on a treadmill in a sterile laboratory environment, but while watching a TV showing green spaces, can improve stress responses and improve self-esteem and mood when compared to watching scenes of urban built environments.

HOW MANY STEPS?

IS WALKING ENOUGH?

B

B

ut how many steps are required? Although we’re often told to aim for 10,000 steps a day, this number is not really evidence based. In a study of 16,741 older women (average age 72 years), people who walked less than 2,000 steps a day were shown as having the highest risk of death from many different causes, such as cancer or cardiovascular disease. People who walked more were less likely to die from any cause.

This effect plateaued at about 7,500 steps, suggesting (at least in this population of older women) that activity beyond this didn’t impart further benefit in terms of mortality. Simply put, walking more likely helps you live longer, but 10,000 steps wasn’t any different to 8,000 steps. Similar results are seen in adults older than 40, with a pleateau in effectiveness of increasing step counts somewhere between 8,000 and 10,000 steps.

Another factor to consider is walking pace. As intuitive as it may seem, it’s worth pointing out that walking faster is better for you than walking slowly.

In a recent randomised control trial, 12 months of walking five times a week for 50 minutes at low speed didn’t improve measures of fitness, while walking at a faster speed did. (The researchers used a personalised measure for each person - so “fast” versus “slow” depended on each individual.)

Walking speed is also a predictor of mortality in older people. People who walk slower are much more likely to die over the next 14 years of all causes than those who walked at a faster pace.

ut while walking is good for you, it’s not a magic cure for everything. To gain even further benefits, consider adding in both higher intensity exercises and strengthening exercises, as recommended by the World Health Organization.

This should include vigorous, challenging, quick movements that get your heart beating faster and make you out of breath - such as running or cycling up hills, sports games, or walking up stairs. Again, intensity is at play here. So although walking is good for cardiovascular fitness, running is better, even if you still only use similar amounts of calories on a short run versus a longer walk.

Muscle strengthening exercises, such as weightlifting, are also great for building muscle mass and strength at all ages. These will help maintain muscle mass and function with older age, and are associated with reduced incidence of chronic diseases. Importantly, losses in muscle mass and function start in your 30s-40s. So exercising while you’re younger isn’t just good for you now, but could help your health and function decades later.

In place of step counts, the World Health Organization suggests people think of “minutes of activity”, and that people should achieve at least 150 minutes of moderate intensity exercise a week, or at least 75 minutes vigorous intensity exercise if you prefer. Moderate intensity activity is about a six out of ten on your personal intensity scale - so things like light sports, walking briskly or dancing.

Activity trackers can also help you keep an eye on how many minutes you’re active daily. Most smart phones have apps built in and many are freely available to download.

So, is walking good for you? Yes. Do you need to walk 10,000 steps a day? Probably not, but it’s not going to do you harm if you do. If you are trying to maximise your gain in health benefits through being more active, consider adding in other types of exercises alongside lighter activities like walking that challenge your fitness and strength.

This page: Sunrise over Mellieha, Malta. Photography Rowan Heuvel. This article first appeared on The Conversation.

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LATEST ACHIEVEMENTS BY THE DEPARTMENT OF ACTIVE AGEING AND COMMUNITY CARE

SILVER – T

TELECARE ON THE MOVE This service provides a free electronic device connected to a 24-hour call centre; this device works even when a person is away from home. This multifunctional device assists the elderly suffering from dementia.

THE GOVERNMENT ALLOCATES € 3.5 MILLION FOR THE ‘CARER AT HOME’ SCHEME The Silver T service scheme, which offers the elderly free transport services to help with errands within their hometown, has now been extended to cover new localities.

DAY & NIGHT SHELTERS IN MTARFA AND SAFI With an investment of almost €150,000, these two Day & Night Shelter facilities are the first of their type in Malta and Europe, offering free respite care around the clock specifically designed for people with dementia.

While serving some 400 elderly patients, this multi-disciplinary clinic in Mtarfa is set within a peaceful and private environment.

AACC will be extending these multi-disciplinary services to other localities in Malta, including within Government Homes for the Elderly.

NEW INFRASTRUCTURE The government will be building a new home for the elderly in Birkirkara, while rebuilding the Msida and Mosta nursing homes; meanwhile, the homes in Cospicua and Żejtun and Zammit Clapp Hospital will be renovated.

THE OPENING OF A NEW MULTI-DISCIPLINARY CLINIC While serving some 400 elderly patients, this multi-disciplinary clinic in Mtarfa is set within a peaceful and private environment.

The Department responsible for Active Ageing and Community Care (AACC) will be extending these multi-disciplinary services to other localities in Malta, including within Government Homes for the Elderly.

THREE NEW COMMUNITY CLINICS WILL NOW BE OFFERING PSYCHOTHERAPY SERVICES FOR THE ELDERLY The psychotherapy service - which was offered free to the elderly living in residential homes - will now also be provided to the elderly in the community and their ‘informal carers’; this is being made possible with the opening of new clinics in Żurrieq, Birkirkara and Mtarfa.

For further information contact us or visit the website: +356 2278 8800 aacc-services@gov.mt Active Ageing and Community Care activeageing.gov.mt

HEALTH & FITNESS

AWE WALKS According to a recent study by researchers at the University of California San Francisco Memory and Aging Center (MAC) and the Global Brain Health Institute (GBHI), an ‘awe walk’ can transform and boost your emotional well-being and a regular dose of awe is a simple way to boost healthy ‘prosocial’ emotions such as compassion and gratitude.

In the study researchers from the University of California San Francisco asked a group of older adults to take a weekly walk, seeking physical vastness - where the surroundings were ‘larger than life’. Older adults who took weekly 15-minute “awe walks” over the course of eight weeks reported increased positive emotions and less stress; they also felt more thankful, and more connected. This shift and increase in positivity was reflected in “selfies” taken on their weekly walks, with an increase in focus on their surroundings rather than themselves, coupled by increasingly broader smiles towards the end of the study.

Additionally, their sense of wonder and appreciation for the outside world grew.

Researchers believe that ‘awe walks’ promote ‘small self’, a healthy sense of proportion to the outside world. In older adults, awe-walks can also help maintain a healthier brain as they interact with new environments.

HOW TO TAKE AN AWE WALK? Start by seeking out new, impressive environments and new routes for a weekly walk. Ignore your phone – and put it on silent to avoid distraction. Let your attention be open to explore what inspires awe in you. Let your attention move from the vast to the small and really notice the multitude of sights, sounds, smells, and other sensations that are dancing through your awareness, usually undetected. Natural settings ideal for an awe walk include walks lined with trees, the seaside, or even a place you can watch sunrise or sunset.

Information sourced from The World Economic Forum, The Global Brain Health Institute, Greater Good Science Center at UC Berkeley.

This page: Tal-Mixta Cave, Nadur, Gozo. Photography Przemyslaw Smit.

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HEALTH & FITNESS PROTECTING BRAIN HEALTH IS BECOMING A NUMBER ONE PRIORITY AS THE WORLD POPULATION GETS OLDER. WHILE RESIDENTIAL FACILITIES ARE AVAILABLE TO CARE FOR SOMEONE SUFFERING FROM ANY FORM OF DEMENTIA AND CAN HELP WITH VARIOUS ISSUES INCLUDING MEDICAL CARE AND NUTRITION, AS WELL AS SAFETY AND RECREATION, KEEPING IN THE BEST PHYSICAL HEALTH POSSIBLE – AT ANY AGE – WILL HELP, EVEN JUST TO REDUCE THE BURDEN OF CHRONIC DISEASES.

ELDERLY CARE – A HEALTHIER HEART CAN PROTECT YOUR BRAIN TOO

5 LIFESTYLE CHANGES TO PREVENT DEMENTIA When we think of dementia, we often fear a loss of control. But the reassuring news is up to 40% of dementias can be prevented or delayed if we change our health habits write researchers Alexandra Wade, Ashleigh Elizabeth Smith, and Maddison Mellow at the University of South Australia.

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ementia shares key risk factors with cardiovascular (of the heart and blood vessels) disease, including high blood pressure, high blood sugar, being overweight and smoking. Inflammation and oxidative stress (where protective antioxidants are losing their fight with damaging free radicals) follow. This damages blood vessels and reduces the flow of blood and oxygen to the brain. Without enough oxygen, brain cells can’t function effectively, and eventually die. Reduced blood flow also leaves the brain vulnerable to the plaques and tangles seen in forms of dementia. But by changing our habits, we can both improve heart health and reduce the risk of dementia. Here are five lifestyle changes we can make now.

EAT 2–3 SERVES OF OILY FISH EACH WEEK

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ily fish, like salmon, sardines and mackerel are rich in omega-3 polyunsaturated fatty acids. Omega-3’s have anti-inflammatory effects and have been shown to significantly reduce blood pressure.

Omega-3s are also needed to support the structure and function of our brain cells and are “essential nutrients”. This means we need to get them from our diet. This is especially true as we age, because reductions in omega-3 intake have been linked to faster rates of cognitive decline.

EAT PLANT FOODS WITH EVERY MEAL

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lant foods – like leafy greens, extra virgin olive oil, blueberries, nuts and pulses – contain a range of vitamins and minerals, including polyphenols, flavonoids, carotenoids, vitamin C and vitamin E. These micronutrients have both antioxidant and anti-inflammatory effects that protect and improve our blood vessel functioning. Diets high in plant foods, like the Mediterranean diet, have been shown to improve blood pressure, glucose regulation and body composition, and have also been linked to lower rates of cognitive decline, better markers of brain health and lower risk of dementia.

EAT LESS PROCESSED FOOD

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n the other hand, saturated fats, refined carbohydrates and red and processed meats are believed to trigger inflammatory pathways and highly processed foods have been linked to hypertension, type 2 diabetes and obesity. Eating more of these foods means we’re also likely to miss out on the benefits of other foods. Whole grains (like whole oats, rye, buckwheat and barley) provide fibre, vitamin B, E, magnesium and phytonutrients which have anti-inflammatory and antioxidant properties.

Refined grains (like white bread, rice and pasta) are highly processed, meaning many of these beneficial nutrients are removed.

GET PHYSICAL AND MAKE IT FUN

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n the other hand, saturated fats, refined carbohydrates and red and processed meats are believed to trigger inflammatory pathways and highly processed foods have been linked to hypertension, type 2 diabetes and obesity. Eating more of these foods means we’re also likely to miss out on the benefits of other foods. Whole grains (like whole oats, rye, buckwheat and barley) provide fibre, vitamin B, E, magnesium and phytonutrients which have anti-inflammatory and antioxidant properties.

Refined grains (like white bread, rice and pasta) are highly processed, meaning many of these beneficial nutrients are removed.

QUIT SMOKING

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mokers are 60% more likely to develop dementia than non-smokers.

This is because smoking increases inflammation and oxidative stress that harm the structure and function of our blood vessels. Quitting smoking can begin to reverse these effects. In fact, former smokers have a significantly lower risk of cognitive decline and dementia compared to current smokers, similar to that of people who have never smoked.

This page: Photography Przemyslaw Smit.

This article first appeared on The Conversation.

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GIVING

meaning T: 2258 4200 | E: info@caremalta.com

www.caremalta.com

TO LIFE

PROMOTION

Individual-Centred Care at

CASA ANTONIA’s

High Dependency Unit Casa Antonia’s High Dependency Unit (HDU) provides tailor-made, individual-centred nursing care for elderly persons. These residents require increased nursing care or display behaviours of concern as a result of injuries, specific conditions or dysfunctions. Our skilled and trained nursing team within the Unit also provides palliative and end of life care for people living with a wide range of medical conditions, complex needs and progressive diseases such as Dementia, Parkinson's disease, Multiple sclerosis, Huntington's disease, Brain Injury and Stroke, writes Dr Sarah Cassar. Photography Jean Marc Zerafa.

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he excellent staffing structure and elevated staffing levels ensure the Unit can provide a bespoke quality of life for highly dependent residents within a safe and caring unit. The unit is maintained by a staff nurse 24/7 and supported by care assistants. Casa Antonia’s staff takes its time when working closely together with our residents, as well as with their loved ones, in designing a customised care plan. Our multi-disciplinary team includes geriatricians, physiotherapists

and speech therapists who are called in to discuss residents’ care plans or to provide their services, whenever necessary.

Furthermore, the preventive approach of Casa Antonia provides an excellent basis for empowering people to live a fulfilling life and to integrate with society without their behaviours of concern undermining their social skills. Whilst keeping our residents at the centre of attention, we work on removing and reducing trigger factors, and implement strategies to minimise the frequency and duration of incidents of behaviours of concern. Day to day life is enhanced by regularly held, meaningful in-house activities held in the unit as well as by encouraging residents to join activities being held in the main day lounge, including daily mass.

The High Dependency Unit consists of a total of 25 beds, in single, double and quadruple rooms. All the rooms overlook our gardens and come with electronically adjustable beds. Prior to admission our management team will take time to understand the person’s needs, wishes and preferences and take these into account in determining what type of room and routine would be best. The individual is always at the centre of all decisions made in relation to their care. Residents also have full access to an open-plan dayroom and dining room, both of which are always supervised. The room enjoys an abundance of natural light overlooking Casa Antonia's private garden, where residents can enjoy the proximity of nature.

For more information call +356 2147 0659 and arrange for a visit to one of our residential homes.

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INAUGURATION OF NEW FLOOR ONE TIME, LIMITED OFFER

SELECTED SINGLE ROOMS AT

€75 PER DAY

The Imperial in Sliema, is not just a care home, it is a home that cares. Along with Casa Antonia, we have been providing excellent care for over 20 years and will support and advise you to make the best decision for you and your loved ones.

The Imperial offers an extensive choice of single and companion accommodation options that are cleaned by our dedicated housekeeping team on a daily basis.

Residents are encouraged to personalise their rooms with their much-loved photographs, home accessories and treasured belongings.

All rooms are air conditioned and stylishly decorated, with kitchenette facilities, furniture, digital tv, and wi-fi internet

access. Every room has ensuite bathroom facilities and equipped with a nurse call system in both the bedroom and bathroom, allowing our residents to call for assistance whenever needed.

To mark the inauguration of a new wing at The Imperial, we are offering a number of rooms within this floor at a discounted rate of €75 per day.

LIMITED OFFER. CALL TODAY FOR A VIEWING.

For more information: info@theimperialmalta.com The Imperial, Rudolph Street, Sliema, SLM 1279 | 2145 6440 | www.theimperial.com.mt A member of St George’s Care Limited – LIVE LIFE WITH US

GOING ELECTRIC

ELECTRIC CARS COULD MAKE ROADS SAFER. HERE’S HOW Electric cars have the potential to help in our fight against climate disaster. But electric cars might also be able to address another issue that’s affecting people around the world. Traffic-related fatalities are the eighth leading cause of death for people of all ages – ahead of HIV/AIDS and tuberculosis – and the number one cause of deaths for children and young adults. Both because of the way they are driven and the mechanics inside them, electric vehicles could play an important role in making our roads safer says Basilio Lenzo, Senior Lecturer in Automotive Engineering Sheffield Hallam University in Northern UK.

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harging an electric car takes longer than filling up a tank of petrol, and a typical full charge won’t get a car as far as a typical full tank. Although the academic research into it is limited, anecdotal evidence suggests drivers of electric vehicles are more wary of conserving energy, and drive differently as a result.

One of the ways to save a car’s charge is by driving more slowly. Sticking to the speed limit of 70 miles per hour, rather than going faster on motorways, saves battery. So does reducing the amount of stop-start driving, accelerating and braking more gently. They also have a secondary impact of making the driver safer.

Another aspect of life with an electric car, particularly on long journeys, is taking an extended break to charge. Instead of just filling up a tank of petrol and being on their way, electric car drivers have to wait while their battery charges. Exact times vary depending on the type of charger being used and the capacity of the battery, but it’s not unusual for electric car drivers to wait half an hour to an hour for a charge.

But it’s not just about drivers’ habits. There are reasons related to the way electric cars are designed that make them safer than internal combustion engines, too.

MORE THAN ONE MOTOR

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ost people are used to driving cars with a single source of power - an internal combustion engine. But when it comes to electric cars, it’s normal to have two, sometimes even four electric motors in the same vehicle.

This opens up possibilities that couldn’t be imagined before. For example, when you push your car’s throttle pedal, the vehicle interprets the position of the pedal to decide how much force it needs to accelerate. When this force is applied to a rotating part, like a wheel, it creates a torque. But which motors should the torque be allocated to? This is the principle of “torque vectoring” – the possibility to distribute traction or braking to different motors within the vehicle.

Torque vectoring could be used to make vehicles safer. If different amounts of torque are applied to the

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left and right sides of the vehicle, a turning effect will be produced. This can be used to influence the vehicle’s cornering response, making it safer, especially in critical conditions such as avoiding a crash when taking a corner too fast, or in case of hard swerves to avert an obstacle.

My team and I compared the safety of a torque vectoring technique to a car with an electronic stability control system, which has been a mandatory requirement for cars in the UK since 2014. We found that in some situations - like driving on slippery roads - torque vectoring can help prevent the driver losing control of the vehicle.

More than 90% of accidents are due to human error.

According to the World Health Organization, “road traffic injuries are predicted to become the fifth leading cause of death by 2030, unless action is taken”.

Future vehicle engineers and researchers have plenty to deal with.

ALREADY HERE

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ome manufacturers are already using torque vectoring. Other cars use different variations of the technology, achieving an uneven distribution of torque between left and right sides in different ways. But this technology is usually reserved for high end luxury or sports cars.

At the moment electric cars are still being developed, and manufacturers have yet to make the most of the torque vectoring capability. Advanced safety systems could also be devised that would anticipate rather than react to loss of control situations, dramatically enhancing passenger vehicle safety.

In the future, vehicles are expected to be both autonomous and electric. Essentially this is due to environmental aspects - reduced emissions - and the fact that in a few years the cost of electric vehicles is expected to be similar to traditional vehicles.

The capabilities of electric vehicles, such as torque vectoring, can contribute to make these vehicles safer than traditional cars. This is very important considering claims that autonomous vehicles need to be four to five times safer than standard vehicles in order for the public to accept this “self-driving” technology.

This page: Photography Adelin Grigorescu. This article first appeared on The Conversation.

Bringing Maltese and Gozitans Together We might be a small country in size, but we have a big family spread all over the world. We have tough challenges ahead:

Covid-19 has turned our lives upside down. We have to change our lifestyle and economic activity to address the climate crisis. We now have the added challenge of having to put the

pieces together to rebuild security and cooperation in Europe and the world after the Ukraine war.

Maltese and Gozitans have been emigrating to all corners of the world for centuries. At first most of our people who had to emigrate because of unemployment and poverty, sought

Evarist Bartolo

Minister for Foreign and European Affairs

a better life in neighbouring Mediterranean countries.

Then since the 1800s they started venturing in faraway

Despite all this I still feel that in our islands we are still not

countries like Argentina, the United States and Australia.

aware enough of the reality and history of emigration of

Today there are Maltese and Gozitans and their descendants

our people throughout the centuries. I still feel that we still

in around 194 countries, practically in every country in the

consider our history and reality of emigration as parallel to

world. Like thousands of other Maltese and Gozitans I have

our history and reality on the islands.

relatives in at least three other countries on different sides of our planet.

I think that we need to address this and move towards becoming more aware and forging more links among

There are about 120,000 first generation and 300,000 second

the Maltese and Gozitans in the whole wide world and

and third generation Maltese living in other countries. This

considering ourselves as one.

means that we have a diaspora of about 420,000, as many Maltese and Gozitans as we have in our islands.

The technology of communication is at least making it more possible to have a closer community and to be more in touch

A 2019 World Bank report shows that even today 24 per

with each other across the continents. We must strive to get

cent of all Maltese live outside Malta, putting the rate of

even closer: both within Malta and beyond it.

emigration for the Maltese population as the highest out of any EU country. The destinations have changed as today we have new diasporas in Brussels and Luxembourg reflecting our membership of the European Union.

Evarist Bartolo is a candidate for the Labour Party on the 10th and 12th Districts in the forthcoming General Elections.

GOING ELECTRIC SUSTAINABLE TRAVEL

Trends and Statistics from the National Household Travel Survey The word “sustainable” is tossed around with increasing frequency, however most only have a vague understanding of what sustainability really means, and how the lack of same can have long-term consequences for our future generations. Sustainable mobility has grown in popularity in recent years and in particular, this was one of the silver linings of the COVID-19 pandemic. The question remains whether as restrictions lift people will carry on the good practices that emerged and therefore sustain the green recovery, writes Laura Sue Mallia, Director Risk Management, Policy and EU Affairs, Transport Malta.

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he National Household Travel Survey (NHTS) which is carried out by Transport Malta every 10 years in collaboration with the National Statistics Office (NSO) attempted to capture the emerging trends and questioned household members about their use of private vehicles as well as travel patterns and trip characteristics. Other questions included participants’ views on sustainable travel modes and the impact that COVID-19 has had on their travel patterns. In total, 5,076 households participated, with a total of 12,028 trips being recorded on Travel Day (17th November 2021).

The preliminary analysis and results of NHTS 2021 were presented during the Sustainable Transport: Together towards Cleaner Solutions conference held on the 24th of February this year. Further analysis and fine-tuning of survey data is now being undertaken by Transport Malta (TM) and NSO to produce an invaluable dataset for sustainable transport planning in Malta. Of note is the fact that although the supply and demand for mobility as a service, collective transport and shared mobility has been increasing, uptake is still not at an optimum level which encourages us to reflect more on whether the public and private sector can increase efforts to further support this transition both in terms of provision of services and for employees.

One of the areas the National Household Travel Survey (NHTS) study delved into was the effect of COVID-19 on trip purpose. The largest decreases in frequency of travel were in retail trips and work trips where respective decreases of 58.2% and 38.1% were recorded.

Unsurprisingly, countryside and seaside trips saw a large increase at 22.8%. Photography this page Paula De la Pava Nieto.

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GOING ELECTRIC

Going back to the NHTS, in terms of vehicle access we find that 87.2% of households in Malta have a car with, 25% of households having more than 3 cars. Only 6.1% of participants have access to a motorcycle. Interestingly to note, 17.4% of participating households from the Southern Harbour said they do not have access to a car, followed by 15.7% of participating households from the Northern Harbour. The time where we find most of the cars on the road, considered as the start of all trips and including morning peak hours, is between 08:00hrs and 09:00hrs. Afternoon peak hours tend to be between 17:00hrs and 18:00hrs.

In comparison to the previous NHTS carried out in 2010, we find the peak has spread out more in the afternoon. A detailed analysis of trip length and trip duration will be carried out at a later stage using the National Transport Model. Although an in-depth analysis of these numbers is still underway, one cannot help but notice that our roads were significantly less congested, even during peak hours during the peak of the COVID-19 pandemic and remote working and shopping may have had something to do with this.

F Walking has increased to 7.7% in 2021 and, cycling has almost doubled its modal share since 2010. Photography William Jones.

I

n comparison to previous NHTS results, in the 2021 survey we find the percentage of the modal share of car drivers has increased from 59.4% in 2010 to 75.7%. Car passengers decreased from 15.2% in 2010 to 8.2% in 2021. These changes can be attributed to the COVID-19 pandemic, which had a large impact on public and collective transport. On a positive note, though, walking has increased to 7.7% in 2021 and, cycling has almost doubled its modal share since 2010. This result is rather interesting because in comparison to driving a car, walking, and cycling provide additional health benefits and significantly lower running costs. Therefore, shifting the approach to transport is a common objective of all transport policies with the aim of altering the thinking paradigm, behaviour, and habits. It is anticipated that rapid progress in technology and the Sustainable Urban Development Plans and Sustainable Urban Logistics Plans which we shall be working on through 2022 will support this evolution.

In particular, the establishment of the Single Access Point, as defined under the Intelligent Transport Systems Legal Framework of the European Union with regards to the provision of EU-wide multimodal travel information services will enhance our engagement with a wide community of transport and mobility stakeholders, since the scope of the Regulation applies to the entire transport network, while aiming to make accessible, both, static travel and traffic data and historic traffic data of different transport modes, including data updates.

T

his data which shall be available on the Malta National Access Point Platform will be a collation of information provided by Government Authorities, transport operators, infrastructure managers, transport on-demand service providers and other mobility players. In anticipation of this platform, we are embarking on the first initial step which is reaching out to stakeholders, for awareness-raising purposes and to explain the expected shared benefits and requirements of the same. Specifically, in this regard we invite interested service providers to reach out should they wish further information.

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or many, the pandemic effectively changed the nature in which we conducted our work, the way in which education was provided, and the way in which we purchased goods.

This in many cases implied more work-life balance, reduced traffic, less travel stress and commuting time, and a decrease in air pollution particularly in urban and densely populated areas. Of course, without proper planning, remote activity can also result in feelings of isolation, burnout and unhealthy weight gain, and therefore the question we need to ask ourselves is what more can be done for our employees and the population at large.

Moving on, the uptake of bus use to travel to places of education has increased to 22.5% compared to the results in 2010. This can be attributed to the free public transport service available to certain demographic cohorts and, will undoubtedly be further improved through the provision of free public transport for all which the Government has committed to. Indeed, 58.9% of participants who were students and/or persons having an unpaid work experience noted that they make use of public transport. Both regular and nonregular users of public transport were also asked about which factors they considered as barriers to using the bus service, with punctuality and length of journey being the most cited issues.

Similarly, barriers to using walking as a mode of transport included the duration of the trip followed by having no interest in walking.

Barriers for cycling also included the necessity for increased road considerations although, an interesting result to note was that 20% of participants said that they cannot ride a bicycle and a further 7.2 % did not feel confident riding a bicycle. These issues pertained mainly to Maltese respondents as a high proportion of expatriates’ respondents to the survey both knew how to cycle and felt comfortable cycling.

The study also delved into the effects of COVID-19 on trip purpose. The largest decreases in frequency of travel were in retail trips and work trips where respective decreases of 58.2% and 38.1% were recorded. Unsurprisingly, countryside and seaside trips saw a large increase at 22.8%. The frequency of trips to supermarkets, groceries, and pharmacies remained largely unchanged during the COVID-19 pandemic.

The preliminary results of the NHTS discussed herein provide an important first impression of the travel behavior of the inhabitants of Malta and Gozo. More detailed analysis of the survey data shall be carried out in the coming weeks by TM and NSO. The information collected from the NHTS will be one of the main sources of data inputted into the National Transport Model. This model will allow us to test the impact of new transport policies, projects, and measures.

This will pave the way for the review and updating of the Transport Master Plan 2025 and, its extension to 2030.

Al lyourt wowheelel ect r i cvehi cl e needsunderoner oof

Ther ef oryouev er yday.

MADEI NI TAL Y

El ect r i chear t , al l I t al i anl ook s.

MADEI NGERMANY

Ex t r aor di nar ydesi gn, easyhandl i ng&dr i vi ngpl easur e.

ALTERNATIVE PRODUCTS TO SINGLE USE PLASTICS Tips for sustainable shopping

BANNED FROM 2022 Plastic Bag ALTERNATIVE Reusable Bags (e.g. Cotton & Jude), Compostable/Biodegradable

BANNED FROM 2022 Plastic Straw ALTERNATIVE Reusable Straws (e.g. Metal, Bamboo & Glass), Pasta Straw

BANNED FROM 2022 Plastic Plates ALTERNATIVE Reusable Plates (e.g. Stainless Steel & Bamboo)

BANNED FROM 2022 Plastic Cutlery ALTERNATIVE Reusable Cutlery (e.g. Wooden, Stainless Steel)

BANNED FROM 2022 Polystyrene (Jablo) Cups ALTERNATIVE Reusable Cups (e.g. Bamboo, Stainless Steel Cups)

BANNED FROM 2022 Traditional Cotton Buds ALTERNATIVE Bamboo Stick Cotton Buds, Cotton Ear Buds with Paper Stick

BANNED FROM 2022 Disposable Take Away Food Jablo Containers ALTERNATIVE Bagasse, Paper/Carton Box, Bamboo, Reusable Containers SAVING OUR

Reducing your single-use plastic use

THE ISSUE OF PLASTIC WASTE AND WHAT YOU SHOULD DO Over the past months, the Ministry for the Environment, Climate Change and Planning through the Saving Our Blue Campaign together with the Environment & Resources Authority (ERA) has been working with experts alongside public discussions to join in the international effort of reducing Single-Use Plastic use (SUPs). Studies which have been carried out by the European Commission, have clearly identified a number of problematic SUPs which are most commonly found along our shores. ERA’s experts have further researched the area and adapted the study to the local scene.

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any of us are not even aware of how SUPs influence the many aspects of our daily lives and activities, and how these were an important element of our economy. Since the 1970s, when plastic was hailed as the miracle product, we never gave a second thought to how to deal with the mountains of waste that have accumulated since its inception - unfortunately, this also includes our marine environment.

The issue that needs to be addressed is the low rate of recovery, reuse and recycling of these types of plastics.

The majority of plastic waste generated through the economy is typically disposed of in landfills or even incinerated. However much of this plastic is also littered which in turn can end up in the Mediterranean Sea causing many hazards to marine life as well as being much more difficult to recover and dispose of them effectively.

WHAT HAS BEEN BANNED SO FAR? On 1st January 2022, lightweight carrier bags have been banned as follows: • Plastic bags thinner than 15 microns are allowed for hygiene purposes, for example in direct contact with food such as meat, groceries and vegetables. They cannot be used for ironmongery items or to carry pre-packed food.

• Plastic bags between 15 and 50 microns cannot be used at the point of sale as carrier bags or to accommodate any food items.

• Biodegradable bags conforming to EN13432 are all exempt at any time anywhere but cannot be used as carrier bags.

• Bags thicker than 50 microns can be used if they were designed to be used multiple times.

WHAT IS NEXT? FROM FEBRUARY 2022 From 24th February of this year, the dissemination, consumption and use, both paid and unpaid of plastic products such as straws, plates and foam cups as well as oxo-degradable plastics are prohibited.

SO WHAT WILL BE BANNED? • • • • • • • •

Straws Plates Stirrers Jablo food containers Jablo cups and beverage containers Balloon sticks Plastic cotton buds Every type of product that is made out of oxo-degradable plastic

SO WHAT CAN I DO?

A

s an alternative to the banned products mentioned above, one can opt for several sustainable items.

Going shopping? You can take a reusable cotton bag with you to fill with your shopping items. On the positive side, there is no need to buy a bag each time and you can re-use it next time around!

Going for a picnic? Put your food in reusable storage containers made out of glass or stainless steel and use also reusable cutlery made out of bamboo or stainless steel.

If any plastic products were used and are being thrown away, it is important to dispose of them in the correct bins.

If you are all wondering, but how will I be able to enjoy my cool drink during the summer without a straw?

It’s simple! Use a paper straw or even better, invest in a reusable stainless steel straw that can be used more than once!

No more cotton buds with plastic sticks? No problem!

Use alternative materials such as cotton buds with sticks made out of paper or bamboo.

There is a sustainable alternative for everything. Easy isn’t it? Now you can continue performing these daily actions in a more sustainable way with less harm to the environment! Added bonus – you can have a greener conscience too!

Let’s be part of the solution, not the pollution!

ART AUCTION

“It’s like the world is moving in front of our eyes when we look at Monet.”

Katy Hessel, Art Historian

SOTHEBY'S LONDON

IMMERSED IN NATURE CLAUDE MONET Monet was a key influence on the abstract movements of the 20th century and long after his death in 1926, he remains a strong and relevant force. With Picasso and Van Gogh, he is one of the most sought-after artists in the world today. In recent years the energy around him has taken on an even more renewed vigour, both in the global exhibition arena and among collectors all around the world. Photography courtesy of Sotheby’s.

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his March (as this edition of First Magazine goes to print), Sotheby’s London will present five works by Claude Monet painted during a formative fifteen-year period during his career, charting the artist’s pivot from an Impressionist painter to the father of Abstract Expressionism. The paintings, all taken from one American collection, paint a picture of how Monet approached the concept of capturing colour and light on canvas in an increasingly modern and abstract way, through a range of key motifs. From a flowerfilled canvas that prefigures Monet’s celebrated late water

lily paintings, to a rhythmic depiction of loosely bundled together grain stacks, and two landscapes painted under different weather conditions at opposing ends of the seasons, the works - all of which pre-date 1900 encapsulate the ‘modern’ Monet that had such a profound influence on later artists and movements. With a combined estimate in the region of £35 million, the paintings will have been offered in Sotheby’s Modern & Contemporary Evening Auction in London on 2 March. It will be exciting to see what figures this Modern Master’s paintings will reach.

MASSIF DE CHRYSANTHÈMES, estimated at £10 - 15 million, is one of four still-lifes devoted to chrysanthemums painted by Monet in 1897. Radically challenging the long and illustrious tradition of still-life painting, both the subject and the composition in which the flowers occupy the entire canvas, with the edges of the painting cropping the composition - had much to do with Monet’s fascination with Japan, a fascination he shared with many of his contemporaries. Monet was a keen collector of Japanese prints, adorning the walls of his studio with prints. The composition of the painting was almost certainly inspired by the work of the great Japanese print-maker Hokusai, whose prints of “Large Flowers” Monet owned. In fact, the influence of Hokusai’s depictions of flowers without backgrounds can also be seen in Monet’s Water Lilies, and it is no coincidence that the artist’s first water lily paintings date from the same year he produced these close-up paintings of flowers.

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ART AUCTION

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ART AUCTION

Estimated at £15 - 20 million, LES DEMOISELLES DE GIVERNY features one of the most recognised motifs painted by Monet, that of the grain stacks. The work’s richly encrusted surface demonstrates Monet’s sculptural use of the medium and looks ahead to the phenomenon of abstraction. The painting’s title, “The Young Ladies of Giverny”, takes its name from the colloquial French expression and evokes moving figures within a landscape, echoing the many occasions he had painted female figures set within the natural world in the 1870s.

Painted in 1897, SUR LA FALAISE PRÈS DE DIEPPE, SOLEIL COUCHANT, estimated at £3.5 - 5 million, is from a series of works depicting the Normandy coast. The paintings were unusual in their choice of colours, as Monet uses a soft Mediterranean palette to paint the dramatic northern perimeter of France. Reducing nature’s forms to their essence with gestural brushwork represented Monet’s first forays into abstraction. By the time of his death, he had become an abstract painter in his own right, set to have a tremendous influence on the generation of artists who followed.

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