Taste & Flair December 2024 by The Malta Independent

Welcome to our Christmas issue

December is a time of indulgence, of casting off year-round restrictions and of social bonding over food and drink. It’s a time for creating new memories and looking back at the past. In this, the 20th year of publication – the first issue of Taste was published in 2004 – there is much to look back on, and a future to look towards. The magazine’s long run is thanks to all the writers, photographers, and artists whose work is now a visible and indelible part of Taste&Flair’s history, and in particular to Ramon and Antoinette at Box Design and Sean Ellul at Standard Publications who have seen the magazine through from its beginnings to the issue you now hold in your hands. It is also thanks to a mostly invisible but no less important number of individuals who lent a hand whenever necessary, including Rose Vella, who for years filtered out typos before the magazine’s pages went to print. But it is most of all thanks to Daphne, who founded the series of magazines – Taste, Flair, and then Taste&Flair – that have brought a touch of joy and beauty into the ordinariness of everyday life, and whose work has continued to inspire Taste&Flair long after her life was taken from her. Our thanks, too, to our many readers, some who have been around from the very beginning. We would love to hear from you, so please do get in touch. You’ll find our details on the final page. We wish you all a warm and peaceful Christmas and hope for the New Year.

Corinne

Publisher The Daphne Caruana Galizia Foundation 56 Melita Street, Valletta VLT1122, Malta

Editorial Board

Paul Caruana Galizia

Andrew Caruana Galizia

Matthew Caruana Galizia

Executive Editor Corinne Vella

Editorial Assistants Megan Mallia • Amy Mallia

Art Director Ramon Micallef +356 9949 1418 ram@box-design.net

Advertising Manager & Editorial Contributor Sean Ellul +356 7921 0705 sellul@independent.com.mt

Advertising Assistant Christine Mifsud +356 21 345 888 ext 138 cmifsud@independent.com.mt

Production Manager André Camilleri

Production Assistant Conrad Bondin

Prepress & Printing Print It

All communication about Taste&Flair magazine should be directed to Corinne Vella at corinne@daphne.foundation

No part of any issue of Taste&Flair may be reproduced without the written prior agreement of the publisher.

Distributed with The Malta Independent on Sunday*. The Malta Independent on Sunday is published by Standard Publications Ltd - Tel +356 21 345 888

*The surcharge on The Malta Independent on Sunday, or any charge for this magazine is retained by Standard Publications Ltd.

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Adoration of the Shepherds, Gerrit van Honthorst, oil on canvas, 1622 In 1620, the Dutch painter Gerrit van Honthorst returned to his hometown of Utrecht from Rome, where he had spent some four years working on commissions and studying the work of Italian masters, notably Caravaggio. In Adoration of the Shepherds, Caravaggio’s influence is evident in the play of light and the deep shadow in the less important parts of the painting. The sole source of light is the infant Jesus whose radiance illuminates the surrounding figures – a probable reference to

Biblical statement “I

light of the world” (John 8:12). A bequest by Johann Heinrich Claren in 1855, the painting is now displayed in the Wallraf-Richartz-Museum in Cologne.

Michael Diacono’s ‘Christmas Essence’ See feature starting on page 14.

Photo by Brian Grech.

Mill Street, Central Business District, Qormi, Malta

Festive feast

Michael Diacono’s spread for Christmas lunch

28 A taste of nostalgia

Michaela Pia Camilleri goes in search of the perfect loaf

30 Vino da meditazione

Andrew Azzopardi on the quiet pleasure of fireside wines

Boxing Day breakfast

Claire Borg’s sweet and savoury start to the day

Sweet nostalgia

Indulge in the taste of Christmas past

The flat upstairs

Contemporary vision in an urban conservation area

70 A sense of tranquility

Bespoke interior design in a duplex penthouse

78 The Great Mughals

Art, architecture and opulence from the Golden Age of the Mughal court

PALAZZO PARISIO

A Christmas of Palatial Proportions

While some of you may use the word ‘extra’ derogatorily, it’s honestly an adjective that we embrace wholeheartedly. Not only that, we strive for it! Who, in their right mind, would have undertaken a project at the scale of Palazzo Parisio and not been extra about it? Afternoon tea in the orangery - extra. Christmas lunch in the ballroom - extra. Dancing away in the labyrinthine wine cellars for your office party - well, you get the idea.

With Christmas being the most extravagant of all seasons, the palace comes alive at this time and so do all of us. Even at the peak of summer, Executive Chef David Giacomelli is already starting to plan the endless festive menus and treats that we roll out for December. Christmas touches every aspect here and we love it!

Afternoon tea is a decadent affair and we amp things up a notch for the occasion. Come December, our signature afternoon tea takes a festive twist with mulled wine or a glass of champagne to get you in the Christmas spirit.

While many think of lunch on the big day as a family-athome do, those who usually slave away at the stove would absolutely refute lifting a finger unless it’s to move food cooked by someone else to their mouths. Come December 25th, lunch is served around our enormous tree in the ballroom. Indulge in the most opulent Christmas Day lunch surrounded by the magnificently gilded walls of the palace’s most treasured spot.

The other big day in the festive calendar is, of course, split over two - the Eve and the Day commemorating the year to come. If dancing the night away is not your style, why not settle down to a scrumptious dinner carefully curated by our kitchen team? DJ Don Peltrinsky will be taking over the decks and hosting the countdown at midnight to ring in the New Year.

Festive food isn’t limited to the statement days though with surprises added to the menus in the restaurant as well as the specially-prepared fare that’s laid on offer for all parties organised here over the next few weeks.

This is all built on the Autumn menu, a seasonal and warming spread that David and his team are always proud of sharing with you, our guests. When creating a new menu, he uses a combination of research and past events to create new and exciting dishes that reflect his personality at that moment in time. Seasonal produce is at the core of every menu. With the cooler temperatures come ingredients like pumpkin, wild mushrooms and pomegranate, which he integrates into new dishes to keep things fresh. Though he allows for signature dishes to remain on the menu to satisfy customer demand, you will never see the same dishes from last season on the menu. For him every seasonal change is a blank canvas.

For us, right now, our canvas may be blank, though it’s garlanded with holly and festooned with fairy lights. We hope to welcome you to Palazzo Parisio soon to crown your festive experience this Christmas. n

 DICAL HOUSE FESTIVE MUST-HAVES. If you are looking for the one place on the island where you can find all your festive must-haves, head straight to DICAL HOUSE and feast your eyes on an extensive selection of gifts and hampers. All hampers can ALSO be customised according to your taste and budget to ensure yours is totally filled with individually handpicked items. Dical House brings you the finest food products from around the world. With hundreds of gourmet items to choose from, your difficulty will be what to leave out rather than what to choose. Corporate clients can request a private meeting via email on foods@dicalgroup.com. Whatever the case, don’t forget to buy a gift for yourself. Dical House is in Triq San Anton Abbati. It is easy to find also on Google maps. Tel.: 2142 4600/1. Email: foods@dicalgroup.com or web: www.dicalhouse.com

 Christmas is around the corner and Dical House is as always bursting with world-renowned specialities for that special treat or gift. For the past 20 years, our selection of fine foods is second to none with innovative items being presented each year. Our large cellar houses more than 300 labels of wine and an extensive selection of Whiskies and other spirits. Pack your personalised gifts in luxury wicker baskets or the signature Dical House gift boxes. Dical House is open all day every day during the festive season and is in Triq San Anton Abbati, Mosta. On certain days such as Christmas day and eve Dical House opens with reduced hours. Tel.: 2142 4600/1. Full customisation and delivery of hampers is also possible. Email: foods@dicalgroup.com or web: www.dicalhouse.com

JOY UNWR

San Anton Abbati, Mosta is the place to visit. Suggested hampers can be seen on www.dicalhouse.com but each one can be customised according to your taste and budget. Dical House hampers can also be delivered anywhere in Malta and Gozo. Just be sure to think ahead to avoid disappointment as certain items will be gone well before Christmas. Contact details – tel.: 2142 4600/1, email: foods@dicalgroup.com

labels and rare ones brought together in one precious space. One can decide to combine gifts according to taste and budgets and also have these exclusive gifts delivered in Malta or to other EU countries. Corporate clients can request a personalised meeting via email on foods@dicalgroup.com. Visit www.dicalhouse.com to gain insight into a few of the festive items available, but for the real deal a visit to the store is a must. Tel. 2142 4600/1.

The Versailles Roses. Price: €395. This beautiful life-like Côte Noire Thirty-One Rose arrangement has been set in gel, infused with a fine fragrance and finished off in a luxury vase with a gold badge for you to enjoy for many years. Exclusively available at Grey & Adler of Labour Avenue, Naxxar. Call 99823319 or shop online at www.greyandadler.com/cotenoire

 The Orchids. Price: €450. Côte Noire is not just roses, it’s also beautiful high-quality lifelike orchids in white and also in a pink version. Exclusively available at Grey & Adler of Labour Avenue, Naxxar. Call 99823319 or shop online at www.greyandadler.com/cotenoire

APPED

 The Gold Label Range. Price: €55. Compliment your Côte Noire flowers with a beautiful Gold Label Candle or a Silk Reed Diffuser. Exclusively available at Grey & Adler of Labour Avenue, Naxxar. Call 99823319 or shop online at www.greyandadler.com/cotenoire

From indulgent gourmet delights to timeless décor and stylish home essentials, discover thoughtful gifting ideas that embody the spirit of charm and celebration.

 The Centre Piece. Price: €295 This elegant composition of high-quality faux life-like roses is one of the most chic choices from all the Côte Noire range. A showstopper and a must-have this Christmas. Exclusively available at Grey & Adler of Labour Avenue, Naxxar. Call 99823319 or shop online at www.greyandadler.com/cotenoire



Christmas Essence

Traditionally, Christmas lunch gathered a large number of family members and friends around the table for a festive meal of epic proportions. Though times have changed and households are smaller, the celebration need not be any less spectacular. Feast on tradition and flavour with this collection of recipes by Michael Diacono, chef patron, Giuseppi’s Bar and Bistro.

Stying and photography: Brian Grech

Wine recommendation: Andrew Azzopardi

China plates: Gio Batta Delia

Decorations and accessories: Alistair Flora Design

Crystal, silver, and pewterware: private collections

“Food is for sharing with loved ones at this special time of the year so I’ve chosen a selection of recipes to make your Christmas season more delicious. On this occasion, the 20th year of publication, it would be amiss of me to not say what an honour it has been for me to work first on Taste magazine and then on Taste & Flair for so many years. Daphne was great to work with and I salute her memory. She is sorely missed. In recent years, working with Corinne and Brian has been no less fun. Photo shoots have always been a giggle, if fraught with stress on some occasions, but we always pulled through. And to our readers, a big thank you. I wish you all a blessed Christmas and, hopefully, a peaceful 2025.”

Whole Roasted Duck

SERVES 4

PREPARATION AND COOKING 3 hours plus overnight resting in the fridge

RECOMMENDED WINE Pinot Noir is the ultimate wine pairing for Duck. With its rich, fatty, and deeply flavourful profile, duck calls for a wine with the finesse and structure to match its character without overpowering it. In my experience, no wine rises to the occasion quite like a well-crafted Pinot Noir for Burgundy or New Zealand.

YOU WILL NEED:

A few fresh rosemary sprigs

1 teaspoon freshly grated nutmeg

2 Maltese oranges

sea salt and freshly milled pepper

2kg oven-ready duck

5 cloves garlic, peeled

2 large red onions, chopped

4 carrots, peeled and cut into chunks

3 cinnamon sticks • 4 fresh bay leaves

200ml red wine • 175ml stock

Roasting duck is really not a tricky business and is always guaranteed to impress. Carve it at table for that added wow factor. The only downside – and a very minor one at that – is that one duck does not feed many people. I’ve given the recipe for one duck which feeds four. Add on another duck or two for a larger number of guests.

1. Strip the rosemary leaves from their stalks and chop them roughly. Transfer them to a small bowl. Add the nutmeg to the rosemary with salt and pepper. Zest the oranges and add this to the bowl. Mix well, then use this mixture to rub the duck all over the outside and in the cavity. Place the duck into a glass dish, cover it loosely with cling film and leave it in the fridge overnight.

2. The next day, preheat oven to 180°C (170°C, if fan-operated). Place a rack over a deep roasting dish and put the duck, breast side up, onto this. Cut up the zested oranges and place the pieces inside the duck.

3. Place the roasting dish in the oven and roast the duck uncovered for 1 hour. Meanwhile, put the garlic, carrots, onions, cinnamon, and bay leaves into another deep baking dish. Add approximately 200 ml of red wine and 175ml stock. Season with salt and pepper.

4. After 1 hour remove the bottom pan into which the duck had been dripping and replace it with the one containing the vegetables. (Keep the dripping to roast your potatoes in). Roast for another 1hour.

5. Remove the duck from the oven and transfer it to a warm serving dish. Cover it with foil and let it rest for 15 minutes before serving. I like to serve the vegetables, as they are, under the duck, with the pan juices served in a sauce boat.

Roasted Stuffed Quail

Quail is the perfect roasting bird for the festive season. Cooking time is short, the taste is mild and very pleasant, and the birds are readily available. 1 per guest sorts out the portion size. This recipe serves four. You will need to increase the measures of ingredients for a larger group.

SERVES 4

PREPARATION AND COOKING 2 hours 30 minutes

RECOMMENDED WINE

Light-bodied red wines like Pinot Noir and Beaujolais Cru such as Fleurie or Moulin-à-Vent are classic pairings for roasted quail, complementing its delicate flavors without overpowering them. If you’re after a white wine, an aromatic Viognier is an excellent choice too.

YOU WILL NEED:

4 large quail • salt and pepper

8 slices streaky bacon • extra-virgin olive oil to drizzle

1 white onion, peeled and sliced • 200ml Madeira wine

120g dried cranberries • 100ml stock

FOR THE STUFFING:

250g guanciale, cut into small 1cm dice

2 cloves garlic, peeled and finely chopped

150g chestnut mushrooms, chopped zest of 1 lemon • 1 teaspoon fresh thyme

1 medium onion, peeled and finely chopped

100g long grain rice • salt and pepper

200ml chicken stock • 50g butter

1. First, prepare the stuffing. Place a pan on the heat, add the guanciale and stir fry it for about 4-5 minutes to render the fat completely and colour the meat. Add the garlic and mushrooms and stir, then add the lemon zest, onion and thyme.

2. Cook for 1 minute then toss in the rice and stir to coat the rice grains. Season, then add the stock and butter. Cover the pan and cook the mixture for 15 minutes till all the liquid is absorbed. TIp the rice onto a baking sheet and let it cool.

3. Season the quail both inside and out. Fill the cavities with the cooled rice and tie the legs together with some kitchen twine. Wrap each bird in 2 rashers of streaky bacon.

4. Heat oven to 200°C (180°C, if fan-operated). Place the onion into a baking dish and arrange the quail over them. Pour approximately 6 tablespoons extra-virgin olive oil all over. Add the wine, cranberries and stock and roast for 25 minutes.

5. Place the quail onto a heated serving plate, cut away the twine and cover the birds with foil. Place the roasting tin on the heat and cook down the pan juices for a few minutes to thicken slightly then serve at once over the quail.

Galantina

No Christmas would be complete at my mother’s without a galantina being present. It did not form part of the main meal, but it was always there, to be cut into and eaten with mustard at any time of the day. It is a laborious dish to prepare, but it is well worth the effort.

SERVES 10

RECOMMENDED WINE Since Galantina is often served separately to the main dish, it best paired with aperitivo-style wines that keep it light and tangy. Dry sparkling wines such as Prosecco Brut work perfectly , as does a quality Rosé wine.

YOU WILL NEED:

3 pork tongues • 4 pig trotters

500g 1cm thick slices

ham cut into cubes

500g pork shoulder cut into cubes

1 teaspoon black peppercorns

1 teaspoon coriander seeds • salt

1. Wash the tongues and boil them in salted water for 90 minutes till tender, then drain, and, while still warm, peel away the skin. Let the meat cool, then chop it into cubes.

2. Meanwhile, wash the pig trotters and place them into a pressure cooker. Cover them well with water and season with some salt,

then seal the pressure cooker and place it on the heat. When steam starts to escape, lower the heat, seal the valve and cook under pressure for 40 minutes. Always cool the cooker before opening it.

3. Remove the trotters from the stock and reserve the liquid for later. Separate the meat and skin from the bones, which you can discard. Chop the meat and skin into cubes.

4. Place the chopped tongues and trotters into a large mixing bowl. Add the pepper corns and coriander seeds. Season lightly with salt. Run the stock made with the trotters through a

sieve. Place the seasoned meat into a mould and then pour the strained stock all over. Cover the mould with a piece of baking paper then seal this with foil.

5. Place the mould into a pot large enough for it to sit comfortably. Add water till half way up the mould then place the pot on the heat. When the water starts to boil, reduce the heat, cover the pot and let it simmer gently for 2 hours. Top up with water as necessary.

6. After 2 hours, turn the heat off and leave it to cool, then remove it from the pot and place it in the fridge to set. I like to leave it for 2 days to make sure it sets completely.

7. To turn out out the galantina, dip the mould into hot water for a few seconds and then flip it over onto your serving platter. I served this with a sharp lemon mustard and crystallised lemon peel. Some crostini on the side are a plus.

Spezzatino di Cinghiale

Wild Boar Casserole

Some evenings during the festive period, it is always fun to have friends over for an informal dinner together. A casserole is an easy dish to prepare and serve up. Being the holiday season, I would use a more unusual cut of meat or game to make it that bit more special. This recipe needs time (2 days) but that is mainly for the marination. Otherwise, it’s truly easy to prepare. I like to serve the spezzatino on a bed of creamy, soft polenta.

SERVES 6

MARINATION 2 days

PREPARATION AND COOKING

2 hours 30 minutes

RECOMMENDED WINE You can bring out slightly bigger boys for this type of dish. Due to the nature of this dish being inherently Italian, I would choose a Barolo or elegant styled Sangiovese to pair with this rich dish, however a medium bodied Bordeaux-blend will also do the job perfectly.

YOU WILL NEED:

1.2kg boneless wild boar shoulder, cut into approximately 5cm cubes

FOR THE MARINADE:

500ml dry red wine

120ml red wine vinegar

1 onion, peeled and chopped

1 large carrot, peeled and chopped

2 sticks celery, chopped

1 tablespoon balsamic vinegar

2 fresh bay leaves

2 sprigs fresh thyme

1 tablespoon juniper berries

1 teaspoon cinnamon powder

2 teaspoon freshly grated nutmeg

1 teaspoon allspice

FOR THE CASSEROLE:

50g pork dripping or vegetable oil for frying

2 cloves garlic, peeled

1 large red onion, peeled and chopped

2 carrots, peeled and chopped

2 sticks celery, chopped

100g pancetta, cut into small dice

salt and pepper

4 fresh bay leaves

1 tablespoon brown sugar

1 orange, the skin of 60g dark chocolate, chopped (minimum 70% cocoa)

1. To make the marinade, bring all the ingredients to a boil in a large pot then put it aside to cool completely to room temperature. Place the cubed meat into a large glass dish. Pour the cooled marinade over. Cover the dish well and place it in the fridge for 48 hours.

2. Drain the marinated wild boar, keeping the liquid. Discard the vegetables and spices. Pat the meat dry as much as possible.

3. Heat the dripping or a good amount of vegetable oil in a heavy bottomed casserole pan. Add the garlic and cook it for a few seconds before adding the chopped onion, carrot, and celery. Stir fry the meat for a minute or two on high heat, then add the pancetta. Cook this to brown.

4. Add the dried wild boar and stir fry to colour the meat. Add seasoning. Pour in the strained marinade and bring it to a boil. Use a wooden spoon to scrape the bottom of your pan. Add the bay leaves, sugar, and strips of orange peel.

5. Cover the pot, lower the heat to the lowest setting and let the pot simmer gently for about 2 hours till the meat is tender. Add the chocolate and stir it till it melts. Check and adjust the seasoning.

Roast Turkey Legs with Sage and Onion Stuffing

I enjoy turkey at Christmas, and it must be stuffed with sage and onion. I don’t particularly like the breast meat and much prefer the darker, juicer legs, so this recipe solves that problem. It also saves on having to roast the whole bird. Ask your friendly butcher, very nicely, to debone the legs without tearing the skin. That way you will have a neat little pocket to fill.

SERVES 6

PREPARATION AND COOKING 2 hours

RECOMMENDED WINE Being a light, delicate meat we typically pair this with lighter bodies grapes such as Gamay (Beaujolais) or Pinot Noir. However, the sage and butter add some richness to the dish which can just about handle something a bit richer such as an aged Barolo. If you prefer white wine, there’s enough richness for a good quality oaked Chardonnay or even Champagne.

YOU WILL NEED:

2 boneless turkey legs • salt and pepper

1 onion, peeled and chopped

4 cloves garlic, peeled and chopped

2 large carrots, peeled and cut into chunks

2 sticks celery, chopped • 4 fresh bay leaves

3 tablespoons vegetable oil

200ml dry white wine • 100ml water

FOR THE STUFFING

450g white onion, chopped •300ml water

75g melted butter • salt and pepper

1 tablespoon chopped fresh sage leaves

225g fresh white breadcrumbs

1. First, make the stuffing. Place the chopped onion into a pot and cover it with the water. Place the pot on the heat and bring it to the boil. Simmer the pot gently for 10 minutes, then drain it. Transfer the onion to a mixing bowl, add the melted butter and mix it in. Add the sage, bread crumbs, and seasoning. Mix well and taste. You might like to add more sage if you prefer. Let the mixture cool.

2. Next, season the turkey legs well both inside and out then fill them with the cooled stuffing. Reshape the legs and secure them with kitchen twine. Any leftover stuffing may be baked as a side.

3. Place the onion, garlic, carrots, celery and bay leaf into an oven dish. Mix the ingredients together and add seasoning. Place the turkey legs on the vegetables and drizzle them with the vegetable oil. Pour the wine and water into the dish.

4. Place the dish into an oven preheated to 190°C (170°C, if fanoperated). Roast the meat for 1 hour then baste it with the pan juices. Return the dish to the oven and cook for a further 20 to 25 minutes. Pierce the meat. If the juices run clear, the meat is done.

5. Remove the dish from the oven and remove the twine before serving. I like to serve the turkey with the vegetables cooked beneath it and with the pan juices.

Roast French Rack of Veal Loin

Another crowd pleaser, a whole roast pleases the chef too, as it is quite straightforward to cook and always looks very impressive presented whole at table. I served this with roast potatoes and celeriac as a side dish.

SERVES 6

MARINATION 2 hours

PREPARATION AND COOKING 1 hour

RECOMMENDED WINE

Since this is a typically French dish, I would opt for a French, medium to full-bodied wine such as an aged Bordeaux Blend from St Emilion. Champagne also works beautifully with this type of dish.

YOU WILL NEED:

10g ground ginger • 30g paprika

30g salt • 20g sugar

½ teaspoon milled black pepper

1 whole French rack of veal extra-virgin olive oil to fry 150ml dry white wine

1. Mix the ginger, paprika, salt, sugar and pepper together. Rub the spice mix all over the meat then wrap it in baking paper and leave it in the fridge for 2 hours.

2. Preheat oven to 210°C. Remove the veal from the fridge and let it stand for one hour to get to room temperature.

3. Heat a good glug of extra-virgin olive oil in a large frying pan and then fry the rack, to brown the topside. Turn it over and fry the underside too. Transfer the rack to a baking dish. Pour 150ml wine into the same frying pan you coloured the meat in and let it bubble for a few seconds while scraping away any bits stuck to the bottom. Pour the liquid over the veal. Roast the meat, uncovered, for 30 minutes.

4. Use a meat thermometer to check the internal temperature. For rare meat, the internal temperature should be 51°C; for medium rate, it should be 55°C; for medium, 62°C; for medium to well done, 66°C; for well done, the temperature should be 71°C.

WHATEVER HAPPENED TO MALTESE BREAD?

Michaela Pia Camilleri explores why the ħobża tal-Malti so many of us remember from childhood remains largely elusive.

Theinsect net and beaded curtain hiding the dark room behind it. The scent of baking bread you could smell from a corner or two away, depending on whether the wind was right. The powdery countertops, covered with flour and trays of hot, crackling, crusty bread fresh out of the oven. The logs stacked in a corner and the smell of burning wood. All are faint memories of a different Malta, the calmer Malta we especially long for when faced with the chaos that has dominated our islands and by consequence, our minds.

Traditional bakeries are without a doubt rapidly becoming a thing of the past. Little did I know when I was a teenager that the closing down of our favourite bakery in my hometown of Mosta would be a defining moment in my memory of the ħobża tal-Malti, the staff of life for this nation for hundreds of years.

By a couple of years ago, practically all of Mosta’s bakeries had closed down, with the last standing bakery no longer baking its own bread on site and sourcing it from a commercial company instead. Since then, I have rarely managed to get my hands on a Maltese loaf of the sort I remember when I was a child – a much softer, denser, stickier bread compared to the dry, industrially produced kind you find these days.

On a quest to find a good loaf like the ones I remember, I recently visited a few of the last remaining bakeries, most of which are found in Qormi. To tell you the truth, I was still unimpressed by the taste, texture and overall quality of the bread. Even some of the more traditional bakeries seem to have become more commercialised and now look more like a general grocery shop.

Curious, I asked a former baker about my theory that Maltese bread has changed. “Bread is no longer the same,” he says, lamenting the progressive loss of his old trade. “Sar qisu pala tal-bajtar” (“It’s become like prickly pear cactus leaves”). Even the much-loved aromatic biskuttini tar-raħal have lost their soul, according to him: “Everything has become an imitation.”

The root of the problem, he thinks, is the commercialisation of bread. Nowadays, many bakeries have switched to modern, electric ovens, instead of the traditional Maltese wood-fired oven. Even the dough is kneaded differently, using industrial machines instead of the wooden tools once used in the past.

“Mass production has ruined Maltese bread,” he tells me. “Before, bakers would manage to bake maybe 300 loaves of bread in an hour. Nowadays, industrial bakeries

"Pinch of Salt", 2023, oil painting on canvas by Lydia Cecil.

"Bread", 2023, oil painting on board by Gabriel Spiteri.

produce around 3,000 loaves of bread in the same amount of time. Even the pala tal-forn (paddle) that was used to pull the loaves out of the oven has been replaced by a machine.” The quality of the ingredients has changed too, with well water and thick, crystallised sea salt being replaced by reverse osmosis water and fine, processed table salt.

Apart from those changes, many of today’s young people do not wish to continue their family trade. The long hours required to run a bakery consume one’s life, and a normal 9-to-5 job seems more appealing for many, especially with the many more opportunities that are available now. The baker also said that the disappearing role of the mara taddar, or stay-at-home wife, might have also contributed to the decline, as it has become impossible for a baker to dedicate his life to bread-making while his wife also works full-time. Though it is a rather old-fashioned view – some bakers are women – it is a fact that the unsociable working hours are a pressure on family life unless all family members are involved in the trade.

The decline of Maltese bread was sensed at least seventeen years ago, with a push launched in 2007 to save

the “true Maltese loaf” from dying out. “The impostors on many supermarket shelves have a thin crust and a curious woolly texture, falling to pieces when sliced. We should demand real Maltese bread and not protest at the tiny price increases that make it possible for our traditional bakers to stay in business,” Matty Cremona wrote in an article published by Taste magazine, Taste&Flair’s forerunner, in October 2007.

Not much has changed since then, except for the closure of more traditional bakeries. While campaigners have called for the traditional ħobża to be registered as a protected designation of origin (PDO) product – as with Grana Padano and Greek feta cheese, say – there has been no progress in this regard. The issue has been overlooked for years and the memories of how the Maltese bread we remember was made have been erased over time. Daphne, who founded this magazine 20 years ago, had wanted to write about this very same subject in 2017. Seven years later, the problem subsists and the ħobża tal-Malti so many of us remember remains largely elusive.

Bakers would manage to bake maybe 300 loaves of bread in an hour.

"Tomatoes", 2023, oil painting on canvas by Lydia Cecil.

Winter Sundays at home were one of my favourite family rituals, with everyone gathering around the fireplace to talk about everything under the sun. My mother’s siblings would arrive unannounced, settling into their favourite spots around the fire, creating a lively chorus of debate and laughter. My parents laid out a feast of cheeses, sandwiches, pies, and quiches, while I took charge of serving wine or whisky to our guests as they discussed the latest hot topics in the news.

When the conversations began to dwindle, I would retreat to the sofa, mesmerised by the flickering flames and the noise of wood cracking and spitting in the fireplace. Those moments were made for pause, for reflection, and—when I was old enough to join the grown-ups—for a glass of full-bodied wine. Not the breezy, crisp wines of summer or the refreshing whites meant for warm Mediterranean evenings, but fireside wines—serious, contemplative, and deeply satisfying. These are wines to sip slowly, each flavour lingering like the memory of a winter’s fire, savoured as though it might be the last. These are some of my happiest memories. In Italy, they call these wines vino da meditazione—wines for meditation. And while meditation might not strictly be the act of pondering life’s great mysteries, there’s something naturally reflective about these wines. They are layered, nuanced, and often carry stories as rich as their flavour profiles. Christmas is perhaps their natural season, the time when indulgence is not just accepted but celebrated.

A personal memory

The magic of fireside wines truly comes alive in those moments of quiet luxury. I remember one particular Christmas evening, long after the chaos of unwrapped gifts and overeaten lunches had subsided. The fire crackled away, its warmth enveloping the room as I savoured a glass of vintage port I found at the back of my parents’ wine cabinet. Next to me, a small plate of leftover cured ham sat quietly, its salty richness was the perfect balance to the wine’s deep, velvety sweetness. I vividly remember a specific song of Dire Straits playing on the CD player in the background. It’s like time stopped. The incredible Port wine and cured ham pairing was somewhat of a revelation at the time, but it is the whole experience that is so perfectly imprinted into my memory – one that I cherish and emotionally recall every time December rolls around.

Over the years, I’ve discovered a few wines that feel tailor-made for these moments, wines that elevate the quiet magic of sitting by the fireside. From the bold and structured to the rich and meditative, these are the bottles I reach for when the fire’s crackling and the evening stretches ahead. Sitting by the fire with wine like that is like reading a great novel—you don’t rush it. Instead, you lose yourself in its layers and depth.

And let’s be clear: fireside wines need to be of good quality. This is not the moment for mediocrity. This is the time to reach for that special bottle you’ve been saving, the one with the promise of greatness. Forget the supermarket shelf. Fireside drinking is about indulging in the best—choosing a wine with soul, character, and a story to tell.

If you’re looking to stock your fireside with wines of true pedigree, here are a few of my recommendations.

1. Brunello di Montalcino (Italy)

This Tuscan heavyweight is a natural fireside companion. With its robust structure and layers of cherry, leather, and spice, Brunello evolves beautifully over the course of an evening. The wine feels tailormade for winter—its earthy undertones and flavours of dried herbs evoke walks through Tuscan vineyards and forests.

2. Barolo (Italy)

Often referred to as the king of Italian wines, Barolo is as regal as its name suggests. A glass of aged Barolo offers a delicate symphony of flavours: rose petals, tar, truffles, and dark cherry. These Premium, Nebbiolobased wines are contemplative, their tannins softening into a gentle embrace that lingers long after the last sip.

3. Bordeaux Grand Cru Classé (France)

Bordeaux needs no introduction. Its Grand Cru Classé wines are legendary, offering unparalleled balance and complexity. Choose a quality Bordeaux with some age and get ready to be lost in complex layers of cassis, cedar, cigar-box, and a hint of graphite. These wines are like a well-written novel—layered, intricate, and worthy of your undivided attention.

4. Vintage Burgundy (France)

For those fortunate enough to afford it, vintage Burgundy is the ultimate indulgence. Pinot Noir transforms into something ethereal—delicately light yet astonishingly powerful, like a prima ballerina commanding the stage with every graceful movement. Each sip reveals layers of flavour that shift and evolve, mesmerizing as the shadows dancing on the walls by firelight. These wines are pure class. They don’t overwhelm the palate but they captivate with their elegance and finesse, leaving a lasting impression through their subtlety and complexity.

The Sweet Spot: Sherry and Port No conversation about fireside wines is complete without a nod to the fortified beauties of the wine world.

Pedro Ximénez (PX) Sherry

The very essence of Christmas in a glass. PX Sherry, particularly a luscious Don PX, is like liquid Christmas pudding. Its notes of molasses, dried figs, and toffee pair seamlessly with the season’s desserts—or, frankly, even with a spoon of vanilla ice-cream. Fortunately, these are often found in half bottles, because this is one indulgence I look forward to every winter, and only share with a select number of friends.

Vintage Port (Portugal)

Port is probably the fireside wine of choice for most people, and it should be. Its richness—full of dark fruits, spices, and chocolate—is pure decadence. Pair it with a sliver of Stilton, some roasted chestnuts or, as I discovered, yesterday’s leftover gammon, and you’ve crafted a moment of pure festive bliss.

The New World Contenders

The Old World might dominate the traditional fireside narrative, but I don’t discount the New World’s offerings. These regions are crafting serious wines that stand toe-to-toe with their European counterparts and deserve your undivided attention.

1. Napa Valley Cabernet Sauvignon (USA)

Napa’s Cabernets are bold, structured, and intensely flavored. They lean into dark fruit—blackcurrant and blackberry—layered with hints of vanilla, cocoa, and sometimes a touch of leather. Perfect for a fireside chat that stretches long into the night.

2. Central Otago Pinot Noir (New Zealand)

Known for its vibrant fruit and silky tannins, Central Otago Pinot Noir is a rising star in the world of contemplative wines. Its bright cherry and spice notes feel festive, yet there’s enough complexity to keep you sipping thoughtfully.

3. Australian Shiraz (Barossa Valley)

If there’s ever a time to bring out the big boys, it’s now. Australia’s Shiraz, particularly from regions like Barossa Valley, is unapologetically bold and commanding. These wines are rich with flavours of blackberry compôte, cracked black pepper, and chocolate, often wrapped in a velvety smoothness that contradicts their intensity. They’re not wines to blend into the background; they demand attention, filling the room with their presence as the fire crackles away. With every sip, they offer a warming embrace - a perfect counterpoint to the chill of winter outside. For fireside drinking, few wines embody both power and comfort quite like a great, premium Australian Shiraz.

Fireside drinking is about indulging in the best – choosing a wine with soul, character, and a story to tell.

The

Fireside Philosophy

Drinking by the fire is less about quantity and more about quality. This is not the time for bottomless glasses or casual sipping; it’s a moment for indulgence and self-reflection. It’s about the wines that make you pause to explore their layers and linger over their nuances.

Whether it’s a glass of Brunello after a long day of festivities or a velvety vintage Port as the clock strikes midnight, fireside wines have a way of turning ordinary evenings into extraordinary memories.

As the wind howls through the gaps in the windows this winter and the fire roars with life, I can promise you I’ll be pouring myself something truly worthy of the moment. And I urge you to do the same. Fireside evenings call for wines that match their magic—wines to sip slowly, to savour deeply, and to reflect upon as the flames flicker and dance. After all, great wines aren’t just about taste; they’re about time, memory, and the quiet joy of the season.

Andrew Azzopardi is a wine specialist certified by the Wines and Spirit Education Trust.

BOXING DAY

Claire Borg’s menu for a leisurely morning spread that’s both festive and comforting. The photos are hers too.

BREAKFAST

After the hustle and bustle of Christmas Day, Boxing Day calls for a relaxed and satisfying breakfast. Prepare a spread of different snacks for members of your household to help themselves to whenever they’re up.

When I make this dough, I use half and freeze the other half. It will keep well in the freezer for a couple of months.

Enough for 10 people

FOR THE PASTRY (MAKES 2 TARTS):

400g plain flour

150g butter

50g sugar

1 egg juice of 1 lemon some water

FOR THE FILLING:

400g dates in a block

1 cup of water juice of 1 orange

300g chopped walnuts

1. Make the dough by mixing the sugar and flour together, then rubbing in the butter. Add the eggs and lemon juice and mix. You might need to add some water to just bring the mixture together. Turn the dough onto a clean surface and just knead it until combined. Cover the dough and chill for at least an hour.

2. To make the filling, dice the dates and place them in a saucepan with the water and orange juice. Cook until the dates dissolve into a paste and the liquids are absorbed. Stir in the walnuts and cool the filling.

3. When the filling cools, uncover the dough and roll it out to line a tart tin. Trim off the excess dough and scoop in the date filling. Decorate the top of the tart with the pastry trimmings.

4. Place the prepared tarts in a hot oven set on 180°C and bake for about 30 minutes or until golden. Check the bottom of the tart to make sure it is nicely baked.

MINI APPLE STRUDELS

Makes 8

YOU WILL NEED:

6 apples, peeled, cored and roughly chopped

1 tablespoon butter • a sprinkle of cinnamon some brandy • ½ teaspoon lemon zest

½ a vanilla pod scraped • 100g crushed walnuts

3 tablespoons breadcrumbs • 8 sheets of filo pastry melted butter • sesame seeds

1. In a medium pan, melt the butter and add the sugar and lemon. Add the vanilla, cinnamon and apples. Add the brandy and cook until apples are soft. Add the walnuts and mix them in. If the mixture is too wet, add some breadcrumbs to adjust the consistency. Cool the filling.

2. To assemble the strude, place the filling onto the edge of the filo sheet, fold the sides inwards, and roll. Repeat with all the sheets. Place the filled rolls on a baking tray and brush them with melted butter. Sprinkle with seeds and place in a hot oven set to 190°C. Bake until golden and serve hot with ice cream or fresh cream on the side.

Enough for 10 portions

FOR THE BASE:

170g crushed digestive biscuits

70g melted sugar

FOR THE FILLING:

250g cream cheese

200g vanilla yoghurt

60g sifted icing sugar

zest of ½ a lemon 3 eggs

2 tablespoons sifted flour

BAKED CHEESECAKE

1. Mix the biscuits and butter and pat this into a lined loaf tin. Place the tin in the fridge or freezer while you make the cheesecake filling.

2. Beat together all the filling ingredients until smooth and pour this over the biscuit base. Place the loaf tin into a bigger baking tray. Fill the tray with water to create a bain marie and bake the cheesecake in a hot oven set on 160°C for 40 minutes.

3. Let this cool completely before placing it in the fridge for at least a couple of hours before serving.

4. Before serving, top the cheesecake with fresh berries, if available, or frozen berries. Serve this with a dollop of whipped cream on the side and dredged with icing sugar.

TOASTIES WITH DATE RELISH AND WHIPPED FETA

FOR THE WHIPPED FETA:

400g feta cheese

150 ml fresh cream

FOR THE DATE RELISH:

200g pitted medjool dates

100g finely chopped sundried tomatoes in oil

1 teaspoon fresh thyme

1 tablespoon capers

70 ml extra virgin olive oil chilli flakes to taste

1. To make the whipped feta, blend together the cream and feta cheese until smooth. Set this aside.

2. To make the relish, finely chop all the ingredients together, add the olive oil and mix well.

3. Serve on toasted baguette topped with a slice of black olive or a piece of anchovy.

SWEDISH CINNAMON AND CARDAMOM BUNS

Makes 16

YOU WILL NEED:

11g dried yeast

500ml warm milk • 2 eggs

200g sugar • 2 teaspoons salt

1 tablespoon crushed or ground cardamom• 1kg flour

150g melted or very soft butter

FOR THE CINNAMON BUTTER:

135g soft butter • 135g sugar

2 tablespoons cinnamon

FOR THE TOPPING: egg wash (one egg beaten well with some milk) • pearl sugar

1. Make the cinnamon butter by mixing the butter, sugar and cinnamon. Set it aside.

2. Mix the flour, sugar and cardamom together in a bowl. Dissolve the yeast into the warm milk (make sure it is not hot). Add the other wet ingredients and mix all the ingredients together. If you are using a mixer, use the hook attachment and knead the mixture on a low speed for 10 minutes.

3. Cover the dough and let it rest until it doubles in size (about 2 hours). Knock it back and let it rest for 10 minutes. Roll it out into a large rectangle, about ½ a cm in thickness. Spread this with cinnamon butter and fold the dough onto itself.

4. Next, cut the dough into 16 equal strips and form each strip into a tangled knot. Place the knots onto a lined baking tray. (You will need 2 trays to hold them all. ) Cover the trays with a damp cloth and let the buns rest until they fluff up (about 30-40 minutes).

5. Just before baking , brush the dough with egg wash and sprinkle the buns with pearl sugar. Bake in a hot oven set on 210ºC for 15 minutes. Check to see if they sound hollow when tapped. If not bake for another couple of minutes. Cool on a cooling rack.

MUSHROOM AND LEEK TART

Enough for 6

YOU WILL NEED:

Ready-made shortcrust pastry

4-6 brown mushrooms

1 leek

2 pieces garlic some fresh thyme or rosemary some white wine butter

FOR THE FILLING:

100g grated cheese like gruyère or gouda

2 eggs

6 tablespoons cream flack pepper and salt

1. Gently cook the leeks in butter until they are soft. Add the crushed garlic, herbs and mushrooms. Turn up the heat and add the wine. Cook for a few minutes. Turn off the heat and let the pan cool.

2. Line the tart tin with pastry and trim off the excesss. Add the mushroom mix evenly. Next, add the cheese. Beat the eggs and cream and season with salt and pepper. Pour the mixture over the cheese and mushrooms. Bake in a hot oven set on 180°C until golden.

SWEET NOSTALGIA

Create sweet memories with these timeless treats

There’s nothing quite like the rich, festive flavours of a dessert made specially for Christmas. Whether you’ve been baking them for years or are just starting to create your own festive tradtion, these recipes from Taste&Flair will bring joy to your table.

Jade Camilleri’s SPICED TANGERINE DRIZZLE CAKE

photo: Alan Carville

YOU WILL NEED:

200g butter • 175g sugar

2 eggs • 175g self-raising flour

6 tablespoons milk

½ teaspoon ground cinnamon

½ teaspoon mixed spice

¼ teaspoon ground cloves

1 cup tangerine peel, finely minced

2 tangerines, juice only

50g granulated sugar

4 tablespoons icing sugar

1. Using an electric mixer, cream the butter and sugar together. Add the eggs and beat on a low speed until incorporated.

2. Add the tangerine peel and the spices, and mix well. Beat in the four and milk in alternating spoonfuls. Pour the batter into a greased loaf tin and bake at gas mark 4 /180°C for 30 minutes or until it has risen and is golden.

3. Make the glaze by combining 4 tablespoons of icing sugar and two tablespoons of tangerine juice.

4. Make the syrup by combining the rest of the tangerine juice and icing-sugar in a bowl. Poke holes in the cooled cake using a wooden skewer and pour the syrup over it.

5. Decorate with tangerine peel and drizzle the glaze over it.

Claire Borg’s

LUSH CHOCOLATE CAKE WITH RED ORANGE FRUIT

photo: Claire Borg

YOU WILL NEED:

1 round or square cake tin, lined with baking paper

a variety of sweet, ripe fruits and berries in red and orange (not citrus)

200g plain flour

50g cocoa powder

2 ½ teaspoons baking powder

225g brown sugar

4 egg yolks

150g soft butter

2 teaspoons instant coffee, melted in a dash of hot water

50ml sunflower oil

100g cream cheese

FOR THE CHOCOLATE BUTTER ICING:

400g soft butter

150g cocoa powder

650g icing sugar • milk

1. Preheat the oven to gas mark 3/170°C.

2. Sieve the flour, cocoa powder and baking powder into a large bowl and set this aside.

3. In another bowl, beat together the butter and sugar till light and creamy. Add the egg yolks and beat for about 2 minutes.

4. Add the cream cheese and coffee and beat for another 2 minutes. Then add the oil and beat until even.

5. Now fold in the flour mixture until all is evenly combined. Pour the batter into the lined tin, and bake until ready (test by inserting a skewer into the centre; it should come out clean). Remove the cake from the oven and let it cool in the tin.

6. To make the butter icing, beat the butter until light and fluffy. Gradually sift the flour and cocoa into it, beating all the while. If the mixture is too stiff, loosen it with a few drops of milk.

7. Coat the cake with the butter icing and decorate it with fruit just before serving.

McFLURRY ® BISCOFF ®

Corinne Vella’s CLASSIC CHRISTMAS FRUIT CAKE

photo: Corinne Vella

This cake needs to be made well in advance to be ready for Christmas, as it needs to be doused generously with brandy over several days. This is the recipe for the Christmas cakes my grandmother and mother made every year, and which I now make for friends, but decorated with nuts and fruit rather than marzipan and royal icing. This is an old recipe, and I’ve left in the original amounts in pounds and ounces along with the metric measures. The quantities given here will fill a 25cm-diameter tin. For a richer cake, double the amount of fruit and spices. If you don’t want to decorate the cake, simply dust the top with finely sieved icing sugar.

YOU WILL NEED:

227g/10oz of flour (half plain, half self-raising) a teaspoonful of baking-powder a pinch of salt a teaspoonful of mixed spice a pinch of ground cinnamon

225g/half a pound of currants

225g/half a pound of sultanas

112g/a quarter-pound of raisins

56g/2oz of glacé cherries (chopped)

56g/2oz of almonds (chopped)

56g/2oz of mixed peel (chopped)

168g/6oz of butter

112g/4oz of light brown sugar

112g/4oz of dark brown sugar the juice and zest of one lemon the juice and zest of one orange four or five teaspoonfuls of brandy five eggs

TO DECORATE: apricot jam pecan nuts walnut-halves blanched almonds dried figs dried apricots glacé cherries

1. Rinse the currants, sultanas, and raisins to remove any dust and debris. Toss them in the juice and zest, and leave the mixture to stand for 24 hours, stirring it frequently. Sieve the flour, and stir in the bakingpowder, salt and spices. Beat the butter and sugar until the mixture is light and creamy. Add the eggs and stir in a bit of flour to stop the mixture splashing out of the bowl. Stir in the dry ingredients using a large spoon, then stir in the currants, raisins and sultanas mixture (they will have absorbed the juice). Add the brandy and thoroughly mix it in. That’s the cake mixture done.

2. Preheat the oven to gas mark 2/150°C. Now prepare the tin. Put a fine layer of flour over the inside-bottom. Over this, place a double layer of baking-paper, and do the same around the circumference of the inside of the tin. Pour the batter into the tin and smooth the surface. Bake the cake for around four hours (might be more, might be less, depending on several factors including the type of oven). After 2-and-a-half hours, check it every 30 minutes by pushing a skewer through the centre. If it comes out clean the cake is done; sticky, and you should let it bake for longer. When the cake is ready, leave it to stand for a few minutes before turning it out onto a wire rack to cool. It will take a few hours for the cake to cool completely.

3. Now turn it over and pierce the underside in several places with a skewer. Don’t be overenthusiastic with this, or poke the skewer all the way through the cake. Pour some brandy all over it and let it soak through the skewered holes and generally into the cake. Once this is done, wrap the cake tightly in a double layer of foil, and store it in a cool dry place. Every couple of days, unwrap it, pierce more holes in it (gently) and pour brandy over it, wrapping it in foil again and putting it away.

4. Roast the pecan nuts and walnut halves on a tray. Split open the glacé cherries, dried figs and dried apricots into perfect halves. Brush the surface of the cake with warm, runny apricot jam and quickly cover it with dried fruit and nuts, arranged in regular patterns. It’s a good idea to plan your pattern before you get started, as the jam sets quickly. Make sure that you have enough fruit and nuts to complete your chosen design. Once the fruit and nut halves have set into the cake, pour some more runny apricot jam all over the covered surface, and let it to set into a glaze.

Daphne Caruana Galizia’s OVEN-POACHED PEARS IN WINE

photo: Mark Axiak

This is the simplest thing in the world, and it looks after itself most of the time while you get on with other things. You see all these recipes for poached pears in which the end result is ruby-red and jewel-like, but this is not necessarily how they will turn out. The end result depends on the kind of red wine you’ve used, the variety of pear, its ripeness, and even the spices you put into the wine.

1. Choose pears that are nice and firm – they are going to be poached so if they are too ripe they will disintegrate. Peel them, leaving the stem attached, but cut a fine slice off the bottom so that you will be able to stand them up after they have cooked. Lay the pears sideways in an oven dish which should be just large enough to contain them so that they are not wallowing about. Pour

in enough wine to come halfway up them. Add Christmassy spices like cloves and cinnamon and add a spoonful of honey and some moist brown sugar.

2. Preheat the oven to gas mark 4/180°C and put the pears in to cook. After 15 minutes, turn them over and cook them for another 15 minutes. They should be soft enough to cut with a spoon.

3. Stand the pears on your serving-dish or in individual bowls. Meanwhile, pour the wine into a heavy saucepan and set it to boil, letting it bubble until it has thickened and reduced to a sauce. Pour some of this over the pears for effect and serve the rest separately.

4. Sprinkle the pears with a little crumbled moist brown sugar and if you wish, decorate with dried fruits that have been soaked overnight in brandy.

Livia Tabone’s CHOCOLATE PINE CONE CAKE

photo: Alan Carville

FOR THE CAKE:

4 eggs

235g sugar

235g butter, softened

200g self-raising flour

40g cocoa

FOR THE PINE CONES:

3 large tablespoons chocolate spread

150g toasted slivered almonds Icing sugar, to dust

FOR THE FROSTING:

200g cream cheese

30g cocoa powder, sifted

4 tablespoons chocolate spread

1. Grease a loaf tin (22cm x 8cm) with butter and line it with baking paper. Do the same with a small round cake tine (17cm diameter). Preheat the oven to gas mark 4 /180°C.

2. Use an electric mixer to beat the butter and sugar together until pale and fluffy, then beat in the eggs one at a time.

3. Sift in the flour and cocoa, beating until they are well combined, without over-mixing. Transfer 80% of the mixture into the loaf tin and the remainer into the small round tin. Smoothe surface with a spatula. Bake the round cake for 20-25 minutes and the loaf for 40-45 minutes, or until they are springy to the touch.

4. Once the small cake has cooled completely, use a paring knife to cut out 3 pine cone shapes out of the chocolate sponge. Spread 1 tablespoon of chocolate spread onto the surface and sides of each one, then insert the almonds working up from the base up to the tip of the pine cone. Dust them lightly with icing sugar.

5. Turn the loaf out onto a cake plate. Mix all the frosting ingredients together in a bowl. Using a spatula, cover the cake with frosting and place the pine cones on top to decorate.

Nanna Rose’s CHOCOLATE SAUCE

Serve this warm with freshly cooked crêpes or pour it cold over cake, biscuits or ice cream. Any leftover sauce will store well in the fridge for a few days, and may be gently reheated in a pan for a few minutes – or in a microwave oven for a few seconds – when needed.

Preparation and cooking: 15 minutes

YOU WILL NEED:

3 tablespoons of soft brown sugar

3 tablespoons of pure cocoa powder

1 tablespoon of butter

1 cup of double cream

½ cup of milk

1. Put all the ingredients into a small saucepan over a low heat, and stir gently with a wooden spoon until well combined.

2. When the sauce begins to bubble, remove the pan from the heat.

3. Use a metal spoon to drizzle the warm sauce over freshly made crêpes.

4. Store any extra sauce in an airtight container in the fridge, where it will keep well for 2-3 days.

Samira Jamil’s ALMOND CRESCENTS

photo: Alan Carville

Though these Middle Eastern sweets, called ghoraybeh in Arabic, come from Islamic culture, they have all the attributes of traditional Christmas sweets – including the crescent or ‘moon’ shape. The shortbread-style almond crescents are buttery-rich and melt in your mouth. They are easy to make and decorative enough for the festive table.

Makes around 50 biscuits

YOU WILL NEED:

225g of unsalted butter another two tablespoonfuls of unsalted butter, softened 115g of sugar the yolk of one egg three teaspoonfuls of vanilla essence

345g of plain flour five-and-a-half tablespoonfuls of cornstarch

75g of almonds, roasted and finely chopped whole cloves for decorating (optional) icing sugar, for dusting

1. Cream the butter with the sugar until it is pale and fluffy. Beat the yolk with the vanilla essence. Add this to the sugar-and-butter mixture, and beat until all is combined. Sieve the flour with the cornstarch and blend it into the mixture gradually.

2. Remove the dough from the bowl, place it on a floured work-surface, and knead the almonds into it. Roll out the dough until it is around 1cm thick. Use a crescent-shaped cutter to cut out the biscuit shapes. Place them on non-stick baking-sheets (don’t grease the surface) and if you like the scent and taste of cloves, insert a single one in each biscuit.

3. Bake the crescents in a slow oven preheated to gas mark 2 / 150°C for about 30 minutes. Leave them to cool on a wire rack, and while they are still warm, dust them generously with icing sugar, turning them over and coating both sides. Store them in an air-tight container.

BAL ZUN ETTA

Contemporary vision in an urban conservation context

Architecture: Valentino Architects

Structural Design: Periti Studio

Photography: Ramon Portelli

Project management by Archiform brought the project to a successful conclusion. Set on two levels, the home is now washed in natural light and a neutral-tone palette that gives the interior a serene, sanctuary-like feel. All materials were chosen for their neutral hues and natural materiality: mainly stone, whitewashed walls, and oak flooring and cabinetry.

“We were fortunate to have trusting, receptive clients that had similar ethos to those in our studio”

Abrightand airy apartment set across two levels, this residence embodies a contemporary vision and is bathed in neutral hues that evoke a calming, sanctuary-like aura. Designed to be a home that holds space for both creative energy as well as moments of restoration, it pays homage to the rich history of the building. The interior feels open and is flooded with natural light and ventilation, yet it is designed to remain fully private.

The building is well located in an urban conservation area of Floriana, with its façade enjoying views towards Valletta City Gate. When the owners took it over, the pre-1900s property was vacant and in sound structural condition. Its finishes, however, were dated and the place was not fit for habitation as it had not been lived in for several years.

The apartment consisted of an entrance hall with intricately detailed stone balustrades on the staircase. On the left flank of the entrance hall was the Sala Nobile with typically high ceilings, timber beams, and traditional timber apertures facing east, and therefore open to beautiful sunrises and morning light. To the right was an open terrace where dilapidated lightweight corrugated steel structures formed additional volumes. The context in the urban conservation area of Floriana played on the development of the interior architecture, with the design approach aimed at paying homage to the rich history of the building with minimal changes to its fabric.

and below: The original flagstone floor was hidden beneath a layer of tiles. The architects had the tiles carefully removed to expose the flagstone, adding a historical layer to the design narrative. Below: In the open-plan Sala Nobile, high ceilings and large windows create a bright ambiance.

Right

“The urban conservation area of Floriana played on the development of the interior architecture.”

Left and below: In the Sala Nobile, an island defines the living area into dedicated spaces for cooking, dining, and entertaining, while maintaining the expansive volume of the space.

A natural wood cabinet custommade by Muliett Woodworks Ltd, who also produced the custom-made kitchen island, runs the full length of one wall, including across the doorway. This provides plenty of storage space to accommodate the home owners’ differing needs.

“Our clients were very trusting and receptive,” say Valentino Architects. “However, they had very different needs to satisfy. One, a photographer, is most comfortable in a calming, organised interior. The other is a chef with lots of creative energy, whose lifestyle revolves around constantly experimenting with food, and of course, the clutter that comes with it. These varied lifestyle requirements were a constant in our mind and a lot of the design elements were developed from this foundation. For example, a custom-made, wall-to-wall natural oak kitchen cabinet that runs across the entirety of the living space provides ample and versatile storage space that encourages the elimination of clutter from the home, together with select open shelving that allows for easy access and a curated display of everyday items.

“Our project sought to restore the original rooms, and replace the lightweight structures with a newly built extension. We were fortunate that the terrace was lower than the neighbouring buildings so our new extension nestled comfortably into its context without being visible from the street and has had minimal impact on the surrounding roofscapes. We were delighted to discover an original flagstone floor hidden beneath an upper layer of tiles and we had this removed carefully to expose the flagstone, which adds a historical layer to the design narrative.”

The new structures are relatively simple in their construction. The challenge was their implementation as it involved building over third-party properties and within a historical context. The original entrance of the apartment is now defined by a segmented partition that conceals a guest bathroom and a staircase to the upper floor of the duplex. To the right of the entrance, a newly built extension spreads across two levels. To the left, a short hallway leads towards the living and dining quarters in the Sala Nobile of the original apartment.

Above: The staircase to the second floor has a distinctive dualtone appearance, with the lower section clad in wood and the terrazzo look of the upper section formed by grinding down the structural concrete and leaving it exposed.

The bedroom is set at the opposite end of the apartment from the Sala Nobile, natural wood flooring marking the transition from the entrance hall to the more private area. In the far corner of the bedroom, a bespoke floor-to-ceiling cabinet by Muliett Woodworks fills the space normally occupied by a bedside table.The functionality of the latter is served by a shelf installed behind the bed.

A frosted glass window fronts the

filling the space with natural light while maintaining privacy.

An island defines the living area into dedicated spaces for cooking, dining, and entertaining, while maintaining the expansive volume of the space. The high ceilings, large windows, and restored Maltese balcony create a bright ambiance, and the large, hanging rice paper shade creates a focal point that grounds the space.

The largest elevation of the rear terraces faces north, which allowed the architets to introduce large glazed areas to bring natural light into the interior without concerns of solar heat gain. All materials were chosen for their neutral hues and natural materiality: mainly stone, whitewashed walls, and oak floor and cabinetry. The new staircase up to the second floor was formed by grinding down the structural concrete to expose a finished surface – the staircase finish was therefore made without the need for adding any other material.

“We were fortunate to have trusting, receptive clients that had similar ethos to those in our studio,” Valentino Architects say. “The client gave a strong brief, and we were given the liberty to interpret and develop it. Little changed from our initial designs, and we understand this to be a big part of the project’s appeal.”

Left: An en-suite bathroom leads off from the bedroom.

shower,

Below, left and right: The original terrace was lower than the neighbouring buildings so the new extension built here fits comfortably into its context. It is not visible from the street and has had minimal impact on the surrounding roofscapes.

A SENSE OF TRANQUILITY

The bespoke interior of a newbuild penthouse was designed around the owner’s lifestyle

Interior design: Martina Fenech-Adami, studioNICHE Photography: Ramon Portelli

A calm aesthetic and neutral palette infuse the interior with a serene atmosphere The use of wood as a primary materialfloorboards in engineered oak, smooth oak cladding, fluted cupboard doorssubtly adds warmth and visual texture.

When a homeowner was downsizing following retirement, she picked out a compact duplex penthouse in a new building and commissioned studioNICHE to design the interior. She wanted a home with a sense of tranquillity – a minimalist but cosy environment with a clean, clutterfree look.

Coupling this brief with the properties skewed angles resulted in studioNICHE designing a completely custom, bespoke solution.

The site footprint accounts for the angular shape of the apartment’s floor plan and large corner terrace. The angular spaces and centrally located service shafts and staircase were resolved through a process of rationalisation. The spaces were resolved through the creation of nooks that could be put to functional use. The result is a cleverly designed open plan space with different pockets radiating from a central focus.

“What seemed to be a hindrance turned out to be the most interesting aspect of the design,” Martina Fenech-Adami says. “We enveloped the awkward volume in the middle, creating a bespoke unit around it.” This design approach turned a challenging structure into an aesthetic centrepiece that anchors the interior. It combines functionality with an attractive appearance, squaring off the odd angles and setting the internal walls parallel to the outer ones. Architectural lighting highlights the detailing, creating an interesting effect. The oak wood used to build the bespoke unit is also used in the kitchen and applied throughout the apartment, providing visual continuity and a feeling of warmth.

 A bespoke unit in washed oak sits at the centre of the interior, anchoring the various functional spaces that encircle it. Smooth wall finishes by Archiform are a foil for textured furniturepiecesinneutraltones.Linencurtains, gathered in tight waves that echo the fluting of thekitchencupboardfronts,diffusetheexternal light that filters in through the large windows.

We wanted a seamless surface, so we fused two pieces of quartz together.

 To create the large unusually-shaped kitchen island, slabs of quartz from Rabat Marbles were fused together. Appliances from Oxford House complete the look.

The unit incorporates a mudroom for coats and shoes and a concealed guest bathroom. With shelving for books, space for a TV, and a woodburning fireplace, in the design process it became the centrepiece of the different areas of the flat. It was then a natural next step to create a kitchen in oak wood. The designer created a kitchen unit against one of the walls and an island nearer the windows with seating for 6 people. The surface of the island is trapeziumshaped, echoing the footprint of the building. In the same space, there is a nook for a TV and storage for books. Both are shielded from everyday view by sliding doors. A fluted finish on the cabinet fronts adds visual texture.

The largest nook on the upper level has been turned into a cosy and inviting lounge area, which is perfect for curling up in with a book. Around the corner is a dining area that is a more formal setting for entertaining. A glass table creates the illusion of space, complemented by chairs that are comfortable yet set on slender legs so that space feels airy, light, and weightless. A pocket of space has been allocated for shelves to hold glasses and wine bottles. Next to it is a door that leads down a private stairway to the sleeping quarters. The ensuite bathroom in the master bedroom and the independent bathroom are bespoke, with a clean, minimal and earthy feeling.

The colour palette used throughout is neutral and accented with light touches of green, such as the kitchen cupboards, with a play on different textures and alignments to create a varying sense of depth. The floor is in engineered oak, with a stained and aged effect giving it a different texture and feeling, distinct from the finish of the same material used for the cladding and cabinetry.

The warm feeling of the interior is enhanced by using the same material for most of the joinery.

“Rather than running the floorboards parallel to the walls, we used a dynamic angle for the wooden flooring that is not sharply diagonal,” Martina says. The planking is offset from the wall creating an interesting effect of one space hitting another at a different angle. To create depth in the room, the designer played with different tones and textures, generating a monotone gradient that lightens up from the central unit outwards towards the external walls and windows. As natural light enters the space, it first hits the lighter areas and diffuses into the warmer, deeper toned inner spaces.

One of the richest materials in the space is the surface of the kitchen island. The large surface area meant that it needed to be created from two separate sections, as slabs are precut and are not supplied in such large sizes “We wanted a seamless surface, so we fused two pieces of quartz together,” Martina explains. “This technique cannot be used with any other material.” The island can be put to dual use, serving both as a worktop and a table.

The layout of the overall space means there are more windows all round letting light flood through the building. The designer exploited this factor, using curtains to adjust the light intensity and to soften the overall look. Curved angles in the soffit were created with inset curtain rails for linen curtains to run around the perimeter of the space, diffusing the strong natural light as it penetrates the interior. The cloth is gathered into tight waves, creating a fluting effect that echoes the design of the finish of the kitchen cabinets. A blackout curtain has been installed where the light is strongest.

 The bespoke unit incorporates shelving for books,

and a

 The glass dining table and slender chair legs give the compact dining space a light and airy feel. Inset curtain rails allow the linen curtains to be drawn around the room to provide privacy while allowing natural light to diffuse into the interior.

a TV,

wood-burning fireplace with storage for fuel.

The warm feeling of the interior is enhanced by using the same material for most of the joinery – oak with a custom whitewash to minimise the wood’s yellow tone, creating a minimalist earthy feeling with a Scandinavian look. Customised handles – a signature feature of Martina’s design work – and architectural lighting enhance the effect. Artworks the homeowner had collected and brought with her, and a photo montage of her family, add a classical and personal touch enhancing the feeling of home.

Throughout the space, wiring is hidden behind the wall cladding, supporting the air conditioning units and the lighting that makes the various furniture pieces come alive. In the ensuite bathroom, for instance, the vanity unit is lit from below. Around the perimeter of the apartment, inset lighting runs all round ceiling soffit, creating the effect of exterior light coming in and highlighting the perimeter of the space. Air conditioning is hidden inside the bespoke unit at the heart of the interior.

“I’m very content with the way this project turned out. It’s a good example of how less really is more,” Martina says. “You don’t just design for the sake of aesthetics. You need to feel a sense of calm in your home and the client’s lifestyle really resonates with the space. I am really happy with the sense of tranquillity we created. It really did come through.”

 The interior of the ensuite bathroom is completely clad in a tile with a travertine finish. The same material was used to create a customised door for the vanity unit. Uplighting and an inset sink emphasise the clean lines of the space.

 The furniture is a mix of bespoke and ready-made pieces. In the bedroom, a side table from Form with a fluted front echoes the fluting of the wall cladding, complementing the soft-look bed from Form.

 The guest bathroom has a more playful feel. A stone effect tile with a terrazzolike finish wraps around the walls of the vanity unit.

The Great Mughals

Art, Architecture and Opulence

The first major exhibition to present the monumental artistic achievements of the ‘Golden Age’ of the Mughal court (c. 1560-1660) celebrates the extraordinary creative output and internationalist culture of Mughal Hindustan during the age of its greatest emperors. Shining a light on one of the wealthiest courts in the world, it tells the story of an immense early modern empire.

The Mughal dynasty was founded in 1526 by Babur, a Timurid prince and ruler from Central Asia. At its peak it was one of the wealthiest and most progressive empires in the world, and extended from Kabul in presentday Afghanistan, to the borders of the Deccan sultanates in the south of the subcontinent, and from Gujarat in the west to present-day Bangladesh in the east.

Drawing together famous, rarely seen objects from the V&A collections and significant national and international loans, The Great Mughals: Art, Architecture and Opulence brings to life the unparalleled opulence and mastery of Mughal art. It showcases over 200 objects across three sections spanning the reigns of Emperors Akbar (r.15561605) Jahangir (r.1605-1627) and Shah Jahan (r.1628-1658) and celebrates the craftsmanship and creativity of their court workshops. Rarely shown paintings and illustrated manuscripts not seen for a generation are displayed alongside delicate textiles, brilliantly coloured carpets, and fine objects made of mother of pearl, rock crystal, jade, and precious metals.

 Inlaid marble balustrades, 17th Century. On loan from The al-Sabah Collection, Dar al-Athar al-Islamiyyah

 Bejewelled dagger and scabbard, c. 1620. On loan from The al-Sabah Collection, Dar al-Athar al-Islamiyyah

A particular focus of the exhibition is the extraordinary hybrid art created in the imperial workshops by Iranian and Hindustani artists and craftsmen working in the Persianspeaking court. It explores the influence of European art brought to the court by Christian missionaries, foreign ambassadors, and merchants and is the first exhibition to reveal the internationalist art and culture of the Mughal court.

Highlight loans include bejewelled objects and precious stones, on loan from the al-Sabah Collection in Kuwait, including a precious deep red engraved spinel owned by Timur’s grandson Ulugh Beg, and later by Jahangir and Shah Jahan; an exceptionally fine Mother of Pearlshield (c. 1580), made in Gujarat, that was in the Medici collections by 1599 and is on loan from the Museo Nazionale del Bargello in Florence; and a pair of fine jade objects: a nephrite jade dagger depicting ostriches inlaid with rubies, emeralds and pearls, and the earliest known dated Mughal jade, a mottled nephrite jade wine cup made by master Sa’da Gilani, the head of the Goldsmiths’ workshop under Jahangir.

 Emerald pendant bead, 17th Century. On loan from the al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait

 Akbar handing the imperial crown to Shah Jahan in the presence of Jahangir, Bichitr.

Dated regnal year 3

(18 January 1630–7 January 1631), the borders c.1630–1640. Opaque watercolour and gold on paper. Folio from the Minto Album. ©

CC BY – 4.0. Chester Beatty, Dublin

 Pendant, c. 1610

– 20, Mughal court workshops. Nephrite jade set with rubies and emeralds in gold

 Fall-front cabinet, Gujarat c.1600. Teak overlaid with mother-ofpearl and black lac, with engraved brass mounts.

The first part of the exhibition introduces the reign of Akbar, generally considered one of the greatest emperors in Indian history. Catapulted into power at thirteen in 1556, Akbar embarked on a successful campaign of military expansion and while his reign was tumultuous, with rebellions across their territories, it was also an inventive and innovative time creatively. Akbar championed new crafts and established court workshops, including the Goldsmiths workshop and the House of Books.

The second section explores the arts of the reign of Akbar’s son, Jahangir. Jahangir inherited this well-run and wealthy empire in 1605, which was described by the English ambassador to King Charles I as ‘the treasury of the world’. The splendour of court and palace ritual is explored in this section through the display of paintings and precious objects of great opulence and rarity.

The third and final section explores the reign of Shah Jahan, who is perhaps most famous internationally for commissioning the Taj Mahal. Shah Jahan, whose name means ‘king of the world’, presented a strong and unified

imperial image - that was projected across all the arts of the court. Floral imagery reinforced the notion that the empire was a garden of paradise under Shah Jahan’s just rule, ornamenting architecture, jewellery and the art of the book. A key feature of this part of the exhibition focuses on the Taj Mahal, the tomb built by the emperor for his beloved wife Mumtaz Mahal.

The internationalism and wealth of court life comes into focus in this section, with vibrant contemporary paintings depicting formal court assemblies and celebrations as well as portraits depicting members of the imperial family. The finale showcases precious stones from the Imperial Workshops, and the uniquely Mughal cuts of diamonds from Golconda.

“The Great Mughals: Art, Architecture and Opulence” runs until 5 May 2025 at the V&A in South Kensington, London.

 A zebra presented to the Mughal emperor Jahangir, by Mansur, 1621, Mughal court workshops. Opaque watercolour and gold on paper © Victoria and Albert Museum, London

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