diaphanous spring
“A thousand Dreams within me softly burn.”
ARTHUR RIMBAUD
“On the blue summer evenings, I will go along the paths, And walk over the short grass, as I am pricked by the wheat: Daydreaming I will feel the coolness on my feet. I will let the wind bathe my bare head. I will not speak, I will have no thoughts: But infinite love will mount in my soul; And I will go far, far off, like a gypsy, through the countryside –as happy as if I were with a woman.”
Arthur Rimbaud
DIAPHANOUS SPRING
SENSATION
poet makes himself a visionary through a long, boundless, and systematized disorganization of all the senses. All forms of love, of suffering, of madness; he searches himself, he exhausts within himself all poisons, and preserves their quintessences. Unspeakable torment, where he will need the greatest faith, a superhuman strength, where he becomes all men the great invalid, the great criminal, the great accursed –and the Supreme Scientist! For he attains the unknown! Because he has cultivated his soul, already rich, more than anyone! He attains the unknown, and if, demented, he finally loses the understanding of his visions, he will at least have seen them! So what if he is destroyed in his ecstatic flight through things unheard of, unnameable: other horrible workers will come; they will begin at the horizons where the first one has fallen!”–
Arthur Rimbaud
Louvre Museum from
Tuileries Garden. Photo Victor Pot.
LA DOLCE VITA. Take Me to the RitzParis, Place Vendôme. PhotoLeo Serrat.
REMARKABLE AUTOMOBILES. Design and Drive at Concorso d’EleganzaVilla d’Este.
Photo © BMW AG, München, Deutschland / Hardy Mutschler.
8
LA DOLCE VITA
Paris, Place Vendôme. Take Me to the Ritz.
18
INTERIORS
Country Life. Majestic Panoramas, Lush Vegetation.
31 ARCHITECTURE & DESIGN
A Study in Warm Minimalism Interiors by Martina Fenech Adami.
40 CONCOURS D’ELEGANCE
Art Meets Art. Valletta Concours 2025.
44
ART SPOTLIGHT
The Art of Escape. Jason Zammit –Composed in Colour.
46
REMARKABLE AUTOMOBILES
Design and Drive at Lake Como. Concorso d’Eleganza Villa d’Este.
51
RESTORATION
Woven In Time. The Grand Master’s Palace Tapestries.
60 VOCATION
25 Years of Service and Solidarity. The Equestrian Order of the Holy Sepulchre of Jerusalem in Malta.
65
ART & CULTURE
Dawn of the Renaissance.
Siena: The Rise of Painting.
72 SUSTAINABLE GASTRONOMY
SPECIAL FEATURE. REVERSE COVER.
Francis, 1936-2025.
Sea of Change. Culinary Alchemy at Aponiente.
SPECIAL FEATURE REVERSE COVER
Pope Francis. 1936-2025.
ARCHITECTURE & DESIGN.
RESTORATION.
SUSTAINABLE GASTRONOMY.
Ángel León’s Culinary Alchemy at Aponiente, Spain. Photo courtesy Aponiente.
60
VOCATION. The Equestrian Order of the Holy Sepulchre of Jerusalem in Malta.
Latin Patriarchate of Jerusalem.
Pope
Photo AP / Andrew Medichini.
INTERIORS. Country Life. Photo William Abranowicz, courtesy Vendome Press.
Interiors by Martina Fenech Adami. Photo Ramon Portelli.
Photo
The Grand Master’s Palace Tapestries. Photo courtesy Heritage Malta.
“When I dream of afterlife in heaven, the action always takes place in the Paris Ritz.” Ernest Hemingway
PARIS, 15 PLACE VENDÔME
TAKE ME TO THE RITZ
There are hotels, and then there is the Ritz Paris. Elegantly positioned on Place Vendôme, this grande dame of Parisian hospitality has long been the benchmark by which all other luxury hotels are measured.
Step beyond its revolving doors, and you enter a world steeped in stories, glamour and old-school elegance. The Ritz does not whisper its pedigree; it sweeps you up in its velvet-lined embrace and reminds you, quite matter-of-factly, that you have arrived.
Photography courtesy the Ritz Paris.
This page: Place Vendôme, home to the Ritz, with its elegant symmetry and historic grandeur, remains one of Paris’s most iconic squares. Photograph Jerome Galland.
everything
an area already synonymous with the essence
Europe’s most renowned hotelier chose a private mansion on Place
A first encounter inside the Ritz begins with a long panning shot of the lobby with its sumptuous carpets and rich royal blue; the majestic grand staircase; and a superb sense of height Below right: Salon Proust – The Parisian tearoom – a place where time seems to stand still, surrounded by vintage books, wood paneling and plush armchairs. During the day, it’s all
by evening, it’s transformed into a quietly effervescent champagne bar.
The Ritz was the dream of César Ritz, a man who revolutionised the hotel industry at the turn of the twentieth century. For his new-style establishment, César Ritz was determined to
offer the ultimate in elegance and modern comfort, and on the hotel’s inauguration in 1898, the Ritz Paris was the first hotel in the world to boast electricity on every floor, along with rooms with private bathrooms. Quite a feat at the time, but essentials by his standard.
Partnering with the great French chef Auguste Escoffier, Ritz created a stage upon which the world’s most fascinating characters have performed, and with his wife Marie-Louise, the master of the house treated the hotel as if a huge private home.
Top: Born in the Belle Époque, the Ritz Paris owes
to its founder César Ritz. To build his dream,
Vendôme,
of Parisian chic Below left:
teatime elegance;
Photography Jerome Galland.
Above: Bar Hemingway. For connoisseurs the world over, Bar Hemingway’s cocktails are a must. Among the most famous are the celebrated Serendipity, invented right here, and the Dry Martini. Below: At the Bar Vendôme restaurant, you’ll find the upbeat atmosphere of a brasserie that likes to celebrate each day in tune with the mood of the French capital. Photography Jerome Galland.
Above: At the Michelin-starred Espadon, the exceptional tree-lined terrace overlooking the Grand Jardin promises magical dinners under the stars. Inside, as you enter the dining room, the large bay windows of the open kitchen reveal the silent ballet of the cooks, as if in a theatre. Below: At the Ritz Paris, the Ecole Ritz Escoffier lives in the heart of the kitchens. The Ecole is unique, a place where French know-how is taught to aspiring professionals until they achieve excellence and to culinary enthusiasts, be they novices, experienced Chefs, or budding young cooks. Photograph Jerome Galland.
One of the first to fall under its spell was Coco Chanel. She moved in and stayed for over twenty years, making Suite Coco Chanel her private sanctuary. Hemingway adored it so much he declared that “when in Paris, the only reason not to stay at the Ritz is if you can’t afford it.”He later lent his name to the intimate Bar Hemingway, where the martinis are cold, the stories are rich, and the ghosts of literary nights linger long after closing. F. Scott Fitzgerald found inspiration here, as did Proust, who is said to have written parts of Remembrance of Things Past from the comfort of the Ritz’s garden café. Maria Callas stayed, Anna Wintour still does, and rumour has it that even a bathtub once proved too small for King Edward VII and his companion who got stuck.
Every inch of 15 Place Vendôme seems touched by a brushstroke of grandeur. The façade, originally crafted by royal architect Jules Hardouin-Mansart, has seen centuries of aristocratic comings and goings, but it was Ritz who transformed it into an address of legend. The painted ceiling of the Suite Chopin is a listed monument, while the opulent Suite Impériale whisks guests through the gilded opulence of Versailles. Each of the 142 rooms and suites has its own aesthetic and personality, many named in honour of their most illustrious patrons –such as such as Suite Marcel Proust, Suite Ernest Hemingway, Suite F. Scott Fitzgerald, Suite Maria Callas, and of course Suite Coco Chanel.
Yet for all its show-stopping history, the Ritz Paris does not rest on nostalgia. The latest renovation, a painstaking four-year affair which concluded in 2016, has imbued the hotel with a subtle modernity while preserving its soul. You can feel it in the delicate shimmer of silk drapes, the warmth of golden wood panelling, the perfect hush of carpets underfoot.
Beyond the rooms, the Ritz invites exploration. The Grand Jardin is a secluded Eden tucked behind the hotel’s classical stone façade, a quiet place where time seems to pause. The Ritz Club & Spa, with its painted ceiling and serene ambiance, offers a kind of restful decadence that few places can achieve. Then there’s Salon Proust, where you can sip rare teas or champagne beside an open fire, surrounded by antique books and the warm glow of wood. During the day, it’s all teatime elegance; by evening, it’s transformed into a quietly effervescent champagne bar.
Food, naturally, is an experience unto itself. At Bar Vendôme, the spirit of the Parisian brasserie sparkles with lively elegance, where well-heeled locals and guests indulge in easy luxury. For something more rarefied, the Michelin-starred Espadon is a lesson in culinary grace. Chef Eugénie Béziat conjures dishes inspired by her African childhood and summers in Provence, blending French gastronomy with memory and spice. The open kitchen is part theatre, part temple, with diners treated to a silent ballet of precision and passion. The terrace overlooking the Grand Jardin becomes particularly magical on warm evenings, when dinner is served beneath the stars.
Left and above: Suite Coco Chanel. Gabrielle Chanel and the Ritz share an eternal bond. The legendary designer referred to the Ritz as ma maison. She lived at the Ritz for over two decades, making 15 Place Vendôme the setting for the time spent away from her life’s work. Photography Jerome Galland.
Below: Suite Windsor. The romantic Windsors had their own suite at the Ritz Paris, and today’s prestigious apartment overlooking Place Vendôme evokes their spirit perfectly Bottom right: Suite Ernest Hemingway. “When I dream of afterlife in heaven, the action always takes place in the Paris Ritz,” wrote Hemingway, and this suite’s embrace of the great outdoors makes it the perfect backdrop. Photography Jerome Galland.
LA DOLCE VITA
To visit the Ritz Paris is to step into a scene already in progress. Here, the rooms are inhabited by the echoes of whispered conversations, champagne toasts, the rustle of silk gowns and the scratch of a fountain pen across a diary page. The Ritz seduces with atmosphere and with elegance, and with the intoxicating sense that something marvellous might happen at any moment.
“If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast,”wrote Hemingway.Long after your suitcase is packed and the car has turned off Place Vendôme, a part of you stays behind, lingering in a corridor scented with roses, perched on a velvet chaise, or laughing softly over a nightcap at Bar Hemingway. Because,while many hotels can make you feel pampered, only the Ritz can make you feel part of its story.
Above: Suite Marcel Proust. Proust was a loyal Ritz acolyte from the start, attending the hotel’s inauguration in 1898. The Ritz was both refuge and stage, ideal both for isolating himself from the world and hosting discreet gatherings. Below left: Suite Maria Callas. This prestigious sixth-floor suite honors the legendary soprano, who sought refuge here between her recitals. Throughout the suite, windows and balconies open onto the City of Light and its enchanting rooftops; Place Vendôme, the Opéra Garnier, the Eiffel Tower...
Bottom right: Suite Chopin. Under its magnificent high ceiling, the Suite boasts a piano, sheet music, and a symphony of details that pay homage to Frédéric Chopin. The intimate atmosphere recalls the Parisian salons so beloved of the great composer who, towards the end of his life, lived right on Place Vendôme. Photography Jerome Galland.
The Alternative Therapeutic approach for Acne-Prone Skin.
“Det finnes ikke dårlig vær, bare dårlig klær!”
“There is no bad weather, only bad clothes!” Norwegian creed
A CELEBRATED PHOTOGRAPHER FOCUSES HIS LENS ON DISTINCTIVE PERIOD AND CONTEMPORARY RESIDENCES AMID THE NATURAL BEAUTY OF NEW YORK’S CATSKILL MOUNTAINS AND HUDSON RIVER VALLEY
COUNTRY LIFE
The majestic panoramas, lush vegetation, and bucolic vibe of the Catskill Mountains and Hudson River Valley in upstate New York have long proved irresistible for city dwellers seeking respite from urban life and inveterate country lovers alike. Their homes, whether hundreds of years old or brand new, all resonate with their natural surroundings, as each of the 20 houses that photographer William Abranowicz captured for his book Country Life attests. Perusing the pages is the equivalent of taking a vacation and being warmly invited into the homes of artists, architects, writers, museum curators, dancers, photographers, antiques dealers, and even a hall of fame BBQ chef.
Photography William Abranowicz, courtesy Vendome Press.
The Catskill Mountains and Hudson River Valley in upstate New York have long exerted a magnetic pull for those in search of beauty, space and tranquillity. Photographed through the sensitive and seasoned lens of William Abranowicz, Country Life –Homes of the Catskill Mountains and Hudson captures the essence of life in this storied and restorative landscape. Over the course of his nearly forty-year career, Abranowicz has contributed to countless international publications, but in this volume, he turns his gaze closer to home, chronicling a world he knows intimately.
Having grown up in New Jersey, Abranowicz’s first memories of upstate New York are rooted in family visits to a relative’s farm near Lake George. “The smile on my twenty-nine-year-old father’s face reveals utter contentment in those rural surroundings,”he writes in the book’s introduction, recalling a childhood photo that has stayed with him. “Among other things I inherited from my father is the gene that also makes me happiest in the country.”
Top and overleaf: Home of architect Alan Wanzenberg and landscape architect Peter Kelly. When one passes through the front door of their home, a signature Wanzenberg scene emerges: a low center of gravity recalling mid-century California design, choice woods exquisitely milled, art and furniture in earthy tones.
Left (centre and bottom): For this conversion, the old soul of the house was carefully preserved, with smoky discolouration left tinting the painted brick above a fireplace and exposed stone walls a steadfast reminder of centuries past. The result is refreshingly airy, with the aesthetic restraint of a Swedish farmhouse.
In this era of constant change and innovation, the Artie novelties blend in perfectly with the Hometrends existing collection, creating a unique ambiance that brings people together.
winning international design team
Above left: When the owner started restoring and renovating this home, he looked to poignant recollections of his own family and upbringing for inspiration. His mother would tell stories about the prosperity of their extended family before the Great Depression, inspiring him to effectively re-create, years later, what a multi generational family home might have looked like had history gone differently.
Above right: In this house vast windows illuminate the magnificently complex grain of the predominantly dark wooden surfaces. Left: Against this house’s traditional and somewhat austere exterior, a bright red door hints that there’s something unexpected within. Inside densely layered rooms give way to open, soaring, loft-like spaces, epitomized by an expansive kitchen with marble countertops, a wood-fire oven, and a Lacanche range from France.
It’s a sentiment that resonates throughout the pages of Country Life, which invites readers into the homes of artists, curators, set designers and antiques dealers, each one uniquely attuned to its environment. The houses featured range in age and style, from lovingly preserved historic residences to environmentally conscious new builds, but all share a distinct connection to the natural world. Abranowicz’s own home, high on a mountainside near the village of Margaretville, is a study in this relationship: modest in scale, deeply considered in material and method, and a true refuge from the digital noise of modern life.
Built in 2005 after several seasons of renting in the area, the house was constructed using environmentally friendly systems and materials. “HGTV and Martha Stewart Living did video segments on the house’s ‘green’qualities.” Yet it is not the house’s technical credentials but its sensory rewards that dominate the narrative: the ritual of firewood stacking, the ever-shifting colour and texture of the seasons, and the simple joy of watching mist rise from the valley below.
Photographing the homes and studios of others, many of whom are friends, Abranowicz set out to create what he calls “a small record for the future –a social document of a period, place, and people.” His journeys took him through small towns and past dramatic cliffs and rivers, along the same routes that once inspired the 19thcentury painters of the Hudson River School. Indeed, several of the homes featured sit within the very views that captivated artists like Thomas Cole and Frederic Church, whose legacies echo through the area’s
cultural and environmental movements.
“There is no bad weather,”he writes, quoting a Norwegian saying. “Only bad clothes!” Det finnes ikke dårlig vær, bare dårlig klær! It’s a philosophy that speaks to the spirit of the place and the people who have made it their home. Whether drawn by light, affordability, solitude or the need for space, the individuals whose homes appear in this book have each shaped their environments in deeply personal ways. Their interiors reflect a layered approach to life –not curated for perfection but lived-in, practical, soulful.
Nature, of course, plays a starring role. “The sounds of man... intrude rarely,”he says of
his surroundings, where birdsong, the movement of mist, and the shifting phases of moonlight take precedence over traffic or city din. In summer, butterflies and pollinators flicker through fields of milkweed. In winter, ice patterns across the pond become a source of photographic inspiration. Even fire is approached with the same aesthetic care and quiet ritual as any design element.“Firewood takes careful planning. This meditative, calming, repetitive, productive mode of movement appeals to my inner compulsion to build something in a visually pleasing, perfectly pragmatic manner. The reward is fire, the heart of our winter lives.”
Above:(left and right) When Jason Frank, creative lead at Ralph Lauren Home, and Vinny Lopez, a writer, purchaed this property, one of the oldest homes in Andes, they considered themselves not remodelers but researchers, drawing on hints from history for inspiration. Inside, the couple peeled back layers of “suburbanization” from the 1970s and ‘80s –mauve carpets, vinyl siding – to reveal elements long dormant underneath. Left: History runs deep in this house owned by an antiquarian and an artist. The original house was built in 1767, and like a proper Hudson Valley country manor, the atmosphere inside is one of controlled chaos. The owner’s watercolours coat the walls, accompanied by sporting art, architectural prints, old photographs, and the odd modern piece, armouring every surface in carefree agglomerations.
Above: Originally built for a wealthy Dutch merchant in the 1680s, the house predates America’s founding by four years. Its gambrel roof is drawn from traditional Dutch architecture, while the Georgian plan is plainly English, a rare mix of influences representing the two primary powers that colonized this region in the wee hours before the dawn of the American project.
Left (top and bottom): In this mid 1800s farmhouse a principle of warm utility guides the curation and application of objects throughout this house.
Throughout Country Life, rather than presenting a portrait of décor or architectural style, what emerges most clearly is a feeling of intention – of lives shaped by land, light, and the longing to live well.
“While design and architecture are of interest to me, it is the distillation of the intangible qualities of these immensely talented people, and the ways they’re inscribed into their homes, studios, and properties, that lit a fire in me.”With grace and intimacy, this book allows us to step into that firelight and stay awhile.
ABOUT THE AUTHORS. WILLIAM ABRANOWICZ has published three books with Vendome, including Sean Scherer’s Kabinett & Kammer: Creating Authentic Interiors, which has inspired a cult following. Over his nearly 40-year career, Abranowicz’s work has appeared in countless international publications, including Condé Nast Traveler, where he has been a contributing photographer for 25 years. He is also a master printer, a licensed falconer, and an ardent environmentalist. Abranowicz lives atop a mountain in the Catskills town of Margaretville, New York.
ZANDER ABRANOWICZ is a writer and strategist. He has contributed to Travel + Leisure, ELLE Decor, Elite Traveler, and Upstate Diary, and has collaborated with his father, William Abranowicz, on American Originals and This Far and No Further His monthly newsletter, Buzzcut, covers travel, style, history, and nature. He is the cofounder and strategy director at Abbr. Projects, a strategic design studio. He lives in Richmond, Virginia.
COUNTRY LIFE– HOMES OF THE CATSKILL MOUNTAINS AND HUDSON VALLEY By William Abranowicz and Zander Abranowicz. Published by Vendome Press. Hardcover, 272pages.
MATTRESSES BEDS SOFA BEDS ADJUSTABLE BEDS PILLOWS ACCESSORIES
GEOMETRY AND GRACE
A STUDY IN WARM MINIMALISM
Tucked into the quiet countryside of Bahrija, the upper floor of Landrijiet House has been reimagined as a private retreat –a serene living space where modern refinement meets grounded warmth. The interiors were designed by Martina Fenech Adami, head of STUDIO NiCHE, who was commissioned to transform the top floor of this villa into a tranquil sanctuary. Her design language here is one of calm precision and intimate detail, where minimalism is neither cold nor clinical, but richly layered and quietly expressive.
INTERIOR DESIGN: MARTINA FENECH-ADAMI, STUDIO NiCHE. PHOTOGRAPHY RAMON PORTELLI, COURTESY STUDIO NiCHE.
CUSTOM JOINERY: EUROCRAFT. FURNITURE: FORM. LIGHTING: ESS / ELEKTRA.
“Acarefully curated balance of texture and tone results in a space that feels both contemporary and inviting,”says Martina. “It was about creating something that feels timeless, elegant, and above all, personal.”In doing so, STUDIO NiCHE has delivered an environment that flows with harmony and restraint, characterised by clean lines, structured forms, and a refined interplay of materials.
At the core of this project is American walnut, a material chosen not only for its natural beauty but for its ability to bring rhythm and continuity to the space. Used expansively,wrapping around walls, built-ins, and ceilings, the walnut is finished in a customdeveloped stain that enriches its tone, allowing it to cocoon the rooms in a deep, enveloping warmth. This textural richness is offset by soft beige fabrics, matte black accents, and brushed brass details, producing a palette that feels at once grounded and luxurious.
Top: In the lounge-library, a mustard-toned armchair from FORM adds a subtle pop of colour, grounding the composition. Left: Open shelving adds architectural interest for this storage solution with finely executed edges. Slim black metal frames visually segment books and decorative items.
Starting from: €12,450*
*Price including 2025 government grant and scrappage scheme.
ARCHITECTURE & DESIGN
Above and below: The core material is led by American walnut, which anchors the interiors. Custom joinery throughout, by EUROCRAFT, wraps around walls, built-ins, and ceilings, bringing an organic rhythm to each space. Every piece is crafted with millimetric precision, reinforcing the purity of the design language. A custom stain was developed for the walnut, deepening its tone and allowing it to act as a warm, enveloping shell throughout the home. This tonal richness contributes to the space throughout, giving a cocoon-like feel which is inviting, yet refined.
Lighting plays a subtle but crucial role in the atmosphere. In the bedroom, backlit walnut panelling offers both ambient light and visual depth. “We wanted the light to feel like it was part of the wood,” Martina explains. “Not added, but revealed.” The result is a glow that seems to emerge from within the walls themselves, contributing to the overall sense of calm.
Precision joinery serves as both structure and sculpture throughout. Fullheight wardrobes, integrated furniture, and concealed doors are crafted with tight, fluted detailing that visually extends the room’s height. Every proportion is intentional, designed to amplify the volume and rhythm of the space. Millimetric precision defines each element– from shelving and vanities to hidden storage– creating seamless transitions between rooms. Materials meet with clarity and control: timber aligns with brass, stone, and glass in junctions that are clean, quiet, and exacting.
Above and left: Sleek architectural lighting throughout, from ESS / ELEKTRA, serves purpose while accentuating details. Backlit wood paneling in the bedroom functions as both a feature wall and ambient lighting element, drawing the eye without overwhelming the senses. “We wanted the light to feel like it was part of the wood. Not added, but revealed.”A rich interplay of walnut wood, soft lighting, and textural contrasts characterizes this serene residence, blending modern luxury with a grounded, tactile warmth.
Above: The residence channels an understated opulence pairing American walnut, with soft beige fabrics, matte black accents, and brushed brass detailing.
ARCHITECTURE & DESIGN
Above: The project redefines contemporary minimalism by layering natural materials and precision detailing, turning simple spaces into immersive experiences.
Below: A dedicated workspace merges effortlessly into the villa’s aesthetic – walnut wraps the desk nook, complemented by a modular black shelving system and soft ambient lighting. The area is both inviting and discreet, ideal for work-from-home needs without disrupting the home’s tranquil atmosphere.
This meticulousness is never at the expense of comfort. Plush textiles, flowing curtains, and soft floor finishes lend a softness that balances the home’s architectural rigour. Sculptural furnishings, like slender black lighting fixtures and long vertical pulls, act as rhythmic counterpoints, echoing the geometry of the design while adding a sense of visual choreography.
In the walk-in wardrobe and vanity area,dark satin millwork contrasts against polished marble surfaces, while upholstery and lighting soften the edges. Glass and timber panels conceal generous storage, speaking to the house’s language of discreet sophistication. Functional elements are hidden in plain sight, integrated into the design without disrupting the aesthetic flow.
A dedicated workspace continues this theme of thoughtful integration. A walnut-wrapped desk nook is paired with a modular black shelving system, allowing it to blend into the home’s architecture without calling attention to itself. The lounge-library beside it introduces a touch of play– open shelving framed in slim black metal segments books and objects, while a mustard-toned armchair adds a splash of colour and comfort.
ARCHITECTURE & DESIGN
Throughout the home, the architecture never shouts. Instead, it speaks with quiet confidence, layering proportion, material honesty, and subtle light into spaces that feel lived-in and human.
“Our aim was to evoke calm,”says Martina. “To create interiors that feel timeless, but also intimate.”
STUDIO NiCHE’s work at Landrijiet House offers a refined expression of contemporary living– understated in tone, meticulous in execution, and entirely attuned to the needs of modern life. This is warm minimalism at its most nuanced: a sanctuary where restraint and richness go hand in hand.
Above left and below: Much more than storage, the bespoke joinery plays a powerful architectural role. Vertical fluted details, tight and evenly spaced, stretch upward along wardrobes, walls, and integrated furniture, visually exaggerating the room’s height and playing with spatial perception. Strategically placed architectural light fittings are embedded into the joinery itself – creating warm, directional hot spots that guide the eye, accentuate grain, and gently define zones without visual clutter.
Above right: Custom cabinetry conceals generous storage behind glass and timber panels, echoing the home’s language of hidden sophistication. In the walk-in wardrobe and vanity area, dark, satin-finished millwork contrasts with polished marble, while soft upholstery and warm flooring provide balance.
VALLETTA CONCOURS
CONCOURS D’ELEGANCE
On Sunday 1st June 2025, the heart of Malta’s capital will once again transform into a gallery of engineering beauty and artistic inspiration as the Valletta Concours returns to St George’s Square. Set against the grand backdrop of the Baroque-era Grand Master’s Palace, this unique celebration of automotive design and fine art has firmly established itself as a landmark event.
Photography Ikona Artworks, courtesy Valletta Concours.
Above: The 1928 Rolls-Royce Phantom Prototype, formerly owned by the Maharaja Bahador of Jammu and Kashmir, internationally known as 17EX and owned by Mr. Yohan Poonawalla, won the Best in Show Award 2024 and the Commemorative 120th Anniversary Rolls-Royce Award.
Under the evocative theme Art Meets Art, the Valletta Concours will bring together over sixty vintage and classic cars and motorcycles, as well as a diverse range of artists, both Maltese and international. The event is a fusion of creativity and craftsmanship, where mechanical artistry meets traditional and contemporary visual art in one of Valletta’s most picturesque cityscapes. Foreign classic car collectors will also drive their classic car
into St Georges Square on Sunday 1st June.
The Valletta Concours has quickly gained international recognition for its high standards and refined aesthetic. Known as the Concours d’Elegance of the Mediterranean, it continues to raise the profile of Maltese automotive culture while attracting respected collectors and restorers from across Europe and beyond. In 2024 the Valletta Concours welcomed vehicles from Japan and India, including a one-of-akind prototype Rolls-Royce Phantom I once owned by a Maharaja, which was awarded Best in Show, as well asa Mille Miglia Fiat 1500 from Japan which took home the ASI award
for an Italian car.
This year’s edition introduces an even broader programme of classes for participating vehicles. These include Elegance, Pre-war, Post-war, Jaguar, Porsche, Popular Classic, Sports Car, Super Car, and the newly introduced Road Racing Class. There will also be dedicated categories for the Preservation Class, celebrating vehicles in original condition, as well as a Classic Motorcycle Class and a Classic Pedal Car Class. The winners of each class will be considered for two main prizes: the highly coveted Best in Show Award and the Best in Show Maltija Award
CONCOURS D’ELEGANCE
On Sunday 1st June 2025, the heart of Malta’s capital will once again transform into a gallery of engineering beauty and artistic inspiration as the Valletta Concours returns to St George’s Square. Under the evocative theme Art Meets Art, the Valletta Concours will bring together over sixty vintage and classic cars and motorcycles, as well as a diverse range of artists, both Maltese and international. Bottom: The 1951 FIAT GT Zagato 750 MM, previously part of the Mille Miglia, owned by Mr. Hidetomo Kimura from Kyoto, Japan won several awards at the Valletta Concours 2024.
Vehicles will be assessed by an international judging panel led by renowned Chief Judge Jeremy Jackson-Sytner. This expert team of twenty motoring specialists will be focusing on originality, authenticity, attention to detail, styling, and the overall condition of each vehicle. The Preservation Class in particular highlights a growing appreciation for vehicles that retain their historical integrity rather than having been fully restored.
As always, the Valletta Concours is not limited to car owners and collectors. Art lovers and members of the public are invited to immerse themselves in the parallel art exhibition taking place at the Chamber of Commerce on Republic Street. Running from Saturday 31st May to Friday 6th June, this curated exhibition will feature works inspired by Valletta and classic cars. Sixteen artists, both local and international, will be presenting paintings, and on Concours day itself, several will take to the square for live painting sessions amidst the classic car displays. The event has long had a strong artistic dimension, and this year’s edition elevates it further. Valletta‘s streets and squares will become an open-air salon where the visual dialogue between classical architecture, historic vehicles, and fine art unfolds in real time. From hand-painted detail work on a rare post-war Porsche to the expressive brushstrokes of a plein-air artist at their easel, the interplay of artistic disciplines is at the very heart of this event.
Beyond the concours competition and art exhibition, there‘s also room for some sartorial flair. The popular Best Retro Clothing Competition offers a chance for enthusiasts of vintage fashion and period style to take part in the festivities. Open to the public and judged on the day, it invites attendees to dress the part and add yet another layer of visual storytelling to the day’s atmosphere.
With a mix of refined elegance, historical reverence and genuine passion, the Valletta Concours d‘Elegance continues to grow in stature while remaining a distinctly Maltese experience. The event offers a rare opportunity to stroll among beautifully preserved classics, meet the people behind them, and enjoy Valletta at its most celebratory and visually arresting.
Further information www.vallettaconcours.com
ART SPOTLIGHT
COMPOSED IN COLOUR
Far left: Fragments of the Self.
Top centre: Woman.
Top right: Medieval Gaze.
Left: Zammit presents work that bridges history, personal memory and spiritual expression. His paintings move between depictions of the Knights of Malta and abstract compositions.
THE ART OF ESCAPE
By day, Jason Zammit is immersed in the ordered world of corporate finance. By night, he escapes into a quieter, more instinctive realm – one shaped by colour, emotion and creative discovery. As part of this year’s ART MEETS ART exhibition at the VALLETTA CONCOURS, his work offers a glimpse into a personal and evolving artistic journey. For Zammit, painting is a vital counterbalance, a space where structure softens and spirit takes shape. “Painting gives me solitude and space to reconnect with something deeper,” he says. “The financial world is ruled by structure and logic, but art allows me to move freely, feel deeply and express without boundaries.”
Photography courtesy Jason Zammit.
This duality is at the heart of Zammit’s practice. His work spans atmospheric portrayals of the Knights of Malta to expressive, abstract canvases that shift across tone, time and emotion. Each piece suggests a journey inward, where discipline meets surrender and personal narrative blends with broader histories.
His background in photography sharpens his sense of composition and use of light, but it’s his instinctive understanding of mood and movement that shapes his painting. “I try to create work that resonates beneath the surface. Each piece is part of an ongoing exploration of feeling, spirit and meaning.”
That exploration began in earnest during a particularly reflective period in his life. It was a time that allowed for experimentation
and a more intuitive connection to his creative voice. The result was a transformation – one that now defines the rhythm and energy of his work.
There’s a dynamic tension in Zammit’s paintings: between control and spontaneity, history and abstraction, tradition and innovation. His portraits feel steeped in atmosphere, while his abstracts invite the viewer into something altogether more fluid and internal. Yet across both, the thread is unmistakable –an urge to express something honest, to carve out a space for emotion and stillness in a fast-moving world.
Now exhibiting as part of the Valletta Concours 2025 Art Meets Art showcase, Zammit continues to explore and evolve his practice. “One day, I hope to find more time to continue developing this body of work and shape it into my first solo exhibition. That is something I look forward to, to tell my story completely.”
Above: By day, Jason Zammit is immersed in the ordered world of corporate finance. By night, he escapes into a quieter, more instinctive realm –one shaped by colour, emotion and creative discovery.
CONCORSO D’ELEGANZA VILLA D’ESTE –23RD
TO 25TH MAY 2025
DESIGN AND DRIVE AT LAKE COMO
Each May, the shores of Lake Como come alive with the rarefied glamour of the Concorso d’Eleganza Villa d’Este. From 23rd to 25th May 2025, the celebrated gardens of Villa d’Este in Cernobbio will once again play host to a gathering of exceptional historic and concept cars, drawing collectors, connoisseurs and curious onlookers to one of the world’s most refined automotive events.
Photography courtesy BMW Group Classic, © Copyright BMW AG, München, Deutschland
This page: Photo Hardy Mutschler.
Hosted by BMW Group Classic in collaboration with the Grand Hotel Villa d’Este, the event unites around 50 remarkable automobiles, each selected for its design, provenance and rarity. The competition spans eight curated classes, ranging from pre-war masterpieces to concept cars, each with a story to tell and an audience to dazzle. From the theatrical indulgence of 1920s motoring to the unapologetic bravado of the late 20th century, the line-up reflects a passion for bold engineering and design expression across generations. One of the most sought-after prizes is the Trofeo BMW Group –awarded to the overall winner of the Concorso d’Eleganza – chosen by an expert jury headed by Lorenzo Ramaciotti.
Among the categories this year are those dedicated to unrestored time-capsule cars, track-bred giants of industry, and rare survivors from marques long gone but not forgotten. Concept cars, meanwhile, offer a glimpse of the future through a distinctly artistic lens. These are no mere prototypes but collector’s pieces in their own right, celebrated through the Concorso d’Eleganza Design Award for Concept Cars & Prototypes – a public referendum that has become a much-loved tradition.
Above: Winner of the Trofeo BMW Group –Best of Show 2024 –an Alfa Romeo 8C 2300, styled in the coachwork design of a spider by Figoni from the 1930s. Photo Hardy Mutschler. Right: Photo Gudrun Muschalla.
Bottom right: Photo Hardy Mutschler.
Saturday’s parade on the terrace of Villa d’Este is a centrepiece of the weekend, when the assembled vehicles are brought to life in front of guests. There are other prizes too: the Coppa d’Oro Villa d’Este, awarded by public vote; the Trofeo del Presidente, presented by BMW Group Classic’s Helmut Käs; and the Trofeo Il Canto del Motore, chosen by the jury for the most evocative engine sound, a category introduced by tenor and BMW brand ambassador Jonas Kaufmann.
First held in 1929, the Concorso quickly established itself on a par with the great concours of Paris and Monte Carlo. Its revival in the 1990s elevated its status further still, while retaining the civility and taste that sets it apart. Against a cinematic backdrop of cypress trees and lakewater light, the Concorso d’Eleganza Villa d’Este is a celebration of beauty, engineering and human obsession, perfectly poised between nostalgia and modernity.
Above: Each May, the shores of Lake Como come alive with the rarefied glamour of the Concorso d’Eleganza Villa d’Este. Dating back to 1929, the Concorso holds a preeminent position among iconic events celebrating Historic Cars. Hosted by BMW Group Classic in collaboration with the Grand Hotel Villa d’Este, the event unites around 50 remarkable automobiles, each selected for its design, provenance and rarity. Photo Gudrun Muschalla. Below left: Photo Gudrun Muschalla. Bottom left and right: Photography Hardy Mutschler.
RESTORING THE GRAND MASTER’S PALACE TAPESTRIES
WOVEN IN TIME
A TWO-YEAR CONSERVATION project IN BELGIUM
remained one of Malta’s most treasured artistic legacies. Commissioned in 1708 by Grand Master Ramon Perellos y Roccaful as his ‘gioia’ –a traditional gift to the Order by the newly elected Grand Master – this set of ten magnificent tapestries, along with six window panels and a door panel, was woven at the prestigious Gobelins Manufactory in Paris. Depicting exotic flora and fauna inspired by the age of exploration, the tapestries have graced the palace’s Tapestry Chamber since 1710, surviving both the passage of time and near loss to corsairs on their voyage to Malta. Now, these historic masterpieces have embarked on another journey. A meticulous two-year restoration project is currently underway at the De Wit Royal Manufacturers in Belgium, a world-renowned specialist in the conservation of historic tapestries. This ambitious undertaking seeks to safeguard the tapestries for future generations, ensuring their splendour remains undiminished.
Main photography courtesy Heritage Malta.
The tapestries of the Grand Master’s Palace are often mistaken for those in St John’s Co-Cathedral, yet the two collections differ significantly. While the cathedral’s Flemish tapestries narrate life of Jesus Christ and the triumph of the Catholic faith in the post-Counter-Reformation period, the Gobelins tapestries in the palace capture a vision of the wider world, populated by animals and plants from newly discovered lands. These scenes, rich in colour and detail, transport viewers to a time when European courts marvelled at the wonders of distant continents.
The Gobelins Manufactory, where these tapestries originated, has a storied past dating back to 1450. Originally a dyeing factory established by Jean Gobelin in Paris, it evolved into a celebrated centre for tapestry weaving under the patronage of Henri IV. In 1662, Louis XIV’s influential minister of finance, Jean-Baptiste Colbert, transformed it into the Manufacture Royale des Meubles de la Couronne (Royal Factory of Furniture to the Crown). Under its first director, Charles Le Brun, the workshop brought together some of France’s most skilled artisans, producing intricate works that adorned royal palaces and served as diplomatic gifts. The manufactory endured financial hardships, closing briefly in 1694 before reopening in 1699 with an exclusive focus on tapestries. The pieces woven there, including the Tenture des Indes series to which the Maltese set belongs, became some of the most exquisite ever created in Europe.
Top: Les Pêcheurs –The Fishermen, Gobelins Manufactory 1710, 470x400 cm. In a tropical landscape, a fisherman draped in red sits with his back to the viewer, holding a fishing rod. Clear waters in the foreground teem with fish, aquatic plants, and reptiles. An exotic tree with birds and bright flowers frames the right, while a palm and rock wall anchor the left. Left: L’Indien à Cheval –Indian on Horseback, Gobelins Manufactory 1710, 470x330 cm. Set in an exotic landscape, the tapestry features an Indian on horseback to the right, another with a bow beside a white horse to the left, and a white llama. At the centre, a fruit tree rises among rocks, lush vegetation, and vividly coloured flowers and fruits.
cm. An elephant stands at the centre, while two men gather a bounty of fruit and vegetables in the foreground. A palm with a grapevine frames the left, a pear tree with an owl stands to the right, and a flamingo flies into the lush, tropical landscape.
Grand Master Perellos entrusted the commission of these tapestries to Jean Jacques de Mesmes, Commandeur de
Sommereux, who liaised with the Gobelin factory and finalised the contract with master weaver Etienne Le Blond in 1708. The series, which had originally been conceived at the request of Louis XIV as eight tapestries, was woven between 1687
and 1730, with the fifth set– now housed in Valletta–being the one ordered by Perellos, however as ten tapestries. The original designs, or cartoons, used in their creation still survive in institutions such as the Victoria & Albert Museum in London.
Above: L’Éléphant –The Elephant, Gobelins Manufactory 1710, 470x408
Although remarkably well preserved due to limited exposure to light and previous conservation
efforts, the tapestries have inevitably suffered the effects of time. The current restoration at De Wit Royal Manufacturers involves cleaning, consolidating weakened areas, and reinforcing the delicate silk elements using custom-dyed fabrics.
Specialised techniques such as vacuum and aerosol suction are being employed to ensure that original dyes remain intact. The scale of the project is immense, with each tapestry standing an impressive five metres high.
Above: Tapestry Chamber furnished as a reception room circa 1820. Left: Le Cheval Rayé –The Striped Horse, Gobelins Manufactory 1710, 470x504 cm. A zebra is attacked by a tiger at the centre, surrounded by rich vegetation and exotic animals –a rhinoceros and antelope to the left, startled white birds beneath, and fish in a flowing river. A large tree filled with colourful birds, flowers, and seed pods rises behind the scene.
Pierre Maes, CEO of De Wit, spoke of the importance of this undertaking: “It is a great honour to be able to restore these tapestries. This is the only complete set from that period that still exists– 10 pieces at this scale. These types of tapestries are not easy to restore, but De Wit has the necessary expertise to bring everything to a successful conclusion.”
In tandem with the tapestry restoration, Heritage Malta is undertaking essential works on the Tapestry Chamber itself. This
includes the careful refurbishment of its unique thatched roof, painted soffit, decorative frieze, and the structural reinforcement of flooring and beams. By the time the tapestries return, not later than mid-2026, the chamber will have been transformed into a space worthy of its historic treasures.
Noel Zammit, CEO of Heritage Malta, highlighted the significance of the project: “In Malta, we also have the techniques to preserve, conserve, and restore heritage, but we do not have the necessary resources for tapestries of such a scale at one go. This restoration not only preserves the tapestries
but also enhances the entire chamber, ensuring that this heritage is protected for future generations. It also takes the agency’s largest project to date into a new phase.”
“We have now practically renovated half of the Grand Master’s Palace and are opening up approximately 58 per cent of the building to the general public. The restored tapestries will really come into their own.” Upon their return to Malta in mid-2026, the tapestries will once again command the Tapestry Chamber, offering visitors a glimpse into a world of artistic mastery and historical grandeur, and a chance to appreciate the pieces in their original setting.
Above: The current restoration at De Wit Royal Manufacturers involves cleaning, consolidating weakened areas, and reinforcing the delicate silk elements using custom-dyed fabrics. Koninklijke Manufactuur De Wit CEO Pierre Maes. Photo © Belga Photo, Katleen Vastiau.
STRONGER TOGETHER
5-6 MAY TICKETS AVAILABLE NOW
Villa Arrigo Hall, Naxxar, Malta
SCAN HERE
THE EQUESTRIAN ORDER OF THE HOLY SEPULCHRE OF JERUSALEM IN MALTA
25 years of service and solidarity
In a world that often moves too fast, there is something deeply grounding about pausing to reflect on purpose, faith, and service. Roberto Buontempo, Lieutenant of the Equestrian Order of the Holy Sepulchre of Jerusalem in Malta, and Ambassador of Malta to Hungary, invites us into his journey – one marked not only by professional endeavours, but by a profound sense of duty to others. As Malta’s Lieutenancy marks its 25th anniversary, he shares insights on his mission – a mission of hope – that continues to guide both him and the Order.
Photography courtesy the Equestrian Order of the Holy Sepulchre, Malta.
Roberto Buontempo’s life has always been rooted in two constants: family and faith. Born into a large, close-knit family as the sixth of seven siblings, he grew up in an environment that instilled in him the values of humility, solidarity, and shared responsibility. These formative experiences not only shaped his character but also laid the groundwork for how he would later approach leadership and service. “Even today, with families of our own, my siblings and I remain bonded in that unshakeable connection.”
“Professionally, my path has taken me through various sectors, guided always by the principle that leadership demands an ethical compass. But it is through my work with the Church and, more specifically, the Equestrian Order of the Holy Sepulchre of Jerusalem, that I have found the most profound sense of purpose. The Order presents a rare confluence of spiritual commitment and tangible action– a place where one can live out their faith while striving to make a real difference. Serving as Lieutenant of the Order in Malta has been an immense honour and an even greater responsibility. Contrary to assumptions of prestige or privilege, leadership within the Order is an act of service, a duty to guide and support fellow Knights and Dames with humility and sincerity.It’s a daily reminder that service is not just what we do; it’s who we are.”
What inspired Roberto to join the Equestrian Order of the Holy Sepulchre of Jerusalem?“My introduction to the Order came almost by chance. Although I had long admired its mission, I hadn’t considered joining until 2005, when a quiet nudge from the Secretary of the Lieutenancy at a local event in Birkirkara set things in motion. Initially, I hesitated. I felt too young for such a commitment. Yet something stirred within me, and I took that first step. The journey that followed was unexpected, yet deeply fulfilling.”
“When years later I was asked to assume the role of Lieutenant, my initial reaction was, again, reluctance. I didn’t accept right away. I even hoped that someone else would be chosen. But over time, what seemed like an
continued to grow –a testament to the strength of our shared mission.” Photo Ian Noel Pace.
overwhelming position began to feel like a calling. With the unwavering support of my wife and daughter, I accepted – not as a title to hold, but as a duty to embrace wholeheartedly. Interestingly, I became the youngest Lieutenant ever appointed. And as my second term concludes next year, I will also become the youngest to retire from the role. It has been a chapter filled with grace, challenges, and personal growth.
The Order itself dates back to the First Crusade, when knights were charged with protecting the Church of the Holy Sepulchre in Jerusalem. Over the centuries, the Order has transformed in character, no longer a military entity but a spiritual and charitable one, endorsed and supported by the Holy See. Today, the mission is clear and urgent: to support the Christian presence in the Holy Land. This means financing schools, hospitals, and parishes, while also encouraging members to deepen their personal spiritual journeys. It is a papal order –the only one under the direct protection of the Vatican –with its Grand Master appointed
from within the Roman Curia by the Pope himself. At the time of writing, the Church finds itself in that rare interregnum known as Sede Vacante, following the passing of Pope Francis just a few days ago. We are grateful for his Pontificate and pray for wisdom and grace in the election of his successor.
“In Malta, our contribution to this mission is both spiritual and material. Despite our country’s size, our Lieutenancy has remained vibrant and resilient, even during the global uncertainty of the pandemic. While many Lieutenancies around the world faced a decline in membership, ours continued to grow. That says a great deal about the faith, commitment, and resilience of the Maltese people!”
“Our work is twofold: we support essential services in the Holy Land – such as schools, clinics, and community projects, while also focusing on spiritual formation here at home. We believe deeply that one cannot give what one does not live– so we work to deepen our own faith while serving others. This means fostering a community where faith is not only professed but practised, enriched by liturgy, education, and a sense of shared mission.”
Facing page: Amb. Roberto Buontempo, together with the Italian Lieutenants and Mgr. Adolfo Tito Yllana, Apostolic Nuncio to Israel and Apostolic Delegate to Jerusalem and Palestine, outside the Basilica of the Holy Sepulchre, Jerusalem. Photo Latin Patriarchate of Jerusalem. Above: Group photo of members of the Maltese Lieutenancy taken on Palm Sunday 2025 inside the Oratory of the Decollato at St John’s Co-Cathedral. “Even in a time of global uncertainty, our Lieutenancy has
Recently, Buontempo returned from a deeply significant pilgrimage to the Holy Land, undertaken with five fellow Lieutenants from Italy. What began as a shared conversation among friends became a powerful act of solidarity, driven by a shared desire to offer physical presence, prayer, and support to Christian communities living through hardship.
“The Holy Land reminds us that hope isn’t an idea – it’s something we are called to live and give.At a time of immense hardship and growing tension in the region, we felt a collective calling to be present –not as dignitaries or envoys, but as humble pilgrims. The experience was both deeply spiritual and deeply personal. For me personally, walking where Christ walked, praying side by side with leaders from other Lieutenancies – it was deeply moving. It reminded me that the Order isn’t just a network of individuals – it’s a global family, united by a single purpose: to sustain the Christian presence in these sacred places.”
“Some people tried to dissuade us, for obvious reasons – and I understand them, but we didn’t go to be seen as heroes. Perhaps it was a little risky, yes – but that’s precisely the point. We had to show the local population that we stand by them, even in the most critical moments.”
“Throughout the pilgrimage, we sought no recognition and made no political statements. We went as people of faith, bringing a message of unity, peace, and hope. Our presence alone – simple, prayerful, and steadfast – was our message – you are not alone. In times of suffering, just knowing that someone is thinking of you, praying for you, and standing beside you – it makes all the difference. And that’s what we wanted the local communities to feel – that the Church, through the Order, is with them across every border and barrier.”
During the visit, Roberto and his fellow Lieutenants were received by both the Custos of the Holy Land, Fr Francesco Patton, and the Latin Patriarch of Jerusalem, Cardinal Pierbattista Pizzaballa.
“Meeting the Custos and the Latin Patriarchwas a profound experience. These are men who carry enormous spiritual and pastoral responsibility in one of the world’s most sensitive regions. They spoke with strength, but also with gentleness. This journey reminded me of a profound truth: hope is not abstract. It is lived. It is carried. It is given.”
Above: The 17th-century Church of Ta’ Doni in Rabat. The Order has been entrusted with its custodianship and restoration by the Archdiocese of Malta. Below: During the recent visit to the Holy Land, Amb. Roberto Buontempo touches the Stone of Anointing, which commemorates the preparation of Christ’s body for burial.
Above: Amb. Roberto Buontempo, Lieutenant of the Equestrian Order of the Holy Sepulchre of Jerusalem in Malta and Ambassador of Malta to Hungary. Photo Brandon Bonnet.
“Their words gave us renewed focus. They reminded us that our support must go beyond donations – it must include prayer, advocacy, and, above all, presence. These are the insights we brought back with us to Malta and Italy. I don’t want to sound presumptuous, but with the necessary precautions – and in very small groups – one can still make this pilgrimage. Even if we only go for a couple of days, we always go as pilgrims.”
Afew years back, Roberto Buontempo received the Cross of Commander of the Order Pro Merito Melitensifrom the Sovereign Military Order of Malta. It is a rare honour which he does not take lightly.
“That recognition was incredibly humbling. But more than a personal recognition, I saw it as a symbol of unity between our two Orders. Though we serve through different charisms, our missions converge in service to the Church and to the vulnerable. Here in Malta, the relationship between our Orders is exemplary. We collaborate with mutual respect, often serving as a model that could inspire similar partnerships elsewhere. Two Orders, one heart: faith in action.”
An area that has required thoughtful attention is gender representation within the Order. Historically, it has been male-dominated. But that reality is shifting, and rightly so.
“In Malta, I made it a personal priority to ensure that women have equal footing in our leadership. In fact, I appointed women to 50% of the Council roles – a first for our Lieutenancy and quite possibly a first within the Order globally. Across the wider organisation, we are now seeing Dames serve not only in leadership roles but even as Lieutenants and as members of the Grand Magisterium, the Order’s highest governing body. This progress is not merely symbolic; it is essential for the future vitality and inclusiveness of the Order, and its continued growth and relevance.”
Another milestone has been the custodianship of the Church of Our Lady of the Annunciation (Ta’Doni) in Rabat. This beautiful and historic church will become the spiritual home for the Lieutenancy.
“Being entrusted with its custodianship was a moment of great joy for all of us. This couldn’t have happened without the support of the Archbishop of Malta, Mgr. Charles Jude Scicluna, who is also our Grand Prior. It’s a sacred space – peaceful, intimate, and spiritually rich.Once fully restored, we see it as a place for reflection, prayer, and formation. It will be used for liturgies, spiritual talks, and retreats. It’s more than just a building – it’s a home for our Lieutenancy, and hopefully for others seeking quiet and connection.”
“We’ll soon embark on its internal restoration, with the support of both the Government and the Archdiocese. In preserving this church, we are not just safeguarding stone and mortar; we are honouring our shared heritage and deepening our collective memory.”
“We have also been entrusted with Enceinte Hall at Fort St Elmo, another space rich in history and potential. Once fully operational,
we envision it as a venue for meaningful events and outreach activities.”
As the Maltese Lieutenancy marks its 25th anniversary, it enters a new chapter, welcoming 14 new members and launching the Esquires – a dedicated initiative for younger individuals to engage with the Order’s mission of service, charity, and faith. Buontempo is energised by this growing interest from the next generation, which he believes brings fresh energy and perspective, ensuring the Order continues to evolve while remaining rooted in its core values.
“As we mark the 25th anniversary of our elevation to a Lieutenancy, our work is more active and far-reaching than ever.We’ll soon be holding another investiture, welcoming men and women from all walks of life. What excites me most is that we are increasingly attracting younger generations, full of passion and vision for the Order’s mission.To this end, we are launching a new initiative:the Esquiresspecifically for young adults aged 18 to 25who may not yet be members but who have a deep love for the Holy Land and want to contribute to our mission. It’s a new and promising path
of engagement for future members, and why not – future leaders. The road ahead is promising.”
“To commemorate this milestone year, we’ve planned two major pilgrimages–one to Miechów in Poland and the other to Rome. These journeys are not just symbolic; they’re opportunities for renewal, reflection, and spiritual fraternity.On the structural side, we’ve expanded by creating the Delegation of Valletta, a sign of our Lieutenancy’s growth and dynamism. This new delegation complements our well-established Delegation of Gozo, allowing us to strengthen our outreach across the islands.”
“At the heart of everything we do – whether restoring a historic church, expanding our presence through new delegations, or walking alongside Christians in the Holy Land – is one simple belief: that service is a privilege and a calling. As we celebrate 25 years of the Maltese Lieutenancy, I am filled with gratitude for the past and hope for the future. We are not merely preserving a tradition; we are renewing a commitment-to faith, to charity, and to one another. The journey is far from over – and together, we will keep building bridges of peace and service.”
Above: During the 2024 investiture, the Grand Prior of the Order, Archbishop Charles J. Scicluna, was awarded the Gold Palm of Jerusalem. In the photo, on the far right, is the Governor General of the Order, Leonardo Visconti di Modrone. Below: Dame Dr Maria Montebello with her daughter Dame Dr Gloria Montebello, during their investiture in November 2024. Photography Rene Rossignaud.
dawn of the Renaissance
Siena: The Rise of Painting, 1300‒1350
In the early decades of the 14th century, Siena stood at the height of its artistic and cultural power. A fiercely independent republic with a flourishing banking sector and an appetite for beauty and intellect, this small Tuscan city forged a distinct visual language –one now being celebrated in a major exhibition at London’s National Gallery.
Siena: The Rise of Painting, 1300-1350, running until 22 June, brings together works that have not shared the same space in centuries-some of which may never meet again.
LONDON This page: Duccio, The Virgin and Child, tempera on poplar, about 1290-1300.
Organised in collaboration with the Metropolitan Museum of Art in New York, the exhibition gathers around a hundred works by Sienese masters alongside objects in metal, marble, enamel, and illuminated manuscript, reflecting the city’s refined aesthetic and growing international influence. At its heart are four artists– Duccio di Buoninsegna, Simone Martini, and the brothers Pietro and Ambrogio Lorenzetti– whose inventive and often radiant works helped shape the future of Western art. Siena’s golden period coincided with the rule of the Governo dei Nove – The Nine– who governed the city between 1287 and 1355. Drawn from merchant and noble families, this rotating group of officials presided over a period of remarkable civic patronage. Public money flowed into architecture and art, from the striped marble grandeur of the Duomo to the frescoed walls of the Palazzo Pubblico, where Ambrogio Lorenzetti painted his famed Allegory of Good Government. It was a moment of urban pride and spiritual expression, where even the city’s cathedral floor became a visual feast of mosaics described by Vasari as “the most magnificent ever made”.
Siena’s prosperity was tied to its strategic location on the Via Francigena, the medieval pilgrimage route to Rome. Pilgrims brought wealth, ideas, and demand for devotional art. While Florence pursued a sculptural realism under the hand of Giotto, Siena developed a more lyrical and elegant pictorial style. Gold backgrounds glowed with sacred light; saints and Madonnas appeared with elongated grace and delicate gestures. Yet beneath the refinement was innovation: these were artists who experimented with perspective, emotion, and narrative. Among the highlights of the exhibition is the partial reunion of Duccio’s monumental Maestà, originally painted for Siena Cathedral. Completed in 1311, this double-sided altarpiece once stood as one of the most ambitious devotional works of the age. Its front showed the enthroned Virgin surrounded by saints and angels; its back featured over forty scenes from the life of Christ. Dismantled in the 18th century, its surviving panels are now scattered across continents. For this exhibition, the National Gallery’s own three panels are shown alongside others from collections in Madrid and Washington, bringing fragments of a onceunified vision back into dialogue.
Simone Martini’s Orsini Polyptych is another centrepiece of the exhibition. Likely commissioned by Cardinal Napoleone Orsini, it once served private devotion and is now scattered between the Louvre, the Royal Museum of Fine Arts in Antwerp, and the Gemäldegalerie in Berlin. Reunited for the exhibition, its six exquisitely painted panels reveal Martini’s gift for fine detail and emotional intensity– Christ bearing the Cross, Crucifixion, Descent from the Cross and Entombment (depicted on the front of the folding painting); and The Archangel Gabriel and The Virgin of the Annunciation (seen on the reverse).Other significant reunions include a pair of triptychs by Duccio, believed to have been painted for Cardinal Niccolò da Prato, whose matching exterior wings hint at the high level of patronage Siena attracted from across Italy.
Above: Simone Martini, The Crucifixion, from the Orsini Polyptych, tempera on poplar, about 1326-34. © The Royal Museum of Fine Arts, Antwerp (KMSKA), photo Hugo Maertens.
Below: Duccio, Maestà Panels – Christ and the Woman of Samaria, tempera and gold on wood, 1308-11. © Museo Thyssen-Bornemisza, Madrid.
INDIA COLLECTION
ART & CULTURE
This page: Simone Martini, The Archangel Gabriel, from the Orsini Polyptych, tempera on poplar, about 1326-34.
The Royal Museum of Fine Arts, Antwerp (KMSKA), Hugo Maertens.
This page: Simone Martini, The Annunciate Virgin, from the Orsini Polyptych, tempera on poplar, about 1326-34.
The Royal Museum of Fine Arts, Antwerp (KMSKA), Hugo Maertens.
Alongside these masterpieces are works by the Lorenzetti brothers, whose paintings often convey a surprising psychological depth. Pietro’s panels show an evolving interest in space and volume, while Ambrogio’s frescoes engage with civic ideals, morality, and the relationship between rulers and the ruled– concerns that still feel startlingly modern. Their technical skill is matched by a desire to move beyond the sacred icon, giving their subjects a human immediacy. While rooted in Siena, this artistic movement did not remain parochial. Sienese works were sought after by European courts and collectors, and the city’s painters influenced artistic developments as far afield as France, England and Bohemia. This exhibition, which also features objects from other cultures– ivories, silks, enamels– highlights the porous boundaries of medieval art and the cosmopolitan nature of Siena’s rise.
With its jewel-toned panels, intricate lines, and expressive faces, the Sienese style is a celebration of both divine and earthly beauty,reflecting a moment when art, civic pride, and religious devotion were intimately entwined, and when a small city could rival the great powers of its day through sheer artistic brilliance.
Siena: The Rise of Painting, 1300-1350 is a rare opportunity to view these luminous works in conversation once more. As the National Gallery marks its 200th anniversary, this exhibition offers a glimpse into the past, and a renewed appreciation for the sophistication and influence of one of Italy’s most poetic schools of art.
Until June 22, The National Gallery, London. nationalgallery.org.uk
Above: Simone Martini, Saint Peter, tempera on panel, about 1326-7. © Museo ThyssenBornemisza, Madrid. Top right: Pietro Lorenzetti, The Virgin and Child Enthroned, tempera on panel, about 1345. © Scala, Florence/bpk, Bildagentur für Kunst, Kultur und Geschichte, Berlin / Christoph Schmidt. Below: Duccio, Maestà Panels – The Annunciation, tempera on wood, 1308-11. © The National Gallery, London.
“We’ve taken so much from the sea. It’s time we give something back.” Chef
Ángel León
SUSTAINABILITY X HAUTE CUISINE –CÁDIZ, ANDALUSIA, SOUTHERN SPAIN
Sea of Change Ángel León’s Culinary Alchemy at Aponiente
FISHING, FARMING AND COOKING FROM THE SEA –CREATING THE MARINE LARDER OF THE FUTURE
This page: Aponiente is located in an old tidal mill from the nineteenth century, in El Puerto de Santa María, in the heart of the Bahía de Cádiz Natural Park, in southern Spain. The marsh in which it is located is inhabited by marine and maritime-terrestrial species of enormous biological richness.
Photography courtesy Aponiente.
April marks World Earth Month, reminding us of our planet’s fragility and the urgent need for sustainable change. Sourcing of the food we eat every day –how it is farmed, fished, and brought to the table – is one of the most pressing environmental concerns because it directly impacts biodiversity, carbon emissions, water usage, health of soil and sea, etc. At the forefront of this conversation is Aponiente, the extraordinary Spanish restaurant helmed by award-winning fisherman-chef Ángel León. Housed in an 18th-century tidal mill, Aponiente has transformed its marine surroundings through a pioneering commitment to environmental regeneration and sustainable gastronomy. Awarded the first-ever Green Michelin Star in 2021, the restaurant is a remarkable example of how fine dining can coexist with ecological responsibility. Chef León’s ongoing research into alternative food sources, in collaboration with universities and scientific foundations, places the ocean at the heart of the sustainability movement – elevating underused species to the realm of haute cuisine while restoring balance to the marine ecosystem.
SUSTAINABLE GASTRONOMY
In the salt marshes of El Puerto de Santa María, on the Atlantic edge of Andalusia, a quiet revolution is taking place. It comes not with banners or slogans, but in the form of microscopic algae, bioluminescent plankton, sea rice from Eelgrass (seagrass), and a dazzling array of marine life, coaxed into unfamiliar culinary roles. At the helm is chef Ángel León, the
visionary behind Aponiente– a threeMichelin-starred restaurant whose mission transcends gastronomy.
León, often dubbed el Chef del Mar,has never been content with cooking what others cook. Instead, he draws his inspiration from the very origins of life–the sea– and asks what it means to feed humanity in a world strained by ecological imbalance. “We’ve taken so much from the sea,”he says. “It’s time we
give something back.”
For León, the sea is both pantry and philosophy. Aponiente’s tasting menu is a marine manifesto: no meat, no freshwater fish, no conventional seafood. Diners are instead offered an experience that challenges the palate and the imagination–a sequence of edible stories rooted in sustainability, science, and deep emotional connection to place. There is “sea charcuterie”crafted from underused fish discarded by industrial fleets; delicate “cheeses”made from phytoplankton; and a faux-foie gras derived from marine byproducts. There are dishes that glow with natural bioluminescence, and a seafood sausage so convincing it once fooled the judges of a national Jamón competition.
León’s culinary lab, developed in collaboration with marine biologists, researchers, engineers and academic institutions, has become a hub of marine innovation. In 2017, he stunned the gastronomic world by introducing edible plankton– describing it as the most nutritious food on Earth, packed with Omega-3, essential amino acids, and chlorophyll. Aponiente became the first restaurant in the world to serve it legally. In 2022, his team unveiled the discovery of marine sugar– an extract from certain sea plants with potential applications for diabetic diets and natural food preservation.
Above: Marine charcuterie, not only made from discards, but also from estuary fish, whose unique fat, a result of their life in the marshes and their diet of shrimp and prawns, enriches each creation. Below: The son of a fisherman, Ángel León grew up on the shores of the Bay of Cádiz. That intimate relationship with the sea underpins everything he does. For him, the ocean is not a resource to be mined, but a living entity to be respected.
SUSTAINABLE GASTRONOMY
This page: Aponiente is not just a restaurant, but an ambitious project that seeks to reactivate and recover the environment that surrounds it, restoring the socio-ecosystem and re-establishing the natural balance, taking care of the natural capital of the marshes to promote ecosystem services, obtain food based on its rich biodiversity and as a source of income, wealth and employment for the territory. It has been recognised with Three MICHELIN Stars since 2017, and two years later it obtained the first and historic MICHELIN Sustainable Green Star, in recognition of its unwavering commitment to sustainable gastronomy.
More recently, León introduced what he calls “marine grain”, a kind of sea rice cultivated from the seeds of Eelgrass – Zostera marina – an underwater seagrass that grows in saline environments, requires no pesticides or irrigation, and sequesters
carbon in vast quantities. Not only can “marine grain” or “rice of the sea”, as some call it, be used for human consumption, but its unique nutritional properties make it a new superfood. Additionally, in his experimental marine garden, León and his team realised that the plant lived up to its reputation as an ecosystem architect – transforming the
marsh into a flourishing habitat for aquatic life. “These coastal wetlands are key socio-ecosystems for the reproduction, feeding and resting of threatened or endangered species, and their recovery reconciles us, in part, with the planet.”
“We are not just cooking food,”León explains. “We are imagining a future.”
SUSTAINABLE GASTRONOMY
That future is one in which the oceans are not endlessly exploited, but mindfully farmed. His work advocates for a shift in perception: from viewing the sea as a hunting ground to understanding it as a cultivated ecosystem. The salt marshes surrounding Aponiente, once degraded by pollution and neglect, now serve as a living laboratory and breeding ground for regenerative aquaculture. Here, sea bass, grey mullet, eels, crustaceans and seagrass thrive without feed, fertiliser or artificial input– nourished by tidal rhythms and restored biodiversity. This approach, known as “marine permaculture”, is at the core of León’s dream: a world where gastronomy helps heal ecosystems rather than deplete them. At Aponiente, nothing is ornamental. The setting– a repurposed 19th-century tide mill set between marshland and open sea– reinforces the sense of circularity, of ancient knowledge rediscovered and reimagined. Each course tells a story not just of technique, but of responsibility. Recognition for León’s work has extended far beyond culinary circles. In 2024, Aponiente was awarded the “World’s Most Sustainable Restaurant” by the World’s 50 Best Restaurants Academy, cementing its status as a global benchmark in eco-conscious fine dining. Yet this is not a story of marketing spin or greenwashing. Aponiente’s sustainability credentials are deeply rooted in systemic transformation– from its zero-waste kitchen, which processes ingredients nose-to-tail and fin-to-scale, to its research projects that promote biodiversity and restore threatened coastal ecosystems.
Above: “At first, people thought I was mad,” says León. “But now they’re listening.” And they are listening not only because of the environmental urgency, but because the food – despite its experimental roots – is undeniably delicious. Top right: Braised tuna shank. Below: Jamón del Mar – made with Almadraba bluefin tuna, cut in the shape of a shoulder and with a curing process similar to that of ham.
same nutritional properties as the usual honey, but with salty nuances that make it unique. Bottom
León is well aware that fine dining can be perceived as an elite pursuit. But for him, Aponiente is a test case– an immersive platform to explore ideas that might one day scale to everyday food systems. Through his Fundación Aponiente, he collaborates with local fishermen to valorise underloved species, trains young chefs in sustainable techniques, and partners with universities and NGOs to disseminate findings. “We want to build bridges between science, tradition, and the future,”he says. “We’re not just trying to change what’s on the plate. We want to change how people think about the sea.”
The foundation’s recent projects include developing fermentation techniques using invasive jellyfish and seaweed, transforming them into umami-rich pastes; working with
traditional salt harvesters to revive artisanal methods; and launching a marine seed bank to preserve genetic diversity in endangered underwater plants. It is slow, meticulous work– but deeply hopeful in a time of ecological fatigue.
Still, León is the first to admit that the road has not been easy. Many of his early ideas were met with scepticism or outright dismissal. “At first, people thought I was mad,”he says. “But now they’re listening.” And they are listening not only because of the environmental urgency, but because the food– despite its experimental roots– is undeniably delicious. Aponiente’s tasting menu, which evolves each season, might include bottarga ice cream, a squid “blood sausage”, or a consommé made from plankton with the clarity of spring water and the depth of a dashi.
Each dish is conceived not only to delight,
but to inform. Diners are given a kind of edible education– learning, through taste, about the delicate balance of marine ecosystems and the hidden potential of socalled “low-value”ingredients. There is joy here, and surprise, and even a sense of play. “This is not about nostalgia,”León says. “It’s about evolution.”
Aponiente’s team includes not just chefs and sommeliers, but also marine scientists, designers and sustainability experts. Their collective approach echoes the interdisciplinary collaborations of a think tank more than a traditional kitchen. In recent months, the restaurant has begun experimenting with sargassum– the vast mats of seaweed that plague Caribbean coastlines– as both a culinary ingredient and a raw material for biodegradable packaging. The possibilities, it seems, are endless.
Above right: Marine honey, sea urchin. Payoyo cheese wafer, plankton, sea urchin marinated in Ruppia maritima honey, elderberry flower. Above left: Aponiente cañaillas – sea snails. Bottom left: Miel Marina – Marine honey comes from a marine plant called Ruppia maritima, extracted from the estuaries of Trebujena (Cádiz). This honey has the
right: Plankton risotto, sea snails and crunchy quinoa.
SUSTAINABLE GASTRONOMY
At the heart of it all is León’s personal story. The son of a fisherman, he grew up on the shores of the Bay of Cádiz, where he learned to read the tides before he could read a book. That intimate relationship with the sea underpins everything he does. For him, the ocean is not a resource to be mined, but a living entity to be respected. And it is this reverence, combined with an almost childlike curiosity, that gives Aponiente its
emotional power.
Chefs like Ángel León are helping redefine the role of gastronomy. No longer confined to the rarefied world of the plate, food becomes a medium for ecological storytelling, cultural memory, and future thinking. Aponiente challenges a deeply land-based view of cuisine, reminding us that the oceans cover 70% of our planet, generate more than half its oxygen, and hold vast, untapped nutritional potential.
Ángel León invites us to see the ocean differently: as a cradle of innovation, a source of nourishment, and a beacon of
resilience. In the glow of Aponiente’s open kitchen, where chefs in white coats move like scientists and storytellers, one sees what is possible when creativity meets conscience. A meal here is a luxury and at the same time a glimpse of a new culinary paradigm– one where flavour, ethics, and ecosystem health converge. Each bite is a provocation, a possibility, a conversation with the future.León asks us to taste not just what is, but what could be. And in doing so, he offers something rare and vital– hope. And it tastes, surprisingly, like the sea.
Top left: Squid kakigori, candied yolk and yuzu and sichimi togarashi frozen powder. Top right: Plantas alófilas gazpacho de ostra (oyster gazpacho).
Above left: Squid, adobo sauce and elderflower. Above right: Aponiente Morena Peking style.
DIGITAL SUSTAINABILITY TOOLS
GREENING THROUGH TECH
ENHANCED DIGITAL TOOLS TO SUPPORT
The Ministry for the Environment, Energy and Public Cleanliness (MEEC) has launched two new digital platforms designed to promote sustainable practices in Malta. One platform focuses on Environmental, Social, and Governance (ESG) reporting, while the other targets Green Public Procurement (GPP). Both initiatives aim to encourage sustainable investments and foster greater collaboration between the public and private sectors in building a greener, more equitable economy. The introduction of both the ESG and GPP platforms represents a significant milestone in the Ministry’s ongoing efforts to promote sustainable development across all sectors, writes the team at the Sustainable Development Directorate.
The launch took place during a conference organised by the Sustainable Development Directorate, within the Office of the Permanent Secretary, MEEC held on 16 April 2025 which brought together stakeholders from various sectors.
The investment community is a crucial enabler of the transition towards a sustainable economic model for the Maltese Islands. More than ever, Maltese companies and entities are investing in sustainable business models. This is being done through increased commitment towards projects and initiatives that have a positive impact on the environment, tangibly support the social dynamics of the Maltese community and ensure a more robust corporate governance framework.
ENVIRONMENTAL, SOCIAL, AND GOVERNANCE (ESG) PLATFORM
The new ESG Platform, a voluntary tool, digitalises the existing ESG reporting exercise introduced in 2021 and thus make it more user-friendly and easier for enterprises to register their ESG credentials. By having the facility to compare their ESG performance throughout the years and acting as repository for existing grants, schemes and other useful links relating to ESG, the enhanced Platform, will act as a further incentive for enterprises and entities to improve on their year-on-year performance, thus contributing further to Malta’s national, international and EU commitments in relation to sustainability. At present, 46 companies are voluntarily reporting their ESG credentials.
GREEN PUBLIC PROCUREMENT (GPP) PLATFORM
Green Public Procurement (GPP) is a process whereby public authorities seek to procure goods, services and works with a reduced environmental impact throughout their life cycle. The GPP National Action Plan 2022-2027 was published in October 2021 and has a leading role in mainstreaming the implementation of GPP across the public administration. Malta has already achieved notable progress in this area, with the GPP compliance rate reaching 87.5% in 2024.
The GPP online platform aims at increasing awareness about GPP and provides users with the opportunity to submit questions related to GPP compliance or training sessions. These training sessions are crucial for the success of GPP, as they equip key stakeholders with the knowledge and skills needed to effectively integrate sustainable practices into procurement processes. The Ministry has extended these training sessions to economic operators to facilitate bidders understanding when putting forward offers for tenders, which include GPP requirements.
These platforms are key components of Malta’s journey towards a more sustainable economy, supporting the country’s long-term sustainable development agenda. The Ministry encourages everyone to reach out and contribute to this collective effort. Every individual, organisation, business, and public entity has a key role to play in this transition.
The platforms are available on gpp.gov.mt and esgplatform.gov.mt
POPE FRANCIS, 1936-2025
A POPE FOR THE PEOPLE
IN THE QUIET AFTER HIS PASSING, THE VOICE OF POPE FRANCIS ENDURES –STEADY, HUMAN, AND FULL OF LIGHT. HE LED WITH HEART, NOT GRANDEUR.
From the moment he appeared on the balcony of St Peter’s Basilica on a spring evening in 2013 and greeted the world with a simple “Buonasera”, it was clear that Jorge Mario Bergoglio would be a different kind of pope. Humble, plainspoken and warm, he quickly became a global figurehead not only for Catholics but for all who longed for a more compassionate world. Now, following his death at the age of 88, bells toll across continents for Pope Francis –history’s first Latin American and Jesuit pontiff –who reshaped the papacy with humanity, courage and heart.
This page: The then Cardinal Jorge Mario Bergoglio, second left, travels on the subway in Buenos Airesin this 2008 photo. Photo AP / Pablo Leguizamon.
His final blessing came on Easter Sunday, 2025, as he waved to thousands from the same loggia where it had all begun twelve years earlier. A day later, the Vatican announced that he had died of a stroke following complications from pneumonia. The news reverberated through the Catholic world and beyond. In Rome, in Buenos Aires, and across nations where his words had offered comfort or provoked reflection, people gathered to mourn and to celebrate a life lived in service.
Francis was a man of deep faith who never lost touch with the struggles of ordinary people. From the favelas of Latin America to the slums of Manila and the prisons of Rome, he met others where they were – not as a sovereign pontiff but as a fellow human being. He lived modestly in the Domus Santa Marta guesthouse, declined the papal limousine in favour of a Ford Focus, and kept wearing his old black shoes instead of the customary red slippers. These choices were not for show. They embodied his conviction that leadership should serve, not elevate.
Though elected to reform Vatican finances and bureaucracy in the wake of scandals, Francis went far beyond internal housekeeping. He opened the Church’s doors wider than they had been for generations. “Who am I to judge?”he famously said when asked about gay priests – five words that
signalled a new era of dialogue and inclusion. He would later allow priests to bless same-sex couples, add women to key decision-making roles, and urge an end to laws criminalising homosexuality. “Being homosexual is not a crime,”he said. “It is a human condition.”
To many, these words felt like healing. He stressed mercy over judgement, encouraged priests to accompany rather than condemn, and spoke frequently of the Church as a “field hospital after battle”. He never wavered on key doctrinal issues – he upheld the celibate, allmale priesthood and the Church’s stance on
abortion – but he softened the tone, replacing rigidity with compassion. In his view, the Church existed not as a gatekeeper, but as a home for todos, todos, todos-everyone, everyone, everyone.
He often clashed with conservatives who feared he was diluting doctrine or inviting chaos. He also faced criticism for early missteps in handling abuse cases, particularly in Chile. Yet he responded with a hallmark blend of humility and tenacity, later confronting the abuse crisis with public apologies, reforms and pastoral outreach.
Above: BUONASERA. After being elected 266th pontiff of the Roman Catholic Church, at the Vatican on Wednesday 13th March 2013, Pope Francis’ first act was bestowing the Urbi et Orbi blessing from the central balcony of St. Peter’s Basilica on thousands of pilgrims gathered in St. Peter’s Square. Before blessing the crowd, he delivered a brief speech, greeting those in St. Peter’s Square with a simple Buonasera. He thanked the crowd for welcoming him and asked them to pray for his predecessor, the bishop emeritus of Rome Pope Benedict XVI, and for himself as the new bishop of Rome. He also referred to himself as a Pope coming almost from the end of the world.
Photo AP / Gregorio Borgia. Below: Pope Francis twirls a soccer ball he was presented by a member of the Circus of Cuba, during his weekly general audience in the Pope Paul VI hall, at the Vatican in January 2019. Photo AP / Andrew Medichini.
POPE FRANCIS
Francis also spoke urgently on matters far beyond Church walls. He called climate change a moral issue and championed the environment in Laudato si’, his encyclical on care for our common home. He denounced what he saw as the cruelty of unfettered capitalism and defended the dignity of migrants, even when it drew political ire.
From war zones to pandemic lockdowns, Francis remained a presence. During the COVID-19 outbreak, he stood alone in a rain-soaked St Peter’s Square to bless a world in pain. “We are all in the same boat,” he said. “Each of us in need of comforting the other.” His message –in words and in silence –resonated across faiths.
He had a deep devotion to Mary and a spiritual connection with St Francis of Assisi, whose name he was the first pope to take. His papacy echoed the saint’s ideals: simplicity, care for the poor, love for creation. He chose to be buried in the Papal Basilica ofSanta Maria Maggiore, close to the icon of the Virgin he often prayed before. In his last will and testament he wrote: “The tomb must be in the earth; simple, without particular decoration and with the only inscription: Franciscus.”
In his 2024 memoir Life, he recalled the moment he learned of Pope Benedict XVI’s resignation. “For a moment I was paralysed. I could hardly believe what I was hearing... But then I understood that Benedict had surely meditated and prayed for a long time before making this brave and historic decision.”The
Below: Pope Francis, left, meets Pope emeritus Benedict XVI in Castel Gandolfo, Italy in March 2013. Photo AP / Pool Photo via AP.
memory is telling. Francis recognised the weight of legacy, even as he gently dismantled it in favour of something lighter, freer, more open.
He didn’t changethe Church with grand pronouncements,but instead through gestures – embracing the disfigured, inviting the marginalised, showing up where pain lived. He believed in the Beatitudes, in mercy over might, in healing before hierarchy. What remains is not only his reforms but his warmth – a legacy not of doctrine, but of kindness. He leaves behind a Church more vulnerable, more visible, more human.
ON THE REVERSE COVER: Pope Francis at the end of his weekly general audience, in St. Peter’s Square, March 2019.
Photo AP file / Andrew Medichini.
Left: Pope Francis prays in front of a portrait of the Virgin Mary at Santa Maria Maggiore in Rome in April 2017. Photo AP / Alessandra Tarantino.
Above: This undated photo made available by Maria Elena Bergoglio, shows Jorge Mario Bergoglio, left, and his brother Oscar, in Buenos Aires. Photo Bergoglio family photo via AP.
Better every day
“WHO AM I TO JUDGE?”