he shipwreck of the Santa Claudia, as well as the devastation caused by the earthquake that shook many Mdina palaces to their foundations are realistically depicted.
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 One tableau conveys the effects of the storm with waves lapping at the wreck while in another tilted ceilings and floors, broken masonry and doorways that had now become to low to allow anyone but a small child through seem too realistic to be mere props. Likewise, more peaceful scenes are striking reproductions of the real thing at the Knights of Malta in Mdina. The baroque style beloved of the knight demanded spacious quarters. The staircase in the Grandmasters palace,
  reproduced here in detail as a setting for Grandmaster Emmanuel de Rohan, still gives the impression of leading to the corridors of power.
The opulent atmosphere of Grandmaster Manuel Pinto's extravagant throne room, hung with rich brocade is retained. All this is done with cunning use of the available space and close attention to detail. Furnishings are as true to life as the space permits specially reproduced using the same materials.
  Even paint was purposely mixed to give a faithful rendering of the colors used at the time of the knights. As we come to the last of the tableaux the style changes. A hint of the Empire style cast a shadow over the world of the Knights. The décor aboard L'Orion heralds the arrival of the new ruler, Napoleon Bonaparte.