It has long been known that in April 1343 gems from the Byzantine imperial crown were pledged with the Venetians as collateral for a loan; the sum secured by this transaction was the substantial one of 30,000 ducats. The action had been taken by the empress Anna of Savoy, who, after the death of her husband Andronikos III in 1341, had ensured that her young son, born in June 1332, was crowned by the patriarch in November of the same year (...) as the emperor John V Palaiologos. She negotiated the loan when desperately short of funds while acting as his regent during the ensuing civil war of 1341-1347; under the agreed terms the loan would be repaid at the rate of 10,000 ducats per year over three years, plus interest at 5%. The timescale of the agreement implies that she must have initially hoped that the jewels would be recovered for her emperor son, then only eleven years old, when he reached the age of fourteen. (shrink)

In 1396 an inventory of the treasury of Hagia Sophia was commissioned. It was written by three educated laymen who all had experience of court culture, and they listed some 180 items. Their descriptions of the few icons that they listed is of interest for several reasons: they do not mention the date or period of the icons, nor their style, condition, size, donors or any inscriptions that they displayed. Their only way of describing them was by the title of (...) the subject of each icon. This suggests that, at any rate for laymen, the subject of an icon was of overwhelming importance, and this factor alone was thought to be sufficient to identify an icon in an inventory of this kind. (shrink)

John Kinsella’s three-volume Graphology Poems: 1995–2015 constitutes a major and shifting set of poetic statements. Partly a discontinuous poetic chronicle of life in Western Australia’s Avon Valley, they are also an investigation of ways in which an activist poetry may inscribe aspects of being, self and experience while protesting against environmental challenges and degradation. As these poems sprawl in many directions and express overlapping preoccupations, and as they emphasise the unsettled and unstable while affirming what has a continuing importance, so (...) they constitute a series of ethical positions connected to living sustainably and responsibly. They also explore the porous nature of a poetic activism that steps out into the quotidian world while simultaneously refashioning the poetic, challenging and even subverting the language of the contemporary lyric and the contemporary pastoral. The Graphology poems prize incompleteness and the fragmentary, open out to reveal absences and imply other texts, value multiple meanings and represent many of the most important strands of Kinsella’s work. (shrink)