The Byzantine lead seals of the Barber Institute of Fine Arts number in total 146 pieces, mostly collected in the region of Trebizond. They offer valuable insights into the middle Byzantine society of the Pontos region, which despite its location on the easternmost borders was connected with other, even more remote, regions of the empire. The majority of these seals come from local officials and reflect their local preoccupations, perhaps as a backlash to the dominant culture of the capital. Fifteen selected pieces from the collection are published here and provided with commentary.

Women as a social category have been the subject of numerous recent studies considering their lived experience in the Late Antique and Byzantine Mediterranean. However, their representation in the narrative sources continues to shape modern reconstructions of women's agency within their social and economic contexts, often with unsatisfactory results. Building on the twentieth-century sociologist Pierre Bourdieu's model of social capital, this article will use the documentary papyri from Egypt to suggest a paradigm in which the agency of individual women can be viewed and incorporated into micro-historical narratives of the patriarchal society of Late Antiquity.

For centuries Eastern Churches only employed the semantron, usually an elongated piece of wood that is struck with a hammer, to gather the faithful. Eventually, most adopted bell ringing, even though semantra continue to be used by some Orthodox Churches. In the West bells were rung for the same purpose and the semantron was unknown. As a result, Western pilgrims, diplomats, and other travellers to the eastern Mediterranean were astonished and intrigued when they encountered the instrument. This article looks at their descriptions and discusses how the instrument and its sounds were used to other Oriental Christianity.

This paper focuses on the historical development and dynamics of political and administrative structures in regions of a fragmented empire that cannot be simply described as marginal ‘mouseholes’. Rather, it should be acknowledged that these spaces were part and parcel of a wider area (the Byzantine insular and coastal koine), which encompassed coastal areas as well as insular communities promoting socio-economic contact and cultural interchange. More importantly, they also boasted a peculiar set of material indicators suggesting a certain common cultural unity and identity. The koine coincided with liminal territories and the seas on which the Byzantine Empire retained political and naval rulership. Such liminal territories showed varied – yet coherent– administrative infrastructures and political practices on the part of local elites.

The present paper deals with the first Ptochoprodromic poem's treatment of the early patristic tradition. Its focus is on the conjugal life of the Ptochoprodromic couple, whose interaction is compared to the precepts of the Byzantine Fathers on the ideal Christian marital life. Evidently, the poet parodies the tradition to which the said precepts belong, offering a comic image of the ideal Christian couple in which gender roles have been reversed. Moreover, the final scene of the poem, where the husband disguises himself, is linked to the hagiographical tradition of cross-dressing women, as well as of male saints in disguise.

Throughout Iconoclasm the imperial icon was used in iconophile writings as the major argument in support of icon veneration. It included images of the emperor reproduced in various media and even panel portraits. Although the latter have not survived, they were real objects with a strong presence in the Byzantine system of visual communication. This paper will show that that the role of the imperial icon in Byzantine imagery and image theory was closely connected to the perception of the emperor and of the sacred imperial power in Byzantium.

A crucial aspect of the intellectual field shaped by religious relations and conflicts following the Reformation was the domain of historiography, which involved the writing of works that aimed at edification and at the support of the doctrinal stances of opposing ideological factions. This article examines the positioning of early modern Orthodox reflections on the past. The scholars under consideration were the first Greek-speaking writers of early modern times to delve into the uses of historical documentation and raise inquiries concerning the nature and methodology of historical knowledge. The ‘idea of history’ built on the vita activa of key actors of the Orthodox community in the Ottoman Empire, contributing to discussions on identity in a world of competing empires and churches.

Codex Atheniensis 211 is the earliest surviving illustrated Chrysostomic anthology. Its unique and sophisticated illustration still puzzles and fascinates scholars. The relative chronology of the manuscript fluctuates between the end of the ninth century and the first half of the tenth, while its provenance remains to this day unspecified. In an attempt to illuminate the circumstances of its creation, this study engages with the examination of a unique homily and its illustration. In my view, the people responsible for the selection of the sermon and the design of its illustration conceived it as a meaningful re-contextualization of the homily's original delivery; the historical background of fifth-century Constantinople served as a springboard for the articulation of an eloquent visual comment on current public issues in the Byzantine capital.

This article discusses elite continuity and settlement pattern change in Zagori (NW Greece) from the late fourteenth to the nineteenth century. The peaceful assimilation of the regional and local elites into the Ottoman Empire (1430) led to adaptations in the montane landscape. Imperial and local archival research, ethnography, and landscape archaeology reveal that the Ottoman administration divided large decentralized settlements into smaller villages to accommodate local elites and new timariots. This topography of division (fifteenth to sixteenth centuries) gave way to a topography of adaptation (seventeenth to nineteenth centuries) when local elites influenced settlement patterns in forming the administrative unit the Zagorisian League.

This article examines the last moments of the emperor Theophilos and how his dying moments are related in Byzantine historiography. His religious policy is central here. In fact, Theophilos’ stance on images is what allows us today to categorize narratives of his final moments, based on whether he repented for his iconoclastic policy. Three groups of narratives can be distinguished; those that claim that the emperor repented, those that claim that he did not, and those that are silent on the issue. Death narratives in historical writing constitute a commonplace in Kaiserkritik, and Theophilos’ dying moments are no exception.

This essay employs the anthropological notion of female social agency to analyse a selection of case studies in the art history of the late Byzantine Empire. They concern three women – Nicoletta Grioni, Isabelle de Lusignan, and Maria d'Enghien-Brienne – who lived between the mid- to late fourteenth century and the first half of the fifteenth. All three were part of a Greek-Latin Mediterranean socio-cultural context. While their stories are not fully represented in textual primary sources, the present essay examines a selection of heterogeneous visual and cultural materials that help to reinstate their role in history and overcome the male-logocentric nature of the written evidence related to them.

At the turn of the twentieth century, Greek jurists insisted that the Ottoman Empire was legally pluralistic. While one jurist acknowledged the Sultan's ‘political purpose' in respecting the Greeks' privileges, another denied Muslims any agency free from Sharia. The alleged incommensurability between the Christian and Islamic law was their common agenda. Greek historians, on the other hand, saw the privileges as the Turks’ sign of goodwill, and emphasized the civilizational gap between the Catholic West and Ottoman East. Being a normative expression rather than a neutral description, legal pluralism functioned as a method of neglecting the Muslim quest for legal unity.

This article focuses on three Byzantine capitals acquired by Edwin Freshfield and later donated to the church of the Wisdom of God in Lower Kingswood, which provide us with two ways to see through Byzantium. The first looks at their original Constantinopolitan context lost at the time of their acquisition. The second reflects on how Byzantine materials attracted wealthy Western European collectors, who combined antiquarian curiosity with the quest for the authentic Christian faith. Their privileged status allowed them both to possess these witnesses of the sacred past and even to project their own image to posterity as being analogous to that of Byzantine patrons.

The article focuses on the most elaborate of Paula Meehan's ‘Greek’ poems, ‘Flight JIK Olympic Airlines 016 to Ikaria, Greece’ (Painting Rain, 2009), inspired by her journey to Ikaria, in the framework of travel writing and ecocriticism. By transforming the matrix of W. H. Auden's ‘Musée des Beaux Arts’, and by representing a specific case of ecopoetry, Meehan's text challenges the precepts of footsteps and vertical travel genres. The comparison between the two poems has been contextualized by the Irish poet's environmental, political and artistic concerns, as well as her other poems, essays and travels in Greece.

New perceptions in Greek national historiography during the late nineteenth century brought forward new heritage paradigms. In the interwar, Athens’ Byzantine heritage was thoroughly studied, protected by special laws, and popularized to wider audiences. After the Second World War Byzantine and ancient remains were given equal attention. The nineteenth-century neoclassical legacy came to take a place in the discussion about heritage at a time when the first apartment blocks made their appearance and it, too, would be protected by special laws. Through aspects of identification, protection, and restoration of Athens’ built heritage, this paper explores the physical and discursive articulation of the city's past.

After unification in 1871 Germany became, for some of Greece's intellectuals, politicians, and journalists, a model for the organization and national integration of their own country. This article examines perceptions of the Second Reich between the accession of Wilhelm II and the start of the First World War. It traces the role played by the German model in public discourse within the Kingdom of Greece in relation to the importance of the monarchy, the dynasty, and the army in the realization of the Megale Idea, and in the choice of the country's political orientation between East and West.

This article approaches the Metapolitefsi as an international event and seeks to historicize the perceptions and concepts that drove Greek and Western policy-making after the fall of the junta. Its main argument is that from 1974 to 1976 and in conjunction with domestic democratization, a parallel process developed when it came to Greece's external relations, which entailed a significant reformulation of Greek foreign policy. The year 1974, then, should be seen as an important turning point not only in Greek domestic politics but in Greece's external relations as well. These two processes were mutually reinforcing and closely interdependent.

Francis Noel-Baker (1920–2009) was an English Philhellene politician and self-proclaimed benevolent landowner in Euboea whose relationship in his later years with Greek governments and people descended into acrimony and litigation. This stemmed from the decision he took to effectively become an apologist for the military junta which seized power in Athens between 1967 and 1974. This was despite London being a centre for Greek resistance-in-exile, the opposition to the regime shown by many of his fellow MPs and Labour Party colleagues, and his own earlier left-wing sympathies, including his support for the communist-backed partisans in Greece during the Second World War. Noel-Baker's advocacy of the Colonels reflected not merely political reality and economic expediency, as with the similar stance of the British government, but stemmed from his outdated convictions that Greece required saving from international communism and internal weakness.