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Her juxtapositions are sometimes cruelly comedic: one of my favourites is a portrait of tennis star Andy Murray, his mouth drawn as a large screaming orifice, all his determination writ large in his expression.Wylie was born in 1934 and attended the Folkestone and Dover School of Art before much later attending the Royal College of Art where she graduated in 1981.Brotton calculates that 60 English plays put Turks, Moors and Persians on stage between 15.And no writer embarked on a steeper learning curve than William Shakespeare, through the 20 years that separate the schemingly wicked – but still charismatic – Aaron the Moor in Titus Andronicus to the tragic, heroic Muslim-raised General Othello, the Moor of Venice.As a counterweight to the threat from Catholic Spain, Elizabeth had built up an "impressive network" of diplomatic alliances and free-trade deals.They bound England to the Sultanate of Morocco, and to the Ottoman and Persian empires.

They often initially appear naïve, as if a cruel child might have done them, but there is a sophistication in these pictographic images.During Elizabeth's reign, "Protestant England came closer to Islam than at any other time in its history until today".When England looked away from the Levant, under James I, the shift was driven in part by peace with Spain (in 1604) but mainly by the new commercial-imperial focus on south Asia and the Americas.It runs from the Leicestershire mercer Anthony Jenkinson's meeting in Aleppo with Sultan Suleiman the Magnificent, to the mishaps and manoeuvres of the freelance diplomat Sir Anthony Sherley at the Persian court of Shah Abbas I.


With a tempting trade pact or military alliance in the offing, it proved surprisingly easy for both sides to forget the little matter of whether Jesus of Nazareth was the divine Son of God or simply the last prophet before the final revelation to Mohammed.

But if this is a story of business, it also boasts plenty of show business.



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