1. Introduction: Teaching the Global Renaissance 2. Workshops: Translations of media and techniques 2. Introduction to Part 1: The Mechanics of Cultivating Desire: Connecting Early Modern Objects, Artisans, and Workshops 2.1 Between Cairo and China: Design, Paper, and Ottoman Metalwork c. 1500 2.2 Your Parcel is on the Way: Netherlandish Carved Altarpieces as Exported Products in the Early Sixteenth Century 2.3 Early Modern Artistic Globalization from Colonial Mexico: The Case of Enconchados 2.4 Nanban Lacquer: Global Styles and Materials in a Japanese Cabinet 2.5 The Global Renaissance in Colonial Mexico: The Case of Talavera Poblana Ceramics 2.6Material Histories of Whiteness and Jingdezhen Porcelain 3. Terminology: Alternative Geographies and Temporalities 3. Introduction to Part 3: The ‘Renaissance,’ the Revenant: A Hauntology of Art History 3.1 Sovereign Time: A Clockwork Art History 3.2 Global Ivories: cross-cultural appropriations, dialogues, and (dis)connected art histories between Europe and South Asia 3.3 Palermo’s Renaissance Misfit 3.4 Materials and Medallions: Picturing Global Objects from Early Modern Paris 3.5 A Global Experiment in Printing: The Circulation of the Nestorian Stele from Xi’an 3.6 Decentering the Renaissance: Afro-Eurasian Itineraries of Mamluk Metalwork 3.7 Otter Offerings: Indigenous Art History and Extractive Ecologies in the Circumpolar North 4.Transregional Emulations/Rethinking Empire 4. Introduction to Part 4: The Mimetics and Discontents of Empire 4.1 Sigismund III of Poland, Persian Carpets, and the Pitfalls of Provenience 4.2 The Mughal Imperial Image between Manuscript and Print 4.3 Saved by Medusa: The Medici Moor from the Bargello to the Met Breuer 4.4 Benin Ivory Pendant Pair: Honoring an Ambitious Mother 4.5 The Art of the Book in early modern Kashmir: The case of an Illuminated Manuscript of Dīwān-i Hāfiz 4.6 Forging cultural universes in the Mediterranean Renaissance: Altarpieces in Sardinia, prints by Raphael and connections with the Flemish and Spanish worlds 5. Literary and material poetics 5. Introduction to Part 5 5.1 Renaissance as Refreshment in the Mughal Empire: Floral Carpets and the Tarz-i Taza (Fresh Style) in Seventeenth-Century South Asia 5.2 Iranian blue-and-white underglaze-painted ceramic vessels and tombstones inscribed with Persian verses, c. 1450–1700 5.3 How to Read a Chinese Painting in a European Book 5.4 I Was Made from Earth: A Rhineland Archeological Discovery, 1572 5.5 A Painting of a Painting and a Boy on a Bottle: Thresholds of Image in Early Modern Iran 5.6 The Global Air: Atmospherics in Chinese Ink Painting in the Seventeenth Century 6. Translating the sacred 6. Introduction to Part 6 6.1 Space, Time and Power in an Ethiopian Icon, ca. 1500 6.2 The Cotinga and the Hummingbird: Material Mobilities in the Early Colonial Featherworks of New Spain 6.3 Goa Dourada: The Tomb of St. Francis Xavier in Portuguese India 6.4 Pilgrims and their Objects as Agents of Cultural Hybridization: the English Alabaster Altarpiece of Santiago de Compostela, Spain 6.5 Angels in a New Dimension: Christian Tapestries and the Southern Andean Religious Tradition 6.6 Itinerant Sephardic Judaica: from Dutch ports to the harbours of Europe and the Americas 6.7 Recounting Beads of History in the Conception of the Image of Our Lady of the Rosary of La Naval, Manila 6.8 A Last Judgment print from Flanders: paths of Michelangelo towards Spanish America 6.9 Visualizing Faith: The Emerald Buddha in fifteenth-century Northern Thailand 7. Constructed Spaces and Perspectives 7. Introduction to Part 7 7.1 Towers, Travel, and Architectural Habits 7.2 The church of Our Lady of the Rosary of Black People in Salvador (Brazil), and the enslaved painter António Telles at Olinda 7.3 A Mobile Shrine: The Global Cult of the Santa Casa 7.4 The Great Mosque of Kilwa: An Architectural Lodestone 7.5 Beijing and Beyond: Imperial Landscapes and Early Modern Cosmopolitan Rulership in Qing-era
