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Accompanied by detailed photographs and explanatory texts, this ground-breaking book proposes a new way of looking at Burmese silver. Names, dates, places, and stories – identifying the who, when, where, and what of Burmese silver has been the focus of publications on the topic. Are these questions the best way to understand silver, however? Alexandra Green argues that they are not. Too few pieces provide reliable information about silversmiths, production locations, and dates to allow for a comprehensive understanding of the subject. Instead, a close examination of silver patterns reveals strong links with Burmese art history reaching as far back as the Bagan period (11th- to 13th-centuries), connections with contemporary artistic trends, and participation within the wider world of silversmithing. The first European to write about Burmese silver was H. L. Tilly, a colonial official from the late 19th- into the early 20th-century. 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Sponsored by John III, Francisco visited Italy in 1538–1540, where he produced a volume of drawings documenting sights he saw there, including fortifications and antiquities, for his patron. In Rome he frequented the home of Vittoria Colonna, who introduced him to Parmigianino, Giambologna and Michelangelo. After his return, he re-entered court service, propagating the Italianate style in Portugal through his writings. In 1548 he completed a manuscript Da pintura antigua (Of Ancient Painting), which was the first treatise on painting written in Portugal. This was followed in 1549 by his illustrated ten dialogues Do tirar polo natural (On portraiture from life), added as an appendix to Da Pintura Antiga.On Portraiture is the first treatise dedicated to portraiture, first circulating at the Lisbon court as a manuscript before it publication in Madrid in 1563\\. This Spanish translation was undertaken by Holanda’s friend the Portuguese court painter Manuel Denis. 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