4. Gülru Necipoğlu describes ‘a complex network of patron/client relations in which the sultan was not always the chief tastemaker’
What does her account suggest regarding the roles and agency of go- betweens?
What are the various perspectives on go-betweens provided by the case of Süleyman’s Venetian helmet-crown?

6. Peter Mason argues that ‘the images from the Codex Mendoza can truly be said to have led a life of their own’.
In your opinion, how can images be seen as having ‘lives of their own’?
Can we ascribe (independent) intermediary roles to images?

7. Peter Mason speaks about ‘a penchant for the exotic, a tendency towards European assimilation, and a vagueness with regard to geography’ (119).
How did these attitudes impact on the representative function of objects with regard to their cultures of origin?

8. In which three different ways does this Namban screen testify to cross-cultural interaction?

9. Go-between
An actor or institution involved in either asymmetric or mutual exchange between different (cultural, social, economic, etc., etc.) contexts, with the effect of connecting, spreading, and overlapping knowledge, information, material goods, and cultural schemes.

10. “The past is a foreign country; they do things differently there”