The Jesuits, determined to convert both spiritually and culturally, put great effort into imparting their own artistic techniques and knowledge. At the same time they were unusually tolerant of the non-European cultures, making artistic accommodations in order to communicate with each particular society. The resulting hybridization was complex: German, Italian, and Flemish as well as the dominant Spanish and Portuguese idioms mingled with multiple Asian and Amerindian traditions. Bailey argues that this cross-pollination of early modern art became the first truly global visual currency for cultural exchange. Through a sweeping look at Japan, China, Mughul India, and Paraguay, the author focuses on four of the most flourishing artistic encounters and discovers much unrecognized or misunderstood art. He overturns the simple thesis that art was imposed on subject cultures in favour of the more difficult paradigm of exchange.