use of glass beads, precious and semi precious stones is also very rare in Mysore paintings. More elaborate and detailed interior and exterior landscapes are featured in Mysore paintings, whereas Tanjore paintings tend to be more iconic and static. In Mysore paintings, the jewellery, costumes, architectural features, furniture, etc. reflect the contemporary style prevalent in the Mysore Palace. The throne on which Gods and Goddesses are shown seated is usually a replica of the Mysore throne in many Mysore paintings. Both styles however, frequently show traditional temple pavilions (prabhavalis) and towers particularly for framing the main characters. However the geographical proximity, constant transmigration of artists and a heavy cross fertilisation of ideas and techniques ensured that one could see Tanjore paintings employing Mysore techniques and vice versa. Tanjore paintings in Company style Many of the traditional Indian artists were also patronised by Europeans, beginning with the Portuguese who landed on the west coast in 1498. Gradually the other Europeans followed suit and commissioned local artists to paint in the so-called company style. While no specific character or technique marked out the Company school of paintings, it can be understood to mean the large body of paintings painted by Indian artists in a mixed Indo-European style which would appeal to the Europeans who were employed by the various East India Companies. The direct European impact on Tanjore paintings began with the stationing of a British garrison in Thanjavur in 1773, during the Anglo-Mysore Wars of 1767–99. Throughout the nineteenth century, artists based in and around Thanjavur prepared, by and large a standard sets of paintie sets were called albums or album paintings and were a collection of 'native' or 'Indian' subjects of interest, suited to the English sensibilities and tastes. Common subjects were Gods and Goddesses, episodes from Hindu mythology; Fairs, ceremonies, processions and festivals; Castes, their occupations and dresses; Indian Flora and Fauna, etc. These paintings were executed by the same Tanjore artists in a style suited to western tastes. The paintings were usually executed on European paper, without gesso work, little or no Gold foil and without any glass or gem inlay. The paintings would also carry a brief description ( most times extremely quaint and so typically English) of the subject in English and sometimes in Tamil or Telugu. Paintings on cloth backed by wooden panels were also executed for the English patrons. Many of these were carried