Even in adversity, Catholics exercised considerable agency in post-Reformation Utrecht. Through the political practices of repression and toleration, Utrecht’s magistrates, under constant pressure from the Reformed Church, attempted to exclude Catholics from the urban public sphere. However, by mobilizing their social status and networks, Catholic Utrechters created room to live as pious Catholics and honourable citizens, claiming more rights in the public sphere through their spatial practices and in discourses of self-representation. This book explores how Catholic priests and laypeople cooperated and managed to survive the Reformed regime by participating in a communal process of delimiting the public, continuing to rely on the medieval legacy and adapting to early modern religious diversity. Deploying their own understandings of publicness, Catholic Utrechters not only enabled their survival in the city and the Catholic revival in the Dutch Republic but also contributed to shaping a multi-religious society in the Northern Netherlands.

The Dutch Republic was a cultural powerhouse in the modern era, producing lasting masterpieces in painting and publishing, and in the process transforming those fields from modest trades to booming industries. This book asks the question of how such a small nation could become such a major player in those fields. Claartje Rasterhoff shows how industrial organisations played a role in shaping patterns of growth and innovations. As early modern Dutch cultural industries were concentrated geographically, highly networked, and institutionally embedded, they were able to reduce uncertainty in the marketplace and stimulate the commercial and creative potential of painters and publishers-though those successes eventually came up against the limits of a saturated domestic market and an aversion to risk on the part of producers that ultimately brought an end to the boom.

Antoine Galland’s French translation of the *Thousand and One Nights* appeared in 1704. One year later a pirate edition was printed in The Hague, followed by many others. Galland entertained a lively correspondence on the subject with the Dutch intellectual and statesman Gisbert Cuper (1644-1716). Dutch orientalists privately owned editions of the *Nights* and discreetly collected manuscripts of Arabic fairy tales. In 1719 the *Nights* were first retranslated into Dutch by the wealthy Amsterdam silk merchant and financier Gilbert de Flines (Amsterdam 1690-London 1739). *The* Thousand and One Nights *and Orientalism in the Dutch Republic, 1700-1800: Antoine Galland, Ghisbert Cuper and Gilbert de Flines* explores not only the trail of the French and Dutch editions from the eighteenth century Dutch Republic and the role of the printers and illustrators, but also the mixed sentiments of embarrassment and appreciation, and the overall literary impact of the *Nights* on a Protestant nation in a century when French cultural influence ruled supreme.