Table of Contents

Acknowledgments vii

Introduction Lynn Hunt Margaret Jacob 1

Part 1 Authorial and Artistic Practices

Jean Frederic Bernard as Author and Publisher Wijnand Mijnhardt 17

Bernard Picart's Dutch Connections: Family Trouble, the Amsterdam Theater, and the Business of Engraving Inger Leemans 35

The Collegiants: A Small Presence in the Dutch Republic, a Large Metaphor for the Book Jesse Sadler 59

Reproduction and Authenticity in Bernard Picart's Impostures Innocentes Ann Jensen Adams 75

The Impostures Innocentes: Bernard Picart's Defense of the Professional Engraver Louis Marchesano 105

Part 2 The Representation of Difference: A Global Approach

Picart, Bernard, Hermes, and Muhammad (Not Necessarily in That Order) David Brafman 139

Persian Pictures: Art, Documentation, and Self-Reflection in Jean Frederic Bernard and Bernard Picart's Representations of Islam Kishwar Rizvi 169

Monsieur Picart and the Gentiles of India Sanjay Subrahmanyam 197

Bernard Picart on China: "Curious" Discourses and Images Taken Principally from Jesuit Sources Marcia Reed 215

Chinese Idols and Religious Art: Questioning Difference in Cérémonies et Coutumes Religieuses Catherine E. Clark 235

Quetzalcoatl's Enlightened City: A Close Reading of Bernard Picart's Engraving of Cholollan/Cholula Verónica A. Gutiérrez 251

Illness and Death among Americans in Bernard Picart's Cérémonies et Coutumes Religieuses Peter C. Mancall 271

Part 3 The Religious and Intellectual Context of Cérémonies et Coutumes Religieuses

The Gallican and Jansenist Roots of Jean Frederic Bernard and Bernard Picart's Vision of theInquisition Guillaume Calafat 291

(Re)Inventing Encyclopedism in the Early European Enlightenment: Connecting Antoine-Augustin Bruzen de La Martinière with the Cérémonies et Coutumes Religieuses Hans-Jürgen Lüsebrink 313

The Uses of Comparison: Religions in the Early Eighteenth Century Jacques Revel 331

Biographical Notes on Contributors 348

Illustration Credits 350

Index 352