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PDF Architecture and The Politics of Gender in Early Modern Europe 1St Edition Helen Hills Editor Ebook Full Chapter
PDF Architecture and The Politics of Gender in Early Modern Europe 1St Edition Helen Hills Editor Ebook Full Chapter
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Architecture Prelims 26/9/03 12:05 pm Page i
In the past decade, the study of women and gender has offered some of the
most vital and innovative challenges to scholarship on the early modern
period. Ashgate’s new series of interdisciplinary and comparative studies,
‘Women and Gender in the Early Modern World’, takes up this challenge,
reaching beyond geographical limitations to explore the experiences of early
modern women and the nature of gender in Europe, the Americas, Asia, and
Africa.
Maternal Measures
Figuring Caregiving in the Early Modern Period
Edited by Naomi J. Miller and Naomi Yavneh
Edited by
Helen Hills
University of Manchester
Architecture Prelims 26/9/03 12:05 pm Page iv
Helen Hills has asserted her moral right under the Copyright, Designs and Patents
Act, 1988, to be identified as the editor of this work.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are
used only for identification and explanation without intent to infringe.
Contents
Acknowledgements vii
List of Illustrations ix
Notes on the Editor and Contributors xv
PART I INTRODUCTION 1
vi CONTENTS
Acknowledgements
This book was completed during research leave funded by the AHRB. I am
pleased to thank that institution and the University of Manchester, which
afforded me leave from teaching and administrative duties.
Some of the chapters in this volume started life as papers in sessions on
‘Gender & Architecture’ which I chaired at the College Art Association in
Toronto in 1998 and at the Group for Early Modern Cultural Studies
Conference in Pittsburgh in 1996. The enthusiasm with which both sessions
were greeted, together with provocative questions from the audience,
prompted me to consider putting together a volume like this one. I thank
everyone who participated then and who encouraged me subsequently.
I would like to thank the contributors for all their hard work. Most of them
adhered rigorously to the deadlines and responded to requests with
enthusiasm. My special thanks to Michael Savage for his insights and support
throughout the project, but particularly for his patient technical assistance
during the final stages.
Publishing with Ashgate has been a pleasure. Many thanks to Kirsten
Weissenberg for her excellent work as desk editor and to Tom Norton for his
help with the index. Above all, I am extremely grateful to Erika Gaffney. She
is that rare thing – a kind and intellectual editor.
Architecture Prelims 26/9/03 12:05 pm Page viii
Architecture Prelims 26/9/03 12:05 pm Page ix
List of Illustrations
FIGURES
x ILLUSTRATIONS
ILLUSTRATIONS xi
xii ILLUSTRATIONS
ILLUSTRATIONS xiii
Elizabeth V. Chew received her B.A., M.A., and Ph.D. degrees in Art History
from Yale, the Courtauld Institute, and the University of North Carolina at
Chapel Hill, respectively. Her research interests include the relationships
between architecture, material culture, and gender and family politics in early
modern Britain and America. The essay included in this collection is adapted
from her doctoral dissertation on female architectural patronage and art
collecting in seventeenth-century Britain. She is currently Associate Curator
of Collections at Monticello in Charlottesville, Virginia.
Marilyn Dunn received her Ph.D. from the University of Chicago and is
Associate Professor in the Department of Fine Arts, Loyola University,
Chicago. Her numerous articles on art and patronage in seventeenth-century
Rome have appeared in Antologia delle Belle Arti, The Art Bulletin, Aurora,
Burlington Magazine, and Römisches Jahrbuch der Bibliotheca Hertziana. She
has also published essays on women as patrons and producers of art in Women
and Art in Early Modern Europe (Penn State Press, 1997) and the Dictionary of
Women Artists (Fitzroy Dearborn Publishers, 1997). Her current projects
include examinations of identity construction in Roman convent churches and
of the interaction of nuns and their families in patronage. She is working on a
book on female convents and art patronage in seventeenth-century Rome.
and socual maening grounded in writings of Jean Gerson. These studies are
supported by a J. Paul Getty Postdoctoral Fellowship in the Arts and
Humanities and a Fulbright research fellowship repectively.
PART I
INTRODUCTION
Introduction 26/9/03 12:34 pm Page 2
Introduction 26/9/03 12:34 pm Page 3
Helen Hills
The Women, as they make here the Language and fashions, so they sway in
Architecture.
Christopher Wren to an unnamed friend, during his visit to Paris in 1655.1
The essays in this volume examine the relationships between the built
environment and gendered identity in late medieval and early modern Europe.
In what ways is architectural practice gendered at this date? With what
consequences? What part does architecture play in producing sexual
difference? In what ways were assumptions about gender articulated
architecturally, why and how were they enforced, amplified and resisted, by
whom, and with what results? This book explores the relationship between the
architecture of early modern Europe and the bodies it was built to represent or
to house, seeking to link architectural discourse not simply to that of social
hierarchy and exclusivity, but to the anxieties and unspoken fears circulating
in the shadows of proud proclamations and cautionary warnings.
Discussion of the ways in which architecture plays a part in constructing
specific gendered identities and of how architectural space may be gendered
in relation to institutional discourse has become increasingly sophisticated.
But it remains focused on modern and contemporary architecture. The purpose
of this book is to turn the focus on to the architecture of early modern Europe.
The early modern period was decisive for our understanding of gender and
sexuality, as Natalie Zemon Davis, Joan Kelly, Michel Foucault, Thomas
Laqueur, Guido Ruggiero and many others have shown.2 Expanding secular
bureaucracies, accelerated urban migration, spreading literacy, and reform and
counter-reform in the Churches all affected gender relations. But how were
these changes articulated architecturally? And what part did architecture play
in bringing them about?
The interface between gender and spatial organization has received
Introduction 26/9/03 12:34 pm Page 4
4 INTRODUCTION
Women were for many years more or less absent from accounts of
architectural history, and gender was, at best, an untheorized presence. More
so than in any other area of art history, gender differences were assumed to be
irrelevant to the concerns of architectural history much beyond the position of
the cooker or the height of the kitchen sink.6
In other areas of art history, particularly in studies of the history of painting,
the rediscovery of a significant number of neglected female artists and the
representation of the female body were the principal subjects of feminist
Introduction 26/9/03 12:34 pm Page 5
interventions from the 1970s, which led rapidly to the development and
application of theories of representation, sexual difference and gendered
identities.7 It was characteristic of the contributions of feminist art historians of
that first generation to celebrate female creativity and to focus on female
practitioners.8 Although this work fundamentally changed our picture of
artistic creativity, it tended towards an ‘additive’ approach to art history, in
which female artists were merely added to a long list of their male
counterparts. More recent feminist work has sought to go further (or, arguably,
to take another path entirely), demonstrating that the consideration of gender
in relation to artistic production is not simply a matter of making its social or
cultural analysis more comprehensive. Instead it poses new questions, as well
as opening to new interpretation material previously neatly packaged without
any reference to gender. Rather than assuming a fixed nature for the categories
of ‘male’ and ‘female’, this scholarship has examined the role of art in
constructing difference between ‘masculinities’ and ‘femininities’; that is, it
has been concerned with analysing the relationships between sexual difference,
sexualities, desire, representation (art), and ideology.9
Developments in architectural history have assumed rather different shape.
Although the first wave of feminist scholarship concentrated on female
architects and on historical and institutional obstacles to their training and
emergence, much feminist scholarship bypassed architectural history.10 The
reasons for this are complex, related to the ‘masculinizing’ of the architectural
profession itself, the relative absence of female architects on whom ‘heroic’
narratives can be focused, and the non-figurative nature of architecture, which
means it resists analysis of the sort developed for representations of the
human body. Thus architecture evades ready subjection to the sorts of analysis
developed in relation to figurative art. For those same reasons, scholars have
had to adopt or invent different modes of analysing gender in relation to
architecture.
The relationships between gender and architecture are the subject of
increasing scholarly interest. Much early work on gender and architecture
viewed spatial arrangements as a simple reflection of social relations, and
accepted as a corollary of this that architectural arrangements reveal gender
relations.11 Structuralism encouraged the trend to use formal analysis to read
architecture like a separate language. Although valuable in attending to
pattern, these studies neglect the specificity of context, often assume that
gender relations are fixed, and overlook the added complication that space
does not simply map existing social relations, but helps to construct them –
indeed, has a primary role here. Together gender and spatial organization may
change meanings over time, according to changing cultural circumstances and
metaphors, and therefore they can only be understood in relation to them. But
while the meanings of spatial organization may shift radically through time,
Introduction 26/9/03 12:34 pm Page 6
6 INTRODUCTION
8 INTRODUCTION
ritual, and the conjuring of vistas and enfilades to evoke the distance
conferred by power.
Moreover, the lessons of architecture are embedded into the body itself. It
is the dialectical relationship between the body and structured space that leads
to the embodying of the structures of the world. Architecture, in Bourdieu’s
words, is a ‘book read with the body’, in and through the movements and
displacements which make the space within which they are enacted as much
as they are made by it.28 The relationships between bodies and the spaces that
inform them are consequently particularly intimate, particularly difficult to
disentangle (and, for that reason, often taken for granted, naturalized and
made rhetorically invisible). The ways in which architecture embodies power
relations and performs them on and through bodies is one of the major
contributions of Foucault’s work.29 It has particularly profoundly affected our
understanding of institutional control of sexuality; and his influence pervades
the essays presented here.
But why should women as active social agents accept gender relations
which oppress them? Are they forced to comply? Or are they voluntarily
complicit in their own subordination? If we wish to escape the crudest
naïveties of legalism (which construes practice as resulting from obeying
rules), Bourdieu’s notion of habitus is helpful. He suggests that agency, the
activities of individual social actors, supports hierarchical systems of
organization based on age and gender.30 Individuals are not necessarily aware
of the consequences of their actions in any broad sense, or in relation to
others. Actions which reproduce structural relations against a protagonist’s
own best interests are produced by ‘learned ignorance’ or habitus, which
lends agents a sense of order. The habitus is the internalization of objective
structures, the immanent law, lex insita, established in each person during
his/her earliest upbringing, which is brought to bear on his/her behaviours,
both physical and mental, and body. Thus the individual’s ‘disposition’,
assumptions, appearance, gestures, represent a nexus of social, economic and
religious arrangements and relations, which, in turn, also means that those
assumptions and social conditions are marked on that person and perpetuated
by her or him.31 In Bourdieu’s words, ‘agents have an interest in obeying the
rule, or more precisely, in being in a regular situation’.32 Bourdieu also points
out that conformity to the rule can bring secondary benefits, such as the
prestige and respect which reward actions apparently motivated by nothing
other than pure, disinterested respect for convention. In other words, it is their
present and past positions in the social structure that individuals carry with
them, in the form of dispositions that are so many marks of social position and
hence of the social distance between objective positions.33
Such a model allows us to understand why women acting on their habitus
may well reproduce structural relations which determine their subordination
Introduction 26/9/03 12:34 pm Page 10
10 INTRODUCTION
to men, even while they may sometimes exploit their freedoms to initiate
social change. Foucault describes how power grips at the point where desires
and the very sense of the possibilities for self-definition are constituted.34 Thus
analysing the politics of gendered architecture is a more ambitious project
than cataloguing the activities of women in relation to architecture (a
confusion persisting at the heart of much scholarship on early modern art and
architecture), since it seeks to illuminate significant enactments of the
relationships between disposition and spatial organization, and to analyse the
social formation of that disposition which required or desired specific spatial
arrangements.
Gendered patronage
Several of the essays here shed light on the politics of architectural patronage,
particularly female architectural patronage. Up until a few years ago, female
patrons on the whole received less nuanced treatments than their male
counterparts. But this picture is changing rapidly as more critical research
dedicated specifically to patronage by women is undertaken.35 This has
(belatedly) forced attention not only to the social conditions in which such
patronage is possible and even sustained, but to the purposes and functions of
such patronage.
Within patronage studies which pay attention to gender, there lurk two
opposed dangers. The first is that of ascribing female architectural patronage
to a singular ‘exceptional’ woman, whose undertakings are portrayed as
innocent of the muddy compromises of familial and urban politics. This has
produced a flowering of scholarship focused on individual artists, architects,
and even artist–nuns.36 Fascinating though such studies are, they risk
interpreting art and architecture as the inspired product of one or two
exceptional individuals, whether artists or patrons, whose capacity for
innovation is explained in terms of their exceptionality, their disconnection to
their context, effectively dehistoricizing them (thus falling into the trap of
early ‘celebratory’ feminist studies), rather than as participants in broader
social forces, subject to (not separate from) specific historical circumstances.
The second danger arises from an approach, willed or unwilled, to the
social history of art which contextualizes artistic production in such a way as
to make the art produced seem inevitable. That is to say, the more seamlessly
art is seen in relation to the contexts in which it was produced, the less readily
retained is any sense of contingency, chance, or impetus for change in the
production of those objects and their peculiar appearance, their curious
fashioning and stylistic handling. Too often still, perhaps, that sense of
contingency and of a desire to push things in a certain direction is retained
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Le mardi était justement le jour où le comte, depuis quelque
temps, assistait à une clinique où l’on soignait gratuitement des
malades pauvres… La comtesse le savait bien ; il avait même pris
soin de le lui rappeler d’un mot.
Elle aurait donc, suivant toute apparence, choisi ce jour qu’on lui
indiquait, précisément comme celui où, de son côté, elle était sûre
d’être seule.
Quant à se servir de la lettre anonyme pour dessiller les yeux
d’Albert, Paul y avait songé un moment, mais il y avait renoncé bien
vite. « Cette lettre n’a pas la valeur d’une preuve. Au point où il en
est, il lui faut bien autre chose ! Soit… Nous arriverons chez elle
quand le jeune homme s’y trouvera. Et de deux choses l’une : ou
elle le fera cacher, ou elle le laissera paraître. Dans le premier cas,
l’affaire est simple. Dans le second, — je leur raconterai comment
j’ai surpris le secret de leur rendez-vous ; je leur dirai tout ce que j’ai
deviné, et ils seront bien malins tous deux, si l’un ou l’autre ne finit
pas par trahir la vérité… »
Le mardi, après son déjeuner, Paul sortit comme à l’ordinaire :
— Je vais à ma clinique.
Dès le matin, il avait, par lettre, prié Albert de rester chez lui :
« J’irai te voir à trois heures. »
Un peu avant trois heures, à vingt pas de la porte de son hôtel, il
épiait, du fond d’un fiacre, — cachette commode, — l’arrivée de
Léon Terral.
Le malheureux arriva en effet. Repoussé de nouveau par le valet
de chambre, il montra un mot de la comtesse, en disant :
— Je suis attendu.
— C’est différent. Monsieur m’excusera.
Le comte quitta son fiacre, retrouva sa voiture devant le Palais-
Bourbon, et commanda :
— Chez Monsieur de Barjols.
Chez Albert, son valet de pied monta un billet ainsi conçu : « Je
suis en péril. Viens. »
Ils ne s’étaient pas revus depuis l’enterrement de la comtesse
d’Aiguebelle.
Albert, d’un élan, arriva dans la voiture. Il était pâle :
— Que se passe-t-il ? Tu te bats ?… Ah ! mon Dieu ! que j’ai eu
peur ! Voyons, que faut-il faire ?
Il lui avait pris les deux bras dans ses deux mains et le regardait
dans les yeux, pour voir si on ne lui cachait rien de trop redoutable.
— Je te dirai… tout à l’heure.
On roulait.
Chacun d’eux, heureux de revoir l’ami dont le séparait, depuis
quelques semaines, un motif si redoutable, — éprouvait une émotion
profonde. Albert eût été gêné, presque honteux, sans le trouble
extrême où le mettait la crainte du péril annoncé. Paul était
simplement attendri de voir le trouble de son frère d’élection. Et il le
regardait avec un admirable sourire.
Albert, très agité, disait :
— En péril ? Je ne comprends pas. Quels ennemis peux-tu avoir,
toi, toi, le meilleur des êtres ? Avec ton élévation d’esprit, ta bonté,
— personne n’a le droit de te haïr, de t’attaquer… Enfin, je suis là.
Nous allons bien voir… Où me mènes-tu ?
Paul lui prit la main en silence, puis tout à coup, sans pouvoir dire
un mot, il l’attira sur son cœur.
— Tu me fais mourir, lui dit Albert en lui rendant cette étreinte.
Pour l’amour de Dieu, qu’est-ce qui te menace ?
On arrivait devant l’hôtel des d’Aiguebelle. Paul ne répondait pas.
Alors, Albert devint sombre.
— Annoncez à Madame, dit le comte Paul, que Monsieur de
Barjols, — pas moi, vous entendez ? — que Monsieur Albert de
Barjols désire lui parler.
Et se tournant vers Albert :
— Ce qui est en péril, Albert, ce n’est pas ma personne : c’est
l’honneur de mon nom, — et c’est notre vieille amitié, qui m’est
chère comme à toi. Je t’annonce que, moralement, nous allons nous
battre, — mais je sais que tu m’embrasseras après, de meilleur
cœur. Garde-toi seulement d’oublier ceci : c’est dans ton intérêt que
je vais te faire souffrir !
— Madame est dans le petit salon, vint leur dire le domestique.
… Albert, stupéfait, triste, et préparé à tout, montait avec Paul,
côte à côte.
Devant la porte fermée, Paul tendit une fois encore la main à son
ami.
— Maintenant, dit-il, du ton d’un témoin qui dirige un duel, —
allons !
Ils entrèrent. Rita était seule.
VI