1 00:00:03,030 --> 00:00:07,730 For the introduction. Nick. And for inviting me to present my paper today. 2 00:00:07,730 --> 00:00:18,590 The title of my presentation is Women and Children First Gender Floats and Victimhood in Dutch 18th Century Maps of Dutch Breaks. 3 00:00:18,590 --> 00:00:22,320 The low countries have a long history of the battle against the water, 4 00:00:22,320 --> 00:00:30,390 facing numerous inundation skulls by [INAUDIBLE] breaks and it turns out that is also represented in Dutch medical culture. 5 00:00:30,390 --> 00:00:36,150 In the modern period, these disastrous events were often reported by story maps, 6 00:00:36,150 --> 00:00:45,000 maps or Bryn's combining gateau graphical or spatial data with narrative data such as these prints by beautiful number. 7 00:00:45,000 --> 00:00:50,580 It is Galt's depiction of the uncommonly high floods in horns and boulders and villages of 8 00:00:50,580 --> 00:00:57,700 the same in the great destruction that occurred there between the 5th and 6th of April 70 to. 9 00:00:57,700 --> 00:01:04,330 It's features to Horn's mates in the forums, pointing out a map of the flooded area. 10 00:01:04,330 --> 00:01:10,810 Maps like these women, usually absent in maps, suddenly seem to play a prominent role. 11 00:01:10,810 --> 00:01:18,680 They are sometimes evenly literally put in for it in the foreground. And what function do these depictions of women have? 12 00:01:18,680 --> 00:01:22,390 How do they relate to the maps? In this paper, 13 00:01:22,390 --> 00:01:33,690 I will show some examples from the King James Collection in Amsterdam in order to show my observations and share my ideas on this topic. 14 00:01:33,690 --> 00:01:39,210 Let's begin with some realistic and anecdotal depictions of women. 15 00:01:39,210 --> 00:01:49,160 The friends of an on the Rise is a map showing several river tiebreaks breaks in the east of Nederlands between 17 40 and 70 41. 16 00:01:49,160 --> 00:01:55,260 The relative spatial arrangements of the geo data drivers and towns, for example, 17 00:01:55,260 --> 00:02:05,790 and use of cartographic symbols such as Kompas Roses is combined with the dramatic depiction of drowning people, animals and houses. 18 00:02:05,790 --> 00:02:11,600 The legend textually explains these narrative aspects. 19 00:02:11,600 --> 00:02:19,820 The printmaker young, let me go use the technique of corrupt prophy, while geo data such as rivers, 20 00:02:19,820 --> 00:02:25,590 roads and villages are drawn horizontally as viewed from both the narrative de Das, 21 00:02:25,590 --> 00:02:32,120 which is the person's animals, trees and houses are drawn vertically as viewed from the sides. 22 00:02:32,120 --> 00:02:36,320 This map wasn't registration for a book that we see on the left. 23 00:02:36,320 --> 00:02:43,090 Historical accounts of difficult times. Famines and floods in the years, seventy nine and seventy. 24 00:02:43,090 --> 00:02:52,480 Forty. It contains vivid and detailed descriptions of these disastrous events, telling stories of actual victims that suffered. 25 00:02:52,480 --> 00:03:01,370 And these anecdotes especially focus on the tragic fates of the innocents, frequently naming women and children. 26 00:03:01,370 --> 00:03:05,360 Anecdotal and realistic nature of the book is reflected by the map. 27 00:03:05,360 --> 00:03:09,680 It shows in the foreground the family moaning on the roofs of a sunken house. 28 00:03:09,680 --> 00:03:16,280 And we see horses and cows swimming in a baby in a cradle, in the cradle drifting. 29 00:03:16,280 --> 00:03:20,120 This man was not only designed to show the geographical spread of the flood, 30 00:03:20,120 --> 00:03:27,110 but to show the effects of the fluid on the people and the normal victims are portrayed from the sides, 31 00:03:27,110 --> 00:03:35,300 making them even more tangible and evoking the empathy of the viewer. 32 00:03:35,300 --> 00:03:41,290 Femininity seems to play a significant role in float's and inundations symbolism. 33 00:03:41,290 --> 00:03:50,050 This is illustrated by an emblem and read by young Loka, taken from an Eminem book by Crystal Bigham in the picture. 34 00:03:50,050 --> 00:03:55,360 We see several women pulled out from the water, including a baby in a cradle roll. 35 00:03:55,360 --> 00:04:02,760 Femininity in this emblem is confirmed by the German poem below, referring to Fenice. 36 00:04:02,760 --> 00:04:07,150 The translation of the title from Campbell is The Flood. 37 00:04:07,150 --> 00:04:13,040 Thus, by the rage of the floods, the glow Phoenix is extinguished. 38 00:04:13,040 --> 00:04:16,400 And the baby in the cradle was also her. 39 00:04:16,400 --> 00:04:24,050 Interesting thing that was originating from a legend from the Elizabeth float's in 14. 40 00:04:24,050 --> 00:04:26,570 Twenty one in the Netherlands. 41 00:04:26,570 --> 00:04:34,850 The myth is that during this catastrophe, costing the lives of thousands of people, a baby in a cradle was drifting alone on the water. 42 00:04:34,850 --> 00:04:40,040 And the cradle to cradle almost capsized with the baby in it, but was saved by black cats. 43 00:04:40,040 --> 00:04:44,600 That kept the balance steady when the baby was saved to the lens. 44 00:04:44,600 --> 00:04:56,050 Back to the humans. The cat disappeared. And it seems that this icon, the baby in Cradle, lived on until the 18th century at least. 45 00:04:56,050 --> 00:05:00,650 In the next slides and the slides that will show how this theme of women and small children pulled from 46 00:05:00,650 --> 00:05:07,040 the water was part of a strong pictorial tradition of floats in which they seemed to function as icons. 47 00:05:07,040 --> 00:05:12,890 So here on the left, on the woodcuts by Yohannes Duncker of the flute in eighteen nine, 48 00:05:12,890 --> 00:05:20,790 we can recognise the image in the upper picture, but also below where a woman takes her baby. 49 00:05:20,790 --> 00:05:29,860 And on the right, we see the print by line, your fingerless after drawing of your gold was based on a float of seventeen seventy five. 50 00:05:29,860 --> 00:05:36,290 It is a very dramatic scene with also, again, women and children in the foreground. 51 00:05:36,290 --> 00:05:46,940 And this print as well by Simmo focussed on the dark breaks of the line and Eisel Rivers in 1750 for a large map, 52 00:05:46,940 --> 00:05:53,300 a large map is unrolled by two pooty. And behind the map we see the same thing elsewhere in the background. 53 00:05:53,300 --> 00:05:57,850 Also, people are safe from their houses. 54 00:05:57,850 --> 00:06:04,780 So it is therefore not surprising that the same theme is repeated in the story Maps of the Dark Breaks and Flutes, 55 00:06:04,780 --> 00:06:08,800 which is the case for this spring by John Smith. 56 00:06:08,800 --> 00:06:13,050 It was part of the same series of maps of the [INAUDIBLE] breaks in the east of the Netherlands in 70, 57 00:06:13,050 --> 00:06:26,880 40 and seventy forty one that we've seen before. The title says, True picture of the overflowing of the rivers, the die breaks drawn from life. 58 00:06:26,880 --> 00:06:33,990 So are these images on story maps meant to be either realistic or symbolic? 59 00:06:33,990 --> 00:06:43,710 It seems that a real and symbolic are not easily distinguished and at real life, an allegory allegory flow together regarding the map titles. 60 00:06:43,710 --> 00:06:49,440 The maps suggests veracity and accuracy being drawn from life. 61 00:06:49,440 --> 00:06:52,470 And they seem to be made with the intention to show how to float. 62 00:06:52,470 --> 00:07:00,330 Actually had happens in the depictions of real people seemed to contribute to this truthfulness on the one hand. 63 00:07:00,330 --> 00:07:06,580 But on the other hand, these men, women and children that are victims are not literally drawn from life. 64 00:07:06,580 --> 00:07:13,770 They're intended by the budding writer and can be read as emblems or allegories. 65 00:07:13,770 --> 00:07:20,260 And the map. How do these images relate to the graphical nature of the prince? 66 00:07:20,260 --> 00:07:27,220 Well, in some cases, the map is separated from the seats such as print or phone numbers on the left. 67 00:07:27,220 --> 00:07:37,270 But we have also seen women being part of the map or drowning into the water, such as on the print of young Smit's at the right. 68 00:07:37,270 --> 00:07:44,900 You could say that these depictions of real people, including real women, make the map more realistic. 69 00:07:44,900 --> 00:07:49,660 But I think it is rather the other way around the map, 70 00:07:49,660 --> 00:07:58,210 seemingly based on real facts and real measurements to make these people that are actually icons of the flute more real. 71 00:07:58,210 --> 00:08:01,590 Thanks a lot. Thank you. 72 00:08:01,590 --> 00:08:10,180 Erica. Absolutely terrific and some gripping depictions there of responses to inundation in the Netherlands. 73 00:08:10,180 --> 00:08:15,460 If I may, I'd like to begin by. Asking you the maps you've shown. 74 00:08:15,460 --> 00:08:19,720 Can you comment on how they were designed and produced? Yes. 75 00:08:19,720 --> 00:08:28,330 So of course. Well, first, say the print makers of the story maps I've mentioned. 76 00:08:28,330 --> 00:08:33,280 So, for example, young Smit's and Young love me at all. 77 00:08:33,280 --> 00:08:36,160 We're not mapmaker's. 78 00:08:36,160 --> 00:08:46,810 Instead, they were artistic engravers, both working in Amsterdam and young Smitt was in seventeen, forty one, even seventy eight years old. 79 00:08:46,810 --> 00:08:53,650 So I don't think it was likely that A actually travelled to the sites in order to make sketches and do surveying. 80 00:08:53,650 --> 00:09:01,070 So they're probably based it designs on existing maps or perhaps ceyda views of the regions which 81 00:09:01,070 --> 00:09:11,350 were very accurate and probably also textual information form from newspapers or other sources, 82 00:09:11,350 --> 00:09:15,940 which were also very accurate. Also geographically accurate. 83 00:09:15,940 --> 00:09:25,990 But I would like to add that there is proof that their dead land surveyors did travel to the flooded areas on boats, for example. 84 00:09:25,990 --> 00:09:32,110 That also brought food and clothes and other stuff for to fix up for the victims. 85 00:09:32,110 --> 00:09:37,240 And those surveyors also sounded the depth of the water, for instance. 86 00:09:37,240 --> 00:09:46,180 So it was not only surveying the land, but also the height, the height of the flute. 87 00:09:46,180 --> 00:09:52,130 And one of the books I mentioned the historical account and confirms this. 88 00:09:52,130 --> 00:09:57,950 But, of course, it would have taken a while before a complete map was made after those surveys. 89 00:09:57,950 --> 00:10:07,130 So the case of the new springs and news maps, the engravers and publishers would not have waited until they were finished. 90 00:10:07,130 --> 00:10:14,300 So they did, probably based on the existing maps and pictures. 91 00:10:14,300 --> 00:10:25,110 Very much so. To what extent do you think that the maps possibly were purely symbolic? 92 00:10:25,110 --> 00:10:34,910 Well, in many cases, the women were indeed personifications, similar to the Cretaceous, for example, 93 00:10:34,910 --> 00:10:44,790 chats from those I spoke about, for example, Holland's Maiden, which was a personification of Holen Province. 94 00:10:44,790 --> 00:10:49,190 She's holding a map of the flooded area and she's raising her head to heaven. 95 00:10:49,190 --> 00:10:59,380 Praying to God for mercy. And this is also described in the expense or poem below the prince that I showed in one of the slides. 96 00:10:59,380 --> 00:11:03,450 Well, in this particular setting, this was indeed an allegory. 97 00:11:03,450 --> 00:11:14,010 And you could say that the map is an attribute, but it is striking that the maps are being attributes were quite accurate. 98 00:11:14,010 --> 00:11:21,750 And also we're showing to the flooded areas. So the engravers. 99 00:11:21,750 --> 00:11:32,070 They made efforts to also make these maps while being attributes, attributes also a little bit aggregates and a realistic. 100 00:11:32,070 --> 00:11:39,400 And this also counts of, for example, for this also counterfeit brand with a two Puti holding to the unrolled map. 101 00:11:39,400 --> 00:11:45,520 I already oh I will also showed her. 102 00:11:45,520 --> 00:11:51,580 So I think that those maps were not implemented in order to read or to orientate Onda 103 00:11:51,580 --> 00:11:59,120 were implemented in order to compose an allegory and to deliver a broader message. 104 00:11:59,120 --> 00:12:08,360 So, yes. Thank you. We've had a question where any of these maps are any similar type maps created by women? 105 00:12:08,360 --> 00:12:12,520 Oh, well, that's that's a good that's a nice question. 106 00:12:12,520 --> 00:12:23,220 I, I haven't found any, but I'm just starting with this subject, so hopefully I'll find some some examples and I'll get to it. 107 00:12:23,220 --> 00:12:30,120 I think just one final question for you. And it's similar to questions that were asked to Camille. 108 00:12:30,120 --> 00:12:41,600 To Chet. Do we have any information or what information is there on how these maps, these engravings were viewed and. 109 00:12:41,600 --> 00:12:53,790 Consumed. I think most of the most of the consumers of the maps where people dead, right, 110 00:12:53,790 --> 00:13:01,960 not actually in the food, it did not actually lived in the flooded areas that there were spectators. 111 00:13:01,960 --> 00:13:09,550 I think in most cases also living in India, in the Western and not not nearby affluent area. 112 00:13:09,550 --> 00:13:18,280 So from a long distance. So I think if those images were meant to shock them. 113 00:13:18,280 --> 00:13:26,980 And also, I think there was also a function of empathy, evoking empathy. 114 00:13:26,980 --> 00:13:36,310 And I also have an example from the pamphlets on one of the floats that actually calls up to donate money to actually help them. 115 00:13:36,310 --> 00:13:41,320 So it's I think charities also related to this to these kind of maps. 116 00:13:41,320 --> 00:13:49,936 And that's very interesting because there was there was new for the time.