For the introduction. Nick. And for inviting me to present my paper today.
The title of my presentation is Women and Children First Gender Floats and Victimhood in Dutch 18th Century Maps of Dutch Breaks.
The low countries have a long history of the battle against the water,
facing numerous inundation skulls by [INAUDIBLE] breaks and it turns out that is also represented in Dutch medical culture.
In the modern period, these disastrous events were often reported by story maps,
maps or Bryn's combining gateau graphical or spatial data with narrative data such as these prints by beautiful number.
It is Galt's depiction of the uncommonly high floods in horns and boulders and villages of
the same in the great destruction that occurred there between the 5th and 6th of April 70 to.
It's features to Horn's mates in the forums, pointing out a map of the flooded area.
Maps like these women, usually absent in maps, suddenly seem to play a prominent role.
They are sometimes evenly literally put in for it in the foreground. And what function do these depictions of women have?
How do they relate to the maps? In this paper,
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.
Let's begin with some realistic and anecdotal depictions of women.
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.
The relative spatial arrangements of the geo data drivers and towns, for example,
and use of cartographic symbols such as Kompas Roses is combined with the dramatic depiction of drowning people, animals and houses.
The legend textually explains these narrative aspects.
The printmaker young, let me go use the technique of corrupt prophy, while geo data such as rivers,
roads and villages are drawn horizontally as viewed from both the narrative de Das,
which is the person's animals, trees and houses are drawn vertically as viewed from the sides.
This map wasn't registration for a book that we see on the left.
Historical accounts of difficult times. Famines and floods in the years, seventy nine and seventy.
Forty. It contains vivid and detailed descriptions of these disastrous events, telling stories of actual victims that suffered.
And these anecdotes especially focus on the tragic fates of the innocents, frequently naming women and children.
Anecdotal and realistic nature of the book is reflected by the map.
It shows in the foreground the family moaning on the roofs of a sunken house.
And we see horses and cows swimming in a baby in a cradle, in the cradle drifting.
This man was not only designed to show the geographical spread of the flood,
but to show the effects of the fluid on the people and the normal victims are portrayed from the sides,
making them even more tangible and evoking the empathy of the viewer.
Femininity seems to play a significant role in float's and inundations symbolism.
This is illustrated by an emblem and read by young Loka, taken from an Eminem book by Crystal Bigham in the picture.
We see several women pulled out from the water, including a baby in a cradle roll.
Femininity in this emblem is confirmed by the German poem below, referring to Fenice.
The translation of the title from Campbell is The Flood.
Thus, by the rage of the floods, the glow Phoenix is extinguished.
And the baby in the cradle was also her.
Interesting thing that was originating from a legend from the Elizabeth float's in 14.
Twenty one in the Netherlands.
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.
And the cradle to cradle almost capsized with the baby in it, but was saved by black cats.
That kept the balance steady when the baby was saved to the lens.
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.
In the next slides and the slides that will show how this theme of women and small children pulled from
the water was part of a strong pictorial tradition of floats in which they seemed to function as icons.
So here on the left, on the woodcuts by Yohannes Duncker of the flute in eighteen nine,
we can recognise the image in the upper picture, but also below where a woman takes her baby.
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.
It is a very dramatic scene with also, again, women and children in the foreground.
And this print as well by Simmo focussed on the dark breaks of the line and Eisel Rivers in 1750 for a large map,
a large map is unrolled by two pooty. And behind the map we see the same thing elsewhere in the background.
Also, people are safe from their houses.
So it is therefore not surprising that the same theme is repeated in the story Maps of the Dark Breaks and Flutes,
which is the case for this spring by John Smith.
It was part of the same series of maps of the [INAUDIBLE] breaks in the east of the Netherlands in 70,
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.
So are these images on story maps meant to be either realistic or symbolic?
It seems that a real and symbolic are not easily distinguished and at real life, an allegory allegory flow together regarding the map titles.
The maps suggests veracity and accuracy being drawn from life.
And they seem to be made with the intention to show how to float.
Actually had happens in the depictions of real people seemed to contribute to this truthfulness on the one hand.
But on the other hand, these men, women and children that are victims are not literally drawn from life.
They're intended by the budding writer and can be read as emblems or allegories.
And the map. How do these images relate to the graphical nature of the prince?
Well, in some cases, the map is separated from the seats such as print or phone numbers on the left.
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.
You could say that these depictions of real people, including real women, make the map more realistic.
But I think it is rather the other way around the map,
seemingly based on real facts and real measurements to make these people that are actually icons of the flute more real.
Thanks a lot. Thank you.
Erica. Absolutely terrific and some gripping depictions there of responses to inundation in the Netherlands.
If I may, I'd like to begin by. Asking you the maps you've shown.
Can you comment on how they were designed and produced? Yes.
So of course. Well, first, say the print makers of the story maps I've mentioned.
So, for example, young Smit's and Young love me at all.
We're not mapmaker's.
Instead, they were artistic engravers, both working in Amsterdam and young Smitt was in seventeen, forty one, even seventy eight years old.
So I don't think it was likely that A actually travelled to the sites in order to make sketches and do surveying.
So they're probably based it designs on existing maps or perhaps ceyda views of the regions which
were very accurate and probably also textual information form from newspapers or other sources,
which were also very accurate. Also geographically accurate.
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.
That also brought food and clothes and other stuff for to fix up for the victims.
And those surveyors also sounded the depth of the water, for instance.
So it was not only surveying the land, but also the height, the height of the flute.
And one of the books I mentioned the historical account and confirms this.
But, of course, it would have taken a while before a complete map was made after those surveys.
So the case of the new springs and news maps, the engravers and publishers would not have waited until they were finished.
So they did, probably based on the existing maps and pictures.
Very much so. To what extent do you think that the maps possibly were purely symbolic?
Well, in many cases, the women were indeed personifications, similar to the Cretaceous, for example,
chats from those I spoke about, for example, Holland's Maiden, which was a personification of Holen Province.
She's holding a map of the flooded area and she's raising her head to heaven.
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.
Well, in this particular setting, this was indeed an allegory.
And you could say that the map is an attribute, but it is striking that the maps are being attributes were quite accurate.
And also we're showing to the flooded areas. So the engravers.
They made efforts to also make these maps while being attributes, attributes also a little bit aggregates and a realistic.
And this also counts of, for example, for this also counterfeit brand with a two Puti holding to the unrolled map.
I already oh I will also showed her.
So I think that those maps were not implemented in order to read or to orientate Onda
were implemented in order to compose an allegory and to deliver a broader message.
So, yes. Thank you. We've had a question where any of these maps are any similar type maps created by women?
Oh, well, that's that's a good that's a nice question.
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.
I think just one final question for you. And it's similar to questions that were asked to Camille.
To Chet. Do we have any information or what information is there on how these maps, these engravings were viewed and.
Consumed. I think most of the most of the consumers of the maps where people dead, right,
not actually in the food, it did not actually lived in the flooded areas that there were spectators.
I think in most cases also living in India, in the Western and not not nearby affluent area.
So from a long distance. So I think if those images were meant to shock them.
And also, I think there was also a function of empathy, evoking empathy.
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.
So it's I think charities also related to this to these kind of maps.
And that's very interesting because there was there was new for the time.