Kathryn's+Images

The binding is leather with gold engraving. The intricate decorations could be reflecting the subject matter; this is a book about women, so someone made the decision to decorate the binding with an elaborate, floral design which could be associated with femininity. Aside from the border, the front cover is plain, with the title written on the spine.

There is more intricate gold decoration on the spine, and the title is written simply, with just the author's last name. The fact that only his last name is shown speaks, perhaps to Wright's popularity as a writer during the Victorian period. "WRIGHT" speaks for itself here (this was one of Wright's last publications, so he was very well known at this point in his literary career).

The inside covers are marbelized.

The frontispiece image depicts "Dame Nature and her Messenger" according to the caption (which is cut off in this picture). It is presumably related to one of the chapters in the text, but I was unable to locate the specific reference. It could be less of a reference to a specific part of the text and rather a kind of summation of Wright's perception of women; the association between women and nature is common. It is interesting that Wright or the publisher decided to place this particular image at the beginning of the text, however, because much of the rest of the book is devoted to subjects such as women's dress and leisure activities. This image places the woman in a position of importance, it seems, rather than just showing a woman standing and looking pretty, she is Mother Nature receiving a message. In the context of Victorian women in society, this is significant.

Most of the images in the book are wood engravings.

This title page is beautifully illuminated, reminiscent of pre-printing manuscript culture, and also indicative of the subject matter, incorporating colorful floral designs. The text itself is Gothic in style beginning with a magnificent incipit letter "W." The word "WOMANKIND" itself is designed in all capital letters surrounded by a gold border, indicating an interesting mixture of grandeur and elegance; the text is beautiful and feminine at the same time that it is imposing, commanding attention on the page.

It is interesting that the sub-text here reads "In All Ages of Western Europe," while the title page the follows it gives a different subtext; "From the earliest times to the seventeenth century." Could this represent some kind of miscommunication between the publisher of the text and the illuminator or illustrator who designed this page?

The pages have gilded edges.

This title page is plain and the text is more classical than that of the elaborate frontispiece. The author's name is given along with his qualifications and distinctions. Under his name it reads, "Corresponding member of the Imperial Institute of France (Academie des Inscriptions et Belles-Lettres)." It is interesting that, of all Wright's titles and distinctions, it was decided to emphasize this one by listing it directly under his name, by itself. This Academie, founded in 1663, was very well-respected and renowned for its prestigious scholarly membership.

The actual text begins with a Preface by the author in which he states his purpose...

"It was not my intention in the following volume to write a philosophical treatise on the character or condition of women, or to investigate women's claims or women's rights. Several attempts have been made to compose a general history of the female sex, but they have too often ended in mere imperfect compilations. I have not ventured on so wide a field; but I have ventured to believe that a history of the sex in that particular division of mankind to which we ourselves belong would not be unacceptable to the general reader.I have endeavoured, therefore, to trace from sources which are not commonly known, and many of which are not very approachable, the history of Womankind in Western Europe, and to describe the condition, character, and manners of the sex through the various revolutions of Western society. My desire has been to give, as far as possible, a true picture of female life in each particular period, and I have avoided as much as possible all speculative views. In the earlier ages of history, the materials are too scanty to enable us to give more than an imperfect view of the subject, yet they are sufficient to show us the female sex holding a very important position in the world's history, not only in a social point of view, but even in its political agitation and movement."

There is possibly a relationship between these words and the image on the frontispiece of "Dame Nature and her Messenger." The image depicts womankind as being in a position of authority and power (to an extent) and here Wright states (speculatively, I think, even while maintaining that he is not going to speculate) that woman has held 'a very important position in the world's history, not only in a social point of view, but even in its political agitation and movement.'

Table of Contents

Chapter I: Women in Gaul and Britain under the Celt and the Roman Chapter II: The Women of Teutonic Mythology and Romance Chapter III: The Franks in Gaul Chapter IV: The Anglo-Saxon Women Chapter V: Boniface and His Fair Correspondents - the Anglo-Saxon Nuns Chapter VI: Transition to the Feudal Period - Domestic Life in the Castle - the Anglo-Normans Chapter VII: Condition and Costume of Women in the Twelfth Century Chapter VIII: The Women of Feudal Romance - Bertha and Parise Chapter IX: Provence, its Poetry and the Courts of Love Chapter X: The Romance of the Rose Chapter XI: Womankind in the Feudal Castle - Woman's Position in the Household - Chivalry - the Relations of the Sexes - Love Chapter XII: Womankind in the Feudal Castle - Married Life - Woman's Work - Woman as the Physician Chapter XIII: Womankind in the Feudal Castle - Woman's Amusements - The Gardens of the Castle - Pet Animals Chapter XIV: Womankind in the Feudal Castle - the Feudal Lady out of the Castle - Walking, Riding, and Driving Chapter XV: Womankind in the Feudal Castle - Hunting and Hawking Chapter XVI: Womankind in the Feudal Castle - Woman's Beauty and Woman's Dress Chapter XVII: Womankind Outside the Feudal Castle - the Town and the Country - Pastoral Life Chapter XVIII: Literature Among the Women of the Feudal Period - Marie de France and Christine de Pisan Chapter XIX: The Transition from Feudalism - The Beginning of the Sixteenth Century - Louis XII and Henry VIII Chapter XX: The Social Movement of the Sixteenth Century in France - the Female Costume Chapter XXI: How Englishwomen Looked Looked in the Days of Queen Elizabeth Chapter XXII: Continuation of the Elizabethan Age to that of Charles I