DOCSLIB.ORG

SH Thesis Upload Copy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SH Thesis Upload Copy The Conspicuous Body: Science and Fashion in Early Modern England Sadie Harrison UCL Volume I Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2018 DECLARATION I, Sadie Harrison, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature: Date: 2 Abstract This thesis examines the relationship between science and fashion in the early modern period. It brings together the disciplines of fashion history and the history of science to understand the complicated role that proper appearances played in the signalling of credit in seventeenth and eighteenth-century England and France. In the Renaissance, clothing was an ornament used to display virtue and signal learning, often through textiles and accessories showing natural objects from flowers to sea-monsters. In the seventeenth century, this culture of fashion was challenged when members of the Royal Society were complicit in the introduction of the three- piece suit and a new notion that men should dress in a sober style. The Society was complicit in positioning ornament and fashion in opposition to this sobriety associated with proper masculinity and proper knowledge-making, The thesis argues that this opposition between ‘fashion’ and science became a commonplace in the eighteenth century. Various authors attacked those who engaged in fashionable dress as improper or unreliable thinkers. Many accusations were levelled against women. However, women resisted these changes and asserted their status as knowers of nature. They used textile design to express their natural knowledge. For example, Anna Maria Garthwaite’s silks were part of a feminine language of showing: one that rejected the opposition of science and fashion advocated by men. Women also manipulated their dress to cultivate credit in philosophical networks, for example in the Bluestocking circle in England and the French salons. Even if female dress was demoted from the same level of credibility as male costume in the eighteenth century, women still worked to use it as a means to secure credit and express their knowledge of nature. 3 Impact Statement This thesis reveals the history behind some of the assumptions and issues that continue to affect the making of knowledge today. How do we identify people as credible in the sciences, and have we always used the same assumptions to establish credit? It is widely acknowledged that diversity is scarce in the sciences (and indeed other areas of academia). People of non-white races, women, LGBT+ people, and more struggle to be perceived as credible. This thesis offers a historical context for these issues, with a specific focus on the case of women. This thesis seeks to understand how the prejudices around women in knowledge-making that prevail today came to be established. The study argues that the establishment of epistemic science as the primary way to know nature converged with reformulations of masculine credibility. The consequences of this convergence privileged white, heterosexual, able bodied males. Men were able to signal credibility through sartorial signals but women’s credibility as knowers of knowledge was not widely accepted. To make this argument, the thesis focuses on bodies, adornment, and credibility in seventeenth and eighteenth-century England. The thesis brings together two disparate disciplines of history. History of science and costume history have rarely interacted, but this thesis demonstrates that new perspectives can be gained by bringing these historical traditions into dialogue. This thesis brings new sources to bear on the history of science. Few histories of science incorporate clothing in any form. This history uses extant textiles, museum objects, portraiture, and textual descriptions of clothing to understand the role that appearance had in the lives of those who sought credibility in knowledge-making circles. Likewise, cultural histories of clothing have rarely focused on the consequences of fashion on epistemic practices. The research within this thesis has already informed my role as a communicator of science history and a practitioner of public outreach. Recently, I have appeared on a podcast produced by the BBC three times, bringing my perspective on credibility and prejudices within society to a global public audience. 4 The project of raising awareness of the issues revealed in this thesis continues. I will be incorporating my studies into a publication on diversifying science history curriculums, currently in preparation. This thesis explores issues of identity and credibility, which can be applied to case studies beyond the scope of the chapters that follow. It is my hope that other historians may find my conclusions useful for understanding credibility in identity in the sciences and beyond. 5 For Chris, my husband And for our Minerva 6 ACKNOWLEDGEMENTS This thesis is about credibility and the need to be credible in knowledge-making practices. I would like to thank those who saw me as credible and trusted me as a maker of knowledge. I would like to thank my supervisors, Simon Werrett and Mechthild Fend. Simon has encouraged and trusted my research since I started in academia as a Masters student. He has had faith in my project and in my perspective and ensured I was never lost along the way. Mechthild Fend’s advice has strengthened me as a researcher. Thank you both. I have been supported by an amazing network of friends and colleagues. The staff and students of the Science and Technology Studies department have been sources of support and motivation throughout this journey. I would especially like to thank Phyllis Illari and Chiara Ambrosio for encouragement and advice. I would like to thank my fellow PhD students for embarking on this journey with me. I’d like to thank project collaborators and friends Erika Jones, Farrah Lawrence-Mackey, Rebecca Martin, and Hannah Mills. Raquel Strini Velho has been by my side since day one and I am honoured by her friendship. I am forever indebted to Erman Sozudogru, the MVP, for his support and encouragement and wit. Katherine Jane Cecil has constantly encouraged and believed in me and my research. Outside of academia, I have had the company of a social circle that has seen me through the thesis. I would like to thank Susan Brundage for providing me with a base of operations for the final stretch of the thesis. While undertaking this project, I have had the fellowship of two people who have been in my life since childhood. Leina Masek has been my constant confidant since 4th grade. I could not have done this, or indeed anything really, without her. My brother, Jake Seymour, is finishing a Masters as I finish this PhD. It has been a privilege to share the ups and downs of academia with him. 7 I am so lucky to share my life with Chris, my husband. His pride in my work, his belief in my writing, and his endless support saw me through. Everything that I have accomplished has been because I have him standing with me. 8 Table of Contents List of Figures ........................................................................................11 Introduction ..........................................................................................18 Fashion in the History of Science ..................................................................19 Science in the History of Fashion .................................................................23 Methodology ................................................................................................26 The Structure of the Argument .....................................................................28 Chapter One: .........................................................................................30 The Hardwick Portrait: Dress as a Cabinet of Wonders .......................30 Naturalia in Cabinets of Curiosity .................................................................33 Naturalia in Textiles .....................................................................................41 Naturalia in Jewellery ..................................................................................48 Books of Nature to Textiles of Naturalia .......................................................53 The Portrait: Naturalia on the Body .............................................................60 Conclusion ...................................................................................................68 Chapter Two: ........................................................................................69 “Adorned, Embellished, and Ornamented:” Science, Fashion, and Credibility in the Early Royal Society ..................................................69 A Plain Way of Speaking… and Dressing .......................................................71 Modesty, Virtue, and the Modest Witness .....................................................77 The Banyan: the Indicator of a Philosopher ..................................................81 Re-Fashioning Masculinity ...........................................................................84 Masculine Fashions and the Place of Women ................................................91 Margaret Cavendish, Philosopher and Outsider ...........................................93 Critiquing Experimental Philosophy ............................................................96 Conclusion ...................................................................................................99
Load more

Recommended publications
  • Europe and the World 1450-1750 | Oxford Brookes Reading Lists
    09/24/21 Europe and the World 1450-1750 | Oxford Brookes Reading Lists Europe and the World 1450-1750 View Online (Semester 1) 582 items Weekly readings - chapters and articles (35 items) Week 1: Introduction (3 items) Background Reading (1 items) Part I Starting Points | Introduction - Beat Kümin Chapter Essential Reading (1 items) The Origins of the Early Modern - Helen Cooper, 2013 Article Further Reading (1 items) The Problem of the "Early Modern" World - Jack A. Goldstone, 1998 Article Week 2: Politics (4 items) Background Reading (2 items) Part VI Politics | The theory and practice of politics and government 1500–1800 - Humfrey Butters Chapter Part VI Politics | The impact of war - Jonathan Davies Chapter Essential Reading (1 items) State Building in Early-Modern Europe: the Case of France - James B. Collins, 1997 Article 1/44 09/24/21 Europe and the World 1450-1750 | Oxford Brookes Reading Lists Further Reading (1 items) The Hinges of History: State-Making and Revolt in Early Modern France - Edgar Kiser, April Linton, 2002 Article Week 3: Economies (2 items) Background Reading (1 items) Part II Society and Economy | The early modern economy - Steve Hindle Chapter Further Reading (1 items) Men in the Marketplace - Evelyn Welch Chapter Week 4: Society & Social Order (3 items) Background Reading (1 items) Part II Society and Economy | Gender and family - Bernard Capp Chapter Essential Reading (1 items) The Problem of Women’s Agency in Late Medieval and Early Modern Europe - Martha Howell Chapter Further Reading (1 items) Did Gender have a Renaissance? Exclusions and Traditions in Early Modern Western Europe - Julie Hardwick Chapter Week 5: Diversity and Marginality (4 items) Background Reading (2 items) Part II Society and Economy | Marginals and deviants - Penny Roberts 2/44 09/24/21 Europe and the World 1450-1750 | Oxford Brookes Reading Lists Chapter Part III Religion | Jews and Muslims - Henry J.
    [Show full text]
  • Contents Published in the Last Bulletin, Was Voted in Unanimously at the AGM Held in London on 11 April
    u tin 83 HI For information on advertising, membership and distribution: June Association of The Administrator, 70 Cowcross Street, London EC1M 6EJ; Art Historians Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> 2003 Registered Charity No. 282579 itor: Jannet King, 48 Stafford Road, Brighton BN1 5PF <[email protected]> www.aah.org.uk Chair's report am pleased to devote my Chair's report in this Bulletin to news about the I constitution, a vote of thanks to a number of people and a welcome to some new faces. First, I'm delighted to say that the revised version of our constitution, Contents published in the last Bulletin, was voted in unanimously at the AGM held in London on 11 April. This is a positive development that enables us to continue with our current practices and move forward with an up-to-date constitution that New Faces reflects current Charity legislation and practice. I am grateful to everyone who Universities & Colleges 3 was involved in the long process of revising the constitution and to all the Art History in the States 4 members who came to the AGM and offered their support. AGM Minutes 5 My second item is thanks to a number of people who have worked hard for the Treasurer's Report 6 AAH over the past few months and years. First of all, I am immensely grateful to the organisers of the very successful annual conference this year: the academic Annual Conference 2004 8 organisers, Tag Gronberg and Helen Weston, and the conference administrator, Annual Conference 2003 14 Daphne Saghbini.
    [Show full text]
  • 2010 Centre for the Study of the Renaissance Director's Report
    Director’s Report for the Advisory Board of 2010 Centre for the Study of the Renaissance University of Warwick 2009-10 has been another fruitful year for Warwick’s Centre for the Study of the Renaissance (henceforth CSR). Highlights have included the start of a new Mellon- funded collaborative programme with the Newberry Library and the successful major grant application to AHRC for a collaborative project with the Warburg Institute on Vernacular Aristotelianism in Early Modern Europe. Recruitment on our taught MA is experiencing an upward curve, and the notable presence of Warwick researchers at the Renaissance Society of America’s Annual Meeting in Venice has ensured the CSR continues to play a key part in the University’s international scholarly profile. 1 TABLE OF CONTENTS TEACHING and POSTGRADUATE TRAINING ACTIVITIES ..........................................4 Centre-based postgraduate teaching...........................................................................4 Skills sessions open to students based elsewhere in the Faculty.................................4 National and international training................................................................................5 RESEARCH ....................................................................................................................6 The John Nichols Project (P.I. Dr Elizabeth Clarke).....................................................6 The Mellon-Newberry collaborative programme (P.I. Ingrid De Smet).........................7 The Mellon-Newberry Collaboration:
    [Show full text]
  • Volume 4, Issue 3, Autumn 2020
    The Journal of Dress History Volume 4, Issue 3, Autumn 2020 Front Cover Image: Detail, Tuskegee Airman Edward Gleed, Photographed by Toni Frissell, March 1945, Ramitelli, Italy, © Prints and Photographs Division, The Library of Congress, Washington, DC, United States, LC–F9–02–4503–330–07. Edward Gleed (1916–1990) was photographed by Toni Frissell (1907–1988), an American photographer, known for her fashion photography and war imagery. In this 1945 photograph, Gleed is wearing his uniform and equipment of a Second World War fighter pilot, posing in front of a P–51D Mustang airplane. During the Second World War, Gleed was educated at Tuskegee University (formerly Tuskegee Institute), located near Tuskegee, Alabama; hence, the moniker Tuskegee Airmen, who were the first African–American military aviators and aircrew in the United States Army Air Forces. The Journal of Dress History Volume 4, Issue 3, Autumn 2020 Editor–in–Chief Jennifer Daley Editor Ingrid E. Mida Proofreader Georgina Chappell Editorial Assistant Eanna Morrison Barrs Editorial Assistant Zara Kesterton Editorial Assistant Lynda Xepoleas Published Quarterly By The Association of Dress Historians [email protected] www.dresshistorians.org/journal The Journal of Dress History Volume 4, Issue 3, Autumn 2020 [email protected] www.dresshistorians.org/journal Copyright © 2020 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians (ADH) through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The ADH supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day.
    [Show full text]
  • Read Keith Thomas' the Wolfson History Prize 1972-2012
    THE WOLFSON HISTORY PRIZE 1972-2012 An Informal History Keith Thomas THE WOLFSON HISTORY PRIZE 1972-2012 An Informal History Keith Thomas The Wolfson Foundation, 2012 Published by The Wolfson Foundation 8 Queen Anne Street London W1G 9LD www.wolfson.org.uk Copyright © The Wolfson Foundation, 2012 All rights reserved The Wolfson Foundation is grateful to the National Portrait Gallery for allowing the use of the images from their collection Excerpts from letters of Sir Isaiah Berlin are quoted with the permission of the trustees of the Isaiah Berlin Literary Trust, who own the copyright Printed in Great Britain by The Bartham Group ISBN 978-0-9572348-0-2 This account draws upon the History Prize archives of the Wolfson Foundation, to which I have been given unrestricted access. I have also made use of my own papers and recollections. I am grateful to Paul Ramsbottom and Sarah Newsom for much assistance. The Foundation bears no responsibility for the opinions expressed, which are mine alone. K.T. Lord Wolfson of Marylebone Trustee of the Wolfson Foundation from 1955 and Chairman 1972-2010 © The Wolfson Foundation FOREWORD The year 1972 was a pivotal one for the Wolfson Foundation: my father, Lord Wolfson of Marylebone, became Chairman and the Wolfson History Prize was established. No coincidence there. History was my father’s passion and primary source of intellectual stimulation. History books were his daily companions. Of all the Foundation’s many activities, none gave him greater pleasure than the History Prize. It is an immense sadness that he is not with us to celebrate the fortieth anniversary.
    [Show full text]
  • Oxford-History-Portraiture-By-Shearer
    Portraiture Oxford History of Art Shearer West is Professor of Art History at 1890–1940, and the edited books Visions of the the University of Birmingham. Her publica- ‘neue Frau’: Women and the Visual Arts in tions include The Image of the Actor: Verbal and Weimar Germany (with Marsha Meskimmon), Visual Representation in the Age of Garrick and The Bloomsbury Guide to Art, The Victorians Kemble, Fin de Siècle: Art and Society in an Age and Race, and Italian Culture in Northern of Uncertainty, The Visual Arts in Germany Europe in the Eighteenth Century. Oxford History of Art Titles in the Oxford History of Art series are up-to-date, fully illustrated introductions to a wide variety of subjects written by leading experts in their field. They will appear regularly, building into an interlocking and comprehensive series. In the list below, published titles appear in bold. WESTERN ART Modern Architecture Native North American Archaic and Classical Alan Colquhoun Art Greek Art Contemporary Janet Berlo & Ruth Phillips Robin Osborne Architecture Polynesian and Classical Art Anthony Vidler Micronesian Art From Greece to Rome Architecture in the Adrienne Kaeppler Mary Beard & United States South-East Asian Art John Henderson Dell Upton John Guy Imperial Rome and WORLD ART Latin American Art Christian Triumph WESTERN DESIGN Jas Elsner Aegean Art and Architecture Twentieth-Century Design Early Medieval Art Donald Preziosi & Jonathan Woodham Lawrence Nees Louise Hitchcock American Design Medieval Art Early Art and Architecture Jeffrey Meikle Veronica Sekules of Africa Nineteenth-Century Art in Renaissance Italy Peter Garlake Design Evelyn Welch African Art Gillian Naylor Northern European Art John Picton Fashion Susie Nash Contemporary African Art Christopher Breward Early Modern Art Olu Oguibe PHOTOGRAPHY Nigel Llewellyn African-American Art The Photograph Art in Europe 1700–1830 Sharon F.
    [Show full text]
  • Body and Soul
    CHAPTER EIGHT Body and Soul JOAN FITZPATRICK In a treatise titled The Anatomv of Belial (1602), Robert Burton compares proper order to a body: God hath distinguished diverse members in one body: one from another, & set one aboue another, & placed them all in wonderfull maner. The head as a tower, the eies in the same as watchmen ... the toung as a porter to cal for that which is needfull, & to examine that which is doubtful, the eares as spies to harken & to listen, the hands as servitours & sould­ iers, the feet as messengers and porters to carry and recarry, the teeth as grinders of natures provision, the pallate as taster, the stomach as a cook-roome, wherin all things are prepared againe for the benefit of nature, & the whole body so to be preserued for the benefit of the soule.! Similar to Burton's conception of the bodv, and how it relates to the souL is Edmund Spenser's description of the House of Alma from his epic poem The Faerie Queene (1590). Lady Alma, who represents the soul, leads her guests through her" house," the body: And through the Hall there walked to and fro A iolly Yeoman, Marshall of the same, 152 HOTlY AND SOU Whose name was Appetite; he did bestow Both guestes and meate, when euer in the\ came, And knew them how to order without blame, As hIm the Stev.ard bad. Thev both attone DId dewty to their Lady, as became; Who passmg by, forth led her guestes anone Into the kitchin rowme, ne spard for I1lcenesse none.
    [Show full text]
  • Bulletin 105.Pub
    www.aah.org.uk For information on advertising,BULLETIN membership and distribution contact: AAH Administrator, 70 Cowcross Street, London EC1M 6EJ Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> 105 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF <[email protected]> OCTOBER 2010 CHANGES IN AAH MANAGEMENT he AAH has been very busy over the summer. We are delighted that T Professor Alison Yarrington of the University of Glasgow has taken on the role of Chair-elect. Alison will succeed me as Chair of the AAH at the Warwick conference. Carol Richardson has stepped down after conducting a stellar period as Honorary Secretary. I cannot thank her enough for all the hard work she undertook over the summer months in our HR review of staff roles and responsibilities. We welcome Veronica Davies from the Open University as our new Honorary Secretary. Carol was instrumental in helping the AAH devise structures that will improve the service we offer to members, and to promote the history of art in all its many forms to the widest possible public. These activities are increasingly important in a time of financial cut-backs and challenges that are political as well as economic. All this takes time and effort and, following professional advice, the Executive has decided to invest in the appointment of a professional Chief Executive Officer to help us deliver the strategic The new Chief Executive Officer, Pontus Rosén needs of our organisation. Dear members and supporters, This decision was not taken lightly but we noted that while members and It is a great honour to join the the Executive have many ideas, the AAH has been increasingly constrained Association of Art Historians as its first by the small number of staff available to manage and deliver these Chief Executive Officer.
    [Show full text]
  • The Warburg Institute Annual Report 2005–2006
    cover:cover.qxd 12/12/2006 14:39 Page 3 The Warburg Institute Annual Report 2005–2006 Presented to the University University of London SCHOOL OF ADVANCED STUDY cover:cover.qxd 12/12/2006 14:39 Page 2 Designed and computer typeset at the Warburg Institute Printed by CPS, University of London AR0506:AR0405.qxd 12/12/2006 14:27 Page I The Warburg Institute The Warburg Institute, which was incorporated in the University of London in 1944, was originally the library of Professor A. M. Warburg (1866–1929) of Hamburg. Warburg’s early researches centred on the signiIcance of classical civilization in the intellectual and social context of Renaissance art, but later came to embrace a wider Ield of cultural history. The Institute’s Library and its associated Photographic Collection now aim to provide the means of research into the processes by which one culture inJuences or is inJuenced by another. They seek to document the links between the thought, literature, art and institutions of post-classical Europe and those of Greece and Rome, and the effects of the Near East on Mediterranean civilization. The Library and Photographic Collection allow open access to their material and are so arranged as to facilitate interdisciplinary research in the humanities. The Library has four main divisions: social and political history; religion, history of science and philosophy; literature, books, libraries and education; history of art, classical art and archaeology. Subdivisions include the history of festivals and pageantry, the idea of Empire, historiography, the history of cosmology and astrology and their pictorial expression, ritual and myth, liturgy and religious orders, Platonic and Aristotelian traditions, Islamic and Judaic philosophy, emblematics, neo-Latin literature, the AR0506:AR0405.qxd 12/12/2006 14:27 Page II reception of classical literature, and the diffusion and inJuence of Greco-Roman art.
    [Show full text]
  • HPS: Annual Report 2014-2015
    Contents The Department .......................................................................................................................... 2 Introduction ............................................................................................................................ 2 Congratulations ...................................................................................................................... 4 Staff and Affiliates ................................................................................................................. 6 Visitors and Students ............................................................................................................. 8 Comings and Goings .............................................................................................................. 9 Roles and Responsibilities ................................................................................................... 10 Prizes, Projects and Honours................................................................................................ 12 New Research Projects ......................................................................................................... 12 Seminars and Special Lectures ............................................................................................ 13 Students .................................................................................................................................... 15 Student Statistics .................................................................................................................
    [Show full text]
  • Final Publishable Report
    Fashioning the Early Modern: Creativity and Innovation in Europe: 1500-1800 CRP number: 10/064/MM/NH Acronym: Fashioning the Early Modern Final Report Period: 1 June 2010 – 31 May 2013 Project Leader: Professor Evelyn Welch, Queen Mary, University of London 1 ANNUAL REPORT CRP number: 10/064/MM/NH CRP acronym: FASHIONING THE EARLY MODERN CRP title: Fashioning the Early Modern: Creativity and Innovation in Europe, 1500-1800. Date of latest version of the Description of CRP against which the assessment will be made: 23 July 2010 Final report: 1st □yes 2nd □yes 3rd □yes Period covered: from 1 June 2010 to 31 May 2013 Name, title and organisation of the Project Leader: Professor Evelyn Welch Tel: 00 44 0207 8015 E-mail: [email protected] Names, titles and organisations of the Principal Investigators: Project Leader / Principal Investigator 1; Professor Evelyn Welch, Queen Mary, University of London, United Kingdom (now King’s College, London). Principal Investigator 2: Dr Lesley Miller, Victoria and Albert Museum, United Kingdom. Principal Investigator 3: Professor Peter McNeil, Stockholm University, Sweden & University of Technology Sydney, Australia. Principal Investigator 4: Dr Paula Hohti, Helsinki Collegium for Advanced Studies, University of Helsinki, Finland. Principal Investigator 5: Professor Marie-Louise Nosch, Danish National Research Foundation’s Centre for Textile Research, University of Copenhagen, Denmark. Principal Investigator 6: Ph.D. Maj Ringgaard, National Museum of Denmark (NMD), Denmark. CRP website address: http://www.fashioningtheearlymodern.ac.uk/ Professor Evelyn Welch, Vice-Principal for Arts & Sciences, King’s College London 2 Table of Contents 1. Final Publishable Report ......................................................................................... 4-68 1.1 Summary .....................................................................................................................................................
    [Show full text]
  • Early Modern European Intellectual and Cultural History
    Updated September 2019, with special thanks to Oded Rabinovitch and Anja Goeing. Reading lists for exam field preparations in Early modern France and Early modern European cultural and intellectual history Ann Blair; [email protected] Office: CGIS South Building S437, 1730 Cambridge St Phone: (617) 495-0752 This document offers a master reading list from which students will draw up individualized (and much shorter!) reading lists in preparing exams in two different but overlapping graduate fields in history—identified in lists of the fields of early modern France and early modern European intellectual and cultural history. As this joint document suggests, I typically combine the students preparing these two fields into one group for discussions every other week or so. Some weeks' readings are clearly divided into two tracks--early modern intellectual cultural and early modern France--but in many weeks the syllabus is common to both tracks, or with an additional set of readings for the French angle. Students will form their personal reading lists for their general exam field by selecting from and adding to the readings for each week according to their interests; borrowings from the other track are always welcome. The majority of the readings are secondary sources; if you have no experience with primary sources in these areas, please familiarize yourself with some of the primary sources on the list (these are bolded) or others that we agree upon. Starred items are useful places to start in a given section. Double-starred items I would classify as “required” common reading. 1 GENERAL REFERENCE Early modern French history--dictionaries and reference books Lucien Bely, Dictionnaire de l'Ancien Régime: royaume de France XVIe-XVIIIe (1996) François Bluche, Dictionnaire du grand siècle (1990) René and Suzanne Pillorget, France Baroque, France Renaissance (1995), vol.
    [Show full text]