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Information to Users INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript &om the microfilm master. UMI films the text directly nrom the original or copy submitted. Thus, some thesis and dissertation copies are. in ^'pewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and-there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI lJ^!versitv Microfilms Iniernanonal A Beil & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800.521-0600 Order Number 9914471 Harpies and henpecked husbands: Images of the powerful housewife in Netherlandish art, 1550-1700 Peacock, Martha Lynne Moffitt, Ph.D. The Ohio State University, 1989 Copyri^t ©1989 by Peacock, Martha Lyime Moffitt. All rights reserved. UMI SOON. Zeeb Rd. Ann Arbor, MI 48106 HARPIES AND HENPECKED HUSBANDS: IMAGES OF THE POWERFUL HOUSEWIFE IN NETHERLANDISH ART 1550-1700 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Martha Lynne Moffitt Peacock, B.A., M.A. ***** The Ohio State University 1989 Dissertation Committee: Approved by B. Haeger F. Richardson Adviser 0 H. Vredeveld Department of History of Art Copyright by Martha Lynne Moffitt Peacock 1989 To my husband for his support and to my children for their patience 11 ACKNOWLEDGMENTS I am grateful to my adviser. Dr. Barbara Haeger, for the time she has dedicated to this dissertation. I have sincerely appreciated her help and suggestions. My thanks is also expressed to Dr. Harry Vredeveld for his kind assistance and the generous amount of time he spent with me working on translations. Dr. Frank Richardson's expertise and insight have also been greatly appreciated. I would like to thank Dr. Walter Gibson for his kindness in reading the dissertation and for his extremely helpful comments. I am also grateful for the materials and information provided by Mr. Herman Pleij. Additionally, Mr. J. P. Filedt Kok and the staff at the Rijksprentenkabinet were of great help during my research. Other institutions to which I would like to express thanks are the Rijksbureau voor Kunsthistorische Documentatie, the Koninklijke Bibliotheek and the Atlas van Stolk. Finally, I am grateful for the financial support granted by The Ohio State University and the generous support of a Woodrow Wilson Research Grant in Women's Studies. 1X1 VITA February 22, 1957 ................... Born - Provo, Utah 1978 .................................B.A., Brigham Young University 1985 .................................M.A., The Ohio State University 1987-Present ........................ Instructor, Brigham Young University PUBLICATIONS Edited and contributed to Rembrandt as Printmaker: An exhibition at Brigham Young University. Provo; Brigham Young University Press, 1988. FIELDS OF STUDY Major Field: History of Art Studies in Northern Baroque Art, Dr. Barbara Haeger IV TABLE OP CONTENTS ACKNOWLEDGMENTS i i i VITA .................................................... iv LIST OF FIGURES ............................ vii INTRODUCTION ........................................... 1 CHAPTER I. THE POSITION OF THE HOUSEWIFE IN DUTCH SOCIETY. 18 A Gradual Increase in Female Power........... 20 Foreigners' Views ............................ 24 Heroines in the War Against S p a i n .......... 30 N o t e s ......................................... 35 II. MISERY IN THE MARRIAGE DUE TO OVERBEARING WIVES 39 \ The Nature of WtNjien.......................... 40 The Marriage Tra^V............................ 44 Husband's Grief . \ ........................ 46 Beating and Scolding W i v e s ................. 51 N o t e s ..... .................................... 77 III. THE BATTLE-FOR THE TROUSERS .................... 84 The Male-Female Battle ...................... 85 The All-Female Battle ........................ 98 N o t e s ................................ 116 IV. JAN THE HOUSEHUSBAND................................. 121 Hennetastezs ................................. 122 Spinning Husbands ............................ 132 Various Chores .............................. 141 Political Prints . ...................... 147 The Spinning R o o m ............................... 156 Jan de W a s s e r ................................... 159 N o t e s ............................................ 167 V. JUSTIFIED BEATING OF HUSBANDS? ................. 176 S m o k i n g .......................................... 177 Drunkenness......................................179 Husbands and Courtesans ...................... 191 N o t e s ............................................ 205 VI. DESIRE AND DECEIT ................................. 208 The Contemporary Aristotle ......... 210 Licentious Hennetastezs ...................... 213 The Impotent and Deceived Hennetastez .... 217 Hoozndzagezs ................................. 229 N o t e s ............................................ 244 CONCLUSION ................................................ 249 FIGURES ..................................................... 264 BIBLIOGRAPHY ............................................ 390 VI LIST OF FIGURES FIGURES PAGE 1. Attributed to Hendrick van den Burgh, Private collection Vienna..................................... 265 2. Dutch School, Kenau Simons Hasselaar^ 1573, Frans Halsmuseum, Haarlem............................. 266 3. Remigius Hogenberg, Kenau Simonsdocbtez Hasselaez, Hollstein 15, Rijksmuseum, Amsterdam. 267 4. Utrecht Master, Trijn van Leemput, Centraal Museum, Utrecht........................................268 5. Illustration from Van de Wtnementheyt Dez Vzouwenlicken GeslachtSf 1643, Koninklijke Bibliotheek, The Hague ............................ 269 6. Joannes van Keulen, Hat Toneel Dez Vzouwalyke Wzaakgiezigheyd. Atlas van Stolk, Rotterdam. 269 7. Title page from Hieronymus Swserts' De Tien Vezmakelijkheden des Houvelyks, 1684, Koninklijke Bibliotheek, The Hague ............... 270 8. Title page from Hieronymus Sweerts' De Biegt dez Getzouvde, 1679, Koninklijke Bibliotheek. The Hague.............................................. 271 9. Corneiis van Dalen after Adriaen van de Venne, Afbeeldinghe des Huwelyx ondez de Gedaente van een Fuyk, Rijksprentenkabinet, Amsterdam ......... 272 10. Adriaen van de Venne, A Peasant Couple Cazzying a Pail of Mater, From album of 1626, British Museum, London ..................................... 273 11. Adriaen van de Venne, Illustration from Jacob Cats' Alle de Mercken, 1700, Universiteits Bibliotheek Amsterdam................................. 274 VI1 12. Adriaen van de Venne, Illustration from Jacob Cats’ Alle de RTercken, 1700, Universiteits Bibliotheek Amsterdam................................. 275 13. Adriaen van de Venne, Het zijn stercke beenen die weelde dragen konnen. Private Collection, B r u s s e l s .............................................. 276 14. Attributed to Frans Hogenberg, A1 Hoy, 1559, Bibliothèque Royale Albert 1er, Brussels ......... 277 15. Jaques Horenbault, Allegory on the Vices, 1608, Hollstein 1, Rijksprentenkabinet, Amsterdam.............................................. 278 16. Folio 329 from Lancelot del Lac, Pt. 3, Picard, Yale University Library, New Haven .... 279 17. Master E.S., Wild Folk Jousting, British Museum, London ................................ .. 280 18. Albrecht Durer, The Witch, Hollstein 68, Museum Boymans-van Beuningen, Rotterdam............. 281 19. Illustration from Jacob Cats' Houwelyck, 1628, Rijksprentenkabinet, Amsterdam .................... 282 20. Corneiis van Kittensteyn, Mans-hant Boven, Hollstein 19, Rijksprentenkabinet, Amsterdam . 283 21. Emblem from Roemer Visscher’s Sinnepoppen, 1614. 283 22. Jacob Cole after Corneiis Dusart, Tactus, Hollstein 269, Atlas van Stolk, Rotterdam........... 284 23. Jacob Cole after Corneiis Dusart, Gustus, Hollstein 267, Atlas van Stolk, Rotterdam........... 285 24. Jacob Cole after Corneiis Dusart, Auditus, Hollstein 266, Atlas van Stolk, Rotterdam........... 286 25. Adriaen van de Venne, A Peasant Couple with a Boy and a Dog, From album of 1626, British Museum, London ..................................... 287 26. Hermen van Steenwyck, Kitchen Interior with Three Figures, Staatliche Kunsthalle, Karlsruhe. 288 27. Jan Miense Molenaer, Touch, 1637, Mauritshuis, The Hague.............................................. 288 V I 11 28. Nicolaes Maes, A Woman Scolding with a Maidservant Listening, Private collection. Great Britain.........................................
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