18th Century History Archives

Mother is a Verb: An Unconventional History by Sarah Knott (2019)

The easy correlation contemporary American and British cultures build from sex to pregnancy, pregnancy to birth, and birth to childrearing within a nuclear family is far from uniform throughout history. Mother is not an identity. Not all women will mother during the course of their lives. In Sarah Knott’s words, “mother is a verb,” and it is a deeply ambiguous and sometimes ambivalent one at that.

More than any historian I have read, Knott writes for herself. Her book is driven by self-reflection and personal memory. She does not create her questions simply out of academic interest or a curious piece of archival evidence, but out of a need to make sense of her own experience. Knott eschews the conventions of historical writing. Gone is any pretense to objectivity. And she sees no need to discuss the historical development of mothering chronologically or genealogically. Rather, she writes within a genre of self-help and maternal memoir. Her history reflects experiences like the realization of “the glimmer of novelty… the sheer peculiarity of adding reproduction to sex.” And the “privilege of relative stillness” that allows her to sit reflexively with her hand on her stomach, waiting for the baby to move. Her book is complex and expansive, covering twenty-two stages of mothering. Each addresses a particular discomfort, anxiety, or hope.

Knott draws her questions from personal experience, but her archival explorations are diversified outside of her race, class, and gender identities. As she notes early on, certain developments over the past half century or so – capitalism’s low valuing of caregiving, the emergence of queer families, and more egalitarian parenting amongst some working partners, to name but a few – demand a history that pushes beyond the idea that there is a single labor of mothering in any historical period. Biologically producing a baby and mothering were not always synonymous historically. Black enslaved women and children often did the labor of mothering on plantations in the early nineteenth century. Such attention frequently meant that other women (usually with the title Aunt or Aunty) mothered these women’s children for significant parts of the day, month, or year. Lower- class women in seventeenth-century England frequently brought other women’s babies into their own homes, acting as wet nurses to maintain a stable income for their family while they cared for their own infants. And Ojibwe women nursed the infants of women who died in labor, making them their own. Mothering is necessary labor that varies dramatically depending on the society and its structures.

Knott’s chapters wander through broad histories of time periods, specific historical sources, and personal anecdotes. If a single thread runs through her book, a single theme that ties all who mother together, it is interruption. Mothering interrupts life in both momentary and continuing ways. Knott’s morning sickness risked interrupting her lectures. In the eighteenth century an infant interrupted a woman’s ability to work and bring needed income to her family. On a homestead, the infant interrupted the domestic labor of doing laundry, cooking, and cleaning. But interruption is not unidirectional. Those who mother are also interrupted from time otherwise spent mothering. For instance, Knott recounts an anecdote about an enslaved women separated from her children by trips to Washington D.C.. However, mothers also found ways to mitigate interruptions, such as a women in a factory who hung her child in a basket from the ceiling so she could watch the infant while she worked. These interruptions certainly vary between time, place, and person, but from the seventeenth century on, they collectively define mothering.

Mother and Child: Pablo Picasso, 1921 (via ARTIC)

Knott is not the first historian to write herself into her book, but her method offers an important contribution to a growing genre. Her evidence is in the form of anecdote, mirroring what Lisa Baraitser terms the “constant attack on narrative that the child performs.” (264) Her stories are short and interrupted. And her own anecdotes about the way her son’s crying, or her concern over his reflux interrupts her work, are interspersed with historical voices. Through these moments of memoir, she acknowledges herself as a historical actor who plays a role – equivalent to other historical mothers – in the long-embodied history of mothering. Her theoretical framework reflects some of the most important feminist writings of the past forty years. In her appendix on methods, she discusses Joan Scott’s warning that historians of women must move beyond the study of normative women exclusively, or risk repetition of the political marginalization of all women in their future writing. For Knott, writing a history of mothering, of mother as a verb, makes room for glimpses of trans, queer, and on rare occasion even non-female voices. However, she is also honest about the dominant role cis-women often play in her history. It seems that Scott’s warning both antagonizes and entices her throughout the book, but she resists a definitive answer.

One of the most impressive aspects of Knott’s book is how she invokes queer theories of embodiment, plasticity, and normativity without relying on the difficult terminology that is so common in theoretical works on gender. These theories allow Knott to see mother as something people continuously make themselves, through the labor they do, through the conversations they have, and through their own perceptions of their bodies. “Mother” used as a verb insists that there is nothing inherent, biological, or natural about the action, but it is physical, bodily, and constitutive of identities, if always imperfectly and incompletely.

As a white male in my mid-twenties, who has had little interaction with mothering, I may seem an odd reviewer for this book. However, “Mother is a Verb” is as important for those of us who never intend to become mothers, as it is for people who have been and will be. For non-academics who want access to intricate innovative histories, this book offers a novel approach to the fields of gender studies and women’s history. At the same time, historians who hope to write scholarly books that address wide audiences should take note of the clarity and concision of Knott’s wonderful prose. While asking lots of questions about child care both in the past and the present, Knott offers few answers about the proper way to mother. Instead, she demonstrates the historical centrality of the physical and emotional labor of mothering.

Jerónimo Antonio Gil and the Idea of the Spanish Enlightenment, By Kelly Donahue-Wallace (2017)

How can the life of an artisan who specialized in punchcutting and engraving help us shed light on “the idea of the Spanish Enlightenment”? Donahue-Wallace offers an illuminating perspective on the Enlightenment through the biography of an expert medal caster, Jerónimo Antonio Gil, whose career took him from provincial Zamora to Madrid and ultimately to Mexico, where he became the founder of the first royal academy of the arts in the New World.

Had Gil lived in the seventeenth century he would have become a painter, churning out religious canvasses in his native Zamora. Had Gil moved to Madrid, he would have become a criado (servant) for a stonecutter or a wood carver or an oil painter, never an artisan letrado (intellectual). When Gil left Zamora in the 1740s, however, he got a stipend to attend the new Academia de San Fernando in Madrid where he learned to cast dies for commemorative medals, to cut letter punches and counterpunches for typesetting, and to carve copper plates for engravings. He was also trained to master a literary and historical national canon in the vernacular. Gil got an education to copy the great masters but also to produce his own original designs in neoclassical style. In short, Gil was educated to become a civil servant, one of many officials in the Bourbon dynasty charged with creating a new specialized national print culture and regalist media. Donahue-Wallace explores the many medals, engravings, drawings, and typographic samples Gil produced in a career that spanned more than fifty years, twenty of which in Mexico.

Letter punches for the Royal Print. Jerónimo Antonio Gil, from *Catálogo de la exposición Imprenta Real. Fuentes de la tipografía española*. Real Academia de Bellas Artes de San Fernando (Public Domain).

Donahue-Wallace uses Gil’s career to make several larger arguments. First, she demonstrates the newfound importance of print culture in mid-eighteenth-century Spain. An ancien regime that had long been centered on literacy and the pushing of paperwork suddenly realized that modernization, renewal, and geopolitical survival demanded a turn to print as reason-of-state. The Bourbon invested heavily in the training of artisans (either at home or overseas) to eliminate Spain’s secular dependency on the expertise of typographers and engravers from France and the Low Countries. The new culture of print pushed a “national” and regalist project via the promotion of historical, religious, scientific, and literary texts. Gil, for example, carved and designed many copperplates to illustrate collections of national architectural monuments, antiquities, and coins as well as to illustrate books of anatomy, engineering, religion, and literature (including editions of El Quijote and the Bible). Gil also designed dozens of commemorative medals and coins to celebrate the lives of monarchs as well as the myriad institutions these monarchs had created. Coins were not only currency but also non-ephemeral media to circulate like engravings.

*Don Quixote knighted by the innkeeper at the inn*. Jerónimo Antonio Gil design and engraving. Don Quijote (Ibarra, Madrid, 1780), via author.

Second, Donahue-Wallace shows that in the second half of the eighteenth century poor provincials could accumulate wealth, honor, and political power as artisans. Donahue-Wallace offers the biography of a metal caster, cutter, and engraver whose status did not come from originality and genius. Gil nevertheless became prestigious enough to direct a national art academy and wealthy enough to amass one of the largest private collections of paintings, books, scientific apparatus, and curiosities in late-eighteenth-century New Spain. A poor Zamorano punchcutter rose through the ranks of the state bureaucracy to achieve nobility and wealth.

Third, Donahue-Wallace suggests that there was greater room for pedagogical innovation in Mexico than in Madrid. Donahue-Wallace follows Gil both as a student of the Academia de San Fernando in Madrid and as the founder and director of the Academia de San Carlos in Mexico. Both academies were named after the monarchs that decreed their creation (Ferdinand VI and his half-brother Charles III, respectively). San Fernando operated both as a public school to train painters, sculptors, architects, and engravers and as the recruiting space of apprentices for professors. The young Gil received a public education in the evenings at San Fernando, where teachers checked his drawing skills before live models, casts, or prints. During the day, however, Gil went to the household of the school’s leading printer-medal caster. Gil worked for almost a decade as the criado of Tomas Francisco Prieto, one of the teachers of San Fernando. To declare independence from Prieto, the master patriarch, Gil had to create an alternate network of patrons. When Gil went to Mexico to lead the Academy of San Carlos, he deliberately eliminated the master-criado traditions of San Fernando. Going against the authority of the professors of architecture, painting, sculpture, and engraving, Gil created in Mexico an academy in which masters could not recruit students as apprentices. Gil engaged in a twenty-year long battle, until his death, with second-tier Spanish artists who saw themselves entitled to use the academy to get pliant, skilled labor. Gil created an academy of art in Mexico in which teachers received large enough salaries to be expected to be full-time professors, not freelance agents in search of apprentices and commissions.

Façade of the original Academy of San Carlos (built as a new school to train minters in the 1780s). Today it is the Museo Nacional de las Culturas (via author).

Fourth, Donahue-Wallace shows that Enlightenment modernity emerged organically out of the institutions of the ancien regime; it was not an outside competing force. The idea of a public sphere of circulating prints, for example, was a Bourbon strategic initiative. Artisans relied on the good will of patrons for employment, commissions, and success, not bourgeois anonymous market forces. Finally, those struggling to liberate the youth from the clutches of master-apprentice guilds behave like old-fashioned patriarchs themselves. Donahue-Wallace demonstrates that, for all the novelty of his pedagogy, Gil remained embedded in the patriarchal values of the ancien regime. Gil arrived in Mexico with the blueprints to build a mint school right next to the stables of the viceregal palace. He also arrived with an entourage of four students, two of whom were his own children. The original school immediately transmuted into the Art School of San Carlos, to train not only printers but also sculptors, painters, and architects. San Carlos went up as two-story elongated rectangular building, one-half of which was occupied by horse stalls and storage rooms for food, forage, and wood. The upper quarter was Gil’s residency, which included salons and cabinets for San Carlos’ official acts. The lower quarter held the school’s workshops and tool rooms. It also included four tiny rooms for criados. Gil kept his sons and assistants tied to his patriarchal control for some twenty years. For these four “students,” the Academy became a boarding school. As Gil’s criados they were not allowed to set up their own households.

Miguel Costansó, *Plano y projecto de una nueva oficina para la talla y troqueles de la Real Casa de Moneda*, 1779 (Archivo General de Indias,MP-MEXICO,770 – 1)

Donahue-Wallace has written an important text on the relationship between artisans and the Spanish Enlightenment on both shores of the Atlantic. The book follows Gil and his artifacts in painstaking detail and offers a wide panorama of an ancien regime struggling to catch up while unwittingly devouring itself.

Kelly Donahue-Wallace, Jerónimo Antonio Gil and the Idea of the Spanish Enlightenment (Albuquerque: University of New Mexico Press, 2017).

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Antonio de Ulloa’s Relación Histórica del Viage a la America Meridional

By Haley Schroer

Nineteen-year-old Antonio de Ulloa set sail for the Americas in the spring of 1735. Ulloa was traveling as one of two assistants to a contingency of French scientists appointed to South America. The observations Ulloa and his counterpart, Jorge Juan, made on the excursion culminated in Relación Histórica del Viage a la America Meridional. The Relación Histórica is a five-volume work published in 1748 that provides in-depth cultural descriptions of the Spanish colonies’ major cities. As a traveler’s account, Relación Histórica made the colonies accessible for the considerable literate Spanish population who knew little of the empire’s overseas territories. For contemporary readers, it proves fundamental to understanding the socio-racial caste hierarchy that defined the colonies.

Antonio de Ulloa y de la Torre-Giral became a general of the navy and a colonial administrator. He was later the first Spanish governor of Louisiana (via Wikimedia Commons).

By the eighteenth century, Spanish colonial society comprised a diverse socio-racial landscape. Intermarriage and sexual unions among Indigenous, African, and Spanish populations produced a society that could not easily be categorized according to conventional European social and economic privileges. Establishing a sociedad de castas (caste society), elite Spaniards recognized upwards of twenty racial castes with behavioral qualities unique to each group. Implementing the hierarchy relied primarily on public forms of social control, such as the prohibition of certain castes from administrative and commercial positions and laws that excluded certain fashions from non-Spanish castes. Colonial elites, however, faced challenges in enforcing strict racial stratification, and, as Ann Twinam has shown, loopholes broke down the efficacy of the racial hierarchy. Traveler’s accounts of the Spanish colonies offer key outside perspectives on these inconsistencies that allow us to evaluate how deeply socio-racial limitations permeated through colonial society.

Antonio de Ulloa’s fifth chapter, “Understanding the People of Quito; the Castes Found; Their Customs, and Riches” addresses the realities of implementing the caste system in a complex urban environment. Immediately, Ulloa asserts a high level of stratification found within society, noting that noble families “have kept themselves in their luster, connecting themselves with each other and not mixing with the people of low birth.” Ulloa further defines “low birth,” describing “four classes: that are Spanish, or whites; mestizos; Indians, or Naturals; and Blacks with their descendants” (363). While Ulloa’s racial classification affirms the presence of racial separation, the description of only four racial castes points to larger questions of the racial demography found in Peru. Ulloa presents Africans as a distinct group in society, but they are “not as abundant, as in other places in the Indies,” suggesting that Quito did not rely as heavily on African slave labor as perhaps other colonial cities.

A casta painting from ca. 1770. It depicts a Spanish father and an indigenous mother with their mestizo baby (via Wikimedia Commons).

Ulloa deepens his discussion of the socio-racial dynamic found in Quito by describing stereotypical behavior associated with the most prominent racial groups. Ironically, he condemns Spaniards as “the most unhappy, poor, and miserable; because the men do not apply themselves to any business” due to their superior racial quality (365). He praises mestizos who “work with perfection,” but ultimately fall prey to “the defect of Laziness and sloth, of which dominates them strongly” (365). These observations of work ethic mimic popular conceptions of how race influenced personality and behavior. Finally, Ulloa evaluates the visual appearance of Quito’s inhabitants, claiming, “people dress ostentatiously; and fabrics of gold, silver, fine scarves, and other types of silk and wool are not uncommon” (366).

800px-Paisaje_periferico_de_Lima_en_1744_-_AHG

An illustration from Relación Histórica del Viage a la America Meridional of the peripheral countryside of Peru (via Wikimedia Commons).

Ulloa’s account also addresses larger questions concerning the conceptualization of race in both colonial and peninsular Spanish society. His depiction relies heavily on exterior evaluations of race, such as status, behavior, and appearance, suggesting that society largely defined racial classification through overt visual markers. Ulloa’s description demonstrates that implementation of the racial caste system had some influence in Quito. For example, according to Ulloa, mestizos frequently worked in artisanal occupations such as “painters, sculptors, silversmiths, and others,” demonstrating a sense of racial occupational organization (365). He reinforces ideas being produced within the Spanish colonies by proving that racial stratification was clearly noticeable to foreigners.

Despite confirming widespread stratification in daily society, Ulloa’s account proves even more valuable for the inconsistencies that it records. He writes that, “many mestizos appear to be of the same color as legitimate Spaniards, being white, and blonde; and they are considered as such, even though in reality they are not.” (353) In this one brief sentence, Ulloa recognizes a fundamental weakness in the socio-racial hierarchy. Despite the creation of at least twenty racial castes in society, ambiguous physical markers allowed some social mobility along the racial spectrum. Mestizos with European complexions could sometimes assimilate into the Spanish demographic, which undermined the rigidity of the caste system.

Bust of Antonio de Ulloa in modern day Quito, Ecuador (via Wikimedia Commons).

Traveler accounts such as Ulloa’s are useful to historians in determining how colonial society presented itself to foreigners, but authors of such accounts carried preconceived notions of the Spanish colonies. Ulloa’s account inherently reflects peninsular prejudices and preconceptions of the colonies. Historians must determine to what extent Ulloa imposed peninsular ideologies upon the colonial social structure. As an outsider, for example, since Ulloa most likely only gained access to public society, he can demonstrate the racial stratification seen in public but cannot speak to the intimate realities that occurred in private.

Antonio de Ulloa’s analysis of Quito’s residents exists within a broader attempt to categorize and identify the unique racial make-up of the Spanish colonies. Colonial society continuously tried to grapple with its own racial ambiguity, often relying on public campaigns like casta paintings that depicted mixed race families and the racial variety of the caste society and whitening decrees that attempted to regulated social structures. However, travelers’ accounts like that of Ulloa offer an outsider’s perspective to the multi-colored reality. Answering key historical questions about race in Peruvian society while raising further inquiries into the realistic validity of the caste system, Relación Histórica del Viage a la America Meridional places modern readers in the thick of colonial Quito society.

Sources for this article and for further reading:

Magli M. Carrera, Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings. Austin: University of Texas Press, 2003.

Jorge Juan and Antonio de Ulloa, Relación Histórica del Viage a la America Meridional. Madrid: 1748. The Nettie Lee Benson Latin American Collection Rare Books and Manuscripts Division, University of Texas Libraries.

Irving A. Leonard, Introduction to A Voyage to South America, by Jorge Juan and Antonio de Ulloa. Translated and Abridged by John Adams. Tempe: Arizona State University, 1975.

Ann Twinam, Purchasing Whiteness: Pardos, Mulattos, and the Quest for Social Mobility in the Spanish Indies. Stanford: Stanford University Press, 2015.

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