The Unknown City: Contesting Architecture and Social Space

Part 2: Filtering Tactics
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Lynne Walker
Notes
1 Lisa Tickner, The Spectacle of Women: Imagery
of the Suffrage Campaign, 1907–14 (London:
Chatto and Windus, 1987), p. 14. Tickner discusses
the challenge of Edwardian suffragists to
this masculine domain. For the purposes of this
paper, the boundaries of the West End are Regents
Park (N). Haymarket/Piccadily (S), Marble
Arch (W), and Holborn (E). Compare, for instance,
P. J. Atkins, “The Spatial Configuration
of Class Solidarity in London’s West End,
1792–1939,” in Urban History Yearbook, vol. 17,
1990, ed. R. Rodger (Leicester: Leicester University
Press, 1990), pp. 36–65.
2 Iain Borden, Joe Kerr, Alicia Pivaro, and
Jane Rendell, introduction to Strangely Familiar:
Narratives of Architecture in the City, ed. Borden,
Kerr, Pivaro, and Rendell (London: Routledge,
1996), p. 12.
3 Griselda Pollock, “Modernity and the
Spaces of Femininity,” in Vision and Difference:
Femininity, Feminism, and the Histories of Art (London:
Routledge, 1988), p. 68.
4 See Leonore Davidoff and Catherine Hall,
Family Fortunes: Men and Women of the English
Middle Class, 1780–1850 (Chicago: University
of Chicago Press, 1987), and, e.g., Leonore
Davidoff, Jean L’ Esperance, and Howard Newby,
“Landscape with Figures: Home and Community
in English Society,” in The Rights and Wrongs
of Women, ed. Juliet Mitchell and Ann Oakley
(Harmondsworth: Penguin, 1976), pp. 139–
175.
5 Henry Mayhew, London Labour and the London
Poor (1861; reprint, New York: Dover, 1968),
4:218. Also see Lynda Nead, Myths of Sexuality:
Representations of Women in Victorian Britain (Oxford:
Blackwell, 1988), and Judith Walkowitz,
City of Dreadful Delight: Narratives of Sexual Danger
in Late-Victorian London (London: Virago,
1992).
6 “Staged identities” is Jane Beckett’s phrase.
7 See Shirley Ardener, ed., Women and Space:
Ground Rules and Social Maps, rev. ed. (Oxford:
Berg, 1993); Doreen Massey, Space, Place, and
Gender (Cambridge: Polity Press, 1994); Henri
Lefebvre, The Production of Space, trans. Donald
Nicholson-Smith (Oxford: Blackwell, 1991);
John Urry, Consuming Places (London: Routledge,
1994); and Jos Boys, “Is There a Feminist Analy-
sis of Architecture?” Built Environment 10, no. 1
(1984): 25.
8 Frances Gandy, Kate Perry, and Peter
Sparks, Barbara Bodichon, 1827–1891 (Cambridge:
Girton College, 1991), p. 3. For Bodichon’s
role in art and women’s culture generally,
see Deborah Cherry, Painting Women: Victorian
Women Artists (London: Routledge, 1993).
9 Jo Manton, Elizabeth Garrett Anderson: England’s
First Woman Physician (London: Methuen,
1987), pp. 48–49.
10 Gandy, Perry, and Sparks, Barbara Bodichon,
p. 5.
11 I have found or checked the street addresses
mentioned in the 1850–1900 volumes of Kelly’s
Post Office Directory.
12 “Lady Plan Tracers,” Englishwoman’s Review 7
(15 May 1876); 223–224.
13 B. C. Bloomfield, Dictionary of National Biography:
Missing Persons (Oxford: Oxford University
Press, 1993), p. 220.
14 Richard Pankhurst, Sylvia Pankhurst: Artist
and Crusader (London: Paddington Press, 1979),
p. 13.
15 Ibid., p. 15.
16 The Passmore Edwards Settlement was renamed
the Mary Ward Centre in 1920, but it is
often referred to as the Mary Ward Settlement
House or simply Mary Ward House. Mary Ward
wrote her novels under her married name, Mrs.
Humphrey Ward.
17 John Sutherland, The Mary Ward Centre,
1890–1990, published lecture (ca. 1990).
Sutherland also wrote Mrs. Humphry Ward: Eminent
Victorian, Pre-eminent Edwardian (Oxford:
Clarendon, 1990).
18 Adrian Forty, “The Mary Ward Settlement,”
Architects’ Journal, 2 August 1989, pp. 28–48.
19 See Moncure Daniel Conway, Travels in
South Kensington (London: Träbner, 1882), pp.
166–71; obituaries of Rhoda Garrett in the
Fawcett Library (e.g., Englishwoman’s Review 13
[15 December 1882]: 547–548); and Judith
Neiswander, “Liberalism, Nationalism, and the
Evolution of Middle-Class Values: The Litera-