The Unknown City: Contesting Architecture and Social Space

ture on Interior Decoration in England” (Ph.D.
diss., University of London, 1988).
20 Deborah Cherry, “Women Artists and the
Politics of Feminism, 1850–1900,” in Women in
the Victorian Art World, ed. Clarissa Campbell Orr
(Manchester: Manchester University Press,
1995), p. 49.
21 Ray Strachey, Women’s Suffrage and Women’s
Service: The History of the London and National Society
for Women’s Service (London: London and National
Society for Women’s Service, 1927), p. 12.
22 “Old Maid, Answers . . . Ladies Dwellings,”
Queen 88 (4 October 1890): 507. For more on
homes for working women, see Lynn F. Pearson,
The Architectural and Social History of Cooperative
Living (London: Macmillan, 1988), esp. pp.
45–55.
23 Builder 57 (9 November 1889): 332 (illus.
p. 333).
24 Anna Davin, Feminist History: A Sponsored
Walk (London: Community Press, 1978), p. 8. I
am grateful to Jane Beckett, who recommended
this publication, and to its author, who generously
shared her copy with me.
25 See architectural drawings by Ethel and
Bessie Charles, inscribed with their work/home
address, British Architectural Library, RIBA
Drawings Collection, Royal Institute of British
Architects, London.
26 Conway, Travels in South Kensington, p. 170;
Ethel Charles, RIBA Nomination Papers (1898),
British Architectural Library, London.
27 Manton, Elizabeth Garrett Anderson, p. 286.
28 The scheme is now in the RIBA Drawings
Collection.
29 Gillian Darley, Octavia Hill: A Life (London:
Constable, 1990), pp. 91–93.
30 Ibid., pp. 132–143.
31 “19, Langham Place,” London Illustrated
News, 28 January 1860, clipping in City of
Westminster Archives Centre. Set up by Bessie
Parkes in Prince’s Street, the Ladies’ Institute
moved with the journal to Langham Place,
where it expanded with the addition of a
luncheon room.
The Feminist Remapping of Space in Victorian London
32 For street addresses and dates, see Lynne
Walker, “A West-End of One’s Own: Women’s
Buildings and Social Spaces from Bloomsbury to
Mayfair” (November 1996), notes of an architectural
walk organized by the Victorian Society
(GB).
33 Erica Rappaport, “Gender and Commercial
Culture in London, 1860–1914” (Ph.D. diss.,
Rutgers University, 1993), esp. pp. 170–198.
34 Lists of a dozen clubs with addresses and
other details, reproduced from Queen; in Rappaport,
“Gender and Commercial Culture,” fig. 2.
On clubs, see also Elizabeth Crawford, The
Women’s Suffrage Movement: A Reference Guide,
1866–1928 (London: UCL Press, 1999), pp.
117–130.
35 For more on the decoration of the Pioneer
Club, see Rappaport, “Gender and Commercial
Culture,” p. 186; she cites The Young Woman 4
(1895): 302 and The Lady, 6 April 1895, p. 585.
36 Jane Beckett and Deborah Cherry, “Sorties:
Ways Out from behind the Veil of Representation,”
Feminist Art News 3, no. 4 (n.d.): 4. On Mrs.
Massingberd and her club, see “Women’s Clubs
in London. III.—The Pioneer,” Queen 94 (23 December
1893): 1081.
37 Engraving by H. Melville after T. H. Shepherd,
London Interiors (1841), and Graphic, 16
January 1875; reproduced in Felix Barker and
Peter Jackson, London: 2000 Years of a City and Its
People (London: Macmillan, 1974), p. 303, figs. 7
and 6, respectively.
38 Davin, Feminist History, pp. 7, 10.
39 Barker and Jackson, London, p. 302.
40 Engraving in Graphic 1881; reproduced in
Alan Bolt, ed., Our Mothers (London: Victor Gollancz,
1932), p. 155.
41 Kelly’s Post Office Directory, entry for Regent
Street, 1891. These shopowners included a chiropodist,
a decorative artist, a photographer, a
restaurant owner, numerous milliners, court
dress- and glove-makers and makers of stays
and mantles, as well as agencies owned by
women for governesses, schools, and domestic
staff.
42 See Mica Nava and Alan O’Shea, Modern
Times: Reflection on a Century of English Modernity