The Weaker Vessel: Women's Lot in Seventeenth-Century England
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Whitelocke, Bulstrode, Memorials from the Beginning of the Reign of Charles I to the Restoration, 4 Vols, Oxford, 1853.
The Whore’s Rhetorick, 1683, reprinted 1960.
Wilkinson, Rev. Robert, ‘The Merchant-Royal or Woman a Ship’, 1607, in Conjugal Duty: Set forth in a Collection of Ingenious and Delightful Wedding-Sermons, 1732.
Williams, E.M., ‘Women Preachers in the Civil War’, Journal of Modern History, Vol. I, Chicago, 1929.
Willson, David Harris, King James VI and I, 1956.
Willughby, Dr (Percival), De Puerperio Tractatus, Country Midwife’s Opusculum, Sloane MSS, 529, British Library.
The Life of Mr Arthur Wilson the Historian, Written by Himself, in Desiderata Curiosa, a collection by Francis Peck, Vol. II, 1779.
Wilson, J.H., All the King’s Ladies, Actresses of the Restoration, Chicago, 1958.
Wilson, J.H., The Court Wits of the Restoration, Princeton, 1948.
Wilson, J.H., ‘The Marshall Sisters and Anne Quin’, Notes and Queries, March 1957.
Wilson, J.H., Nell Gwynn: Royal Mistress, 1952.
Wilson, J.H., ‘Pepys and Peg Hughes’, Notes and Queries, October 1956.
The Poems of Anne Countess of Winchilsea, ed. Myra Reynolds, Decennial Publications, Vol. V, second series, Chicago, 1903.
Wolseley, Sir Garnet, Life of John Churchill, Duke of Marlborough, 2 Vols, 1894.
The Womens Complaint Against their Bad Husbands, Or the good Fellows Anatomized by their Wives, 1676.
The Womens Sharpe Revenge, 1640.
Woodforde Papers and Diaries, ed. and with an Introduction, Dorothy Heighes Woodforde, 1932.
Woolley, Hannah, The Gentlewomans Companion, or a Guide to the Female Sex … With Letters and Discourses upon all occasions, Whereunto is added, a Guide for Cook-maids, Dairy-maids, Chamber-maids, and all others that go to service, 1675.
Woolley, Hannah, The Queen-like Closet or, Rich Cabinet … To which is added a supplement presented to all Ingenious Ladies and Gentlewomen, 5th edition, 1684.
Wrigley, E.A., ‘Family Limitation in Pre-Industrial England’, Economic History Review, 2nd series, Vol. XIX, 1966.
Letter of Isabel Yeamans, 8 August 1676, MS, Religious Society of Friends, Nottingham Meeting, 35 Clarendon Street, Nottingham.
Young, Peter, Edgehill 1642 – The Campaign and the Battle, Kineton, 1967.
Young, Peter, Marston Moor 1644 – The Campaign and the Battle, Kineton, 1970.
A family group c.1645, in part by William Dobson; the four skulls on the broken column at which the father gazes mournfully refer to his dead children, evidently not forgotten despite the high incidence of infant death.
A rich merchant, Sir Robert Vyner, and his family: Lady Vyner had been a wealthy widow when he married her. Pepys admired her both for her looks and her fortune. Painted by John Michael Wright.
Margaret Duchess of Newcastle, from the frontispiece to her book, The Worlds Olio (1655).
Mary Countess of Warwick.
Lettice Viscountess Falkland (who was esteemed for not making a second marriage after her husband’s death, unlike many of her contemporaries) depicted in her widow’s weeds.
Ann Lady Fanshawe.
Mrs Margaret Godolphin, John Evelyn’s adored friend, who died young as a result of childbirth.
A milkmaid: one of the better-paid jobs for women, which also led to some kind of independence.
Susanna Perwick, who died unmarried in 1661 at the age of twenty-four, from the frontispiece to her biography by John Batchiler, The Virgin’s Pattern (1661).
A countrywoman, showing the kind of agricultural implements that women regularly used.
The housewife and the hunter, from the Roxburghe Ballads.
The title page of The Needles Excellency by John Taylor (1634).
A scold’s bridle.
The title page of Ar’t asleepe Husband? A Boulster Lecture by Richard Brathwaite (1640). The talkativeness of women was axiomatic at this time.
A witch and her imps, from a drawing of 1621.
Execution of witches, 1655. A: hangman. B: bellman. C: two sergeants. D: witchfinder, taking his money.
Dorothy Sidney, Countess of Sunderland (Edmund Waller’s ‘Sacharissa’), painted by Van Dyck.
One of the remarkable series of paintings made to illustrate the career of the Catholic nun and reformer Mary Ward. A legend in German accompanying the picture reads: ‘When Mary was recovering from a very dangerous illness, that she had at St Omer, she was lying one day in bed enjoying unusual rest and quiet, when she became aware of a voice within her, revealing to her most plainly in what way she was to organize her Institute.’
Brilliana Lady Harley, said to have exhibited ‘a Masculine Bravery’ during the siege of Brampton Bryan.
Brompton Bryan Castle, in north-west Herefordshire. From an early eighteenth-century engraving.
An illustration to the ballad ‘The Female Warrior’, ‘Relating how a Woman in Mans attire, got an Ensigns place: and so continued till the necessity of making use of a Midwife discover’d her’.
A ‘She-Souldier’ from the ballad of ‘The Valiant Virgin’.
Corfe Castle, near Wareham in Dorset, in 1643.
Mary Lady Bankes.
The monument to Lady Bankes in St Martin’s Church, Ruislip, calling attention to the ‘constancy and Courage above her sex’ which she displayed when defending Corfe Castle.
Lucy Hutchinson, wife of Colonel John Hutchinson, with her son, painted by Robert Walker.
Charlotte Countess of Derby, who manifested ‘more than Feminine Magnanimity’ when she conducted the defence of Lathom House in Lancashire.
Eleanor Countess of Sussex in mourning, a frequent condition since she was widowed three times. She became in turn Countess of Manchester and Countess of Warwick, and was nicknamed ‘Old Men’s Wife’ by the Verneys in their private correspondence.
Mary Lady Verney, wife of Sir Ralph Verney, a portrait attributed to Van Dyck.
A fishwife selling crabs, from a drawing by Marcel Laroon.
‘Grandmother Eve’, as she was often familiarly termed in the seventeenth century, shown on an English Delftware charger.
A satirical print, probably by Laroon, of a Quakers’ Meeting in the seventeenth century showing a woman as the principal speaker.
Oliver Cromwell at the age of fifty, by Samuel Cooper.
Cromwell’s granddaughter, Mrs Bridget Bendish, in middle age; the resemblance to her grandfather, give or take ‘female dress … and a very little softening of the features’, was the subject of much contemporary comment.
Mrs Elizabeth Pepys, wife of the diarist.
Lady Isabella Thynne, who according to Aubrey was ‘most beautiful … but she could not subdue one thing’. The wife of Sir James Thynne of Longleat, she was formally separated from him in 1653; her talent for music was commemorated by Waller’s poem ‘Of my Lady Isabella playing on the Lute’. From the School of Van Dyck.
Basua Makin, governess to Princess Elizabeth, daughter to Charles I, before the Civil War. She later founded a school in which she hoped to inculcate the classics.
Mary Duchess of Beaufort and her sister Elizabeth Countess of Carnarvon, holding a flower painting, with her initials ‘E.C.’ and a coronet in the left-hand corner. Flower-painting, unlike the study of the classics, was considered a proper feminine accomplishment. Painted by Sir Peter Lely.
Rachel Lady Russell, wife of the Whig Martyr William Lord Russell who was executed in 1683.
The poet Anne Kingsmill, Countess of Winchilsea, by Lawrence Crosse.
Anne Killigrew. A self-portrait used in the book of her poems published in 1686, after her death.
Elizabeth Barry. A portrait after Kneller.
A painting by Samuel van Hoogstraeten thought to portray Anne Viscountess Conway.
The actress Peg Hughes, mistress of Prince Rupert of the Rhine. By Lely.
A London courtesan, by Laroon. She holds a mask, the badge of her pro
fession, in her hand.
Diana Kirke, later Countess of Oxford, one of the celebrated courtesans of the English court. By Lely.
Catherine Sedley, Countess of Dorchester, mistress of James II. A portrait from the studio of Lely.
The ‘incomparable’ Mrs Jane Myddelton. An engraving after Lely.
An illustration from The Midwives Book by Jane Sharp (1671): this was the first book on the subject written by a woman in English and went through many editions.
The set of gynaecological instruments, including forceps, owned by Dr Peter Chamberlen which were discovered in the nineteenth century concealed in a box.
A medal struck to commemorate the birth of Prince James Edward Stuart to James II and Mary of Modena in 1689.
A satirical version of the birth of Prince James which draws on the legend of Erichthonius, half man, half monster, who appears out of a basket. The implication is that, hideous and deformed, he could not be of royal blood and must be a pretender. It was suggested by the Whigs that this baby (known to history as the Old Pretender) had been smuggled into the palace in a warming-pan.
Index
Abbadie, Rev. James, (i)
Abdelazar (Behn), (i)
Abercromby, Jeremiah, (i)
Abingdon, Abbey of, (i)
Abraham, Daniel, (i)
Abraham, John, (i)
accomplishments, (i), (ii), (iii), (iv), (v); needlework, (vi), (vii), (viii), (ix); music and singing, (x), (xi), (xii), (xiii), (xiv), (xv); French, (xvi), (xvii), (xviii), (xix), (xx), (xxi); criticized in The Women’s Sharpe Revenge, (xxii); and gentlewomen companions, (xxiii), (xxiv); Hannah Woolley’s views on, (xxv), (xxvi), (xxvii); and Basua Makin’s views, (xxviii), (xxix), (xxx); carving, (xxxi); of Princesses Mary and Anne of York, (xxxii); painting, (xxxiii), (xxxiv); ‘japanning’, (xxxv); Mary Astell’s views on, (xxxvi); and Anne Finch’s scorn for, (xxxvii); see also education
actresses, (i), (ii), (iii), (iv); in court masque Calisto, (v), (vi); origins of profession, (vii); reputation for immorality, (viii), (ix); costumes, (x); incomes, (xi)
Adams, Charles, (i)
Addison, Joseph, (i), (ii)
Adman, Ursula, (i)
adultery, (i), (ii), (iii), (iv), (v), (vi)&n, (vii), (viii), (ix)
Advice to a Daughter (Halifax), (i)
Agreement of the People, The (Levellers’ proposals), (i), (ii)
Agrippa, Cornelius, (i)
Alcibiades (Otway), (i)
Alington, Lord, (i)
Alkin, Elizabeth (‘Parliament Joan’), (i)
All for Love (Dryden), (i)
Alleine, Joseph, (i)
Alleine, Theodosia, (i)
Allestree, Richard, (i), (ii), (iii), (iv), (v)
All’s Well That Ends Well (Shakespeare), (i), (ii)
Althorp, (i), (ii), (iii)
Amanda (Hookes), (i)
Ambrose, Isaac, (i)
Anabaptists, (i), (ii), (iii)
anagrams, (i)&n, (ii), (iii), (iv), (v)
Anatomy of Melancholy, The (Burton), (i)
Angell, Elizabeth, (i)
Angell, Susanna, (i)
Anglesey, Arthur Annesley (i)st Earl of, (ii)
Anne of Denmark (Queen of James I), (i), (ii), (iii), (iv)
Anne, Queen (Anne of York), (i), (ii), (iii), (iv), (v), (vi), (vii); education, (viii), (ix); and Abigail Masham, (x); and the Old Pretender, (xi), (xii); identification with Elizabeth I, (xiii)
Anne, St, (i)
Antidote against Atheism, An (More), (i)
Aphoria, or The Perplexity of the Soul (More), (i)
appearance, (i), (ii); hair, (iii), (iv), (v), (vi); and constant pregnancies, (vii); ugliness associated with witchcraft, (viii); restrictions on dress, (ix); adoption of male dress, (x), (xi), (xii), (xiii), (xiv); French fashions, (xv), (xvi); Quaker dress, (xvii), (xviii); courtesans and vizard masks, (xix), (xx); actress’s costumes, (xxi); see also beauty
apprentices, (i), (ii), (iii), (iv)
Apsley, Sir Allen, (i)
Apsley, Lady, (i)
Aquinas, St Thomas, (i)
Arbuthnot, John, (i)
Arlington, Henry Bennet (i)st Earl of, (ii)
Armies Commission, The (Davies), (i)
Army Council, (i)
Arraignment of Lewd, Idle, Froward and Unconstant Women, The (Swetnam), (i), (ii)
Arran, Lord, (i)
Artamenes or The Grand Cyrus (de Scudéry), (i)
Arundell of Wardour, Lord, (i)
Ashwell, Ann (Ann Ridge), (i)
Ashwell, Mary (Quaker), (i)
Ashwell, Mary (Pepys’s gentlewoman), (i), (ii)
Ashwell, William, (i)
Astell, Mary, (i), (ii), (iii), (iv)
Aston, Anthony, (i)
Athenian Oracle, The (magazine), (i), (ii), (iii), (iv), (v)
Attoway, Mrs, (i), (ii)
Aubrey, John, (i), (ii), (iii)
Aubrey, Mary (‘Rosania’), (i)
Audeley, Eleanor see Davies, Lady Eleanor
Augier, Mistress, (i)
Austin, Anne, (i)
Austin, William, (i)
authors, (i), (ii), (iii), (iv), (v), (vi); learned women ridiculed, (vii); attitude of women playwrights and authors, (viii); Katherine Philips, (ix); Anne Killigrew, (x); Anne Winchilsea, (xi); Anne Conway, (xii)
Aynsworth, Elizabeth, (i)
Ayscough, Ann, (i)
Bacon, Sir Francis, (i)
Bacon, Lord Keeper, (i)
Bagot, Mary, (i)
Baines, Sir Thomas, (i), (ii), (iii)
Baker, Anne, (i), (ii)
Baker, Sir Richard, (i), (ii)
Ballard, George, (i), (ii), (iii), (iv), (v)
Bampfylde, Colonel, (i), (ii)
Banbury Grammar School, (i)
Bankes, Sir John, (i)
Bankes, Mary Lady (Mary Hawtrey), (i), (ii), (iii), (iv)
Bankes, Sir Ralph, (i)
Banks, John (Quaker), (i)
Banks, John (playwright), (i)
baptism, (i), (ii), (iii)
Baptists, (i), (ii), (iii), (iv)
Barbados, (i), (ii), (iii)
Barber, Mrs, (i)
Barebones, Praisegod, (i)
Barillon, Paul, (i), (ii)
Barker (Pepy’s gentlewoman), (i)
Barker, Jane, (i)
Barkham, Alderman, (i)
Barksdale, Clement, (i)
Barnardiston family, (i)
Barnardiston, Sir Nathaniel, (i)
Barnes, Grace, (i)
Barnes, John, (i)
barrenness see infertility
Barrington, Lady Anne, (i)
Barrington, Tom, (i)
Barry, Elizabeth, (i), (ii), (iii), (iv)
Barry, Robert, (i)
Basing House, (i), (ii), (iii), (iv), (v)
Bastwick, John, (i), (ii)
Bastwick, Mrs, (i)
Batchiler, John, (i)
Bath, Henry Bourchier (i)th Earl of, (ii)
Batten, Joan, (i)
Baxter, Richard, (i)
Bayly, William, (i)
Beale, Mary, (i)
Beaufort, ducal house of, (i)
Beaufort, Mary Duchess of (Mary Capel), (i)
Beaumont, Francis, (i)
beauty, (i), (ii), (iii), (iv); virtue identified with, (v), (vi); Susanna Perwick, (vii); Jane Myddleton, (viii); Hester Davenport, (ix); see also appearance
Beaux’ Stratagem, The (Farquhar), (i)
Becke, Betty, (i)
Beckley, Beatrice, (i)
Bedford, Anne Countess of (Lady Anne Carr), (i), (ii), (iii), (iv)
Bedford, Francis Russell (i)th Earl of, (ii)
Bedford, William Russell (i)th Earl of (later (ii)st Duke, formerly Lord Russell), (iii), (iv), (v), (vi), (vii); marriage to Anne Carr, (viii); raised to a dukedom, (ix), (x)
Bedford, Wriothesley Russell (i)nd Duke of (Marquess of Tavistock), (ii), (iii), (iv), (v)
Bedlam, (i), (ii)
Behn, Aphra, (i), (ii), (iii)
&n, (iv), (v), (vi); laments women’s lack of Latin, (vii); mocks marriage, (viii); and Mary Astell, (ix), (x); her success limited by ignorance of Latin, (xi); tombstone in Westminster Abbey, (xii); ‘Betty Flauntit’ in The Town-Fop, (xiii); ‘Angelica Bianca’ in The Rover, (xiv), (xv)
Bellamira (Sedley), (i)
Bellasyse, Susan Lady, (i), (ii)
Belton House, Grantham, (i)
Belvoir witches, the, (i), (ii)
Bendish, Bridget (Bridget Ireton), (i)
Bendish, Sir Thomas, (i), (ii)
Bendish, Thomas, (i), (ii)
Bennet, Sir Henry see Arlington, Earl of
Bennett, Elizabeth (‘Widow Bennett’, née Cradock, later Lady Finch), (i), (ii), (iii), (iv)
Bennett, Richard, (i)
Bennett, Simon, (i), (ii)
Berry, Mary, (i)n
Bertie, Lady Mary, (i)
Bess (Verney’s maid), (i), (ii), (iii), (iv)