Gender and Space in Rural Britain, 1840-1920

Notes to pages 113–18 177

41. Ibid., p. 277.


42. Ibid., p. 347.


43. Ibid., pp. 356–7.


44. Ibid., pp. 357–8.


45. Ibid., p. 358.


46. Ibid., p. 357.


47. Ibid., p. 367.


48. Ibid., p. 371.


49. Ibid., p. 370.


50. Ibid., p. 374.


51. Ibid., p. 256.


52. Locy, ‘Travel and Space’, p. 119.


53. Brontë, Jane Eyre, p. 374.


54. Ibid., p. 99.


55. Ibid., p. 93.


56. Ibid., p. 385.

8 Ericsson-Penfold, ‘Gertrude Jekyll: Cultivating the

Gendered Space of the Victorian Garden for Professional Success’

1. G. Jekyll, Wood and Garden: Notes and Th oughts, Practical and Critical, of a Working
   Amateur (London: Longmans, Green and Co., 1899), p. 210. Th is chapter has been
   derived from a section of C. E. Ericsson-Penfold, ‘Victorian Women and the Meaning
   of Flowers: An Exploration of Gender and Culture in the Work of Th ree Female Artists,
   1869–1936’ (PhD thesis, University of Southampton, 2013). I would like to thank Dr
   Meaghan Clarke and Dr Barry Sloan for their advice on this chapter and for recognizing
   its potential.


2. ‘“Miss Jekyll and Her Flower Garden” Paper read at a meeting of Th e Garden Club’, Gar-
   dening Illustrated, 49:2529 (27 August 1927), pp. 531–4.


3. I am using the term Victorian here based upon the time of Jekyll’s training and devel-
   opment, which occurred during the reign of Queen Victoria. Th is is formulated from
   Beverly Skeggs’s notion of ‘location’, which she defi nes as the multifarious elements that
   constitute one’s individual perspective – historical time-period, wealth and social status,
   nationality, political leanings, sexual orientation, gender and personal taste and opin-
   ion – and are largely formulated during the early years of one’s life. B. Skeggs, Feminist
   Cultural Th eory: Product and Process (Manchester and New York: Manchester Uni-
   versity Press, 1995), pp. 6–12. Th is theory is explored in more detail in C. E. Ericsson,
   ‘Translating the Symbolism of Flowers: Th e Eff ect of “Location” on Historic Research’,
   Emergence: Th e Journal of the University of Southampton Humanities Postgraduate Con-
   nection, 1 (Autumn 2009), pp. 16–22.


4. Jane Loudon (1807–58), Jekyll’s predecessor, made her reputation as a horticultural
   writer but not as a garden designer.


5. L. Walker, ‘Vistas of Pleasure: Women Consumers of Urban Space in the West End
   of London 1850–1900’, in C. Campbell Orr (ed.), Women in the Victorian Art World
   (Manchester: Manchester University Press, 1995), pp. 70–85, on p. 71.


6. Th is is consistent with an increasing number of examples in nineteenth-century gender
   scholarship over the last twenty years. S. Morgan, A Victorian Woman’s Place: Public Cul-