"In this fascinating porthole into English pregnancy culture in the 16th to 18th centuries, cherubic representations of fetuses in transparent wombs greet bewildered readers . . . . By recasting birth figures as evolving feminist iconography, Whiteley places these artifacts in the context of contemporary debates over reproductive rights."

Scientific American

“During this early-modern period, female midwives delivered most babies. Whiteley convincingly argues that the profusion of midwifery manuals at this time (with drawings mainly by men), ‘triggered a change in how midwives both thought about and treated the laboring body.’ Even though birth figures were sometimes used to exert ‘masculine authority’ over women’s practice, they also helped midwives to ‘envision the body, and particularly the position of the fetus, in a newly concrete way.’ . . .  Now as then, the birth figure remains powerful . . . . It empowers, but it can be misused. It is revealing, but also mysterious—a tiny cosmos, in utero.” 

Nature

“Whiteley’s Birth Figures considers the images of fetal positioning that were included in printed midwifery manuals and helped midwives visualize the presentation of the fetus, whether it was cephalic (ideal) or breech (not good) or impacted (very bad), in order that they might better prepare for a complex birth. These images become an occasion for an intricate meditation: on the nature of the womb, and the unseen; on the representation in static images of dynamic process and bodily transformation; on the contingent and shifting boundary between interior and exterior, nature and history.”

London Review of Books

“Provides important insights into early modern body knowledge as well as the relationship between women and men in the field of obstetrics in England.”

Sehepunkte

“With Birth Figures, Whiteley adds much to our historical understanding of pregnancy and childbirth. Moving beyond old historical narratives of the conflict between male midwives—with their instruments and interventionist approach—and traditional female midwives, who assisted in the natural process of birth, Whiteley presents a more complex and nuanced story of shifting understandings among both men and women and new skill sets required of both male and female birth attendants. The book also adds to the growing literature on the relationship between art and science and the creation of 'visual languages' to convey knowledge of different subjects.”

Kathleen Crowther, University of Oklahoma

“The history of midwifery is transformed by this first sustained analysis of printed drawings showing birth presentations in pregnant wombs. Recovering midwives’ pictorial practice while putting anatomy in its place, Whiteley reconstructs how copying drove innovation and viewers made meanings. Her appealing book thus extends reproductive, gender, and visual studies, as well as histories of art, medicine, and the body.”

Nick Hopwood, University of Cambridge

"Whiteley’s work, at the intersection of medical and art history, beautifully illuminates the multiple meanings of images of unborn children in early modern Europe. She offers fresh, sophisticated, and nuanced interpretations of images that have puzzled me for years!"

Mary E. Fissell, Johns Hopkins University