#FlightyFridays — WSFH Talk: “Ce gentlemen rider du turf atmospheric" [sic]: Ballooning, Aristocratic Masculinity, and the Colonial Imaginary in Turn-of-the-Century France”

Today’s #FlightyFridays will be another presentation I recently gave at the most recent Western Society for French Historical Studies Conference, which took place in a pleasantly charming but dreadfully rainy Portland, ME, from November 1-3, 2018.

Two aristocrats who tried (and failed) to cross the Mediterranean aboard a balloon—Henri de La Vaulx (left) and Georges de Castillon de Saint-Victor (right).

La Vie au Grand Air, 20 October 1901, 615 (Gallica, BNF).

I was lucky enough to be part of a panel titled “Border Crossings: Aristocratic Masculinities at the Fin de Siècle,” chaired by Sally Charnow, from Hofstra University. H-France selected our panel to be recorded, and just released it as part of the H-France Salon, Vol. 10 (2018), Issue 14. I now have the pleasure of sharing it with you.

The paper I presented was titled “‘Ce gentlemen rider du turf atmospheric’ [sic]: Ballooning, Aristocratic Masculinity, and the Colonial Imaginary in Turn-of-the-Century France.” It incorporates some new research I’ve been doing that situates ballooning within the context of empire—focusing especially on how it served both as an adventurous practice for aristocrats to negotiate their anxieties concerning France’s crisis of masculinity following the Franco-Prussian War defeat and as a way for the French to imagine how to manage their growing imperial possessions.

Venita Datta (Wellesley College) followed with a paper that compared and contrasted the performances of masculinities in the American West by Theodore Roosevelt and the curious Marquis de Morès. It was then Elizabeth Everton’s (Concordia University) turn, and she told a winding, intriguing, and often hilarious story of a duel that never happened but that still caused the press to go into a frenzy. Catherine Clark (The Massachusetts Institute of Technology) presented a very pertinent comment that addressed how perhaps we should understand masculinity as central to the construction of modernity. The panel closed with some questions and a brief but insightful discussion about how many of the tropes that informed masculinity more than a century ago linger in the present—especially in the form of toxic masculinity. All of the videos are worth checking out.

The departure of La Vaulx and Castillon de Saint-Victor’s balloon from its hangar in the Isthme des Sablettes, near Toulon, during their first attempt to cross the Mediterranean.

La Vie au Grand Air, 20 October 1901, 615 (Gallica, BNF).

Here’s my presentation (links to the full panel below):

H-France Salon, Vol.

Border Crossings: Aristocratic Masculinities at the Fin de Siècle

Chair: Sally Charnow, Hofstra University

Patrick Luiz Sullivan de Oliveira, Princeton University

“Ce gentlemen rider du turf atmosphérique’ [sic]: Ballooning, Aristocratic Masculinity, the Colonial Imaginary in Turn-of-the-Century France”

Venita Datta,Wellesley College

“Aristocratic Masculinities on the Global Frontier: The Marquis de Morès and Theodore Roosevelt”

Elizabeth Everton, Concordia University

“Dueling at a Distance, 1901: Politics, Honor, Manhood, and Exile in the ‘Affaire Buffet-Déroulède’”

Catherine Clark, The Massachusetts Institute of Technology

Comment and Audience Questions

#FlightyFridays — Linda Hall Library Talk: "Whims of the Wind: The Balloon's Ascent, Decline, and Resurrection in France"

For today’s #FlightyFridays I figured I’d share a broader view of my research. Earlier this year I had the opportunity to present my work at the Linda Hall Library, a wonderful institution in Kansas City for anyone interested in the study of science, technology, and engineering (its “collection encompasses more than half a million monograph volumes and more than 48,000 journal titles”). I was a fellow there for three months, and came across some exciting finds in their Rare Books Collection, some of which are showcased in the presentation.

So, if you’re interested in understanding how the balloon went from being this exciting innovation in the late eighteenth century, to quickly becoming obsolete in the early nineteenth century, only to then be rediscovered as modern as the twentieth century approached, this is just the thing for you!

The video is also available in the Linda Hall Library’s Facebook Page.

#FlightyFridays — "The Political Balloon"

The initial mass enthusiasm for balloons following their invention in 1783 soon gave way to ironic skepticism. After all, critics said, what was the point of rising up into the air if you had no control over the apparatus?

As such, balloons became powerful images for satires. Not only did their mechanics offer moralizing lessons ("what goes up must come down," for instance), but the technology itself started to be associated with swindlers and hustlers who would advertise a magnificent ascent that would then barely lift off—frustrating paying spectators who would sometimes break out in riots. England, in particular, was much more skeptical of the balloon than France, and its thriving industry of satirical prints did not lose a beat.

Anonymous, "The Political Balloon; or, The Fall of the East India Stock," 4 December 1783 (Huntington Library).

Titled "The Political Balloon; or, The Fall of the East India Stock," this print came out in late 1783 (just a few months after the balloon's invention). In 1783, the East India Company (a British joint-stock company founded in 1600 to trade in the East), was scarred by corruption scandals and in dire financial straits. That same year, Charles James Fox (a Whig politician and opponent of King George III) introduced a bill to bring the East India Company (EIC) under more direct supervision of the Parliament. The bill passed in the Commons, but due to pressure from King George III, it failed to get through the House of Lords.

"The Political Balloon" depicts Fox sitting on top of a balloon in the shape of the Earth, with the Indian Ocean facing the observer (one can also see the labels "Madras" and "Gold Mines"). Holding a "Bill to Reform India Affairs," Fox glibly states:

"Thanks to my Auspicious Stars, for now I see the Gold & Silver mines before me; 'tis this I am Soaring for." 

Below the East India balloon we see three men falling as coins pour out of their pockets. The one one the left seems to represent an EIC director, the one in the middle Warren Hastings (the Governor-General of Bengal), and the one on the right an EIC shareholder. From left to right, their speech bubbles read:

"If the Nation knew his Treacherous heart as well as me, the directors woud be continued."
"What my Governorship gone 'ere I had made or unmade one Nabob? Oh perdition Seize that wiley Fox."
"Must I forever be hurl'd  from such pretty pickings? wou'd I cou'd grapple in my fall the author of it." 

The satire thus uses the image of an ascending balloon to attack both Fox and those he was challenging within the EIC, more than implying that all of them were engaged in a speculative battle over the company for personal profits.

The scenario would have likely prompted an informed observer to think of the South Sea Bubble. Established in 1711 as a joint-stock company like the EIC, the South Sea Company was granted a monopoly over trade in South America in return for underwriting the British debt that had grown significantly because of a series of wars. Because of Iberian control of South America, the South Sea Company's trade in the region was mediocre at best, but to inflate stocks its directors spread rumors of riches struck by the company in the region. In January 1720, South Sea Company stock stood at £128. As the joint-stock company and government debt became more and more intertwined, and as the rumors of riches in the South Atlantic proliferated, the stock surged, reaching £1,050 by the end of June. But in July investors started to dump the stock, leading to a massive sell-off. The bubble had burst, and by September, the company's stock price stood at a mere £175. It was a financial event with global repercussions, not unlike the subprime mortgage crisis that shook the global economy a few years ago.

As mentioned, because of how the balloon worked (it had to be inflated to ascend, but as it lost gas would have to fall back to the ground), and because there were also many instances of profiteers trying to make a quick buck through balloon ascents, the technology became an especially apt metaphor to satirize financial speculation schemes. "The Political Balloon; or, The Fall of the East India Stock" was just one of many satires that came out in the late eighteenth century doing just that. 

#FlightyFridays — Henri Lachambre, Balloon Manufacturer

Manufacture d'aérostats de Vaugirard, fondée en 1875 (Bibliothèque Historique de la Ville de Paris).

Henri Lachambre was perhaps the most reputable balloon manufacturer at turn of the century. From his atelier in Vaugirard (a neighborhood in the outskirts of nineteenth-century Paris) he built balloons for individuals and governments all over the world. Among his customers were the United States Army Signal Corps, the Swede S.A. André (who perished in an ill-fated balloon expedition to the North Pole in 1897), and the Brazilian aeronaut Alberto Santos-Dumont (discussed in the previous #FlightyFridays).

Like most people involved in the business of aeronautics at the time, Lachambre was a passeur who shifted between the worlds of "serious science" and of "frivolous amusement"—something expressed in the whimsical cover to his sales catalog. At the center, donning Lacahmbre's name, we have a standard balloon that scientific-minded aeronauts used to explore the upper reaches of the atmosphere and wealthy Aéro-Club de France members used to make their fashionable ascents. Surrounding that balloon are numerous humorous balloons in the shape of elephants, jockeys, pierrots, devils, and more—the kind of stuff we might see at at the Thanksgiving Macy's Parade, but smaller. In short, whether you were a wealthy aristocrat looking for a new sport, an aspiring man of science with a sense for adventure, or someone wanting to add some spice to your local quartier party, you could find something in Lachambre's catalog.