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During the first three decades of the 20th century, a dozen states built women's prisons using a cottage style architectural design. Instead of traditional cellblocks, female prisoners were housed in small units scattered across a rural “campus” setting. These cottages generally held 25 to 30 women in single or double rooms. To cut costs, some states (Maine, Kansas, and Ohio) developed dormitory style cottages housing 50 to 100 women.

Each cottage, designed to foster women's rehabilitation by promoting the “idea of family life,” typically contained its own kitchen, dining room, and sitting room. In these idealized domestic settings, female prisoners received training in sewing, cooking, serving, and other domestic arts. Special cottages for pregnant, mentally defective, and/or inmates with venereal disease were common, as was racial segregation. Most reformatories classified cottages by security level: minimum, medium, and maximum.

History

Cottages represented a radical departure from traditional prison design. During most of the 19th century, women were incarcerated alongside men in separate annexes, wings, or units either within or attached to their state's male penitentiaries. After the Civil War, women activists began to campaign for entirely separate women's prisons. These reformers were convinced that female offenders would be reformed only within a more domestic and homelike setting.

In 1873, Indiana established the nation's first completely independent, all female-staffed, women's prison. However, it followed a traditional cellblock design. New York's House of Refuge at Hudson (1887) and Western House of Refuge at Albion (1893) were the first women's institutions (albeit, for younger women) to incorporate cottage units alongside a typical “custodial” prison building.

Between 1900 and 1935, this new type of women's prison, officially labeled reformatories, was established in 17 states. The New Jersey State Reformatory for Women at Clinton, opened in 1913, was the first to rely exclusively on cottage housing. Subsequently, eight states mandated that their women's reformatories be built according to a cottage plan: Minnesota (1916), Ohio (1916), Connecticut (1917), Kansas (1917), Maine (1917), Arkansas (1920), Pennsylvania (1920), and North Carolina (1929).

During these early decades, African American women remained relegated to the more traditional women's prisons. In 1923, African American women represented two-thirds (65%) of female prisoners incarcerated in state penitentiaries, whereas they were only 12% of those sentenced to the new reformatories. Reformatory advocates fully subscribed to the dominant racist ideology that portrayed African American women as more “masculine,” violent, aggressive, hardened, promiscuous, and immoral than white women. Consequently, African American women were regarded as unsuitable subjects for the reformatory's goal of transforming female offenders into proper ladies.

In addition to their cottage style architecture, women's reformatory prisons broke radically with traditional male prisons in their commitment policies, incarcerating both felons and misdemeanants. Unlike men, women could be sentenced to a reformatory for such misdemeanor offenses as disorderly conduct, public drunkenness, vagrancy, adultery, fornication, and petit larceny. In Illinois, for example, misdemeanor commitments represented 73% of all reformatory commitments in the 1930s, 38% in the 1950s, and 12% in the 1970s.

Discipline and Daily Life

To outside observers, the cottage style women's reformatory appeared far more benign than men's prisons: quaint cottages scattered across a campus style setting. However, the conditions of women's incarceration could be even more restrictive. Surveillance within the small cottages was often more intense and invasive than that experienced by men housed in far larger, more anonymous, cell-block units. Because women's reformatories initially lacked fences, walls, and guard towers, prisoners had to be strictly supervised. Ironically, they often enjoyed little freedom of movement across their bucolic campus settings.

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