Beyond the Grand Tour: Norway and the Nineteenth-Century British Traveler

2020 ◽  
pp. 201-218
Author(s):  
Kathryn Walchester
Keyword(s):  
Nineteenth Century ◽  
Grand Tour

The Crimea between East and West according to Late Eighteenth and Early Nineteenth Century British Travelogues

2020 ◽  
pp. 81-97
Author(s):  
Nikita I. Khrapunov ◽  
Keyword(s):  
Nineteenth Century ◽  
Well Being ◽  
The West ◽  
Early Nineteenth Century ◽  
Negative Stereotypes ◽  
Grand Tour ◽  
Archaeological Heritage ◽  
Distinctive Features ◽  
Late Eighteenth ◽  
The Crimea

Following its annexation by Russia in 1783, the Crimea became a stage on the Western grand tour. Foreign travelogues informed their readers about the country, previously almost unknown in Europe. This paper addresses the British travelogues that played an important role in shaping notions of the Crimea and Russia's role in its history, many of which still exist today. The travellers created works of different kinds: unedited letters and journals, encyclopaedic descriptions, imagined journeys, and pseudo-correspondences. Their authors had varied levels of intelligence, motivations, and passions, intricately entwining empirical observations with stereotypes. Geographically located in Europe, the Crimea was understood as a country featuring distinctive features of the East. Its image possessed traits of paradisiacal nature, inhabited by naïve and lazy persons resembling Rousseau's utopia, with an extraordinarily rich archaeological heritage, the romantic culture of Islam, and various ethnic and religious types. The British offered plans for the establishment of Western colonists in the Crimea, as well as the development of communications, trade, agriculture, and industry. William Eton and Matthew Guthrie considered the Russian occupation of the Crimea historically progres-sive, which would bring prosperity and well-being to the country and its residents. However, Edward Clarke interpreted the Russians as the avatar of barbarism and developed a plan to return the peninsula to the Ottomans. Some negative stereotypes originating from his book continue nowadays and are restated in periods of aggravated relations between Russia and the West.

Gender, Curiosity, and the Grand Tour

Journeys ◽  
2020 ◽  
Vol 21 (2) ◽  
pp. 1-23
Author(s):  
Anna P.H. Geurts
Keyword(s):  
Nineteenth Century ◽  
Travel Writing ◽  
Alternative Model ◽  
Young Male ◽  
Social Models ◽  
Grand Tour ◽  
Subject Positions ◽  
Tourist Gaze ◽  
At Home

Discussions of eighteenth- and nineteenth-century European travel have long tended to over-apply the model of the grand tour. It is increasingly recognized now that many British journeys to the Continent knew different motivations and itineraries, and were made from different subject positions than that of the young male aristocrat. An alternative model proposed for female travelers has its own limitations, however. It presents women as more open-minded than men, with a greater eye for detail and keen to escape patriarchal confinement at home. Yet female travelers’ wish and capacity to offer an alternative to the grand-tourist gaze was limited. Still, travel, travel writing, and publishing offered women a chance to explore new social models and lifestyles and develop new forms of personal independence.

The Rise and Fall of Cork Model Collections in Britain

2017 ◽  
Vol 60 ◽  
pp. 117-146
Author(s):  
Richard Gillespie
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
British Museum ◽  
Public Institutions ◽  
Secondary Market ◽  
Grand Tour ◽  
House Museum ◽  
Architectural Models ◽  
Classical History

AbstractCommencing in the late 1760s, cork models of classical monuments in Italy were purchased by wealthy British collectors while on their Grand Tour. Initially commissioned by tourists with specific antiquarian and architectural interests, the models were an expression of the collector's knowledge of classical history and of their Neoclassical sensibility. Models soon appeared in the Society of Antiquaries of London and the British Museum, in the private displays of Charles Townley and John Stuart, Earl of Bute, and in George III's royal collection. In the early 1800s, architect John Soane began purchasing models from the secondary market for his house museum. Interest in cork architectural models waned during the Nineteenth Century. Descendants of the original owners transferred them to public institutions, while museums that had at first enthusiastically welcomed the donations or made their own purchases, relegated the models to storage. In the twentieth century the majority of the models were discarded or lost. This paper explores the reasons for the enthusiastic acquisition of architectural cork models and their subsequent demise.

Extra-illustrations to Charles Robert Cockerell’s Ionian Antiquities and James Cavanah Murphy’s Arabian Antiquities of Spain in the collections of the Gennadius Library and the Yale Center for British Art

2021 ◽  
Vol 8 (1) ◽  
pp. 19-49 ◽  
Author(s):  
Lynda S. Mulvin
Keyword(s):  
Nineteenth Century ◽  
New Haven ◽  
Early Nineteenth Century ◽  
Grand Tour ◽  
Printing Process ◽  
Architectural Practice ◽  
British Art ◽  
Shed Light

This article focuses on unpublished extra-illustrations relating to two architectural monographs, currently in the collections of the Gennadius Library (Athens, Greece) and the Yale Center for British Art (New Haven, CT, USA). The first section examines two unique copies of Ionian Antiquities (1769) by Richard Chandler, Nicholas Revett and William Pars, both grangerized by Charles Robert Cockerell (1788–1863); the second section considers a special copy of The Arabian Antiquities of Spain (1815) by James Cavanah Murphy (1760–1814). These enhanced volumes embody early nineteenth-century concepts of authorship and shed light on the working methodologies of their creators. In his personal copies, Cockerell noted differences in admeasurements of the monuments as recorded by Chandler and Revett for use in Neoclassical architectural practice, and brought to light new discoveries made during his Ionian Grand Tour. In Murphy’s own volume of The Arabian Antiquities of Spain, the supplementary sketches, drawings and additional illustrations enliven the plates, place them in context and inform the printing process.

The Laboratory of the Picturesque

2020 ◽  
Author(s):  
William Bainbridge
Keyword(s):  
Nineteenth Century ◽  
Tourist Destination ◽  
Grand Tour ◽  
Landscape Features ◽  
Dolomite Rock

This chapter reconstructs the context of the geographical discovery of the dolomite rock and the position of the so-called Venetian Alps in the geological debates of the first part of the nineteenth century. This discovery will provide British travellers with a new picturesque toolkit to appraise the geomorphology of the Dolomites in architectural terms and promote them as a new tourist destination. The ingredients of that promotion were neither entirely British nor entirely contained within the experience of the Venetian Grand Tour. Before being ‘invented’ the Dolomites needed to be ‘discovered’ – their unique landscape features needed to be noticed before they could be seen. They needed to be placed on a map.

scholarly journals Exploring the eclectic world of Richard White (1800-1868), 2nd Earl of Bantry, Lord Berehaven: collector | grand tourist | nobleman

2014 ◽  
pp. 24-31
Author(s):  
Seana Vida Farrington
Keyword(s):  
Nineteenth Century ◽  
Review Article ◽  
Grand Tour ◽  
The Creation

This is how Nigel Everett describes Bantry House in his Irish Arts Review article of 2010. Overlooking Bantry Bay in West Cork the house enjoys one of the most favourable aspects of any of Ireland’s Big Houses (Figure 1). Everett’s words are a most apt description for the project of ennoblement envisioned by Richard White (1800-1868), 2nd Earl of Bantry, Lord Berehaven, and for the collection of art he amassed. As Berehaven travelled extensively he was often absent from Bantry. He visited the usual sites of the nineteenth century Grand Tour, also visiting Spain, Russia, the Baltics and Scandinavia. There were two activities he invariably participated in while travelling: sketching and collecting. The latter activity led to the creation of one of the most eclectic collections of art to grace an Irish home. Berehaven and his vision for Bantry House have not received sustained enquiry, which is a gap in ...

Hand-held histories: using digital archival documents on architectural tours

2011 ◽  
Vol 15 (1) ◽  
pp. 69-77
Author(s):  
Hannah Lewi ◽  
Wally Smith
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Architectural History ◽  
Grand Tour ◽  
Heritage Sites ◽  
Archival Documents ◽  
Academic Study

The desire to learn about buildings, cities and cultural artefacts by journeying to experience them in situ pervades architectural history. It can be seen in the rise of the grand tour in the eighteenth century, subsequent formalised academic study tours, the ascendancy of cultural museums in the nineteenth century, and the institutionalisation of heritage sites and attractions in the twentieth century. More informally, such journeys are pursued in personal and less prescriptive ways through habitual urban strolling and site-seeing.

Where “the blood boils:” Hans Christian Andersen’s sojourn in Naples

2021 ◽  
Vol 41 (1) ◽  
pp. 117-134
Author(s):  
Frances Clemente
Keyword(s):  
Nineteenth Century ◽  
Religious Beliefs ◽  
The Other ◽  
The South ◽  
Grand Tour ◽  
Other Hand ◽  
Hans Christian Andersen ◽  
Typical Experience ◽  
The One ◽  
The City

When in 1834, during his Grand Tour of Europe, Hans Christian Andersen set foot in Naples, he was immediately won over by the exuberant vitality of the Neapolitan people. The Parthenopean city, where he “was exposed to sensuality as a daily temptation” (Rossel, “Hans Christian Andersen” 24 and “Do You Know the Land” 95), also awakened Andersen’s more repressed instincts. From this experience he drew material for his most autobiographical novel, Improvisatoren (1835; The Improvisatore), whose protagonist tries to and succeeds in resisting the seductions of Neapolitan sensuality. If on the one hand the Danish author underwent the typical experience of the Northern traveller visiting the South and, more specifically, Naples, enjoying its openness and gaiety, on the other hand he never completely abandoned himself to Southern allures, upholding his moral and religious beliefs against a city that continuously attempted to wholly seduce him. The present paper aims to retrace Andersen’s first journey to Naples—where, by the writer’s own account, “the blood boils” (The Diaries of Hans Christian Andersen 85)—as a voyage into a tempting sensuality, contextualizing it within the wider context of nineteenth-century travelling experience in the city by Northern travellers.

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