Herries & Co Circular Note

Contributor: E.J. Clery

Location: Lloyds Bank Archive and Museum, UK

Description: This creased and uncharismatic scrap of paper bears a name to conjure with, Robert Herries, visible in the design at either end: in addition to the Herries armorial bearings there are three ‘hurcheons,’ otherwise known as hedgehogs. This is a ‘circular note,’ precursor to the travellers’ cheque. It is a rarity; these notes were routinely destroyed after cancellation but this one is unused and therefore uncancelled. It was scanned from a guard book [ref A/26/b/3] by Karen Sampson of the Herries archive at Lloyds Bank. We do not know its provenance.

The template is in French, the international language of the day, and indicates that payment can be drawn at the Paris headquarters of the bank. The bank also had offices in Dover and London. On the note, there are spaces for the addition of a date and the customer’s signature. Upon completion, with presentation of a letter of ‘indication’ or identification, and after a wait of ‘sept jours,’ the circular note would yield cash in the local currency at banks and businesses in a network stretching from Calais to Moscow, and even further afield. It permitted a new, more informal, style of travel across Europe in the Romantic period.

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Le Temple de la Nature, Chamonix

Image of a stone building - Temple de la Nature

Contributor: Patrick Vincent

Location: Montenvers, Chamonix, France

Description: Built in 1795 as a refuge for travellers visiting the Mer de Glace, the Temple de la Nature immediately became a popular tourist attraction and one of European Romanticism’s most recognizable landmarks. It normally took travelers two and half hours by mule to ascend from Chamonix to the Montanvers meadow, located 1915 meters above sea-level. Accompanied by guides and porters, they often rested half-way at Claudine’s fountain, named after the heroine of Jean-Pierre Claris de Florian’s Claudine, nouvelle savoyarde (1793), before braving a ravine infamous for its avalanches. At the refuge, they were welcomed by a resident shepherd and could take refreshments, including milk mixed with kirsch, or purchase crystals, stone paper weights, and other curiosities. The most popular activity, however, was looking through the visitor book, leaving one’s own name with comments, but also copying the choicest inscriptions. A visit to the Temple de la Nature thus enabled ordinary tourists and celebrities alike to admire one of the Alps’ most spectacular glaciers in the last years of the Little Ice Age, while also participating in the period’s vibrant album culture and contributing through it to a transEuropean tourist sensibility.

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Wordsworth’s Wishing-Gate

Colour illustration of a lake and hills at Grasmere, including the wishing-gate

Contributor: Jeff Cowton

Location: The old Grasmere – Rydal Turnpike Road, Grasmere

Description:  ‘Wordsworth’s Wishing-gate’, and what remains of it, tells a paradigmatic Romantic story of literary tourism in the heart of the English Lake District in the mid nineteenth century.

By the middle of the nineteenth century, literary pilgrimages around Britain were already popular with tourists from home and abroad. As Nicola J. Watson writes: ‘The French poet and scholar Auguste Angellier remarked on the huge numbers of literary pilgrims who came to Britain from the four corners of the world to pay homage to the country’s writers.’ From the 1820s, such tourists came to the Lakes in search of Wordsworth: the man himself and the places associated with his poetry. ‘Strangers’, as tourists were then addressed, were encouraged by published guidebooks to call on the poet at his Rydal Mount home for personal tours of his garden. An image showing Wordsworth standing in his library was included in a popular set of prints in the 1830s; by the 1850s his name was synonymous with the area: ‘Wordsworth Country’. One particular place of pilgrimage was ‘The Wishing Gate’, a humble farm gate on the old turnpike road overlooking Grasmere lake, just five minutes’ walk from Dove Cottage which the Wordsworths had made their home between 1799 and 1808.

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Victor Hugo’s House in Pasaia

Black and white photograph of a house

Contributor: Juan Manuel Ibeas-Altamira

Location: Pasaia, Spain

English Description: On July 18th 1843, Victor Hugo set out on his customary annual summer trip. With Juliette Drouet he headed for Gavarnie, Luz and Cauterets. The head of the French Romantics took notes on the way. As he crossed the border he was remembering the Hugo family’s previous stay in Spain: a trip towards the exotic was also a return to childhood.

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Mount Vesuvius

Painting showing the eruption of the Vesuvius volcano

Contributor: Cian Duffy

Location: Gulf of Naples, Italy (40°49N’ 14°26’E)

Description: Located just outside the Italian city of Naples, the volcano Vesuvius was one of the most spectacular instances of the ‘natural sublime’ typically visited as part of the Grand Tour of Europe. Vesuvius was in a more-or-less constant state of activity throughout the Romantic period and had a least six significant eruptions between 1774 and 1822. In a letter of December 1818, the English poet Percy Bysshe Shelley (1792-1822) describes it as ‘after the glaciers [of the Alps] the most impressive expression of the energies of the nature I ever saw’ and his response is visible in the volcanic landscapes and imagery of Prometheus Unbound (1820). (1) Influential Romantic-period travel writing, such as A Classical Tour through Italy (1812) by John Chetwode Eustace (1762-1815) and Remarks […] During an Excursion in Italy (1813) by Joseph Forsyth (1763-1815), offered extended descriptions of the volcano and its environs for the increasing numbers of tourists who visited as well as information about the latest speculations in natural philosophy. Eruptions of Vesuvius were made the subject of numerous paintings, including celebrated works by the British artists Joseph William Mallord Turner (1775-1851) and Joseph Wright of Derby (1734-97), by the German Jacob Philipp Hackert (1737-1807), and by the Frenchman Pierre-Jacques Volaire (1729-99), who died in Naples. They were often depicted in panoramic exhibitions in London and other European capitals – and, of course, they feature in countless works of fiction, poetry, and drama by authors across Europe. Arguably, Vesuvius drove the explosion (if the pun may be forgiven) in the use of volcanoes and volcanic eruptions in Romantic-period cultural texts right across Europe as metaphors and similes for everything from poetic inspiration to political revolution. Hence Lord Byron (1788-1824) no doubt had Vesuvius in mind when he lamented, in the thirteenth canto of Don Juan (1823), what he saw as the clichéd ubiquity of volcanic imagery: ‘I hate to hunt down a tired Metaphor –/ So let the often-used Volcano go;/ Poor thing! how frequently be me and others/ It hath been stirred up, till its Smoke quite smothers’ (ll. 285-8).

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A copy of Wordsworth’s Guide to the Lakes, 1822

A copy of Wordsworth’s Guide to the Lakes, 1822

Contributor: Jeff Cowton

Location: The Wordsworth Trust, Dove Cottage, Grasmere

Description: This is a copy of the 1822 edition of William Wordsworth’s Guide to the Lakes in its original board covers, containing an account of an ascent of England’s highest mountain, Scafell Pike. Five hundred copies of the Guide were printed, selling for 5/- (25p) each. This copy is of a size that could be carried on a tour. Wordsworth’s Guide was deeply influenced by his travels in Europe, in particular his experience in 1790, when he (then twenty years old) walked through France to the Alps with his friend Robert Jones. The history of this account of the ascent of Scafell Pike suggests in addition how Rousseau’s influential depictions of the Alps affected how the landscape of the Lakes was experienced.

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