Contributor: Simon Bainbridge
Location: The Alps
Description: The summit of Mont Blanc was first reached in 1786, when the Chamonix-based doctor Michael-Gabriel Paccard and the crystal hunter Jacques Balmat attained the highest point in Western Europe. The following year, the Genevan man of science, Horace Bénédict de Saussure, fulfilled his obsessional desire to reach the loftiest of vantage points, which for him became the most elevated of outdoor laboratories; he spent four hours on the summit conducting various experiments. De Saussure, best known for his four volume Voyages dans les Alpes (1779-1796), speedily published an abbreviated narrative of his ‘Journey to the Summit of Mont Blanc’. De Saussure’s evocation of his mountain ascent was a major contribution to the developing genre of Alpine travel writing, which became a key form in materialising and transmitting Romantic ideas and sentiments across Europe.
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Contributor: Jeff Cowton
Location: Dove Cottage, Grasmere
Description: The ‘Malta Notebook’, as this manuscript has become known, measures 177 x 120 x 38mm and is bound in vellum. It has one hundred and eighty-six leaves of hand-made paper of different tints, written mostly on both sides, and holding about eight thousand lines of poetry of Wordsworth’s unpublished work at that time. It is the result of an intense period of sorting, assimilation and copying of verses involving William, Dorothy and Mary Wordsworth in February and March of 1804. Significantly, it is a gift of love from the Dove Cottage household to Samuel Taylor Coleridge, their close friend and fellow poet, to be his companion during his forthcoming time in the Mediterranean.
Taken together, it is one of the greatest treasures in the Wordsworth Trust’s Designated Collection.
Continue reading “A Remarkable Notebook: Coleridge’s Companion in Malta”
Contributor: Elsa Cazeneuve
Location: National Maritime Museum, Greenwich, London
Description: This document is a hand-coloured illustration of Herschel’s Grand Forty-Feet Reflecting Telescope, engraved by J. Pass for the 1819 edition of the Encyclopedia Londinensis (or Universal Dictionary of Arts, Sciences, and Literature), and featured in the chapter related to “Optics”. At the time, Herschel’s Forty-Feet Telescope was the largest in the world and cost over 4000 pounds, paid for by King George III. Its construction began in 1786, and was completed in 1789; the telescope was erected at Herschel’s home, near Slough. It soon became a touristic attraction and a scientific curiosity: people would travel all the way from Paris to admire this new wonder and some even likened it to the Colossus of Rhodes. Later on, the telescope was marked on the 1830 Ordinance survey map of the area. Unfortunately, Herschel’s last telescope would take years to demonstrate its worth, as it had to rotate very slowly to show various aspects of the heavens. William Herschel and his sister Caroline, who worked together, found that the telescope was difficult to set up and maintain and William’s son eventually had it dismantled in 1840. Interestingly enough, the dates of construction and demise of the forty-footer cannot but recall those of the Romantic era: Herschel’s grand telescope came to serve as a symbol of the unbounded Romantic imagination.
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Contributor: Judith Thompson
Location: Ty Mawr, Llyswen, Wales LD3 0UU
Description: This site brings together two iconic romantic objects, a waterfall and a hermitage. They are the more Romantically compelling because both are in ruins, remote and hidden from the public eye, part of a mysterious history only recently and partially recovered, and at the heart of a landscape associated with Druids and legends of King Arthur. Located in the village of Llyswen Wales, overlooking the Wye River below the Black Mountains, they were built by John Thelwall, romantic radical and acquitted felon, poet and polymath, and the original of Wordsworth’s “Recluse.”
Reclusive hermits and and dashing waterfalls have a long association in Romantic-era literature and culture, as Jonathan Falla has shown. Together and apart, they epitomize the neo-gothic sensibility that defined the age, associated with outlaws and bards in northern and border regions, but also stock features of late eighteenth-century landscape aesthetics and fashionable tourism, part of the process of constructing a British nation by assimilating and commodifying its margins. But Thelwall’s was neither the fashionable folly of a propertied dilettante nor the residence of a professional hermit; instead it was a labour of love by an eccentric exile and activist, a retreat for a notorious Jacobin fox-on-the-run, and a place to seek and test philosophies of revolutionary hope and renewal he shared with the poets Coleridge and Wordsworth. In fact, in both cultivating the persona of “New Recluse” and building his modest hermitage and waterfall, he was directly inspired by his friends, and inspired them in turn. Continue reading “John Thelwall’s Summer Study”
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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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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Contributor: Jonathan Falla
Location: Old Military Road, by Dunkeld, Perth & Kinross PH8 0JR, Scotland UK
Overlooking a small but dramatic waterfall complete with leaping salmon, there stands this curious stone gazebo or folly, reached by a pleasant woodland walk. Originally named the Hermitage, as ‘Ossian’s Hall’ this became one of the most visited sites in all Romantic Scotland.
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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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Contributor: Tim Fulford
Location: The Wye Valley/The Royal Institution
Description: In 1800 a man inspired by Wordsworth’s visionary poetry made a trip to Tintern Abbey. Based in Bristol, he was a friend of Coleridge and Southey and was in the midst of editing Lyrical Ballads for the press; he also wrote nature verse in his own right. He was employed, however, not as a poet but as a scientific enquirer, and on his excursion to the river Wye he was armed with an improved eudiometer—the best instrument for measuring the proportion of oxygen, the gas first isolated by Joseph Priestley, in the atmosphere. ‘The Eudiometer’, he wrote, ‘that I have lately used is a very simple & commodious one – It consists of a tube about 5 inches long containing 200 grains of water – The space between the 140 & 180 grains is graduated. – This tube is emptied of water in an atmosphere when you wish to know its composition & plunged into a solution of muriate or sulphate of iron impregnated with Nitrous gas.’(1) He was Humphry Davy…
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Contributor: Clare Brant
Location: Royal Academy of Arts, Burlington House, London
Description: ‘I wandered lonely as a cloud’: the first line (and proper title) of Wordsworth’s poem about daffodils (pub.1807) has epitomised Romantic poetry for generations of English schoolchildren (and for some, created resistance to it.) What made clouds Romantic? Why did poets and artists across Europe follow William Wordsworth (1770-1850) and John Constable (1776-1837) in making them subjects of Romantic poems and paintings?
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