Abstract
Described by Henry James as an essential piece of ‘intellectual equipment’ for the tourist, Nathaniel Hawthorne’s The Marble Faun (1860) was often used as a guidebook to Rome.1 In this chapter I will discuss how it was repackaged for a late-Victorian tourist audience. In the second half of the nineteenth century, the Leipzig publisher Bernhard Tauchntiz and Co. seized an opportunity to profit from the burgeoning British and American tourist market in Italy.2 Tauchnitz produced unbound editions of novels and travel guides set in Italy including Nathaniel Hawthorne’s The Marble Faun (the most popular edition), George Eliot’s Romola, Edward Bulwer-Lytton’s Last Days of Pompeii and Rienzi and Charles Dickens’s Pictures from Italy. These books contained blank spaces onto which tourists could paste photographs or postcards relating to scenes in the text. Next to Hawthorne’s description of the Faun of Praxiteles, for example, visitors would paste or, in some cases tip into the binding, a photograph of the sculpture (Figure 4.1). This could be bought as part of a ready-made set from booksellers in Rome or Florence or from a photographer’s outlet
I would like to thank Katharina Boehm and Heather Tilley for commenting on a draft of this chapter.
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Notes and references
Henry James, Hawthorne (New York: Harper and Brothers, 1879), p. 160.
John Urry’s The Tourist Gaze: Leisure and Travel in Contemporary Societies (London: Sage, 1990) privileges the eye as the main locus of tourist experience.
William and Mary Howitt, Ruined Castles and Abbeys of Great Britain (London: A. W. Bennett, 1862), Preface, no page number.
Joel Snyder, ‘ Nineteenth-Century Photography of Sculpture and the Rhetoric of Substitution’, Sculpture and Photography: Envisioning the Third Dimension, ed. Geraldine A. Johnson (Cambridge: Cambridge University Press, 1998), pp. 21–34 (p. 30).
Daniel M. Tredwell, A Monograph on Privately Illustrated Books: A Plea for Bibliomania (Flatbush: Long Island, 1892), pp. 430–1.
Nathaniel Hawthorne, The French and Italian Notebooks, ed. Thomas Woodson (Columbus, OH: Ohio State University Press, 1980), 25 April, 23 February, 8 May, pp. 183, 104, 203.
Nathaniel Hawthorne, The Marble Faun, ed. Susan Manning (Oxford: Oxford University Press, 2002), p. 116.
James Buzard, The Beaten Track: European Tourism, Literature, and the Ways to “Culture”, 1800–1918 (Oxford: Clarendon Press, 1993), p. 192.
Nicola J. Watson, The Literary Tourist: Readers and Places in Romantic and Victorian Britain (Basingstoke: Palgrave Macmillan, 2006).
Catherine Nash, ‘Performativity in Practice: Some Recent Work in Cultural Geography’, Progress in Human Geography, 24 (2000), 653–64 (p. 654).
Jonathan Auerbach, ‘Executing the Model: Painting Sculpture and Romance-Writing in Hawthorne’s The Marble Faun’, ELH, 47 (1980), 103–20 (p. 106).
Maurice Merleau-Ponty, Phenomenology of Perception (London: Routledge, 2002), p. 166.
Garrett Stewart, ‘Bookwork as Demediation’, Critical Inquiry, 36 (2010), 410–57.
Bernard Berenson, The Italian Painters of the Renaissance (Oxford: Clarendon Press, 1930), pp. 63–4.
Vernon Lee, ‘Rococo,’ Juvenilia: Being a Second Series of Essays on Sundry Aesthetical Questions, 2 vols (London: Unwin, 1887), II, pp. 136–7.
See Bill Brown, A Sense of Things: The Object Matter of American Literature (Chicago: University of Chicago Press, 2003).
Bill Brown, ‘Introduction: Textual Materialism’, PMLA, 125 (2010), 24–7 (p. 26).
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© 2016 Victoria Mills
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Mills, V. (2016). Photography, Travel Writing and Tactile Tourism: Extra-Illustrating The Marble Faun. In: Henes, M., Murray, B.H. (eds) Travel Writing, Visual Culture and Form, 1760–1900. Palgrave Studies in Nineteenth-Century Writing and Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9781137543394_4
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DOI: https://doi.org/10.1057/9781137543394_4
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