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The Modern Tourist and the Innocents Abroad W&M ScholarWorks English Articles & Book Chapters English Summer 1991 Framing the Authentic: The Modern Tourist and The Innocents Abroad Richard S. Lowry College of William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/englishpub Part of the English Language and Literature Commons Recommended Citation Lowry, Richard S., Framing the Authentic: The Modern Tourist and The Innocents Abroad (1991). New Orleans Review, 18(2), 18-28. http://www.neworleansreview.org/wp-content/uploads/2014/04/18_2.pdf?056111 This Article is brought to you for free and open access by the English at W&M ScholarWorks. It has been accepted for inclusion in English Articles & Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Richard S. Lowry FRAMING THE AUTHENTIC: THE MODERN TOURIST AND THE INNOCENTS ABROAD n one of the best known moments in Mark Beecher, the flutter became a crescendo on his ITwain's The l1111oce11fs Abroad, he visits what he visit to the painting coJJection at the Palace de calls " the most celebrated painting in the Luxembourg in Paris. If not ty pical in its world- 'The Las t Supper' by Leonardo Da intensity, his account nonetheless exemplifies Vinci."' Coming as it does in the midst of what the disorie nting shock m a n y felt w hen is already, barely a quarter of the way into the encountering authentic art. He felt himself narra ti ve, an almos t frantic gallop through undergo an "instant con version, if the hotels, cathedrals, and museums, the episode expression be not irreverent": "to find myself represents just one m ore s top on a hectic absolutely intoxicated - to find my system so itinerary. In Milan a lone, itself sand wiched much a ffected tha t I could not control my between a few days each in Genoa and Venice, nerves-to find myself trembling and laughing the tr<1vclers already have visited the Duomo and weeping, and almost hysterical, and that in and its "7,148 marble sta tues" (129), the s pite of my shame a nd resolute endeavor to Ambrosian library- where they see, along with behave better,- such a power of these galleries an autograph letter of Lucrezia Borg ia, some over me l had not expected." ' Even the more drawings by Michelangelo and Leonardo ("They urbane art critic James Jackson Jarves, who lived :-pell it Vinci and pro nounce it Vinchy; much of his life amid the European art he loved foreigners a lways spell better than they and collected, recalled wandering the Louvre pronou nee" [1321)- and a public bath, before feeling "oppressed, confused, uncertain, and they find their way to "an ancient tumbledown feverish," struggling "in a convulsive effort to ruin of a church." There, in this anonymous maintain mental equilibrium."• place, they pause to see for themselves the In part these accounts record honestly "wonderful painting, once so beautiful, always overwhelming experiences of confronting, after so worshipped by masters in art, and forever to years of having access only to reproductions, the be famous in song and story" (136). authentic works themselves.' "I have seen good The episode opens as a rehearsal of what by copies a ll over the world," con fessed one 1869 had become a familiar ritual of viewing art traveler, "but they lose their charm after seeing described time and again in tra vel literature. so much of heaven ly beauty and earthly Primed, like Twain, to a hig h pitch of s wee tness as this glorious work of Raph ael expectation by guide books, art reproductions, exhibits."• Another attested to "the new sense lectures-the whole range of nineteenth-century which is deve loped b y the sight of a cultivated educc1 tion- previo us travelers approached European art like l larriet Beecher Stowe, who, as she mounted the s teps of the 'Siar Pnp<'rs; or, £xper11•11u,- of Art am/ Nature ( e" ' York: J. Louvre, felt a "flutter of excite ment and C. Derby, 1855) 59, 57. expectation." 2 For her brother Henry Ward ' The Art Iden, ed. Benjamin Rowland (1 864; Cambridge: The /1111vft'11I,; Al>road (, ew York: ew American Library, Harvard Univ. Press, 1960) 44. 1966) 136. 'See Neil I la rris, The A rtist i11 A t11eric1111 Socil'ly: T/1e ·S1111ny Memories llf r ()rcign I ,11111~ {Boston: Phillips, Formative Years, 1790- /860 (Chicago: Univ. of Chicago Press, Sampson, 1854) 2: 159. 1966) 124-69. 18 NEW ORLEANS REVIEW masterpiece. It is as if we had always lived in a ca binet that made solid what had only been world where our eyes, though open, saw but a dreamed 0£. 10 To visit otre Dame, Shakespeare's blank, and were then brought into another, home, Florence, Athens was to make literal the where they were saluted by . .. grace and literary, to make authentic the imaginary, to beauty."7 These were Americans finding for divest allusion of illusion: "The Capitol, the themselves, by following a program of leisured Forum, St. Peter's, the Coliseum-what few self-cultivation fi rs t codified in the eighteenth­ hours' ramble ever took in places so hallowed century Grand Tour, what many intellectua ls by poetry, history, and art?"" Thus it was the had felt their country lacked: a rich tradition of viewing of art, a lready consolidated in culture made sturdy by a backbone of canonical impressive collections in Paris, Florence, a nd mas terpieces and ancient monuments. It was above all in Rome, that in many travelers' this expectation that had persuaded Harvard accounts mos t accurately conden sed the earlier in the century to send abroad such experience of visiting Europe. prospective faculty me!Ttbcrs as George Ticknor, In visiting the Leonardo, then, Twain walks a Edward Everett, George Bancroft, and Henry path already well-trod by Americans eager to Wadsworth Longfellow to prepare for their roles open the door to authentic nrt and culture. In as educators." Their experiences in turn helped fact, he figures "The Last Supper" as the essence inspire Americans to import as much of Europe of Art, "celebrated" not just by travelers and as they could for their own ediiication. Boston's critics, but by other "mas ters in art"; it is, in Anthology Society Reading Room-later to short, the masterpiece of masterpieces done by become the Athenaeum- was founded on the the original and originating Master. Twain's strength of books travelers brought back from language deftly echoes a tradition of almost Europe.• Later in the century Jarves, inspired by giddy homage to the picture both by critics and his experience at the Louvre, assembled an travel writers-an earlier traveler visits "This impressive coUection of Renaissance Italian art, celebrated painting, a copy of which, in one which Yale acquired in 1868 for its own museum form or another, everybody has seen, and which (Strout 70, 72). Similarly, New York's has been pronounced one o f the fines t in the Metropolitan Museum of Art and Boston 's world." 12 In their use of "celebrated," both Museum of Fine Arts both opened their doors in writers in turn echo one of the most powerful 1870 stocked with the products of their patrons' pronouncements of the painting's value by European buying tours. Goethe, whose essay on Leonardo's "Celebrated Thus when Bayard Taylor, the most popular Picture of The Lord's Supper," published in travel writer in America after mid-century, Englis h in 1821, ci ted it as "The picture . .. confessed, ''I cannot disconnect m y early known to all that have ever heard the name of longings for a knowledge of the Old World from art pronounced."13 According to Mrs. Jameson, a still earlier passion for Art and Literature," he whose Sacred nnd Legendary Art went through merely made explicit what many travel accounts numerous editions, Leonardo, "the g reates t took for granted: Europe was for nineteenth­ thinker as well as the greatest painter o f his century Americans a vast museum, a collector's age," had with this painting brought forth "a •John Overton Choules, Thi! Cruise of the Steam Yacht North ' By-Ways of Europe (1869;, cw York: G.P. Putnam's Sons, Star; a Narrative of the E1:c11rsio11 of Mr. Va11derbilt's Party 1889) 8. (Boston: Gould and Lincoln, 1854} 221. "Bayard Taylor, Vi£,w~ Afoot, or C11mp<' Sm, wit!, K1111psack 'W. M. Gillespie. Rome: A~ Seen by 11 New-Yorker i11 "/843-4 mid Stnff, rev. houschdd ed. ( 1855; New York: G. P. Putnam, (New York: 1845) 82, as qtd. in Hnrris 128. 1890) 407. 'Cushing Strout, Tl1e A 111ericm1 Ima!~(' of the Old World ( ew ' 1Rev. John E. Edwards, Rn11do111 Sketches 1111ft Noles of York: Harper, 1963) 64. £111·01iea11 Tmuel i111856 (New York: Harper, 1857) 268. See Lewis P. Simpson, "Joseph Stevens Buckminster: The "Johann Wolfgang von Goethe, "Observations on Rise of the ew England Ch~risy,'' Tlit· Ma11 of Le/lers in Nt•w Lcon.irdo da Vinci's Celebrated Picture of The Last Supper," l:11gla111/ and the South (Baton Rouge: Louisiana State Univ. tran~. G. H. Noehden. in G1H'lhr 11 11 Art, ed. John Gage Press, 1973). (Berkeley: Univ. of California f' rl•Ss, 1980) 166. LOWRY 19 creation so consummate, that since that time it with the ineffable graces of the first society." has been at once the wonder and the despair of Unburdened by education (if "on e has no those who have followed in the same path."" opportunity in America to acquire a critical Leona rdo was more tha n a g reat artis t, he judgment in art," then he will parade, rather embodied Art; he was, according to Charles than hide, his "uncouth sentiments" (170, 171 )), Eliot orton, a "great genius, one whose power the Vandal gazes at Art "with a critical eye and all the world recognjzes and honors, [one who] says it's a perfect old nightmare of a picture and stands apart from his time, unapproached, he wouldn' t give forty dollars for a million like alone."" it.",.
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