“an introduction to France, and to the french”
(MS IA, g.2; MS VIII; MS IX; Works [1903])—Ruskin adopts a picturesque view of
Calais
(“a little France, a miniature picture”). Similarly, in her journal of the tour,
Mary Richardson
framed a picturesque view: “much pleased with the appearance of
Calais from the sea”
(
Diary of Mary Richardson, 1833, 1).
As guidebooks and travel accounts of the period shifted to more practical advice about arrival in Continental towns
(see
Parsons, Worth the Detour, 180–84),
Calais was sized up in terms of British travelersʼ complaints about difficulties in negotiating customs and finding lodging; see, for example,
Heathʼs Picturesque Annual for 1832, which warns that, in
Calais,
“the communication between the strangers and natives is full of strife and wrangling or silent bitterness”
(
Ritchie, Travelling Sketches in the North of Italy, the Tyrol, and on the Rhine, 3).
Whereas
Ruskinʼs account turns the abrupt transition from English character to French, separated only by the
Channel crossing, into a topic for picturesque contrasts of scenery and costume,
John Murray IIIʼs
1836 guidebook emphasizes the comforts of familiarity:
Calais “is half Anglicised and our language is generally spoken”
(
Hand‐book for Travellers on the Continent, 86).
Even
Mary Richardson, once landed on shore, is interested in practical business,
reporting that, on arrival, “
Uncle,
Aunt,
John and I,
along with
Anne [Strachan (ca. 1799–1871)]
were put into a French vehicle and proceeded to the Custom House escorted by an officer”,
where “[o]nly
Anne was searched” along with the boxes
(
Diary of Mary Richardson, 1833, 1–2).
See also
Tour of 1833.
Ruskinʼs picturesque commentary on
Calais as a place of arrival
corresponds to
Samuel Rogersʼs trope
of entering a foreign scene through a city gate in
“The Lake of Geneva“,
the poem that opens
Italy. In
Ruskinʼs
fixation on the picturesque feature of “peculiarly french” fishing boats, there is also perhaps a reflection of the most picturesque image in
Rogersʼs poem, the “passage‐boat [that] swept gaily by, / Laden with peasant‐girls
and fruits and flowers, / And many a chanticleer and partlet caged / For
Vevayʼs market‐place—a motley group /
Seen throʼ the silvery haze”—the scene that
Turner
chose to depict in his vignette heading this introductory poem. Typically what is lacking from
Rogersʼs influence on
Ruskin,
however, is the older poetʼs crowded historical references.
Rogers uses the trope of the city gate to allude to the story in the
Confessions (
1782–89) by
Jean‐Jacques Rousseau (
1712–78), in which
at age sixteen during his apprenticeship to a tyrannical watchmaker,
Jean‐Jacques returned to
Geneva from a country excursion too late to re‐enter the city gates; and in despair over the punishment
his master would inflict on him for his lack of restraint and discipline, the youth determines to exile himself from his native city.
Following this reference,
Rogers reverses the trope to imagine youths entering
Londonʼs
city gates with hope—first,
Thomas Chatterton (1752‐70),
a youth more ill‐fated even than
Rousseau;
and then
David Garrick (
1717–79) and
Samuel Johnson (
1709–84), destined for fame and for neglect, respectively
(
Rogers, Italy (1830), 1–3; and see
Rousseau, Confessions, 49 [bk. 1]).