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Jan Palmowski
When Mrs Staley from Rochdale embarked on a trip to Switzerland in August
1862, she chose upon her arrival in Basle to stay in the “Trois Rois,” the first hotel
recommended in the Murray. In her published journal, she noted her excitement
at the Rhine, which “rushes past in a full, broad flood of clear light green” – an
image replicating verbatim that given in Murray’s. In her impressions of the
cathedral she appears as an incarnation of Foster’s fictional character in Florence:
the cloisters described in the Murray as “extensive and picturesque” she felt to be
“extensive and remarkable.” After visiting the cathedral, Mrs Staley walked up an
elevated terrace behind the cathedral to enjoy, “under some magnificant chestnut
trees at a great elevation,” “an extensive and beautiful view of the Rhine, the city,
and the neighbouring hills.” This bore more than a striking resemblance to
Murray’s description of the terrace, “75 ft. above the river, planted with chestnut
trees, and commanding a beautiful view over the Rhine, the town, and the Black
Forest hills.” 28 Throughout Mrs Staley’s book, descriptions are enriched by
observations which are not from the Murray, but, at every turn of the journey,
Murray’s prescriptive guidance is unmistakable. 29
Even more striking is the journal kept by Jemima Morrell, one of the members
of Cook’s first tour to Switzerland. Morrell’s description of the Giessbach was
copied verbatim from the Murray. Her opinion on the valley of Sarnen that “neither
of the lakes can boast of being surrounded by much decided Alpine scenery; its
character is peaceful and pleasing, but not grand” was but an insignificant variation
from Murray’s view that “the valley of Sarnen, bounded by gently sloping hills,
has nothing Alpine in its scenery; its character is quiet, and pastoral, and pleasing.”
30 On the way from Chamounix to Martigny, Murray noted at a particular
point the vegetation, the abundance of wild fruits. And so it was precisely at this
point that Jemima noticed that “On the border of the path the vegetation was
profuse and varied. Tufts of diantus, delicate ferns, harebells and wild strawberries
and mosses, too.” Such appreciative detail was clearly the product of Jemima’s
own observations; but the impetus to observe and form an impression came from
Murray. 31 In fact, Murray’s handbook could even create virtual impressions,
experiences which were felt without actually having occurred. On the way from
Geneva to Chamounix, Murray highlights the “valley of the Arve, in which the
blanched stones mark by their breadth how furious the river must be after storms.”
This was enough for Jemima Morrell to feel overawed as “from the blocks of
granite squandered in the vale, evidently rounded by the action of the water, we
could form an idea of the force of that torrent when it ceases its summer play.” 32
Of course, Jemima did not ignore the Baedeker altogether. Baedeker was relied
on more (though, not exclusively) for practical information such as hotels and
route planning. Yet it is Murray’s guidance on how to appreciate her experience
which metamorphosed into most of Jemima’s personal impressions and formed
her memory. She viewed the Wengern Alp not through the eyes of Goethe, but of
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