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Patrick Young
landscape, than the newer hotels, and had the added benefit of suggesting linkages to an
earlier period and tradition of travel.
27. A constant refrain, but see, for example, TCF Procès-Verbaux, General Assembly
(1903), p. 53.
28. Revue Mensuelle du Touring Club de France (April 1911), p. 165.
29. According to Harvey Levenstein’s history of American travelers in France, this was
still the case in the period under consideration. Foreign tourists would continue to fear
voyaging too deeply into the French countryside. H. Levenstein, Seductive Journeys:
American Tourists in France from Jefferson to the Jazz Age (Chicago: University of
Chicago Press, 1998).
30. Jules Michelet, Tableau de la France (Paris: Société les Belles Lettres, 1934).
31. For a succinct explication of his “regionalist nationalism,” see Vidal de la Blache,
“Les Régions Françaises”, in Revue de Paris (December 15, 1910); see also Jean-Yves
Guiomar, “Vidal de la Blache’s Geography in France,” in Nora, Realms of Memory, vol. 2,
ch. 6.
32. Peer, France on Display, p. 63.
33. Vergné, Conférence faite à Nancy, p. 16.
34. Revue Mensuelle du Touring Club de France (October 1909), p. 454.
35. Léon Auscher, Des Moyens Propres à développer le Tourisme en France (Paris,
1912), p. 38.
36. “Le Rôle du village Française dans le tourisme de demain,” in La Renaissance du
Tourisme (January 1918), pp. 3–4
37. Revue Mensuelle du Touring Club de France (March 1907), p. 116.
38. On the turn-of-the-century postcard, see J.P. Blazy and D. Guglielmetti, Le Pays de
France en 1900 (Paris Editions du Villemeil, 1992); Serge Zeyons, La France Paysanne:
les années 1900 par la carte postale (Paris: Larousse, 1992).
39. Earlier representation of both mountains and sea had most often avoided or
minimized the human presence, presenting these as places of pathos, desolation and otherworldly
magnificence. On representation of the sea, see Corbin, Lure of the Sea.
40. L’Estampe et l’Affiche (1898), p. 157.
41. Ibid., p. 158.
42. Ibid., p. 160.
43. Ernst Maindron, quoted in Cent Ans d’Affiches des Chemins de Fer (Paris: Pierre
Belvès, 1981), p. 4.
44. In its profiles of the attractions of rural areas “off the beaten track,” the Touring Club
often included photographs of local women, at times depicted in their domestic interiors.
45. Impressionist painting offers an interesting point of comparison. T.J. Clark and
others have suggested that these paintings’ allusions to the industrial world, or to work, in
their depictions of scenes of leisure marked a sort of return of the repressed, an indictment
of the city’s tendency to hide its contradictions beneath the shimmering artificial facades
of leisure and leisure space. T.J. Clark, The Painting of Modern Life: Paris in the Art of
Manet and his Followers (Princeton, NJ: Princeton University Press, 1986); Robert Herbert,
Impressionism: Art, Leisure and Parisian Society (New Haven, CT: Yale University Press,
1988).
46. J.P. Blazy and D. Guglielmetti, Le Pays de France en 1900 (Paris: Editions du
Villemeil, 1992).
47. These are the terms of the analysis in James Buzard, The Beaten Track: European
Tourism, Literature, and the Ways to Culture, 1800–1918 (Oxford: Clarendon, 1993).
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