Constructing Male Narrative Personae in British Travel Books, from the Beginnings to the Second World War
A List of Illustrations
Fig. 1. The title page of Coryat’s Crudities. From: Coryat’s Crudities, (London: W. S., 1611), title page. Fig. 2. The first out of sixteen aquatints used by William Gilpin to illustrate the notion of picturesque beauty in Observations on the River Wye. (The aquatints were not given captions by Gilpin, possibly in keeping with his intention of showing only an idea, not a portrait of a given site.) From: William Gilpin, Observations on the River Wye, And Several Parts of South Wales, &c. Relative Chiefly to Picturesque Beauty: Made in the Summer of the Year 1770 (London: Pallas Athene, 2005), p. 2. Fig. 3 “Steps Leading to the Church no. 1” and the notes from Handel’s slow movement in the fifth grand concerto. From: Samuel Butler, Alps & Sanctuaries of Piedmont and the Canton Ticino (London: Alan Sutton, 1986), pp. 98.99. (p. 144) Fig. 4. “Chapel of S. Carlo, Piora.” From: Samuel Butler, Alps & Sanctuaries of Piedmont and the Canton Ticino (London: Alan Sutton, 1986), p. 81. Fig. 5. “M/Y Stella Polaris, 1929.” Originally: Frontispiece illustration from the first edition of Labels. From: Evelyn Waugh, Waugh Abroad: Collected Travel Writing (New York: Alfred A. Knopf, 2003), p. 2. Fig. 6 “The Writer, at Takutu River.” Originally: Frontispiece photograph from the first edition of Ninety-Two Days. From: Evelyn Waugh, Waugh Abroad: Collected Travel Writing (New York: Alfred A. Knopf, 2003), p. 368.
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.