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Posts Tagged ‘travel in the Regency Era’

Inquiring readers: We readers of Jane Austen’s novels, letters, and stories, as well as of the history of the Georgian/Regency era in England, are fairly knowledgeable about the modes of travel for the upper classes and rising middle classes – from grand carriages to fast paced curricles to the humbler donkey cart that the Austen women drove from Chawton to the nearby village of Alton (1.6 miles away). A majority of these vehicles (except perhaps for the donkey cart) were beyond the means of most of the working classes, as well as the poor. (Just one horse cost an average of £500 per year to maintain. Even Rev Austen used his horse for a variety of jobs: to visit his parishes, post letters in town, and for farm work.). So how did humbler citizens travel? What modes of transportation were affordable and available to them? 

Chawton to Alton. Google map

On Foot:

If memory serves me well (from an article I read 20 years ago), most villagers in Austen’s day moved around within an 18 mile radius (plus/minus) from where they lived. In a 2022 article (1), author Wade H. Mann discussed the distances and time people took to reach Point A to Point B. To paraphrase him, walking was the way most people used to travel, especially the poor, servants, and working people. Mann’s distances and times provide a quick perspective. For his extrapolations, he used the information he gleaned about the Bennet family in Pride and Prejudice, their walks to the village of Meryton, and the distance of Longbourn to London. In short order, he discussed:

  • Lydia’s walks to Meryton nearly every day. (Distance: 1 mile each way.) One can assume that servants who worked for the Bennets also walked those distances, if not farther, to and from their homes every morning and evening after their shifts were over. One can also imagine servants, be they male or female, being sent on frequent missions of 1 mile or more throughout the day to obtain food or medicines, and to receive packages, or deliver letters with information for merchants and notes of appreciation or invitation to close neighbors.

    (c) Dover Collections, Supplied by Art UK

  • Elizabeth’s walk of three miles to visit Jane at Netherfield Park over wet fields was easy for her strong, athletic body. She would not have been “intimidated by a six-mile [round trip] walk.” If this was the case for a gentle woman of her status, one can imagine that male or female servants and field laborers would think nothing of walking six miles one way to work. 
  • In this bucolic image of a country road in Kent, painted in 1845 by William Richard Waters, three women are shown along a dirt road. (The village is located in the far horizon.) The woman on the left is probably a servant. From their dress, the two sitting females are gentle women taking a break. Although this painting was created past Austen’s day, rural villages were still relatively unchanged. With the advent of railroads and macadam roads, long distance travel became easier for those who could afford it, but long walks were still a part of daily life during the 19th century.


Distances in Regency  England


As mentioned before, the distance between Longbourn, where the Bennets lived, and Netherfield Park, which Mr Bingley rented, was only three miles. 

On a good surface, almost everyone walks 3 to 3.5 miles per hour; ordinary people can walk 10 to 24 miles per day. Twenty-four miles is the exact distance from Longbourn to Gracechurch Street [London], so even on foot, it’s only a hard day’s walk.” (1)


According to today’s estimates, the distance from London to Bath is approximately 115 miles (plus minus 30 miles depending on the roads one travels and which fields they chose to cross). Given the above estimate, and that, depending on their age and physical ability to walk from 10 to 24 miles per day, this journey would take a walker anywhere from 11½  to 4.8 days. In our fast-paced world, such a long time would be unacceptable. 250 years ago it was not. Travelers also minded their pocketbooks in terms of their budgets for lodging. Some might even need to find employment along the way.

London to Bath, google maps

Road surfaces and weather conditions mattered

If you’ve ever walked along a dirt path in a large park, you might have stumbled across fallen limbs and trees, climbed up and down steep paths, and treaded carefully over rocky surfaces, etc. Road conditions in and around most of England’s rural villages were abysmal until the early 19th century. Macadamized roads, with their crushed stone surfaces were constructed in 1815, just 2 years before Austen’s death. During most of her life, she would have largely known the miseries of walking along and riding on dirt roads that turned into muddy quagmires on rainy days. 

Rains were frequent in this island country. Roads became so rutted that they were almost impassable in certain areas, where mud slowed horse drawn coaches and carriages, which forced riders and people to take down luggage and packages, and push the vehicles, or to walk to nearby shelters and villages. Mrs Hurst Dancing, a book that features Diana Sperling’s charming watercolours of her life during this time, shows how weather affected her family’s everyday lives.

This image shows the challenges of a muddy road with deep wagon tracks by a family embarked on an eleven mile walk. Seeing how these gentle folks struggled on an excursion of their choice, we can imagine the challenges many servants faced walking to their place of employment, having no other option. 

A walk of 11 miles in deep mud, Mrs Hurst Dancing (2), P. 60 (Image, Vic Sanborn)

Walking to Dinner at a Neighbor’s House, Mrs Hurst Dancing (2) P38. (Image: The Jane Austen Centre)

Effects of weather 

Frequent rains were not the only problem. Cold winters and deep snow provided unique challenges during the years known as The Little Ice Age (1811-20), when winters were harsher than normal. People who embarked on walking long distances needed to plan their routes in advance, which included knowing the condition of the roads (often through word of mouth or by previous experiences) and which villages could offer affordable shelters. Many itinerant laborers would have no problem sleeping in a farmer’s barn on a soft bed of hay in exchange for work. 

Snow and ice made travel extremely difficult and was often avoided unless absolutely necessary. People would hunker down indoors and wait for the snow to clear before embarking on long journeys, as conditions could change rapidly. (My favorite Emma incident is when Mr Woodhouse, dining at the Weston’s house, INSISTED on leaving a dinner party immediately at the first signs of snowflakes. The Woodhouse party left, even though dinner had barely begun. Mr Woodhouse feared being stuck in snow. Austen knew her comedic settings well, but she was also knowledgeable about the realities of travel in her time.)

Detail of a Mail Coach in a snow drift with a Coachman leaving to seek assistance, James Pollard. To view the full painting and to read a complete description of the situation, click on this link to Artware Fine Art.

Itinerant laborers and sales people

Towns and villages were largely isolated. In cosmopolitan centers, like London, residents received the latest news almost as fast as Regency travel allowed. Thus cities and major metropolitan centers had more access to most of the benefits that a well informed society offered.

Villagers were often the last to know about the latest news about fashion, music, and dance. Enter the itinerant wanderers, the purveyors of knowledge and of all things current, albeit months past the time that the citizens of Paris and London knew about them. 

Those with special talents profited the most from their peripatetic lives. A musician could offer entertainment with the latest popular ditties or teach lessons on an instrument, such as a piano forte or violin. A dance master might teach the latest steps from ‘The Continent’ that a young lady and gentleman should know.

The Dancing Lesson, Pt 3, George Cruikshank, 1825. The Art Institute of Chicago, image in the public domain.

The dancing master in the above image, was employed to teach children the steps and dance moves of the latest dances.

Talented and professional individuals – music teachers, dance instructors, tutors and the like –  often had their services enlisted beforehand, and likely travelled by stage coach or on horseback to their destinations. They would stay in a nearby village or with the family that employed them for the duration of their contract before moving on.

Other people with various skills travelled between cities and towns either looking for work, or to sell their wares. They sold items as varied as kitchen equipment in town squares or brightly colored ribbons at county fairs. Some individuals crossed the English Channel, carrying fashion books and paper dolls* to inform the populace about the latest changes in fashions. I imagine farriers and blacksmiths were in hight demand, since horses were vital. Others offered seasonal labor in exchange for a meal or a place to sleep. Some were beggars or vagabonds who scrounged for any scraps.

The sad fact was that in a land of plenty, land enclosures took away the common fields from villagers by fencing off the shared, common lands, which were vital to rural folks by providing grazing land for livestock, and offering legal ways to gather firewood or hunt game. The impact of enclosures on commoners was enormous, as their independence was taken away. Many left their villages and homes, looking for work in cities and elsewhere, making their situation worse than before. 

Beggar in early 19th C. London, John Thomas Smith, Spitalfields Life.His broom indicates that he might have been a street sweeper.

Itinerants also cadged free rides from friendly farmers and workers, or hitched a ride to the next town. They might take a seat in the back of a humble cart for a few miles, and then continue their walk. Again, a workman/woman might offer their menial services in return for a favor. 

Below are images of a variety of itinerant travellers. The first was created by the incomparable Thomas Rowlandson, of whom I am an enormous admirer.

 

Aerostation out at Elbows ~

or the Itinerant Aeronaut

Behold an Hero comely tall and fair!

His only Food. Phlogisticated Air!

Now on the Wings of Mighty Winds he rides!

Now torn thro’ Hedges!–Dashed in Oceans tides!

 

Now drooping roams about from Town to Town

Collecting Pence t’inflate his poor balloon,

Pity the Wight and something to him give,

To purchase Gas to keep his Frame alive. ~

The above copyright free image by Thomas Rowlandson is called Aerostation out at Elbows, or The Itinerant Aeronaut, 1785, Met Museum. The poem below the image is about Vincent Lunardi, an Italian balloonist, whose successful balloon ride was of short duration. Sadly he died in poverty.

Wandering musicians during the Georgian era were also known as gleemen. 

Detail of street musicians in London surrounded by a crowd, Thomas Rowlandson.

A ballad singer

A Ballad Singer, Thomas Rowlandson, 1820, from Characteristic Sketches of the Lower Orders, British Library

Wagons and carts for the common folk 

Unlike the fancy carriages and equipages of the well heeled, conveyances for the lower classes were ordinary wagons, rough hewn carts, drays, wheelbarrows, wagonettes, pushcarts, donkey or pony carts, and the like. 

This link to a Thomas Rowlandson image of country carts (1810) shows ordinary country folk setting out on a journey. These are a few details of that image:

Setting out behind the covered wagon

Loading the wagon

Larger covered wagons were also used for longer distances. This wagon, to my way of thinking, is the poor man’s stage coach.

Rowlandson, Flying Wagon, 1816, MET Museum, public domain

In Mr. Rowlandson’s England, Robert Southey described the laboriously slow progress of a flying wagon:

The English mode of travelling is excellently adapted for every thing, except for seeing the country…We met a stage-waggon, the vehicle in which baggage is transported, I could not imagine what this could be; a huge carriage upon four wheels of prodigious breadth, very wide and very long, and arched over with a cloth like a bower, at a considerable height: this monstrous machine was drawn by six large horses, whose neck-bells were heard far off as they approached; the carrier walked beside them, with a long whip upon his shoulder…these waggons are day and night upon their way, and are oddly enough called flying waggons, though of all machines they travel the slowest, slower than even a travelling funeral.” – P 23    

Thomas Rowlandson, Country Folk Leaving for the Town, 1818

Take a peek inside this link to Meisterdrucke.us of Thomas Rowlandson’s cartoon ‘Depicting Country Folk Leaving for the Town’. It’s a joyous event, with all the people setting off to…where? A country fair perhaps? The procession is obviously as slow as the Flying Wagon, for many people are walking in pairs and carrying baskets (Food for personal consumption? Produce or goods for sale or barter?).

Lastly, this image by Rowlandson of a cart carrying a dead horse to the knacker is sad in several respects. Not only has the family lost a valuable animal, but, looking at the faces of the parents, much of their livelihood as well. One can’t imagine that they can afford to purchase another horse any time soon.

A Dead Horse on a Knacker’s Cart, Thomas Rowlandson, Undated, Yale Center for British Art, Public Domain

Bricklayers Arms, an image by Thomas Rowlandson, sums up the variety of wagons and methods of transportation.

Stage Coaches

These coaches were unattainable for the very poor, but the working classes could afford an uncomfortable spot on an exposed space ‘up top’. 

A Laden Stage Coach Outside a Posting Inn

Thomas Rowlandson, Stage Coach, 1787, Met Museum, Public Domain

Given the road conditions, ‘up top’ could be a dangerous choice, as one of the images below shows. Newspaper clippings of the time mentioned the deaths of passengers thrown violently to the ground when a stage coach was involved in an accident.

Stage Coach Perils, Donna Hatch, Coach Travel in Regency England: Stage and Mail Coaches

Should everything go right on the journey, and the coach stops at a coaching inn, the unfortunate individuals ‘up top’ are then …”directed to the kitchen with the pedestrians, gypsies, itinerant labourers and soldiers. Do not expect help getting off the eight foot high coach; if you were a lady, you would not be on top in the first place, would you?” A Guide to the Georgian Coaching Inn

Transportation across water

Travellers faced many impediments as they progressed along rural roads, a major one being water. While larger cities and towns provided bridges, most villages surrounded by country lanes did not have this luxury. Passage over small streams was possible – large rocks were frequently placed at comfortable intervals to make walking easier. 

Methods of transportation across a wide and deeper stream or river included a ferry, or a pulley and rope system to tow a wood platform from one bank to the other. (3) 

This painting by Joseph Stannard dates from 1826 and shows The Ferry House Inn from the opposite riverbank. Crossing the Yare – Buckenham Ferry

John Constable, Ferry Crossing, River at East Bergholt in Essex, 1817

Barges pulled by horses and mules along towpaths provided inner- and inter-city travel along a system of interconnected canals, which sped the movement of people and goods. 

“A horse, towing a boat with a rope from the towpath, could pull fifty times as much cargo as it could pull in a cart or wagon on roads. In the early days of the Canal Age, from about 1740, all boats and barges were towed by horse, mule, hinny, pony or sometimes a pair of donkeys.” Wikipedia, Horse-drawn boat

As mentioned, ferries, canal boats, and barges carried heavier loads. These boats also provided accessibility and affordability to a variety of people from different classes.

Sources:

(1) Distance and Time In Regency England, By Wade H. Mann, author of A Most Excellent Understanding, Q&Q Publishing, Jun 8, 2022

(2) Mrs Hurst Dancing, To find more images by Diana Sperling, click on this page to the Jane Austen Centre. 

(3) Ferrymen and water men: Water Transportation and Moving in Regency England

Not quite related to this topic, but equally as fascinating are:

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They say a picture is worth a thousand words, and how true it is in this instance. George Scharf the elder, a popular genre painter of the early 19th century, was also a prolific drawer of ordinary scenes in his adopted city of London. One can study his drawing of the Mail Coach Bound for the West County, 1829, endlessly, imagining many tales while thinking back on the history of coach travel. This mail coach is being readied at the Gloucester Coffee House on Piccadilly, where so many mail coaches left at night. The horses are waiting to pull this heavily laden wagon. They will pull it for 15 miles before they will need to be changed. Even with improved roads, the coach will not be going much faster than 7-8 miles per hour. Scharf drew this scene in 1829, a year before the first passenger train would be introduced. By the mid-18th century this scene in Piccadilly would have changed dramatically.

West country mail coach leaving Piccadilly, George Scharf, 1829. Click on image to view a larger version.

I count 9 people on top the wagon, one passenger sitting next to the coachman, seven on top of the wagon (one is definitely a porter), and two passengers inside.  I imagine there are two more people seated inside that we cannot see, for the interior holds four passengers, and that the gentleman putting on the great coat is waiting for the porters to finish loading the packages before he takes his seat on top of the coach. The woman and child standing next to him must be waiting to see him off, for, if the rest of the mail bags, packages, and luggage are to be loaded, there won’t be room for them as well. If they are waiting to board, then I pity the four horses who will be pulling 13 people along with the mail.

Travel was quite costly back then.

Costs of travel:  [estimates for 1800]

  • Stage Coach:  2-3 pence / mile = 1.25 pounds from London to Bath / half-price if up top / outside [but remember the average income was about £30 / year
  • Hired post-chaise =  estimate about £1 / mile [i.e @1 shilling / horse / mile, to include the postillion] – Jane Austen in Vermont

For a family living on  £25 – £30 per year, such costs were prohibitive. The cheapest seats were on top and on the outside. One can see a woman holding her child wedged between straw baskets. Should the coach take a turn too fast or be involved in an accident, she and her babe could be flung off the vehicle or trapped underneath should it overturn. At best, they felt the wind and rain and arrived at their destination disheveled and covered in road dust if the weather was dry, or soaking wet with rain. One shudders at the thought of what it felt like to be an outdoor passenger in the winter.

Mail coaches were designed to carry the mail, not to carry passengers comfortably. A close look at Scharf’s image reveals this to be so. There is no wiggle room to speak of. Since travel was expensive and laborious, those who undertook the journey usually arrived in London with lists of things to purchase for friends and family. Jane Austen certainly did, and one can assume that her brother Henry, who lived in London, arrived laden with special requests when he visited his family. The packages being loaded are quite bulky. It is easy to imagine that they contain the ribbons, muslins, china ware, shoes, hats, teas, chocolate, and other assorted items that were special ordered back home. One even sees a recently slaughtered hare among the packages.

One wonders how many more pieces of luggage the mail coach could possibly take on. The packages must be heavy for the porter walking towards the coach is bent over. The male passenger’s great coat and hat are typical of men’s outer wear at the time. As I study the detail below, I am becoming more convinced that the woman and girl are waiting to board. She is wearing a veil, to protect her face from dust, no doubt, and both are covered in layers of outer wear, including a shawl over a cloak. Even so, the ride for exposed passengers would be cold. From the clothes, one can only assume that it is winter.

Mail coaches, while more expensive to ride, were faster than private stage coaches, more stable, and less laden with passengers.

The coach was faster and, in general, less crowded and cleaner. Crowding was a common problem with private stage coaches, which led to them overturning; the limits on numbers of passengers and luggage prevented this occurring on the mail coaches. Travel on the mail coach was nearly always at night; as the roads were less busy the coach could make better speed. – Wikipedia

[William] Hazlitt has thus described, in his own graphic manner, the scene presented on the starting of the old mail-coaches:—”The finest sight in the metropolis,” he writes, “is the setting off of the mailcoaches from Piccadilly. The horses paw the ground and are impatient to be gone, as if conscious of the precious burden they convey. There is a peculiar secrecy and dispatch, significant and full of meaning, in all the proceedings concerning them. Even the outside passengers have an erect and supercilious air, as if proof against the accidents of the journey; in fact, it seems indifferent whether they are to encounter the summer’s heat or the winter’s cold, since they are borne through the air on a winged chariot. The mail-carts drive up and the transfer of packages is made, and at a given signal off they start, bearing the irrevocable scrolls that give wings to thought, and that bind or sever hearts for ever. How we hate the Putney and Brentford stages that draw up when they are gone! Some persons think the sublimest object in nature is a ship launched on the bosom of the ocean; but give me for my private satisfaction the mail-coaches that pour down Piccadilly of an evening, tear up the pavement, and devour the way before them to the Land’s End.” – British History Online

Pollard, Gloucester Coffee House, Piccadilly, 1828

As I said at the beginning, this image is fraught with meaning. I wonder if, when he was sketching this scene,  Scharf knew he was recording the great coaching era at its peak.

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Shall I ever forget the sensations I experienced upon slowly descending the hills, and crossing the bridge over the Tiber; when I entered an avenue between terraces and ornamented gates of villas, which leads to the Porto del Popolo, and beheld the square, the domes, the obelisk, the long perspective of streets and palaces opening beyond, all glowing with the vivid red of sunset? – William Beckford describing his Grand Tour in a letter, 1780

When Jane Austen’s brother, Edward Austen-Knight returned from his grand tour, he brought back as one of his souvenirs the solemn portrait that we have come to associate with his image. Since the 17th century, it was de rigeur for young English gentleman of privileged background to embark on a 2-4 year trip to see the historic and cultural places of Europe with their tutors.

Ideally, a young man sent on the Grand Tour would return home not just with souvenir portraits painted against a backdrop of Roman monuments, but with new maturity, improved taste, an understanding of foreign cultures, and a fresh appreciation of the benefits of being born British. Norton Anthology of English Literature

There was a marked difference between a gentleman who had gone on such a life-altering excursion and one who hadn’t, a certain polish, if you will, and knowledge of the world that distinguished such a person. Armed with letters of introduction and letters of credit, the young gentleman would set off by boat and cross the channel, landing in Calais. This crossing was fraught with danger. Sea sickness was not uncommon, and ships were known to capsize during heavy storms. Once the pair landed on the continent, they would visit a number of popular Grand Tour sites: Paris, Rome, the Netherlands, Germany, Venice, Florence and Naples were popular destinations.

The Grand Tourist would travel from city to city and usually spend weeks in smaller cities and up to several months in the three key cities. Paris was definitely the most popular city as French was the most common second language of the British elite, the roads to Paris were excellent, and Paris was a most impressive city to the English…Other locations included as part of some Grand Tours included Spain and Portugal, Germany, Eastern Europe, the Balkans, and the Baltic. However, these other spots lacked the interest and historical appeal of Paris and Italy and had substandard roads that made travel much more difficult so they remained off most itineraries. Click here to take an interactive Grand Tour online.

Such a protracted trip came with a hefty price: during the 18th century, a grand tour of three years could cost as much as 5,000 pounds to visit these “museums of history, civility, and culture.”* Many young men, such as Edward Austen-Knight, returned with portraits painted of themselves; others returned with entire collections, influencing the styles at home. It was no coincidence that Neo-classicism and the Palladian ideal were popularized during this era. “In high society, milord anglais on this Grand Tour pillaged the Continent for old Masters (genuine, fake or retouched), took an artist or two in tow, and built and embellished at every opportunity.” (Porter, p 243).

Grand Tours did not always turn out for the best. Some young men, rather than taking the opportunity to acquire as much cultural knowledge and polish as possible, gambled away fortunes, formed mesalliances, or contracted venereal disease during their sexual exploits. Tutors were also known as bearleaders, a title that hints at the unruly behavior of their charges. (Norton Anthology) Lord Chesterfield’s letters to his natural son, who was on the Grand Tour, sought to remind him of how a gentleman ought to conduct himself at all times. After their tour was over, a number of young men in the latter half of the 18th century, continued to copy the tastes and styles of continental society. Marked by their dress and behavior, these dandies were known as macaronis (see image).

Colston Pyranees Mountain View

The Grand Tour was momentarily suspended during the Napoleonic wars, but was quickly revived once the conflict was over. Young ladies, Maria Edgeworth and Mary Wollstonecraft, for instance, would also embark on these journeys with their companions, however these tours were not expected to round out her education or develop her character in the same manner as a man’s. Princess Caroline, who died in childbirth in 1817, had gone on a Grand Tour after the Napoleonic Wars ended, and was romantically involved with an Italian courtier, Bartolomeo Pergami. During the Edwardian era, it was common for a young lady to travel abroad on a relatively short trip with a companion. Lucy Honeychurch in A Room With a View (click here to read my review of the 2007 movie) was one such girl. Jo March from Little Women had hoped to accompany her Aunt Carol to Europe, but it was her sister Amy who was invited along instead.

Update: View Edward Austen Knight’s full painting here and learn about his Grand Tour journals here.

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