How Tourism in Pompeii Boomed Through Photography and Middle-Class Enthusiasm

Early Tourism in Pompeii and the 19th century development

In the 18th and early 19th centuries, tourism in Pompeii was an exclusive activity for young aristocrats on the Grand Tour, accessible through social connections and guided excursions. By the mid-19th century, economic growth and improved transportation allowed the middle class to visit, further democratized by a ticketing system introduced in 1862.

Organized tours by Thomas Cook began in 1864, incorporating Pompeii into the broader European travel itinerary with professional guides for structured explorations. Before guidebooks, travelers to Pompeii relied on social connections for information and access, which was unsustainable for the growing number of independent middle-class tourists.

The emergence of guidebooks, like Domenico Romanelli’s “Viaggio a Pompei” (1811), Murray’s (1836), and Baedeker’s (1846), provided essential logistical details, historical context, and site descriptions.

These guidebooks shaped tourism in Pompeii by encouraging historical engagement and offering maps and illustrations, making the site more accessible and educational for a wider audience.

Technological Advancements in Tourism in Pompeii

Introduction of Photography and Its Impact on Visitor Experiences

The advent of photography in the mid-19th century revolutionized the way visitors experienced Pompeii. Early photographers like Alexander John Ellis (1841) and Rev. George Wilson Bridges (1846) captured vivid and accurate representations of the ruins, which previously had only been depicted through paintings.

Photography provided a more realistic and engaging way for people to connect with Pompeii, both onsite and remotely.

Early Photographs of Pompeii by Alexander John Ellis and Rev. George Wilson Bridges

Alexander John Ellis and Rev. George Wilson Bridges were among the pioneering photographers whose work significantly influenced early tourism in Pompeii. Ellis, an Englishman, embarked on his photographic journey in 1841, employing the calotype process to capture the haunting beauty of Pompeii’s ruins.

His photographs featured detailed images of the city’s streets, buildings, and frescoes, providing an unprecedented visual record that enthralled the public. Ellis’s images were instrumental in presenting Pompeii not merely as an archaeological site but as a tangible connection to the ancient world, which bolstered its allure as a travel destination.

Similarly, Rev. George Wilson Bridges made notable contributions with his photographic work in 1846. Utilizing the daguerreotype process, Bridges produced highly detailed and striking images that highlighted the intricacies of Pompeii’s architecture and artworks.

His photographs reached a broad audience through publication in illustrated travel books and exhibitions, further amplifying interest in the site. Bridges’s meticulous documentation offered insights into Pompeii’s layout and artistry, enhancing the educational value of the ruins for scholars and tourists alike.

Together, Ellis and Bridges played a pivotal role in transforming Pompeii into a cultural and historical icon, enriching the visitor experience through their pioneering photography and shaping early tourism in Pompeii.

The Commercial Success of Photographic Souvenirs

The commercialization of photographic souvenirs significantly contributed to Pompeii’s burgeoning status as a premier travel destination. Photographs of Pompeii, sold in various forms—postcards, albums, and stereoscopes—became coveted items for tourists.

One key factor in the success of photographic souvenirs was their accessibility and affordability, which made them appealing to the middle-class tourists flocking to Pompeii. Unlike paintings or sketches that required significant artistic skill and investment, photographs could be mass-produced and disseminated widely.

Tourists could easily purchase these mementos, helping to democratize the experience of owning a piece of Pompeii. This not only enhanced the personal connection visitors felt with the site but also facilitated the sharing of their experiences with friends and family back home, further amplifying Pompeii’s allure.

The proliferation of photographic souvenirs also played a vital educational role. Many images included annotations and descriptions, providing historical context and enriching the viewer’s understanding of Pompeii.

Collections of these photographs were often displayed in exhibitions and publications, broadening their reach and impact. As a result, the photographs created a visual narrative that complemented textual accounts, deepening public interest and engagement with the ancient city.

Collaboration with Giorgio Sommer

Overview of Giorgio Sommer’s Work with Giuseppe Fiorelli

Giorgio Sommer, a prominent late 19th-century photographer, made significant contributions to archaeology through his collaboration with Giuseppe Fiorelli, a pioneering archaeologist at Pompeii.

Appointed director of excavations in 1863, Fiorelli revolutionized archaeological practices with systematic techniques, notably using plaster to cast voids left by decomposed bodies, creating lifelike figures of Pompeii’s citizens during Mount Vesuvius’s eruption.

Sommer’s photography played a crucial role in documenting Fiorelli’s work. His detailed images provided a visual complement to Fiorelli’s meticulous excavations, moving away from the picturesque style previously dominant in archaeological photography.

While contemporaries created deep pictorial spaces, Sommer adopted a ‘scientific’ approach, portraying ancient monuments as objects and producing flat images. This method presented collections of labeled objects in the Naples Museum rather than reproducing familiar views from drawings and paintings.

The symbiosis of archaeology and tourism in Pompeii through photography was evident in Sommer’s work. His scientific style appealed to tourists and achieved commercial success. Sommer’s photographs were widely disseminated in scholarly publications, exhibitions, and as collectible souvenirs.

The administrative organization of the Pompeii site promoted the sale of these photographic mementos. Although guides were included in the entrance fee, they could supplement their income by selling photographic souvenirs to visitors.

This was noted in the fifth edition of Murray’s Handbook for Travellers in Southern Italy in 1865, which informed readers that while guides couldn’t accept gratuities, they could sell photographic views of the ruins.

The synergy between Sommer’s photographic expertise and Fiorelli’s archaeological innovation elevated Pompeii’s status as a site of immense historical importance.

Sommer’s photographs served as an essential academic record and helped educate the public, enhancing their understanding of Pompeii. These changes transformed how people captured memories of their visits, ending the practice of taking home pieces of antiquity.

Benefits and Innovations in Photography

Advantages of Using Photography for Archaeological Documentation

Photography offered numerous benefits for archaeological documentation. It allowed for precise recording of excavation progress and site conditions, which were crucial for both preservation and research.

The ability to produce multiple copies of photographs enabled wider dissemination of information, bringing Pompeii to those who could not visit in person. Photographs also served as objective records, reducing the risk of subjective interpretation.

The Role of Photography in Preserving and Sharing the Site with a Wider Audience

Photography played a vital role in preserving and sharing Pompeii with a global audience, significantly boosting tourism in Pompeii. By capturing detailed images of the site, photographers created a visual archive that documented the ruins’ condition over time. These images were shared through publications, exhibitions, and souvenirs, making Pompeii accessible to people worldwide. Photography thus bridged the gap between academic research and public engagement, enhancing the site’s cultural significance and driving tourism in Pompeii.

Transformation of Visitor Experiences Through Photographic Souvenirs

Photographic souvenirs transformed the visitor experience at Pompeii. Tourists could now take home high-quality images of the site, preserving their memories and sharing them with others.

These souvenirs also served as educational tools, helping visitors recall and reflect on what they had seen. The widespread availability of photographic souvenirs contributed to Pompeii’s popularity and enduring appeal.

Impact on Archaeological Practices

Giuseppe Fiorelli revolutionized archaeological practices at Pompeii with his systematic approach to excavation and documentation. He introduced the integration of photography, enhancing the accuracy and comprehensiveness of records.

These innovations set new standards for archaeological methodology, emphasizing detailed and objective recording. Fiorelli’s legacy continues to influence contemporary archaeology, with rigorous documentation methods still in use today.

Conclusion

The evolution of tourism and the role of photography in Pompeii have significantly influenced visitor experiences and archaeological practices. Middle-class tourism in Pompeii democratized access, while guidebooks and photography enriched the experience.

Photography revolutionized the documentation and preservation of Pompeii, leaving a lasting legacy and enhancing its educational and cultural significance. Explore the history of tourism in Pompeii and its enduring charm.