Jonathan Stafford
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‘Dissolving views in the panorama of travel’
Producing the maritime landscape
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With striking frequency, passenger descriptions of the maritime landscape viewed from the steamship employ the popular Victorian entertainment form of the panorama as a means of framing and articulating their perception of the Eastern landscape. P&O’s steamship service to the East was represented in one of the nineteenth century’s most successful spectacles of this type, the 1851 Overland Mail panorama. The popularity of this panorama was testament to the overland route’s place in the Victorian popular imagination, particularly situating the steamship line in relation to Britain’s global empire. While the Overland Mail panorama presented an aesthetic mode of engaging with the geographies of global space that had been made possible by P&O’s introduction of steam to colonial shipping, it also fed back into passengers’ experiences of the overland route itself. The mechanical form of vision facilitated by the panorama not only offered passengers a means of representing their experience of steamship travel, but also, I argue, presented a Western mode of viewing the Eastern landscape in which representation came to precede reality – travellers reported that the Eastern landscape viewed from the steamer resembled the panorama, rather than the other way round. Furthermore, passenger descriptions of these landscapes compare favourably with their accounts of disembarking and experiencing the imperial world first-hand, an experience often met with disappointment. This phenomenon supports the notion that the steamship offered Western travellers a means for viewing the Eastern landscape in a way that they found comprehensible.

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Imperial steam

Modernity on the sea route to India, 1837–74

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