Celebrated Women Travellers of the Nineteenth Century. Adams William Henry Davenport
long gaze on the haughty and sombre countenance of the baron. His rough, strongly-marked features were the very emblem of brutal strength, and she felt herself tremble all over in thinking of what his wife must have suffered in the first years of their union. Her unhappy past seemed almost justified by the hard ferocious countenance of such a husband. As for the baroness, there was about her portrait a significantly haggard air. "I carried her out," says Madame de Hell, "upon the balcony, where, overcome by her emotions, the influences of the place, and that yearning after sympathy which is so powerful in solitude, she opened her heart to me, and told me a simple but pathetic story of all that she had endured.
"The promise that I would hold sacred the confidences of that shattered heart compels me to leave my narrative imperfect. Two days later I embarked on board the steamer St. Nicholas, gazing with inexpressible regret at the shores of the Tauric peninsula as they gradually blended with the horizon, their broken outline melting finally into the mists of evening."
That Madame de Hell to a habit of close and profound observation, added very remarkable powers of description, will be apparent, we think, from the preceding summary, brief as it necessarily is, of her record of travel in the Caucasus and the Crimea.
MADAME HOMMAIRE DE HELL
Madame de Hell and her husband spent the winter of 1841 at Odessa. Thence, in the following year, they repaired to Moldavia – a country which was just beginning to revive from the barbarism and desolation in which the Turkish rule had so long condemned it to linger. Under the prudent and energetic management of the Aga Assaki, "The Moldavian Bee" and "The Gleaner" announced the resurrection of liberal thought and the patriotic sentiment in literary articles, nearly all signed by Moldavian names and written in the national language.
In the young Princess Morosi, the daughter of the Aga Assaki, afterwards married to Edgar Quinet, Madame de Hell learned to know and love a charming wit and a rare beautiful nature. She studied the French poets with assiduity, and her great ambition was to visit France, little thinking that she would one day become French by her marriage with the illustrious French writer.
In the Caucasian steppes our traveller's life had been singularly calm and serene; in Moldavia it was agitated and disturbed by mundane occupations, by official receptions, balls, concerts, dinners, the theatre, and the thousand and one responsibilities of social life. Worn and weary with the monotonous round of pretended pleasures, she frequently looked back with regret to the solitudes of the Caspian. Yet the event which delivered her from it was one that caused her a very keen anxiety. Her husband was attacked by one of the malarious fevers of the Danube, and in order to recover his health was compelled to throw up his engagement and return to France, after some years of almost constant travel and exploration.
On their arrival they were received with the welcome earned by their patience of investigation and strenuous pursuit of knowledge. While the young and already celebrated engineer was rewarded with the Cross of the Legion of Honour, his wife, who had shared his labours and his perils, and co-operated with him in the production of his fine work on the Steppes, was honoured with the special attention of M. Villemain, then Minister of State. Shortly after her return she gave to the world a volume of poetry, entitled "Reveries of a Traveller," a work strongly written, thoughtful, and emotional, which has never obtained the reputation it fully deserves.
In 1846 the two travellers departed on a second expedition to the East, which was cut short by the premature death of M. de Hell. His widow returned to Paris towards the close of 1848, so crushed beneath the calamity that had overthrown her household gods, that, as she has since acknowledged, she never slept without the hope that her sleep might know no waking in this world, but might prove the means of re-uniting her with her beloved husband. However, she was of too clear an intellect and too strong of heart not to recognize that the ties of duty bound her to this world; she had to bring up and educate her children, and to complete and publish the important works her husband had begun. While thus engaged, she contributed several articles on the East to the Presse and numerous other journals. In 1859 she published her own narrative of adventure and travel in the steppes of the Caucasus. Great political changes have occurred since Madame de Hell's visit to that region, which have profoundly affected the character of its people and their social polity; so that her account of it, as well as her account of the Crimea, must be read with the necessary allowances. These, however, will not detract from Madame de Hell's unquestioned merit as a close and exact observer, endowed with no ordinary faculty of polished and incisive expression, and a fine capacity for appreciating and describing the picturesque aspects of nature. She wields a skilful brush with force and freedom; her pictures are always accurate in composition and full of colour.
Her later years have shown no decay of her resolute and active spirit. She has accomplished a tour in Belgium, another in Italy, a visit to London, and several excursions into the South of France. In 1868 she proceeded to Martinique, where her eldest son had for some years been established. We believe she has published her West Indian experiences and impressions. But we have given up to Madame de Hell as much of our limited space as we can spare, and now take leave of her with the acknowledgment that among modern female travellers she deserves a high rank in virtue of her intelligence, her sympathies, and her keen sensibility to all that is beautiful and good.
MADAME LÉONIE D'AUNET
Among the crowd of lady travellers to whom this nineteenth century has given birth, the able and accomplished Frenchwoman, so widely known by her pseudonym of Madame Léonie d'Aunet, merits a passing allusion. Remove from her the mask she is pleased to assume before the public, and she stands revealed as Madame Biard, the wife of the great humoristic painter, whose "Sequel of a Masquerade," "Family Concert," "Combat with Polar Bears," and other pictures, are not less highly esteemed by English than by French connoisseurs. Born about 1820, she is twenty years younger than her husband, whom, in 1845, she accompanied in his excursion to Spitzbergen; an excursion which opened with, by way of prologue, a rapid tour through Belgium, Holland, Sweden, and Norway. Of the tour and the excursion she has published a brilliant narrative, which it is impossible to read without pleasure, so polished is the style, and so sharply defined are the descriptions. Her literary skill gives her an advantage over the great majority of female travellers, whose diaries and journals, from want of it, are often bald, colourless, and diffuse. On the other hand, she is deficient in sympathy; she judges rather with the intellect than with the heart, which is at least as necessary to the formation of a fair and intelligent opinion. Her mind, however, is so keen and so incisive, so prompt to seize the most curious facts, so apt in discovering characteristic details, that even when she speaks of places and peoples with whom we are all familiar, she compels us to listen, and irresistibly holds our attention. It has been said that in some respects her manner is that of the elder Dumas, but while she is more honest and less given to exaggeration she does not rise to the same literary standard. The famous author of "Anthony" is still first master in the art, more difficult than the world in general believes it to be, of recording the experiences of travel; he is a master in it, because he does not make the attempt, which must always be unsuccessful, of minutely recording every particular that comes under a traveller's notice, and because he is gifted beyond ordinary measure with the art and verve of the raconteur. Persons and situations he knows how to group in the most effective manner; incidents assume their most dramatic form; scenes are worked up so as to produce a definite impression on the reader's mind.
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