Souvenir Album with Views of Naples, Southern Italy, and Sicily 1848

Editor: We're looking at "Souvenir Album with Views of Naples, Southern Italy, and Sicily," created around 1848 by Antonio Senape. It seems to be a collection of prints and drawings on paper. It strikes me as a glimpse into the travel industry and how people documented their journeys back then. What are your thoughts on it? Curator: I find the album itself fascinating. Think about the materiality of it: the paper, the etching inks, the binding. Each element represents a specific industry, a certain level of craftsmanship, and, of course, a particular price point. These albums weren’t for everyone. Consider the labour involved in creating these images. How do you think it reflects the society that consumed it? Editor: That's a good point, it wasn’t a quick snapshot. The detailed etchings and drawings required skilled artisans. How does its purpose as a souvenir influence your materialist reading? Curator: Absolutely. A souvenir isn't just an object; it's a commodity embodying memory and experience. This album becomes a physical manifestation of the Grand Tour, reflecting both the wealth and leisure time needed to undertake such a journey. And also, how the landscape of Southern Italy and Sicily are becoming objects of consumption. Were the local economies shaped in some way to feed the market of wealthy visitors? Editor: So, it's not just art, but also an artifact of cultural and economic exchange? The creation of those romantic landscape is inherently tied to industrial context. Curator: Precisely. By examining the materials and production of this album, we uncover layers of social and economic history embedded within its pages. Editor: This album then invites us to question not only what is represented, but how it was made and for whom. I’ll look at souvenirs differently from now on.