Matterhorn - History

History

Aegidius Tschudi, one of the earliest Alpine topographers and historians, was the first to mention the region around the Matterhorn in his work, De Prisca ac Vera Alpina Raethi, published in Basel in 1538. He approached the Matterhorn as a student when in his Alpine travels he reached the summit of the Theodul Pass but he does not seem to have paid any particular attention to the mountain itself.

The Matterhorn remained unstudied for more than two centuries, until a geologist from Geneva, Horace Benedict de Saussure, travelled to the mountain, which filled him with admiration. However de Saussure was not moved to climb the mountain, and had no hope of measuring its altitude by taking a barometer to its summit. "Its precipitous sides," he wrote, "which give no hold to the very snows, are such as to afford no means of access." Yet his scientific interest was kindled by "the proud peak which rises to so vast an altitude, like a triangular obelisk, that seems to be carved by a chisel." His mind intuitively grasped the causes which gave the peak its present precipitous form: the Matterhorn was not like a perfected crystal; the centuries had laboured to destroy a great part of an ancient and much larger mountain. On his first journey de Saussure had come from Ayas to the Col des Cimes Blanches, from where the Matterhorn first comes into view; descending to Breuil, he ascended to the Theodul Pass. On his second journey, in 1792, he came to the Valtournanche, studying and describing it; he ascended to the Theodul Pass, where he spent three days, analysing the structure of the Matterhorn, whose height he was the first to measure, and collecting stones, plants and insects. He made careful observations, from the sparse lichen that clung to the rocks to the tiny but vigorous glacier fly that fluttered over the snows and whose existence at such heights was mysterious. At night he took refuge under the tent erected near the ruins of an old fort at the top of the pass. During these days he climbed the Klein Matterhorn (3,883 metres), which he named the Cime Brune du Breithorn.

The first inquirers began to come to the Matterhorn. There is a record of a party of Englishmen who in the summer of 1800 crossed the Great St. Bernard Pass, a few months after the passage of Bonaparte; they came to Aosta and thence to Valtournanche, slept at the chalets of Breuil, and traversed the Theodul Pass, which they called Monte Rosa. The Matterhorn was to them an object of the most intense and continuous admiration.

The Matterhorn is mentioned in a guide-book to Switzerland by Johann Gottfried Ebel, which was published in Zürich towards the end of the eighteenth century, and translated in English in 1818. The mountain appeared in it under the three names of Silvius, Matterhorn, and Mont Cervin, and was briefly described as one of the most splendid and wonderful obelisks in the Alps. On Zermatt there was a note: "A place which may, perhaps, interest the tourist is the valley of Praborgne (Zermatt); it is bounded by huge glaciers which come right down into the valley; the village of Praborgne is fairly high, and stands at a great height above the glaciers; its climate is almost as warm as that of Italy, and plants belonging to hot countries are to be found there at considerable altitudes, above the ice."

William Brockedon, who came to the region in 1825, considered the crossing of the Theodul Pass from Breuil to Zermatt a difficult undertaking. He gave however, expression to his enthusiasm on the summit. When he arrived exhausted on the top of the pass, he gazed "on the beautiful pyramid of the Cervin, more wonderful than aught else in sight, rising from its bed of ice to a height of 5,000 feet, a spectacle of indescribable grandeur." In this "immense natural amphitheatre, enclosed from time immemorial by snow- clad mountains and glaciers ever white, in the presence of these grand walls the mind is overwhelmed, not indeed that it is unable to contemplate the scene, but it staggers under the immensity of those objects which it contemplates." Those who made their way up through the Valtournanche to the foot of the mountain were few in number. W. A. B. Coolidge, a diligent collector of old and new stories of the Alps, mentions that during those years, besides Brockedon, only Hirzel-Escher of Zürich, who crossed the Theodul Pass in 1822, starting from Breuil, accompanied by a local guide. The greater number came from the Valais up the Visp valley to Zermatt. In 1813, a Frenchman, Henri Maynard, climbed to the Theodul Pass and made the first ascent of the Breithorn; he was accompanied by numerous guides, among them J. M. Couttet of Chamonix, the same man who had gone with de Saussure to the top of the Klein Matterhorn in 1792. The writings of these pioneers make much mention of the Matterhorn; the bare and inert rock is gradually quickened into life by men's enthusiasm. "Stronger minds," remarked Edward Whymper, "felt the influence of the wonderful form, and men who ordinarily spoke or wrote like rational beings, when they came under its power seemed to quit their senses, and ranted and rhapsodised, losing for a time all common forms of speech."

Among the poets of the Matterhorn during these years (1834 to 1840) were Elie de Beaumont, a famous French geologist; Pierre Jean Édouard Desor, a naturalist of Neuchatel, who went up there with a party of friends, two of whom were Louis Agassiz and Bernhard Studer. Christian Moritz Engelhardt, who was so filled with admiration for Zermatt and its neighbourhood that he returned there at least ten times (from 1835 to 1855), described these places in two valuable volumes, drew panoramas and maps, and collected the most minute notes on the mineralogy and botany of the region. Zermatt was at that time a quiet little village, and travellers found hospitality at the parish priest's, or at the village doctor's.

In 1841 James David Forbes, professor of natural philosophy at the University of Edinburgh, came to see the Matterhorn. A philosopher and geologist, and an observant traveller, he continued the work of De Saussure in his journeys and his writings. He was full of admiration for the Matterhorn, calling it the most wonderful peak in the Alps, unsealed and unscalable. These words, pronounced by a man noted among all his contemporaries for his thorough knowledge of mountains, show what men's feelings then were towards the Matterhorn, and how at a time when the idea of Alpine exploration was gaining ground in their minds, the Matterhorn stood by itself as a mountain apart, of whose conquest it was vain even to dream. And such it remained till long after this; as such it was described by John Ball twenty years later in his celebrated guide-book. Forbes ascended the Theodul Pass in 1842, climbed the Breithorn, and came down to Breuil; as he descended from the savage scenery of the Matterhorn, the Italian landscapes of the Valtournanche seemed to him like paradise. Meanwhile Gottlieb Samuel Studer, the geographer, together with Melchior Ulrich, was describing and mapping the topographical features of the Zermatt peaks.

Rodolphe Töpffer, who first accompanied and guided youth to the Alps for purposes of education and amusement, began his journeys in 1832, but it is only in 1840 that he mentions the Matterhorn. Two years later Töpffer and his pupils came to Zermatt. He has described this journey of his in a chapter entitled Voyage autour du Mont Blanc jusqu'à Zermatt, here he sings a hymn of praise to the Matterhorn, comparing its form with a "huge crystal of a hundred facets, flashing varied hues, that softly reflects the light, unshaded, from the uttermost depths of the heavens". Töpffer's book was illustrated by Alexandre Calame, his master and friend, with drawings of the Matterhorn, executed in the romantic style of the period. It is an artificial mountain, a picture corresponding rather with the exaggerated effect it produces on the astonished mind of the artist, than with the real form of the mountain.

About this time there came a man who studied the Matterhorn in its structure and form, and who sketched it and described it in all its parts with the curiosity of the artist and the insight of the scientist. This was John Ruskin, a new and original type of philosopher and geologist, painter and poet, whom England was enabled to create during that period of radical intellectual reforms, which led the way for the highest development of her civilisation. Ruskin was the Matterhorn's poet par excellence. He went to Zermatt in 1844, and it is to be noticed as a curious fact, that the first time he saw the Matterhorn it did not please him. The mountain on its lofty pedestal in the very heart of the Alps was, perhaps, too far removed from the ideal he had formed of the mountains; but he returned, studied and dreamt for long at its feet, and at length he pronounced it "the most noble cliff in Europe." Ruskin was no mountaineer, nor a great friend to mountaineering; he drew sketches of the mountains merely as an illustration of his teaching of the beauty of natural forms, which was the object of his whole life. In his work on Modern Painters he makes continual use of the mountains as an example of beauty and an incentive to morality. The publication of Ruskin's work certainly produced a great impression at the time on educated people in England, and a wide spread desire to see the mountains.

It is a fragment of some size; a group of broken walls, one of them overhanging; crowned with a cornice, nodding some hundred and fifty feet over its massive flank, three thousand above its glacier base, and fourteen thousand above the sea, — a wall truly of some majesty, at once the most precipitous and the strongest mass in the whole chain of the Alps, the Mont Cervin.

Other men of high attainments followed, but in the years 1850 scientists and artists were about to be successed by real climbers and the passes and peaks around Zermatt were explored little by little. In the preface to the first volume of the Alpine Journal, which appeared in 1863, the editor, Mr. H. B. George, after remarking that nearly all the highest peaks in the Alps had by then been conquered, wrote the following words, which sounded an appeal to English climbers : " While even if all other objects of interest in Switzerland should be exhausted, the Matterhorn remains (who shall say for how long?) unconquered and apparently invincible."

The traditional inaccessibility of the Matterhorn was vanquished after an expedition led by Whymper successfully reached the summit in 1865. But it ended dramatically with four men perishing on the descent. The news of the catastrophe gave rise to a universal cry of horror. Of all Alpine disasters, not one, not even of those which had a larger number of victims, ever moved men's minds as this one did. The whole of Europe talked of it; the English papers discussed it with bitter words of blame; Italian papers invented a tale of a rock detaching itself from the summit, and sweeping the helpless victims to destruction, or of a hidden crevasse opening wide its terrible jaws to swallow them. A German newspaper published an article in which Whymper was accused of cutting the rope between Douglas and Taugwalder, at the critical moment, to save his own life.

In 1890 the Federal Government was asked simultaneously by the same contractor for a concession for the Zermatt-Gornergrat railway, and for a Zermatt-Matterhorn one. The Gornergrat railway was constructed, and has been working since 1899, but there has been no more talk of the other. The project essentially consisted of a line which went up to the Hörnli, and continued thence in a rectilinear tunnel about two kilometres long, built under the ridge, and issuing near the summit on the Zmutt side. Sixty years later in 1950, Italian engineer Count Dino Lora Totino planned a cable car on the Italian side from Breuil-Cervinia to the summit. But the Alpine Museum of Zermatt sent a protest letter with 90'000 signatures to the Italian government. The latter declared the Matterhorn a natural wonder worthy of protection and refused the concession to the engineer.

During the 20th century, the Matterhorn and the story of the first ascent in particular, inspired various artists and film producers such as Luis Trenker and Walt Disney.

Designed in 1908 by Emil Cardinaux, a leading poster artist of the time, the Matterhorn affiche for the Zermatt tourist office is often considered the first modern poster. It has been described as a striking example of marriage of tourism, patriotism and popular art. It served as decoration in many Swiss military hospices during the war in addition to be found in countless middle class living rooms. Since then, the Matterhorn has become a reference that still inspires graphic artists today and has been used extensively for all sort of publicity and advertising.