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Barouche
Barouche
Barouche
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Barouche in Livrustkammaren, Stockholm, Sweden

A barouche is a large, open, four-wheeled carriage, both heavy and luxurious, drawn by two horses. It was fashionable throughout the 19th century. Its body provides seats for four passengers, two back-seat passengers vis-à-vis (face-to-face) two behind the coachman's high box-seat. A leather roof can be raised to give back-seat passengers some protection from the weather.

Etymology

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Barouche is an anglicisation of the German word barutsche, via the Italian baroccio or biroccio and ultimately from the Latin birotus, "two-wheeled". The name thus became a misnomer, as the later form of the carriage had four wheels.

Development and variations

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Detail of door and seats

The barouche was based on an earlier style of carriage, the calash or calèche: this was a light carriage with small wheels, inside seats for four passengers, a separate driver's seat and a folding top.[1] A folding calash top was a feature of two other types: the chaise, a two-wheeled carriage for one or two persons, a body hung on leather straps or thorough-braces, usually drawn by one horse; and a victoria, a low four-wheeled pleasure carriage for two with a raised seat in front for the driver. [citation needed] A victoria is distinguished from a barouche by having fold-down occasional seating for the rear-facing passengers, instead of permanent seats in that position.

Description of the barouche carriage

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President Lincoln's barouche

A barouche was an expensive four-wheeled, shallow vehicle used in the 19th century with two double seats inside, arranged vis-à-vis, so that the sitters on the front seat face those on the back seat. It has a soft collapsible half-hood folding like a bellows over the back seat and a high outside box seat in front for the driver. The entire carriage is suspended on C springs and leather straps and more recently additional elliptical springs.

Royal barouche in London, 2009

It is drawn by a pair of horses and was used in the 19th century for display and summer leisure driving. Designed to give a powerful impression of luxury and elegance, the structure of the carriage is heavier than it looks because of the lack of a rigid roof structure.[2]

A light barouche was a barouchet or barouchette. A barouche-sociable was described as a cross between a barouche and a victoria.

A barouche-landau is mentioned in Emma, published in 1816 by Jane Austen. It "combines the best features of a barouche and a landau". An illustration of the expensive and more rarely seen vehicle, on account of the expense, is shown in a paper by Ed Ratcliffe, citing editor R. W. Chapman's collection of the works of Jane Austen, in the volume Minor Works, as noted in Ratcliffe's sources.[2]

In literature

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In the novels by Jane Austen, "Lady Dalrymple, Mr. and Mrs. Palmer, and Henry Crawford owned barouches" in which other characters rode, and Jane Austen herself on at least one occasion in 1813 rode in a barouche.[2] Henry Crawford was a character in Mansfield Park and his barouche was the topic of two important scenes of the novel; Lady Dalrymple was in Persuasion, while Mr and Mrs Palmer were characters in Sense and Sensibility. Additionally, Lady Catherine de Bourgh mentions taking Elizabeth to town in her Barouche box "Pride and Prejudice"

Barouche driving is mentioned as a fashionable pastime in Nice, Italy, in chapter 37 of Little Women by Louisa May Alcott.

Chichikov, the main character of Nikolai Gogol's "Dead Souls", is frequently driven around in his own barouche by his servant Selifan and is also involved in a crash with another carriage.

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  • Sweden's Gala Barouche No. 3 showing the top folded down and two footmen behind the passengers [3]
    Sweden's Gala Barouche No. 3 showing the top folded down and two footmen behind the passengers [3]
  • Show the forward seat and lack of underperch in this barouche
    Show the forward seat and lack of underperch in this barouche

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Barouche

View on Grokipedia
from Grokipedia
A barouche is a large, open, four-wheeled of luxurious design, typically drawn by four horses and featuring a folding hood that covers only the rear , allowing passengers to face each other while providing an elegant for social display and pleasure drives among the 19th-century elite. Originating in around the late , where it was initially known as a "German ," the barouche evolved from heavier coaches into lighter, more refined carriages by the mid-19th century, reflecting the shift toward after the rise of railways. The term "barouche" derives from the dialectal German Barutsche, borrowed from Italian baroccio (meaning "chariot"), which traces back to the Late Latin birotium and ultimately to Latin birotus ("two-wheeled"), an etymological nod to earlier vehicle forms despite the barouche's four wheels. Key design elements include a shallow, curved body with C-springs for smooth riding, an elevated at the front, and optional rumble seats for footmen, often upholstered in fine or cloth and painted in elaborate liveries to signify status. These carriages were built by renowned makers such as London's Barker & Co. or New York's , emphasizing craftsmanship with features like iron-shod wheels, drag shoes on the pole for hill control, and protective guards. Barouches gained prominence in and America for their versatility in fine weather, serving as symbols of wealth in aristocratic circles and later adopted by public figures for ceremonial purposes. Notable examples include the 1864 barouche presented to U.S. President , which was elegantly lacquered, mounted on six springs, and infamously carried him to on the night of his assassination in 1865; this vehicle, drawn by a pair of horses, now resides in the National Museum's presidential collection. Another is the circa-1860 Barker barouche owned by the 5th Marquis of Lansdowne, used during King Edward VII's 1907 visit to , highlighting the carriage's enduring role in royal and elite pageantry until the automobile's rise diminished its use by the early .

Etymology and Origins

Etymology

The term "barouche" is an anglicization of the dialectal German "Barutsche," borrowed from the Italian "baroccio" (also spelled "biroccio"), which in turn derives from the "*birotium," a form of "birotus," meaning "two-wheeled" or "having two wheels." This root combines the prefix "bi-" (indicating "two") with "rotus," from "rota" meaning "wheel." Despite its etymological association with two-wheeled vehicles, the word evolved to denote a four-wheeled by the , reflecting a linguistic shift that decoupled the term from its original literal meaning. The term entered European usage via German-speaking regions in the early , with its first recorded appearance in English dated to 1801 in a diary entry, as documented in the .

Historical Origins

The barouche emerged in the mid-18th century in as an evolution from earlier s such as the two-wheeled gig, introduced to in 1672, and the four-wheeled calash, a light with a folding hood that drew from Hungarian models imported to during the period. The calash itself represented an advancement in design, featuring small wheels and an inside which could accommodate four passengers, influencing subsequent open carriages across . It derived from the landau, retaining the four-seater arrangement but with a single folding hood over the rear seat only, unlike the landau's dual hoods. Initial adoption among the European aristocracy emphasized and display, with the barouche serving as a luxurious vehicle for social outings in courtly settings. By the mid-18th century, it had spread to Britain, where lighter and more refined versions were developed from the heavier German originals. Key early milestones include adoption in German regions during the mid-18th century, where the design's folding hood and open gained favor for ceremonial processions, influencing French adaptations later in the century and English imports by around 1760.

Design and Construction

Physical Description

The barouche is a four-wheeled, horse-drawn characterized by its large, open body, which emphasizes luxury and exposure to the elements for leisurely travel. Drawn by two or four horses depending on the specific model and intended use, it features a shallow, low-slung often described as canoe-shaped for enhanced stability on varied terrain. The overall form includes a collapsible hood over the rear seat, providing partial shelter while maintaining an airy, elegant profile. Seating within the barouche is arranged vis-à-vis, with two double benches facing each other to accommodate four passengers comfortably, fostering social interaction during rides. The front features an elevated box-seat for , positioned high above the body for and , sometimes accompanied by a for footmen. This configuration underscores the carriage's role as a prestigious for outings, with the open design derived briefly from calash-style predecessors in its early European development. Aesthetically, the barouche boasts a heavy build of painted wood reinforced with iron-shod wheels and steel elements, with dimensions varying by example but typically around 190-240 cm in height, 370-390 cm in length, and 170-200 cm in width to convey substantial presence. Ornate paneling, lacquered exteriors, and vibrant color schemes—such as bodies with red linings, dark brown with black accents, or custom liveries in yellow and black—highlight its decorative intent, often accented by gold mountings on lamps and handles, elaborate silver door fittings, and family crests. Interiors feature fine or cloth , blue fabric linings, and dress guards, all contributing to a refined, display-focused appearance.

Key Features and Mechanisms

The barouche incorporated a collapsible hood, referred to as a calash top, positioned over the rear seating area to offer passengers protection from inclement while enabling open-air excursions when desired. This mechanism utilized a folding frame, often with an additional extensible section that served as a sunshade, allowing the top to be raised or lowered manually with relative ease. Central to the barouche's engineering was its suspension system, which combined C-shaped steel springs—curved to distribute weight evenly—with braces or straps that connected the body to the undercarriage. These elements worked in to mitigate jolts from rough terrain, providing a notably smooth and stable ride compared to earlier rigid designs. For propulsion and control, the barouche employed a pole-and-breeching harness system, where a central pole extended forward to attach to the horse team (typically two or four horses, with postilions for four-horse teams), and the breeching—a wide strap around the horses' hindquarters—enabled them to slow or stop the heavy vehicle by transferring braking force. Additional features included drag shoes on the pole for controlling descent on hills and dress guards for protection. Additionally, an optional at the rear accommodated a , who could operate auxiliary controls such as a on inclines. These mechanisms contributed to the barouche's reputation as a luxurious conveyance suited for 19th-century aristocratic outings.

Variations and Evolution

Major Variants

The barouchet emerged as a lighter and more compact adaptation of the traditional barouche, designed specifically for two passengers to enhance portability and ease of use in urban or leisurely settings. This variant retained the core four-wheeled structure and folding top mechanism but featured simplified construction with reduced weight, making it suitable for a single pair of horses and popular among the upper classes in the early 19th century for shorter excursions. Its design addressed the standard barouche's bulkiness by streamlining the body and hood, prioritizing elegance over capacity while maintaining the open-air appeal for summer drives. The barouche-sociable represented a hybrid evolution, incorporating victoria-style seating arrangements to accommodate four passengers in a semi-enclosed format that balanced openness with increased protection. Built around the early to mid-19th century, this variant featured two rows of facing seats similar to the sociable coach, with an extension top and detached coachman's seat, allowing for greater versatility in group travel while preserving the barouche's luxurious lines. Exemplified in American examples like the Wood Brothers carriage from circa 1860, used by prominent families for formal occasions, it offered a more sociable and weather-resistant alternative to the open barouche. The barouche-landau combined elements of the barouche and landau, typically featuring a single folding hood over the rear seat for partial weather protection, though descriptions vary and it was not a popular innovation. This four-wheeled, four-passenger design, with its long, shallow curved body, was noted for fair-weather suitability and enhanced elegance. Famously referenced in Jane Austen's Emma (1816), where the Sucklings' barouche-landau symbolizes social status and controlled mobility in Highbury society, it highlighted the variant's role in Regency-era displays of affluence.

Influence on Later Designs

The barouche's innovative folding top and open seating configuration directly influenced subsequent carriage designs, particularly the victoria, a lighter open-top vehicle that emerged as a successor in the mid-19th century. Named after and popularized by her own model in , the victoria adapted the barouche's adaptable hood for enhanced weather protection while reducing weight for single-horse operation, making it suitable for urban outings. The barouche shared folding mechanisms with earlier designs like the chaise, where lighter two-wheeled structures incorporated collapsible tops to improve portability and comfort for shorter journeys. In the broader evolution of horse-drawn vehicles, the barouche exemplified luxurious open carriages that defined Victorian-era travel, emphasizing elegance through features like steel-spring suspension and high-slung bodies. However, its substantial weight—often exceeding 1,000 pounds—and demands for frequent maintenance rendered it less practical compared to emerging alternatives, contributing to its decline by the late 19th century in favor of enclosed broughams, which offered better protection with compact, single-horse efficiency. The rise of automobiles around 1900–1910 sealed its obsolescence, as motorized transport provided unmatched speed and reliability, supplanting even the most opulent horse-drawn options among the elite. The barouche's legacy endures in modern replicas crafted for ceremonial and educational purposes, such as parades, exhibitions, and historical reenactments, where they evoke 19th-century grandeur without serving practical roles after the . Institutions like the Remington Carriage Museum preserve original examples and reproductions, highlighting the barouche's role in transportation history.

Use and Cultural Impact

Historical Usage

The barouche reached its peak popularity during the as a fashionable vehicle for aristocratic leisure drives, processions, and urban travel across and America. Originating from German designs introduced to Britain around 1800, it became a symbol of elegance and social display, particularly in summer outings through parks and city streets, where its open structure allowed passengers to be seen while accommodating four inside with a driver's seat up front. In America, it was similarly favored by the for formal events and daily conveyance, underscoring its role in projecting wealth and status through refined, lightweight construction suited for show rather than long-distance travel. Notable manufacturers and examples highlight the barouche's prominence in elite circles. Brewster & Co., established in , in 1810 with a New York showroom opening in 1827, emerged as a leading 19th-century American producer, crafting high-quality barouches for prominent clients like and , with designs emphasizing superior finish and innovation that earned international acclaim, including the Legion d’Honneur at the 1878 Paris Exposition. Royal stables also featured exemplary barouches; in Britain, the style was adopted early in the century for ceremonial use, with surviving examples in the Royal Mews reflecting their integration into aristocratic processions. Similarly, Sweden's Royal Stables preserved gala barouches from around 1850, built by Hamburg's Croissant & Lauenstein, which served in state events and jubilees, exemplifying the vehicle's enduring prestige in European courts. A prominent American instance was President Abraham Lincoln's barouche, presented to him in 1864 by a group of his supporters and built by Wood Brothers of New York, used throughout his presidency (1861–1865) for official travels, including between the and Soldiers’ Home, as well as his final procession to Ford’s Theatre on April 14, 1865. The barouche's decline began in the late with the rise of railways, which rendered heavier traveling carriages obsolete and shifted its role to leisure-only use in urban parks. By the early 20th century, automobiles accelerated its phase-out, supplanting horse-drawn vehicles for practical transport; while ceremonial and rural applications lingered until around 1910–1920, the barouche largely vanished from everyday society as motorized options offered greater convenience and speed. The barouche frequently appears in 19th-century literature as a symbol of social status and elegance among the upper classes. In Jane Austen's novels, it represents affluence and refinement, often associated with aristocratic women and their outings. For instance, in Pride and Prejudice (1813), the barouche is mentioned in Chapter 37 when Lady Catherine de Bourgh offers its use to convey Elizabeth Bennet and Maria Lucas back to London, underscoring her wealth and condescension. Similarly, in Mansfield Park (1814), Henry Crawford arrives in a barouche, highlighting his charm and wealth amid the social dynamics of the Bertram family. In Emma (1815), the barouche-landau variant is evoked as an ideal for leisurely drives, aligning with the novel's themes of matchmaking and gentrified leisure. Austen's deliberate use of the barouche as a "stately, expensive carriage for the wealthy" reinforces class distinctions and the aspirations of her characters. Beyond Austen, the barouche features in American and to depict familial and life. In , the barouche embodies Regency-era luxury, appearing in paintings that capture aristocratic promenades. French artist Horace Vernet's Barouche and Four (circa 1820s) depicts a lavish barouche drawn by four horses, illustrating its role in fashionable park drives and social display during the early . Such representations in period illustrations and aquatints further cement its iconic status in depictions of elite leisure. The barouche recurs in film adaptations of 19th-century works, enhancing scenes of romance and hierarchy in historical dramas. Adaptations of Austen's novels, such as the 2005 Pride & Prejudice directed by , incorporate barouches to visualize the era's opulent transport and underscore character statuses during key travels and assemblies. It appears in other period films like those based on Regency tales, where it signifies refined and social maneuvering. In contemporary contexts, the barouche endures as a cultural icon in museum exhibits, such as the Hayes barouche-landau at the Presidential Center, showcased for its craftsmanship and historical prestige in 19th-century aristocratic life.

References

  1. https://www.nationaltrustcollections.org.uk/object/272935.1
  2. https://www.etymonline.com/word/barouche
  3. https://americanhistory.si.edu/explore/exhibitions/lincolns-carriage
  4. https://www.whitehousehistory.org/photos/president-lincolns-barouche
  5. https://www.dictionary.com/browse/barouche
  6. https://www.wordreference.com/definition/barouche
  7. https://www.oed.com/dictionary/barouche_n
  8. https://www.merriam-webster.com/dictionary/barouche
  9. http://www.staffordshirecarriages.org.uk/barouche/
  10. https://www.gutenberg.org/files/46216/46216-h/46216-h.htm
  11. https://www.nationaltrust.org.uk/visit/devon/arlington-court-and-the-national-trust-carriage-museum/a-timeline-of-carriages-at-the-national-trust-carriage-museum
  12. https://collection.powerhouse.com.au/object/207923
  13. https://www.survivorlibrary.com/library/the_coach-makers_illustrated_hand-book_1875.pdf
  14. https://www.thecarriagefoundation.org.uk/item/barouche
  15. https://www.gutenberg.org/files/49194/49194-h/49194-h.htm
  16. https://susannaives.com/wordpress/2015/11/whats-your-ride-carriages-in-1828/
  17. https://www.scribd.com/document/29222512/Stage-Coach
  18. https://gahistoricnewspapers.galileo.usg.edu/lccn/sn82015137/1878-04-15/ed-1/seq-6/
  19. https://sewardhouse.org/collections/explore/jewelry-personal-accessories/wood-brothers-carriage
  20. https://jasna.org/publications-2/persuasions-online/volume-40-no-1/ewing/
  21. https://trainsandtoysoldiers.com/blog/the-history-of-the-horse-carriage/
  22. https://www.metmuseum.org/art/collection/search/379573
  23. https://royalcentral.co.uk/features/ascot-landaus-and-barouches-the-significance-of-the-carriages-used-at-trooping-the-colour-211298/
  24. https://www.kungligaslotten.se/english/royal-palaces-and-sites/the-royal-stables/carriages.html
  25. https://www.si.edu/object/lincolns-carriage:nmah_1358353
  26. https://eastoncourier.news/2021/05/22/the-long-winding-road-the-transition-from-the-horse-buggy-to-the-automobile/
  27. https://www.gutenberg.org/files/1342/1342-h/1342-h.htm
  28. https://www.gutenberg.org/files/141/141-h/141-h.htm
  29. https://www.gutenberg.org/files/158/158-h/158-h.htm
  30. http://lesleyannemcleod.blogspot.com/2017/09/the-four-horse-clubaka-four-in-hand.html
  31. https://www.oldbookillustrations.com/illustrations/swan-neck-barouche/
  32. https://www.imdb.com/title/tt0414387/
  33. https://artsandculture.google.com/asset/hayes-barouche-landau-carriage-brewster/OQHtLI2hKXuJdQ?hl=en
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