Take a look at The Tribuna of the Uffizi by Johan Zoffany. What do you see?A group of Georgian Grand Tourist poseurs.  But one figure, towers above the rest, stands apart, on the far right of the painting. It is James Bruce of Kinneard, the real Indiana Jones.

James Bruce is introduced in this blog, and in the accompanying short podcast  by our producer, Antonia Dalivalle.  Antonia explores the story of Bruce's travels in Abyssinia/Ethiopia in her  longer podcast The Real Indiana Jones - coming soon. 

In the left-hand corner of the painting, a jumble of valuable artefacts - including a distressed looking lion sculpture – are strewn across the floor. The connoisseurs are crowded into a chapel-like space, the Tribuna in Florence’s Uffizi Gallery. This was a ‘Holy of Holies’ – a ‘Hollywood Walk of Fame’ – of treasured European antiquities and artworks.

They were on an eighteenth-century equivalent of the ‘Gap Year’. They weren’t findingthemselves – but rather, the roots of European culture, through art, literature and archaeology.

Between coffee breaks at Rome’s Caffè degli Inglesi, the go-to-place for Brits abroad,members of the landed gentry would draw classical antiquities and attempt to elevate their minds.Zoffany’s painting was designed to be a ‘conversation piece’. And it achieved its aim. In November 1779, Horace Walpole sent a letter to Sir Horace Mann, sneering that the piece is ‘crowded with a flock of travelling boys, and one does not know or care whom’. Bit awkward, considering Horace Mann himself is in the painting.The son of Robert Walpole (the first Prime Minister of Britain) Horace himself had sashayed through Europe on a Grand – or rather, Grandiloquent - Tour. Instead of following the pack of milordi around the to-do list of Florentine sights, Horace enjoyed balmy evenings on the Ponte Vecchio bridge in his wide-brimmed straw hat and linen nightie, recounting a list of all the sights he couldn’t be bothered to go and see.

Back to the Tribuna. On the right, a small gathering of Grand Tourists admire the voluptuous posterior of the Venus de’ Medici. One of them goes in for a closer look with his magnifying glass. One figure, towering above the rest, stands apart. In the midst of the swaggering, sniggering gaggle of Grand Tourists, he almost escapes our notice. He’s at the margin of the painting, and seemingly an outsider, but he’s an essential compositional device. He’s one of only three participants in this painting who meet our gaze directly. The ruddy face of Zoffany peeps at us from behind the Niccolini Madonna and Titian’s sassy Venus of Urbino gives us the eye. Is Zoffany trying to tell us something, trying to mark this person out from the others? Who was he? Zoffany thought he was a ‘great man – the wonder of his age’.2 He hadpresence. A six-foot four, red-headed Scottish laird, with a loud, booming voice. Despite his raging tempers, he was empathetic and charismatic. His name was James Bruce of Kinnaird.

In 1774, he was in Florence, having just been on a diversion in his Grand Tour. It was a very long and unusual diversion. He went to ‘Abyssiniah’ on his Gap Year.James Bruce of Kinnaird was the real Indiana Jones. On his black horse Mizra, Persian for ‘scholar’, he visited the ancient city believed to be the Queen of Sheba’s hometown and dwelling-place of the Ark of the Covenant, the Holy of Holies. But Bruce was no interloper. He stayed in Abyssinia, today known as Ethiopia, for three years, from 1769 to 1772.  He would become a familiar of the Abyssinian royal court. Appointed Lord of the Bedchamber to the Emperor, he would gain unique insights into the country’s royal and political history.

He became friends with the Machiavellian Governor of Tigray and fell in love with his wife,Ozoro Esther, a beautiful and brutal princess. When he left Abyssinia, she threw a lavish party for him. They dined on honey and hunted buffalo.