Grand Tour

The interior of the Pantheon in the 18th century, painted by Giovanni Paolo Panini

The Grand Tour was the traditional travel of Europe undertaken by mainly upper-class European young men of means. The custom flourished from about 1660 until the advent of large-scale rail transit in the 1840s, and was associated with a standard itinerary. It served as an educational rite of passage. Though primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of Protestant Northern European nations on the Continent, and from the second half of the 18th century some American and other overseas youth joined in. The tradition was extended to include more of the middle class after rail and steamship travel made the journey less of a burden, and Thomas Cook made the "Cook's Tour" a byword.

Recently The New York Times described the Grand Tour in this way:

Three hundred years ago, wealthy young Englishmen began taking a post-Oxbridge trek through France and Italy in search of art, culture and the roots of Western civilization. With nearly unlimited funds, aristocratic connections and months (or years) to roam, they commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.^[1]

The primary value of the Grand Tour, it was believed, lay in the exposure both to the cultural legacy of classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A grand tour could last from several months to several years. It was commonly undertaken in the company of a knowledgeable guide or tutor. The Grand Tour had more than superficial cultural importance; as E.P. Thompson stated, "ruling-class control in the 18th century was located primarily in a cultural hegemony, and only secondarily in an expression of economic or physical (military) power."^[2]

The Grand Tourist, like Francis Basset, would become familiar with Antiquities, though this altar is the invention of the painter Pompeo Batoni, 1778.

In essence the Grand Tour was neither a scholar's pilgrimage nor a religious one^[3], though a pleasurable stay in Venice and a cautious residence in Rome were essential. Catholic Grand Tourists followed the same routes as Protestant Whigs. Since the 17th century a tour to such places was also considered essential for budding young artists to understand proper painting and sculpture techniques, though the trappings of the Grand Tour— valets and coachmen, perhaps a cook, certainly a "bear-leader" or scholarly guide— were beyond their reach. The advent of popular guides, such as the Richardsons', did much to popularize such trips, and following the artists themselves, the elite considered travel to such centres as necessary rites of passage. For gentlemen, some works of art were essential to demonstrate the breadth and polish they had received from their tour: in Rome antiquaries like Thomas Jenkins provided access to private collections of antiquities, among which enough proved to be for sale that the English market raised the price of such things, as well as for coins and medals, which formed more portable souvenirs and a respected gentleman's guide to ancient history.Pompeo Batoni made a career of painting English milordi posed with graceful ease among Roman antiquities. Many continued on to Naples, where they viewed Herculaneum and Pompeii, but few ventured far into southern Italy and fewer still to Greece, still under Turkish rule.

History

In Britain, Thomas Coryat's travel book Coryat's Crudities (1611), published during the Twelve Years' Truce, was an early influence on the Grand Tour but it was the far more extensive tour through Italy as far as Naples undertaken by the 'Collector' Earl of Arundel, together with his wife and children in 1613-14 that established the most significant precedent. This is partly because he asked Inigo Jones, not yet established as an architect but already known as a 'great traveller' and masque designer, to act as his cicerone (guide).^[4]. Larger numbers of tourists began their tours after the Peace of Münster in 1648. According to the Oxford English Dictionary, the first recorded use of the term (perhaps its introduction to English) was by Richard Lassels (c. 1603–1668), an expatriate Roman Catholic priest, in his book The Voyage of Italy, which was published posthumously in Paris in 1670 and then in London.^[5] Lassels's introduction listed four areas in which travel furnished "an accomplished, consummate Traveller": the intellectual, the social, the ethical (by the opportunity of drawing moral instruction from all the traveller saw), and the political.

The idea of traveling for the sake of curiosity and learning was a developing idea in the 17th century. With John Locke's Essay Concerning Human Understanding (1690) it was argued, and widely accepted, that knowledge comes entirely from the external senses, that what one knows comes from the physical stimuli to which one has been exposed, thus, one could "use up" the environment, taking from it all it offers, requiring a change of place. Travel, therefore, was necessary for one to develop the mind and expand knowledge of the world. As a young man at the outset of his account of a repeat Grand Tour the historian Edward Gibbon remarked that "According to the law of custom, and perhaps of reason, foreign travel completes the education of an English gentleman." Consciously adapted for intellectual self-improvement, Gibbon was "revisiting the Continent on a larger and more liberal plan"; most Grand Tourists did not pause more than briefly in libraries. On the eve of the Romantic era he played a significant part in introducing, William Beckford wrote a vivid account of his Grand Tour that made Gibbon's unadventurous Italian tour look distinctly conventional.^[6]

The typical 18th century sentiment was that of the studious observer traveling through foreign lands reporting his findings on human nature for those unfortunate enough to have stayed home. Recounting one's observations to society at large to increase its welfare was considered an obligation; the Grand Tour flourished in this mindset.^[7]

Northerners found the contrast between Roman ruins and modern peasants of the Roman Campagna an educational lesson in vanities (painting by Nicolaes Pietersz Berchem, 1661, Mauritshuis)

The Grand Tour not only provided a liberal education but allowed those who could afford it the opportunity to buy things otherwise unavailable at home, and it thus increased participants' prestige and standing. Grand Tourists would return with crates of art, books, pictures, sculpture, and items of culture, which would be displayed in libraries, cabinets, gardens, and drawing rooms, as well as the galleries built purposely for their display; The Grand Tour became a symbol of wealth and freedom. Artists who especially thrived on Grand Tourists included Carlo Maratti, who was first patronized by John Evelyn as early as 1645,^[8] Pompeo Batoni the portraitist, and the vedutisti such as Canaletto, Pannini and Guardi. The less well-off could return with an album of Piranesi etchings.

The "perhaps" in Gibbon's opening remark cast an ironic shadow over his resounding statement.^[9] Critics of the Grand Tour derided its lack of adventure. "The tour of Europe is a paltry thing", said one 18th century critic, "a tame, uniform, unvaried prospect".^[10] The Grand Tour was said to reinforce the old preconceptions and prejudices about national characteristics, as Jean Gailhard's Compleat Gentleman (1678) observes: "French courteous. Spanish lordly. Italian amorous. German clownish."^[10] The deep suspicion with which Tour was viewed at home in England, where it was feared that the very experiences that completed the British gentleman might well undo him, were epitomised in the sarcastic nativist view of the ostentatiously "well-travelled" maccaroni of the 1760s and 70s.

After the arrival of steam-powered transportation, around 1825, the Grand Tour custom continued, but it was of a qualitative difference—cheaper to undertake, safer, easier, open to anyone. During much of the 19th century, most educated young men of privilege undertook the Grand Tour. Germany and Switzerland came to be included in a more broadly defined circuit. Later, it became fashionable for young women as well; a trip to Italy, with a spinster aunt chaperon, was part of the upper-class woman's education, as in E.M. Forster's novel A Room with a View.

Travel itinerary

Robert Spencer, 2nd Earl of Sunderland (1640-1702), painted in classical dress in Rome by Carlo Maratti

The most common itinerary of the Grand Tour^[11] shifted across generation in the cities it embraced, but the tourist usually began in Dover, England and crossed the English Channel to Ostend,^[12] in Belgium, or Calais, or Le Havre in France. From there the tourist, usually accompanied by a tutor (known colloquially as a "bear-leader") and if wealthy enough a league of servants, could rent or acquire a coach (which could be resold in any city or disassembled and packed across the Alps, as in Giacomo Casanova's travels, who resold it on completion), or opt to make the trip by boat as far as the alps, either traveling over the Seine to Paris, or the Rhine to Basel.

Upon hiring a French-speaking guide,^[13] the tourist and his entourage would travel to Paris. There the traveler might undertake lessons in French, dancing, fencing, and riding. The appeal of Paris lay in the sophisticated language and manners of French high society, including courtly behavior and fashion. Ostensibly this served the purpose of preparing the young man for a leadership position at home, often in government or diplomacy.

From Paris he would typically go to urban Switzerland for a while, often to Geneva (the cradle of the Protestant Reformation) or Lausanne. ("Alpinism," or mountaineering, was a development of the 19th century.) From there the traveler would endure a difficult crossing over the Alps into northern Italy (such as at St. Bernard Pass), which included dismantling the carriage and luggage. If wealthy enough, he might be carried over the hard terrain by servants.

Once in Italy the tourist would visit Turin (and, less often, Milan), then might spend a few months in Florence, where there was a considerable Anglo-Italian society accessible to traveling Englishmen "of quality" and where the Tribuna of the Uffizi gallery brought together in one space the monuments of High Renaissance paintings and Roman sculptures that would inspire picture galleries dressed with antiquities at home, with side trips to Pisa, then move on to Padua,^[14] Bologna, and Venice. The British idea of Venice as the "locus of decadent Italianate allure" made it an epitome and cultural setpiece of the Grand Tour.^[15][16]

From Venice the traveler went to Rome to study the ruins of ancient Rome. Some travelers also visited Naples to study music, and (after the mid-18th century) to appreciate the recently-discovered archaeological sites of Herculaneum and Pompeii and perhaps for the adventurous thrilling ascent of Mount Vesuvius. Later in the period the more adventurous, especially if provided with a yacht, might attempt Sicily (the site of Greek ruins) or even Greece itself. But Naples or later Paestum further south was the usual terminus.

From here the traveler traversed the Alps heading north through to the German-speaking parts of Europe. The traveler might stop first in Innsbruck before visiting Berlin, Dresden, Vienna and Potsdam, with perhaps some study time at the universities in Munich or Heidelberg. From there travelers visited Holland and Flanders (with more gallery-going and art appreciation) before returning across the Channel to England.

Published accounts

William Beckford's Grand Tour through Europe shown in red.

Published (and often polished) accounts of personal experiences on the Grand Tour provide illuminating detail and a first-hand perspective of the experience. Of some accounts offered in their own lifetimes, Jeremy Black^[17] detects the element of literary artifice in these and cautions that they should be approached as travel literature rather than unvarnished accounts. He lists as examples Joseph Addison, John Andrews,^[18] William Thomas Beckford, whose Dreams, Waking Thoughts, and Incidents was a published account of his letters back home in 1780, embellished with stream-of-consciousness associations, William Coxe,^[19] Elizabeth Craven,^[20] John Moore, tutor to successive dukes of Hamilton,^[21] Samuel Jackson Pratt, Tobias Smollett, Philip Thicknesse,^[22] and Arthur Young.

The Grand Tour on television

In 2009, the Grand Tour featured prominently in a PBS miniseries based on the novel Little Dorrit by Charles Dickens. Produced with masterful attention to detail, and in sumptuous settings, mainly Venice, it faithfully portrayed the Grand Tour as an essential ritual for entry to English high society.

Kevin McCloud presented Kevin McCloud's Grand Tour on Channel 4 during the late summer and early autumn of 2009. The four part series saw Kevin retrace the popular tour by British architects through the last four centuries.

In 2005, British art historian Brian Sewell followed in the footsteps of the Grand Tourist for a 10 part television series Brian Sewell's Grand Tour. Produced by UK's Channel Five, Sewell travelled across Italy by car stopping off in Rome, Florence, Vesuvius, Naples, Pompeii, Turin, Milan, Cremona, Siena, Bologna, Vicenza, Paestum, Urbino, Tivoli. His journey concluded in Venice at a masked ball.

In 1998, the BBC produced an art history series Sister Wendy's Grand Tour presented by Carmelite nun Sister Wendy. Ostensibly an art history series, the journey takes her from Madrid to St. Petersburg with stop offs to see the great masterpieces.

See also

• Tourism
• Pop-culture tourism
• Gap year
• Milord
• Study abroad
• European Tour

Notes

References

• Adam Matthews Digital: 'The Grand Tour'.
• Elizabeth Bohls and Ian Duncan, ed. (2005). Travel Writing 1700-1830 : An Anthology. Oxford University Press. ISBN 0-19-284051-7
• James Buzard (2002), "The Grand Tour and after (1660-1840)", in The Cambridge Companion to Travel Writing. ISBN 0-521-78140-X
• Paul Fussell (1987), "The Eighteenth Century and the Grand Tour", in The Norton Book of Travel, ISBN 0-393-02481-4
• Edward Chaney (1985), The Grand Tour and the Great Rebellion: Richard Lassels and 'The Voyage of Italy' in the seventeenth century(CIRVI, Geneva-Turin, 1985.
• Edward Chaney (2004), "Richard Lassels": entry in the Oxford Dictionary of National Biography.
• Edward Chaney, The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance (Frank Cass, London and Portland OR, 1998; revised edition, Routledge 2000). ISBN 0-7146-4474-9.
• Edward Chaney ed. (2003), The Evolution of English Collecting (Yale University Press, New Haven and London, 2003).
• Geoffrey Trease, The Grand Tour (Yale University Press) 1991.
• Andrew Witon and Maria Bignamini, Grand Tour: The Lure of Italy in the Eighteenth-Century.

External links

• The Grand Tour
• Grand Tour online at the Getty Museum
• "Grand Tour" an exhibition project of the Swedish artist Matts Leiderstam
• Voyagers and Voyeurs - Travellers in 19th century France, an anthology
• Contemporary Grand Tour in Italy, Pictures and quotes