Grand Tour

For other uses, see Grand Tour (disambiguation).

The Grand Tour was the traditional trip of Europe un-

The Grand Tourist, like Francis Basset, would become familiar

with Antiquities, though this altar is the invention of the painter
Pompeo Batoni, 1778.

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

Giovanni Paolo Panini

dertaken by mainly upper-class European young men of

means, or those of more humble origin who could nd
culture and the roots of Western civilization.
a sponsor. The custom ourished from about 1660 unWith nearly unlimited funds, aristocratic
til the advent of large-scale rail transport in the 1840s,
connections and months (or years) to roam,
and was associated with a standard itinerary. It served as
they commissioned paintings, perfected their
an educational rite of passage. Though primarily assolanguage skills and mingled with the upper
ciated with the British nobility and wealthy landed gencrust of the Continent.
try, similar trips were made by wealthy young men of
Gross, Matt., Lessons From the Frugal
Protestant Northern European nations on Continental EuGrand Tour. New York Times 5 September
rope, and from the second half of the 18th century, by
2008.[1]
some South and North Americans. The tradition declined
with the lapse of neo-classical enthusiasm and after rail
and steamship travel made the journeys much easier when
The primary value of the Grand Tour, it was believed,
Thomas Cook made the Cooks Tour of early mass
lay in the exposure both to the cultural legacy of classical
tourism a byword.
antiquity and the Renaissance, and to the aristocratic and
The New York Times in 2008 described the Grand Tour fashionably polite society of the European continent. In
in this way:
addition, it provided the only opportunity to view specic works of art, and possibly the only chance to hear
Three hundred years ago, wealthy young
certain music. A Grand Tour could last from several
Englishmen began taking a post-Oxbridge
months to several years. It was commonly undertaken
trek through France and Italy in search of art,
in the company of a Cicerone, a knowledgeable guide or
1

HISTORY

tutor. The Grand Tour had more than supercial cultural mate Traveller": the intellectual, the social, the ethical
importance; as E. P. Thompson stated, ruling-class con- (by the opportunity of drawing moral instruction from all
trol in the 18th century was located primarily in a cultural the traveller saw), and the political.
hegemony, and only secondarily in an expression of economic or physical (military) power.[2]
In essence the Grand Tour was neither a scholars
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 gentlemans 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 or Malta, and fewer still to Greece, still Portrait of Douglas, 8th Duke of Hamilton, on his Grand Tour
with his physician Dr John Moore and the latters son John. A
under Turkish rule.
view of Geneva is in the distance where they stayed for two years.
Painted by Jean Preudhomme in 1774.

History

Rome for many centuries had been the goal of pilgrims,

especially during Jubilee when they visited the Seven Pilgrim Churches of Rome.

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 oers, 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 briey in libraries. On the eve of the Romantic
era he played a signicant part in introducing, William
Beckford wrote a vivid account of his Grand Tour that
made Gibbons unadventurous Italian tour look distinctly
conventional.[5]

In Britain, Thomas Coryat's travel book Coryats Crudities

(1611), published during the Twelve Years Truce, was
an early inuence 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 161314 that established the most
signicant 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 Mnster in 1648. According to the Oxford English Dictionary, the rst recorded
use of the term (perhaps its introduction to English) was
by Richard Lassels (c. 16031668), an expatriate Roman
Catholic priest, in his book The Voyage of Italy, which
was published posthumously in Paris in 1670 and then in
London.[lower-alpha 1] Lasselss introduction listed four areas in which travel furnished an accomplished, consum- The typical 18th-century sentiment was that of the stu-

3
dious observer traveling through foreign lands reporting his ndings on human nature for those unfortunate
enough to have stayed home. Recounting ones observations to society at large to increase its welfare was considered an obligation; the Grand Tour ourished in this
mindset.[6]
The Grand Tour not only provided a liberal education,
but allowed those who could aord 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 rst patronized by John Evelyn as
early as 1645,[7] Pompeo Batoni the portraitist, and the
vedutisti such as Canaletto, Pannini and Guardi. The less
well-o could return with an album of Piranesi etchings.
The perhaps in Gibbons opening remark cast an ironic
shadow over his resounding statement.[8] 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.[9] 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.[9] 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 1770s.

1825, the Grand Tour custom continued, but it was of

a qualitative dierence 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 dened circuit. Later, it became fashionable for young women as well; a trip to Italy,
with a spinster aunt as chaperon, was part of the upperclass womans education, as in E. M. Forster's novel A
Room with a View.
It is important to see the contribution of anthropology to
the study of the Grand Tour. An anthropologist, [Maximiliano E. Korstanje] argues that the Grand Tour emerged
in England and was rapidly adopted by other Northern
countries because its cultural roots came from Norse
Mythology. Among Indo-Arian mythologies, Norse culture is the only one where its major God, Odin/Wodan,
travels long distances to learn the customs and habits of
humans. The ruler of Asgaard was accustomed to undertake his adventures in the form of animals. In the
Ynlinga Saga, Odin/Wodan is described as an ongoing
wanderer whose hunger of adventure and risk has no limits. This legend tells us that Odin, who operated under
many disguises, used a false identity (Vegtam the wanderer) to defy the Giant trespassing through Jotunheim
(Jotunheimr). Once there, Odin drank from the well of
wisdom and was rushed to sacrice his own eye in order to know the meaning of sorrow. This founding event
symbolizes how pain is a necessary step to access unlimited knowledge, and this is the main value that the Grand
tour emulates.[10]

2 Typical Itinerary
The most common itinerary of the Grand Tour[11] shifted
across generations in the cities it embraced, but the
British tourist usually began in Dover, England and
crossed the English Channel to Ostend,[lower-alpha 2] in the
Netherlands/Belgium, or to 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 troop 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 travelling up the Seine
to Paris, or up the Rhine to Basel.

Upon hiring a French-speaking guide, as French was the

dominant language of the elite in Europe during the 17th
and 18th centuries, the tourist and his entourage would
Northerners found the contrast between Roman ruins and mod- travel to Paris. There the traveler might undertake lessons
ern peasants of the Roman Campagna an educational les- in French, dancing, fencing, and riding. The appeal of
son in vanities (painting by Nicolaes Pietersz Berchem, 1661, Paris lay in the sophisticated language and manners of
Mauritshuis)
French high society, including courtly behavior and fashion. This served the purpose of preparing the young man
After the arrival of steam-powered transportation, around for a leadership position at home, often in government or

4
diplomacy.

PUBLISHED ACCOUNTS

sance, and Baroque periods. Some travellers 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) an 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),
Malta[16] 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 rst in Innsbruck before visiting
Vienna, Dresden, Berlin and Potsdam, with perhaps some
study time at the universities in Munich or Heidelberg.
From there travellers visited Holland and Flanders (with
more gallery-going and art appreciation) before returning
across the Channel to England.

3 Published accounts

Robert Spencer, 2nd Earl of Sunderland (16401702), painted

in classical dress in Rome by Carlo Maratti

From Paris he would typically go to urban Switzerland

for a while, often to Geneva (the cradle of the
Protestant Reformation) or Lausanne.[12] (Alpinism or
mountaineering developed in the 19th century.) From
there the traveller would endure a dicult crossing over
the Alps into northern Italy (such as at the Great St
Bernard Pass), which included dismantling the carriage William Beckfords Grand Tour through Europe shown in red
and luggage.[12] If wealthy enough, he might be carried
Published (and often polished) personal accounts of the
over the hard terrain by servants.
Grand Tour provide illuminating detail and a rst-hand
Once in Italy, the tourist would visit Turin (and, less of- perspective of the experience. Examining some acten, Milan), then might spend a few months in Florence, counts oered by authors in their own lifetimes, Jeremy
where there was a considerable Anglo-Italian society ac- Black[17] detects the element of literary artice in these
cessible to traveling Englishmen of quality and where and cautions that they should be approached as travel
the Tribuna of the Uzi gallery brought together in one literature rather than unvarnished accounts. He lists as
space the monuments of High Renaissance paintings and examples Joseph Addison, John Andrews,[18] William
Roman sculptures that would inspire picture galleries Thomas Beckford, whose Dreams, Waking Thoughts, and
adorned with antiquities at home, with side trips to Pisa, Incidents was a published account of his letters back home
then move on to Padua,[13] Bologna, and Venice. The in 1780, embellished with stream-of-consciousness asBritish idea of Venice as the locus of decadent Italianate sociations, William Coxe,[19] Elizabeth Craven,[20] John
allure made it an epitome and cultural setpiece of the Moore, tutor to successive dukes of Hamilton,[21] Samuel
Grand Tour.[14][15]
Jackson Pratt, Tobias Smollett, Philip Thicknesse,[22] and
From Venice the traveler went to Rome to study the ruins Arthur Young. Lord Byron's letters to his mother with the
of ancient Rome, and the masterpieces of painting, sculp- accounts of his travels have also been published. Inventor
ture, and architecture of Romes Early Christian, Renais- Sir Francis Ronalds journals and sketches of his 1818-

5
20 tour to Europe and the Near East have been published 7 References
on the web.[23][24] The letters written by sisters Mary and
Ida Saxton of Canton, Ohio in 1869 while on a six-month
7.1 Notes
tour oer insight into the Grand Tour tradition from an
American perspective.[25]
[1] Gross, Matt (September 5, 2008). Lessons From the

On television

In 2009, the Grand Tour featured prominently in a

BBC/PBS miniseries based on Little Dorrit by Charles
Dickens. Set mainly in Venice, it portrayed the Grand
Tour as a rite of passage.
Kevin McCloud presented Kevin McClouds Grand Tour
on Channel 4 in 2009 with McCloud retracing the tours
of British architects.
In 2005, British art historian Brian Sewell followed in the
footsteps of the Grand Tourists for a 10 part television series Brian Sewells Grand Tour. Produced by UKs Channel Five, Sewell travelled by car and conned his attention
solely to Italy stopping in Rome, Florence, Naples, Pompeii, Turin, Milan, Cremona, Siena, Bologna, Vicenza,
Paestum, Urbino, Tivoli and concluding at a Venetian
masked ball.

Frugal Grand Tour. Frugal Traveler. New York Times.

Retrieved July 22, 2016.
[2] Thompson, The Making of the English Working Class
1991:43.
[3] "''Pilgrimages'". Newadvent.org. Retrieved 2012-07-20.
[4] E. Chaney, The Evolution of the Grand Tour, 2nd ed.
(2000) and idem, Inigo Joness Roman Sketchbook, 2
vols (2006)
[5] E. Chaney, Gibbon, Beckford and the Interpretation of
Dreams, Waking Thoughts and Incidents", The Beckford
Society Annual Lectures (London, 2004), pp. 2550.
[6] Paul Fussell (1987), p. 129.
[7] E. Chaney, The Evolution of English Collecting
[8] Noted by Redford 1996, Preface.
[9] Bohls & Duncan (2005)
[10] Korstanje, M. E. (2012). Examining the Norse mythology

In 1998, the BBC produced an art history series Sister

and the archetype of Odin: The inception of Grand Tour.
Wendys Grand Tour presented by Carmelite nun Sister
Turizam: znanstveno-struni asopis, 60(4), 369384.
Wendy. Ostensibly an art history series, the journey takes
her from Madrid to Saint Petersburg with stop os to see [11] See Fussell (1987), Buzard (2002), Bohls and Duncan
(2005)
the great masterpieces.

See also
Gap year
Hiking#History
Hippie trail
Landscape
Pilgrimage
Romanticism
Tourism
Walking tour

Footnotes

[1] Anthony Wood reported that the book was esteemed

the best and surest Guide or Tutor for young men of his
Time. see Edward Chaney, Richard Lassels, ODNB,
and idem, The Grand Tour and the Great Rebellion
(Geneva, 1985)
[2] Ostend was the initial starting point for William Beckford
on the continent.

[12] Towner, John. THE GRAND TOUR A Key Phase in the

History of Tourism (PDF). Annals of Tourism Research.
Vol. 12, pp. 297333. 1985. J. Jafari and Pergamon Press
Ltd. Retrieved 12 December 2012.
[13] The Registro dei viaggiatori inglesi in Italia, 16181765,
consists of 2038 autograph signatures of English and Scottish visitors, some of them scholars, to be sure. (J. Isaacs,
The Earl of Rochesters Grand Tour The Review of English Studies 3. 9 [January 1927:7576]).
[14] Redford, Bruce. Venice and the Grand Tour. Yale University Press: 1996.
[15] Eglin, John. Venice Transgured: The Myth of Venice in
British Culture, 16601797. Macmillan: 2001.
[16] Freller, Thomas (2009). Malta & The Grand Tour. Malta:
Midsea Books. ISBN 9789993272489.
[17] Black, Fragments from the Grand Tour The Huntington
Library Quarterly 53.4 (Autumn 1990:337341) p 338.
[18] Andrews, A Comparative View of the French and English
Nations in their Manners, Politics, and Literature, London,
1785.
[19] Coxe, Sketches of the Natural, Political and Civil State of
Switzerland London, 1779; Travels into Poland, Russia,
Sweden and Denmark London, 1784; Travels in Switzerland London, 1789. Coxes travels range far from the
Grand Tour pattern.

EXTERNAL LINKS

[20] Craven, A Journey through the Crimea to Constantinople

London 1789.

Georey Trease, The Grand Tour (Yale University

Press) 1991.

[21] Moore, A View of Society and Manners in Italy; with Anecdotes relating to some Eminent Characters London, 1781

Andrew Witon and Ilaria Bignamini, Grand Tour:

The Lure of Italy in the Eighteenth-Century, Tate
Gallery exhibition catalogue, 1997.

[22] Thicknesse, A Years Journey through France and Part of

Spain, London, 1777.
[23] Sir Francis Ronalds Grand Tour. Sir Francis Ronalds
and his Family. Retrieved 9 Apr 2016.

Clare Hornsby (ed.) The Impact of Italy: The

Grand Tour and Beyond, British School at Rome,
2000.

[24] Ronalds, B.F. (2016). Sir Francis Ronalds: Father of

the Electric Telegraph. London: Imperial College Press.
ISBN 978-1-78326-917-4.

Ilaria Bignamini and Clare Hornsby, Digging and

Dealing in Eighteenth Century Rome (Yale University Press, New Haven and London, 2010).

[25] Belden, Grand Tour of Ida Saxton McKinley and Sister

Mary Saxton Barber 1869 (Canton, Ohio) 1985.

Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome, eds. D. Marshall, K. Wolfe and S. Russell, British School at
Rome, 2011, pp. 14770.

7.2

General references

Elizabeth Bohls and Ian Duncan, ed. (2005). Travel

Writing 17001830 : An Anthology. Oxford University Press. ISBN 0-19-284051-7
James Buzard (2002), The Grand Tour and after (16601840)", 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

Henry S. Belden III, Grand Tour of Ida Saxton

McKinley and Sister Mary Saxton Barber 1869,
(Canton, Ohio) 1985.
Korstanje, M. E. (2012). Examining the Norse
mythology and the archetype of Odin: The inception of Grand Tour. Turizam: znanstveno-struni
asopis, 60(4), 369384.

8 External links

Edward Chaney (1985), The Grand Tour and the

Great Rebellion: Richard Lassels and 'The Voyage
of Italy' in the seventeenth century(CIRVI, GenevaTurin, 1985.

The Grand Tour page for English course taught at

the University of Michigan

Edward Chaney (2004), Richard Lassels": entry in

the Oxford Dictionary of National Biography.

In Our Time: The Grand Tour: Jeremy Black, Edward Chaney and Chloe Chard

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 0-71464474-9.
Edward Chaney ed. (2003), The Evolution of English Collecting (Yale University Press, New Haven
and London, 2003).
Edward Chaney and Timothy Wilks, The Jacobean
Grand Tour: Early Stuart Travellers in Europe (I.B.
Tauris, London, 2014). ISBN 978 1 78076 783 3
Snchez-Juregui-Alpas, Maria Dolores, and
Scott Wilcox. The English Prize: The Capture of the
Westmorland, An Episode of the Grand Tour. New
Haven, CT: Yale University Press, 2012. ISBN 9780300176056.
Stephens, Richard. A Catalogue Raisonn of Francis
Towne (1739-1816) (London: Paul Mellon Centre,
2016), doi:10.17658/towne.

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
Wanderings in the Land of Ham by a daughter of
Japhet, London : Longman, Brown, Green, Longmans, & Roberts, 1858. A description of an Oriental Grand Tour at the Internet Archive Digital Library.

Text and image sources, contributors, and licenses

9.1

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