The Grand Tour And The British Culture

Surname 1

Name

Professor

Course

Date

The Grand Tour and the British Culture

Introduction

History records that prior to the eighteenth century, cities located in Italy such Venice

and Rome stimulated the imagination of the British elite. However, as travel around the globe

and especially Europe become commonplace after the peace treaty of Westphalia in the sixteenth

century onwards, the concept of “Grand Tour” emerged among the British elite. It is argued that

the Grand Tour was an occurrence that shaped the trajectory of the creative and intellectual

capabilities of some of the most successful artists, thinkers and writers of the eighteenth century.

The tour attracted tourist to the continent of Europe between c.1550 and 1850 and significantly

influenced the British culture, political, social, architectural, sartorial, gastronomic and artistic

evolution.

History of the Grand Tour

The first person to use the word Grand Tour in history was a Roman Catholic priest

known as Richard Lassels (c. 1603-68) in his book The Voyage of Italy. Because the Grand Tour

was regarded as a cultural tradition, it became popular after the peace treaty of the Munster

(1648), which ended the Thirty Years’ War (Encyclopedia of Art History np). As a result, by the

beginning of the 18

century the elite and artists in Europe and specifically Britain began to

travel, the travel fulfilled their desire of wanting to become acquainted with other cultures, art

Surname 2

and create international contacts (Sweet 2). Grand Tour was also considered an avenue for

young people to expand their intellect through association with other parts of the continent

notably in the sphere of foreign languages and fine art. Furthermore, the European Grand Tour

concerned its self with journeys to the principal cities as opposed to the exploration of the

countryside and the rural areas (Sweet 2). Accordingly, London was regarded as the starting

point and Paris a compulsory destination during the process of the voyage (Kleiner and Helen

765). After Paris, the travelers made their way to the south, either through the Alps to Northern

Italy. On the other hand, the return journey involved going through principal cities of Germany,

Austria-Hungary and the Low Countries or sometimes through Paris again (Sweet 2). Some also

made their journey to Switzerland and a few travelled to Greece, Turkey and Spain. The primary

place to visit, however, was Italy (Layton-Jones np).

The British were regarded as the most enthusiastic travelers and they were the creators of

the initials “tour code” they decided on the desired destinations and the required itineraries

(Kleiner and Helen 765). Although Rome was designed as the ultimate destination, some of the

British travelers travelled as far as Venice in the North and Naples in the South. Some other

destinations included Sicily, Paestum, Florence, Milan, Genoa, Pisa, Parma, and Bologna

(Kleiner and Helen 765). All these destinations appeared in the travel guidebooks and paintings

that were used by the travelers. Joseph Mallord William Turner and Joseph Wright of Derby are

some of the famous artists who had an interest in the Grand Tour (Kleiner and Helen 765)

(Zuelow 16). These travelers had different experiences and learning points in different locations

Paris and Florence

In Paris and Florence, the travelers gained knowledge and were interested in the French

language, fencing and art collection, which were done in the Tuileries and Louvre (Encyclopedia

Surname 3

of Art History np). The spree of art collection and paintings also covered architecture such as the

Notre Dame, the famous gardens of Palais du Luxebourg. Outside Paris, other popular places

included Palace of Versailles. In Florence, the travelers would spend time studying the

masterpieces described as quattracento created by Botticelli and other artists (Encyclopedia of

Art History np).

Venice

After Paris the journey proceeded to Venice, which was regarded the most stylish and

refined city in the entire Europe. Uniquely designed churches, architectural designs, and the

architectural paintings of the Venetian topography by famous view-painters such as Bernardo

Bellotto (1721-1780) and Canaletto also sparked interested amongst the participants of the Grand

Tour (Encyclopedia of Art History np).

Ancient Rome and Modern Rome

Rome Provided the Grand Tourists with most celebrated sites such as the Greco-Roman

statues and the famous ruins, which comprised a large percentage of the paintings that the

travelers took back to England (Metropolitan Museum of Art np). They also interacted with

famous churches and fountains. The masterpieces of High Renaissance painting and sculpture

also attracted a substantial number of travelers to Rome and Italy (Metropolitan Museum of Art

np). Contents of Vatican including the Saint Peter’s Basilica also acted as bonus sites to the

travelers.

Naples, Greece, and Low countries

Exhaustion of the tour of Rome, some tourists opted to continue to Naples in the south.

Their main desire was to view the excavations at the Herculaneum, Pompeii and Paestum, whose

artwork triggered the adoption of the neoclassical art that circulated in Europe and brought a

Surname 4

revolution in the British tastes in furniture and pottery of the time (Encyclopedia of Art History

np). Some also travelled through the Ionian Sea to access the Greek mainland to view the Greek

art, which was synonymous with the Greek sculpture (Encyclopedia of Art History np). The

travelers also moved to north to Vienna, Dresden and Berlin before visiting the Low Countries

where they viewed the great artwork of famous Ghent artists known as the Flemish Painters.

The experience of the travelers through the cities prompted a renowned British traveler

Charles Thompson to appeal to Grand Tourist in the 1744 when he described himself as:

“ being impatiently desirous of viewing a country so famous in history, which at one

point gave the world; which is currently the greatest school of music and painting, contains the

nobles productions of statuary and architecture, and abounds with Cabinets of rarities and

collection of all types of antiquities (Sorabela np).”

Many of those that engaged in the Grand Tour returned home with a painting done by

Antonio Canaletto, the talented painter of the scenic views of Venice (Kleiner and Helen 765).

However, a large percentage of the individuals taking the tour had an ambition to improve their

taste by examining and studying the finest art and architecture while at the same time

participating in the leisure endeavors and social events in countries that were regarded as polite

(Sweet 3). However, this is not to conclude that their main interest was on artwork, education,

leisure, and socialization. There were also communication and remarks made concerning the

fertility of the soil, agricultural activities, existences of manufacturing and the conditions of the

laboring populations (Sweet 3) and (Tucker 7). All these comprised a significant part of what the

travelers took back home from their extensive tours of the continent.

Practically, a typical traveler in the Grand Tour was a young man with good command of

Greek and Latin literature and a considerable interest in art and by default; they were regarded as

Surname 5

wealthy because the tours were expensive (Burk 2). According to Zuelow (p. 16), the Grand

Tour as closely linked to the England’s “landed elite” and education of the young nobles.

Historians claimed the Grand Tour is not complete with the absence of a young British patrician

preferably male, a tutor who provided expert advice and planned the journey and finally a fixed

itinerary that had Rome as its principle destination. What's more, the journey had to be for an

extended period normally two to three years (Zuelow 16). A vivid example was the eighth Duke

of Hamilton who travelled together with Dr John Moore as his tutor. The young Duke is

recorded in history to have travelled to Rome in Italy in 1772 when he was only sixteen years,

spent over four years during his visit, and spent large amounts of money on art (Burk 3). Another

peculiar feature of these travelers is that almost all the travelers had an accompany tutor usually

referred to as ‘bear-leader (Mead np).

Maarten van Heemskerck

Another significant traveler was Maarten van Heemskerck, he had an imagination of

travelling, seeing and painting the Seven Wonders of the World, because of these motivations he

was able to travel to northern and central Italy and later halted in Rome (Art and Popular Culture

np). While spending time in Rome Heemskerck was able to paint the scene of St. Luke painting

the Virgin, which he gave as a showpiece for the St. Luke’s altar located in Bavokerk (Art and

Popular Culture np). According to Meier (np), Heemskerck stayed in Italy for an estimated four

years. He spent time sketching and studying classical art, landscape and architecture but mainly

interested in the ruins of the religious wars and conflicts of the 16

century. Historians reiterate

that his painting of the Seven Wonders of the World is more famous and widely recognized as

compared to the ruins of the religious wars. Heemskerck is also known to be the first artist in the

Surname 6

Northern Netherlands to handle printmaking in an efficient way abandoning, which assisted artist

that came after him such Philip Galle and Dirck Coornhert.

Robert Adam

Scottish national Robert Adam also secured a place in the Grand Tour history. Adam

returned to London from his Grand Tour in 1758, at the time he was granted membership to the

Royal Society of Arts. Adam was regarded as one of the most important architects in Britain that

worked his designs using a neo-classical style. In his artwork, Adam incorporated designs that

he borrowed from the ancient Greece and Rome to produce designs that are more contemporary.

Some of his famous houses in London include the Syon House, Osterley Park and Kenwood

House (Victoria and Albert Museum np). Accordingly, history records Robert Adam as the brain

behind the design of numerous impressive country houses and castles throughout the Great

Britain (The National Trust for Scotland). For instance, in Scotland he designed the Newliston,

Mellerstain and Culzean. The architect was also involved in the design of the Charlotte Square

(The National Trust for Scotland). Therefore, it is safe to conclude that the knowledge of design

that Robert Adam acquired in Greece and Italy helped him to contribute to the homegrown

architectural designs of the British.

Joshua Reynolds

Joshua Reynolds is also another decorated artist that made it to the art history of Britain

through the Grand Tour. Sir Reynolds Joshua took a journey to Rome between 1750 and 1752

to study and gain insights of the Italian art (Tope np). Originally, he was an English painter

manuscripts that were recorded during his trip indicated that Joshua indicated that he paid visit to

various galleries and museums to view works by famous Italian painters such as Michaelango

and Rafael (Marciari 12). Reynolds extensively studies his masters and sometimes destroyed

Surname 7

portraits in order to discover the techniques used by the artists that painted them. In addition to

his self-determination, he was able to learn under experienced artists, later when he had already

established a reputation as a painter Reynolds travelled to Italy and gained extra experience and

techniques for several years (Krüge 63). Some of the art pieces that he painted in the 1730s can

illustrate his competence and experience regarding the Grand Tour. For instance, in 1732 when

he returned to London from the Grand Tour to Italy, Joshua Reynolds was able to paint a full-

length portrait of commodore August keppd (Krüge 64). Even though the art was stored in his

house for a relatively long period, historian and some of his peers regarded the portrait worked as

an excellent tool for advertising his skills.

The Influence of the Grand Tour on the British Culture and the Role of Andrea Palladio

The concept of the Grand Tour acquainted the European elite with art and culture with a

sharp focus of Italy and Rome (Staff np). The Young people were able to become

knowledgeable of different languages, encountered famous and influential antiquities and

architecture. During their travel, they were also able to build important social relations with

communities from the cities they travelled to during the Grand Tour (Staff np). Due to these

interactions, the Grand Tour produced experienced scientists, patrons of arts, authors and

antiquaries who revolutionized the British culture. It can be argued that the Grand Tour delivered

ideas to the Northern Europeans, which helped them create the neoclassical ideas. This is

because travelers paid visits to excavation sites such as the Pompeii, Tivoli and Herculaneum

and purchased antiquities that they used to decorate their homes. At this point, it is also

important to note that ancient sculpture formed a centerpiece of art collection done during the

tour. They were referred to as Grand Tour souvenirs.

Surname 8

The items and artwork that were collected from the Grand Tour would increase the

wealth and prestige of the participant in the tour. Accordingly, participants of the tour would

return home with books, crates and boxes of art, sculptures, pictures and items that were

culturally oriented (Staff np). These collections were displayed in libraries, gardens, cabinets as

well and in galleries designed for their display. With time the Grand Tour it’s self and collections

became a symbol of wealth and formed the foundation of the modern antique market all over the

world not just in Britain. According to Black (p. 148), many travelers from Britain employed

painters to paint their own portraits while standing on classical surrounding during their tour.

Artist such as Nazzari, Batoni, David, Masucci and Trevinsani painted most of the paintings in

Italy and Rome (Black 148). On the other hand, some travelers commissioned the painting of the

places that they liked. For example, the George Robertson who accompanied the Duke of Dorset

commissioned the painting of various scenes during the tour (Black 148). Sir Richard Hoare

requested the reproduction of several copies of the Raphael frescoes in the Vatican during the

1793. Consequently, Brand bought a painting of the Florence. Historical records confirm that

the buying of paintings was principally in Italy (Black 148). While in Italy, grand travelers such

as Charles Townley bought three paintings while on his journey these paintings included a Titan

at Florence during August in 1787 (Black 148). Accordingly, James Robson returned home with

some old drawings and Piranesi prints in Rome the same year (Black 148). The development of

the art market in Britain was associated with the rise of auctioneering as a means of selling the

paintings and other collections from the Grand Tour (Meadows 34). This concept sparked

investments of all kinds. As a result, there was growth of financial management, insurance,

banking and international commerce linking Britain and other parts of Europe and Political

liaison (Meadows 34).

Surname 9

Andrea Palladio

The Grand Tour was also an avenue for architectural education, just by the fact that the

journey was aimed at cultural sites and major cities of Europe, the objectives of the tours were

clearly defined to study the architectural designs of the monuments and recreate them at home

(Brainard et. al. 1). According to Brooke, (np) architecture was perceived as an aristocratic

pursuit. Therefore, the elite who took part in the travel applied what they learned in their own

homes and gardens as well as furniture and other accessories that they kept at home. Therefore, it

is safe to argue that the Grand Tour influenced the architectural design of the Great Britain and

informed the design of the interior décor including furniture and gardens for their homes. This is

why Andrea Palladio is regarded as a transformer of the architectural designs of the western

world.

Palladio reinvented his architectural designs using concepts from Rome. During the

creation of his designs, he believed that by adding flexibility to the designs that dominated the

architectural outfit of Rome they could be applied to any building (Kerley np). However, the

bottom-line is that his designs shaped various designs in England and other parts of the world

through the Grand Tour (Glancey np). Andrea Palladio’s designs went beyond the Italian

borders. An English diplomat and politician known as Henry Wotton, who displayed some of

Palladio’s architectural design in Venice referred to as the terra ferma, mediated his architectural

designs to England (Ruhl 1). Soon after the introduction, the architectural designs of Palladio

became an obsession in the second half of the sixteenth century. However, it was not until the

beginning of the 18

century when the Palladianism was installed as an artistic norm in England

(Ruhl 6). Historians articulate that the reception of Palladio’s designs played a critical role in the

creation of “Palladian Classicism.” This is articulated with the trip Burlington to Italy who

Surname 10

acquired vast collection of Palladio’s designs and published them in the Fabbriche Antiche

Disegnate da Andrea Palladio in the year 1730 (Ruhl 9). On his return to England Burlington

tried to establish Palladio’s architectural designs as part of England’s state architecture. In

addition, through Inigo Jones designs such as the Banqueting House on Whitewall, which is still

a 17

century influence building in London was designed using the Palladian principles of

design. The designs sparked a revolution in the religious architecture. Jones used Palladian

principles to design the St Paul’s London Covent Garden, which is regarded as the first classical

church in the UK build in the 1633. The styles and designs have been reproduced several times

across the UK and other parts of Europe revolutionizing the architectural culture of the UK.

Conclusion

The Grand Tour of Europe, which emerged in the 16

century after the end of the 30 years of

war in Europe, had a great influence on the culture and architectural designs of building in

London and other parts of England. Various travelers and tourists who took part in the tour who

were mainly members of the nobility of England travelled to Rome, Italy, Paris, Venice,

Florence, Naples to extend their education, view architectural designs, fencing, and interior décor

and learn foreign languages and cultures. Some of these travelers, which included Joshua

Reynolds, Robert Adam, Maarten van Heemskerck and Andrea Palladio, turned into architects

and art society patrons, who revolutionized the British culture through inclusion of the ancient

architectural designs from Italy to the British architectural state. The most vivid influence is the

designs of Palladio, which has continued to influence the design of buildings in the UK up to

date.

Surname 11

Work Cited

Art and Popular Culture. Maarten van Heemskerck. February 2012. Web. 6th December 2017.

Black, Jeremy. "The British and the Grand Tour." The Scriblerian and the Kit-Cats 19.1 (1986):

69.

Brainard, Gabrielle, Rustam Mehta, and Thomas Moran, eds. Grand tour. MIT Press, 2008.

Brooke Bob. The Antiques Almanac. The Influence of the Grand Tour on Antique Collecting.

2007. Web. 6th December 6, 2017

Burk Kathleen. The Grand Tour of Europe. Gresham College. 5th April 2005. Web. 5

December 2017

Dr Katy Layton-Jones, review of The Grand Tour, (review no. 839).

http://www.history.ac.uk/reviews/review/839

Encyclopedia of Art History. The European Grand Tour (c.1650-1850): Cultural Highlights, Arts

Itinerary. Web. 6

December 2017.

Glancey Jonathan. The Guardian. The stonecutter who shook the world. 5

January 2009.Web.

December 2017.

Kerley Paul. BBC News Magazine. Palladio: The architect who inspired our love of columns.

September 2015.Web. 6

December 2017

Kleiner, Fred S, and Helen Gardner. Gardner's Art Through the Ages: A Global History.

Australia: Thomson Wadsworth, 2009. Print.

Krüger Alexander. “Between doctrine & practice Joshua Reynolds, portraiture, and the Royal

Academy.” 2014. 61-67

Marciari, John. Grand tour diaries and other travel manuscripts in the James Marshall and

Marie-Louise Osborn collection. Beinecke Rare Book & Manscript Library, 1999.

Mead, William Edward. The grand tour in the eighteenth century. Houghton Mifflin, 1914.

Meadows, A. W. Collecting seventeenth-century Dutch painting in England 1689-1760. Diss.

University of London, 1988.

Meier Allison. 16th-Century Visions of the Ruins of Religious Wars. 12th January 2016. Web.

6th December 2017.

Ruhl, Carsten. "Palladianism: From the Italian Villa to International Architecture Palladianism."

(2011).

Sorabella, Jean. “The Grand Tour.” In Heilbrunn Timeline of Art History. New York: The

Metropolitan Museum of Art, 2000. October 2003. Web. 6

December 2027.

Staff Rau. The Grand Tour: An Education of High Culture and Collecting. 10

October 2016.

Web. 7

December 2017.

Sweet, Rosemary. Cities and the Grand Tour: the British in Italy, c. 1690-1820. No. 19.

Cambridge University Press, 2012.

The National Trust for Scotland. Robert Adam (1728-1792). 2010. Web. 6th December 2017.

Tucker, Josiah. Instructions for Travellers. By Josiah Tucker,... No. 7. William Watson, 1758.

Tope Helen. Made in Plymouth. The Influence of Italy. Web. 7

December 2017.

Victoria and Albert Museum. Robert Adam: Neo-Classical Architect and Designer. 2016. Web.

6th December 2017.

Zuelow, Eric G. E. A History of Modern Tourism. , 2015. Print.

Surname 12

Place new order. It's free, fast and safe

Paper type

Deadline

Page count

550 words

Total price: $ 15.00

Our customers say

Jeff Curtis

USA, Student

"I'm fully satisfied with the essay I've just received. When I read it, I felt like it was exactly what I wanted to say, but couldn’t find the necessary words. Thank you!"

Ian McGregor

UK, Student

"I don’t know what I would do without your assistance! With your help, I met my deadline just in time and the work was very professional. I will be back in several days with another assignment!"

Shannon Williams

Canada, Student

"It was the perfect experience! I enjoyed working with my writer, he delivered my work on time and followed all the guidelines about the referencing and contents."