Beginning in the late sixteenth century, it became fashionable for young aristocrats to visit Paris, Venice, Florence, and above all, Rome, as the culmination (终极.of their classical education. Thus was born the idea of the Grand Tour, a practice which introduced Englishmen, Germans, Scandinavians, and also Americans to the art and culture of France and Italy for the next 300 years. Travel was arduous and costly throughout the period, possible only for a privileged class—the same that produced gentlemen scientists, authors, antique experts, and patrons of the arts.
The Grand Tourist was typically a young man with a thorough grounding in Greek and Latin litera¬ture as well as some leisure lime, some means, and some interest in art. The German traveler Johann Winckelmann pioneered the field of art history with his comprehensive study of Greek and Roman sculpture; he was portrayed by his friend Anton Raphael Mengs at the beginning of his long residence in Rome. Most Grand Tourists, however, stayed for briefer periods and set out with less scholarly inten¬tions, accompanied by a teacher or guardian, and expected to return home with souvenirs of their trav¬els as well as an understanding of art and architecture formed by exposure to great masterpieces.
London was a frequent starting point for Grand Tourists, and Paris a compulsory destination; many traveled to the Netherlands, some to Switzerland and Germany, and a very few adventurers to Spain, Greece, or Turkey. The essential place to visit, however, was Italy. The British traveler Charles Thomp¬son spoke for many Grand Tourists when in 1744 he described himself as “being impatiently desirous of viewing a country so famous in history, a country which once gave laws to the world, and which is at present the greatest school of music and painting, contains the noblest productions of sculpture and ar¬chitecture, and is filled with cabinets of rarities, and collections of all kinds of historical relics.” Within Italy, the great focus was Rome, whose ancient ruins and more recent achievements were shown to every Grand Tourist. Panini’s Ancient Rome and Modem Rome represent the sights most prized, including celebrated Greco-Roman statues and views of famous ruins, fountains, and churches. Since there were few museums anywhere in Europe before the close of the eighteenth century, Grand Tourists often saw paintings and sculptures by gaining admission to private collections, and many were eager to acquire examples of Greco-Roman and Italian art for their own collections. In England, where architecture was increasingly seen as an aristocratic pursuit, noblemen often applied what they learned from the villas of Palladio in the Veneto and the evocative (唤起回忆的.ruins of Rome to their own country houses and gardens.
What is said about the Grand Tour?
What did Grand Tourists have in common?
How did Grand Tourists benefit from their travel?
Why did many Grand Tourists visit the private collections?
How did the Grand Tour influence the architecture in England?