It is a well-respected maxim that travel broadens the mind.
For many British young people this takes the form of a “gap year” before going
to university. The equivalent in the late 18th and early 19th
century – if you could afford it – was the Grand Tour.
Who were the Grand Tourists?
It has been estimated that some 40,000 Britons undertook the
Grand Tour during the period from 1750 to 1825. They were nearly all the eldest
sons of wealthy aristocrats and they would have undertaken the Tour when aged
anything between 15 and 21.
The notion behind the Tour was that the education provided
by the great Public Schools (i.e. institutions such as Eton, Harrow and
Winchester) was not particularly well-rounded, and in order to be fully
educated it was important to have first-hand knowledge of great art and
architecture. In the days before public art galleries (London’s National
Gallery dates from 1824) it was impossible to see the works of masters such as
Titian and Raphael. You had to travel to where they were in order to see them,
and in most cases that meant Italy.
Aristocratic young men were given an education that placed
great emphasis on the classical languages, particularly Latin. In order to put
flesh on the bones, where better to go than Rome to view the remains of its
ancient past?
Also, many people of this class were expected to play a role
in politics and diplomacy. That meant knowing foreign languages, the teaching
of which was largely ignored by the Public Schools. In order to learn French or
Italian you had to spend time in France or Italy.
An Expensive Business
The Grand Tour was only available
for families with very deep pockets. A tour could last up to five years, and
the participants did not expect to spend much time in student hostels! A tourist
would take at least one servant with them, and some would be accompanied by
several. They would travel in their own horse-drawn carriage, with all the
expense that that entailed, and they might well hire extra staff such as
porters during their travels.
It has been estimated that some
fathers spent as much as £10,000 a year on financing their son and heir’s Grand
Tour – the equivalent of millions today.
Some Danger Involved
As soon as a tourist set foot in France
they would become open to the attentions of highwaymen and tricksters. Some
learned – the hard way – the benefits of keeping gold coins hidden about their
person.
Tourists would be exposed to many
threats to their health, such as diseases to which they had no immunity and
untrustworthy water supplies. Many took well-stocked medicine chests with them.
On reaching Marseilles, the route
to Italy was either by sea – with the risk of being attacked by pirates – or
across the Alps. The latter route meant traversing Alpine passes shrouded in
furs against the cold and sometimes having to follow narrow tracks with sheer
drops to the valley below.
Indulging in the Arts
Once in Italy, the tourist could
head for Venice, hopefully in time for the annual carnival. This was an
opportunity for enjoying oneself at masked balls or taking part in gondola
races, and for soaking up the culture provided by Venetian architecture and the
artistic works of Canaletto and many others.
Another popular destination was
Florence, where many great works by the Old Masters could be seen. However,
Rome was always the greatest magnet, not least for the ruins of the Forum and
better preserved buildings such as the Colosseum.
Some tourists ventured further
south to visit the ruins towns of Pompeii and Herculaneum, although these have
become far more visible in more recent times thanks to later excavations.
It must also be pointed out that
not all Grand Tourists were as conscientious in soaking up the culture as their
fathers might have wished. It should surprise no-one that sending a rich young
man off to France and Italy, far away from parental control, might offer
temptations to behave badly, and that was certainly the case in many instances.
What did the Grand Tourists Come
Back With?
Many deep-pocketed tourists were
able to buy works of art that took their fancy and return with them to Britain.
Many great country houses today have their walls lined in part with purchases
made by past Grand Tourists. Some of these works have subsequently found their
way into public collections such as those of the National Gallery and major
regional art galleries.
Landscapes by artists such as
Claude and Poussin were sometimes used by estate owners to guide garden
designers such as “Capability” Brown and Humphrey Repton towards the production
of their own classical landscapes.
It also became the custom for
Grand Tourists to have their own portraits painted in front of a famous
antiquity. This was a somewhat more expensive – and far more time-consuming –
version of the modern in situ “selfie”.
Apart from paintings, tourists
collected sculptures, pottery, objets d’art and furniture, many examples of
which can still be seen today in properties now owned by the National Trust and
English Heritage.
Sons of aristocrats who later
inherited their fathers’ estates were sometimes inspired to re-design their
great houses along the lines of sketches they had made while on tour. The
Italianate “Palladian” designs of Robert and James Adam owe their origin to
this tendency.
Always a Success?
By no means. As mentioned earlier,
not every Grand Tourist took the event as seriously as was intended. Although
the average tourist returned to England as a far more sophisticated person than
they had been when they left, some had acquired habits that attracted mockery
and ridicule from stay-at-homes.
These included ornate clothes,
extravagant wigs and foppish attitudes.
The Scottish economist and
philosopher Adam Smith was of the opinion that the average tourist returned
“more conceited, less principled, more dissipated and more incapable of study
or business than if he had stayed at home.”
© John Welford