According to Bruce Redford, the Tour offered a heady combination of aesthetic, social political, and sexual experience, and it provided its alumni with a life-long source of cultural and political authority. Yet from the beginning the Tour was also viewed with deep suspicion: it was feared that the very experiences that completed the British gentleman might well undo him.

- Perfectly interpreted in a contemporary, enriching manner, The Grand Tour takes the viewer on an inspirational journey through Italy's most individual hotels scattered all over the peninsula, all whilst letting readers discover the myriad of culture that there is to learn from every corner of this great country - The Grand Tour proposes a distinct way of traveling, becoming an invaluable travel companion or a unique window on the world in the making Beginning in the late 16th century it became fashionable for the aristocracy to visit Italy; from Venice to Florence and Rome as the culmination of their classical education. Thus, the idea of The Grand Tour was born; a practice which taught art, architecture and culture to the noblemen of the time. In England, where grand architecture was increasingly seen as an aristocratic pursuit, gentlemen often applied what they had learnt from the villas of Palladio in Veneto, the evocative ruins of Rome and the grand churches in Florence, to their own country houses and gardens, purchasing antiquities and paintings whilst in Italy. The Italy of today still remains a romantic destination. In this book, each reader will be able to travel on a modern-day Grand Tour, staying in the most inspiring and unique properties of the country, absorbing their infinite culture, majestic beauty, unique designs and charming stories. A journey through Italy in its full splendor.

In the seventeenth and eighteenth centuries, a journey to Italy was considered an indispensable part of a young man's education. On arduous coach journeys, they pursued the trail of ancient Rome and the Renaissance to Florence, Venice, Rome, and Naples. Artists soon followed them, and thus yearning also led Johann Wolfgang von Goethe south from 1786 to 1788. 'Goethe's Italian Journey' vividly conveys his profound enthusiasm but also depicts well-organized, early tourism. Just seventy years later, the first photographers captured stations on the Grand Tour on gelatin silver plates. Giorgio Sommer (1834-1914), like Goethe from Frankfurt am Main, and Carlo Naya (1816-1882) produced intensely poetic views of St. Mark's Square, the Colosseum, a smoking Vesuvius, and beautiful fisherwomen on Capri.

For members of the social elite in 18th-century England, extended travel for pleasure came to be considered part of an ideal education as well as an important symbol of social status. Italy, and especially Rome - a fashionable, exciting, and comfortable city - became the focus of such early tourists' interest. In this book, historian Jeremy Black recreates the actual tourist experiences of those who travelled to Italy on a Grand Tour. Relying on the private diaries and personal letters of travellers, rather than on the self-conscious accounts of literary travellers who wrote for wider audiences, the book presents an authentic picture of how British tourists experienced Italy, its landscapes, women, food, music, Catholicism, and more. illustrations, the book highlights the discrepancy between the idealised view of the Grand Tour and its reality: what people were meant to do was not necessarily what they did, what the guide books described as splendid was not always so perceived. Black quotes British visitors as they reflect on their trips, and he discusses what their Italian experiences meant to them. And he considers the intriguing effects of tourism on British culture during this most exciting of centuries.

"Travellers on the Grand Tour came to Italy to see antiquities as well as paintings, flora, and fortifications. They also encountered the most modern Italian music - for concertos, sonatas, operas, oratorios, and cantatas were all invited in the course of the seventeenth century. Passaggio in Italia traces the musical experiences of visitors to Italy, from a Frenchman present at the birth of monody in Florence, a Spaniard attending the public opera theatre in Venice, a Dutchman attending a Roman oratorio, to a Russian describing an organ in Padua and open-air music on the Bay of Naples. The itinerary includes a look at Barbara Strozzi singing for the men of a Venetian academy, the Dutch composer Constantin Huygens absorbing the new Italian music, and listening to Corelli in terms of late Roman Baroque architecture. Music herself travels between Italy and Spain and north to the Netherlands via performers or by print. Also inspired by the five Baroque operas and a Stradella oratorio that were presented for the Early Music Festival Utrecht in 2006, the book gives views onto the lives of the composers Francesco Lucio and Cavalli in Venice, travelling players in Venetian opera, Marazzoli's La Vita humana, and the changing nature of the oratorio in Rome."--Page 4 de la couverture.

How did eighteenth-century travellers experience, describe and represent the urban environments they encountered as they made the Grand Tour? This fascinating book focuses on the changing responses of the British to the cities of Florence, Rome, Naples and Venice, during a period of unprecedented urbanisation at home. Drawing on a wide range of unpublished material, including travel accounts written by women, Rosemary Sweet explores how travel literature helped to create and perpetuate the image of a city; what the different meanings and imaginative associations attached to these cities were; and how the contrasting descriptions of each of these cities reflected the travellers' own attitudes to urbanism. More broadly, the book explores the construction and performance of personal, gender and national identities, and the shift in cultural values away from neo-classicism towards medievalism and the gothic, which is central to our understanding of eighteenth-century culture and the transition to modernity.

The tradition of the Grand Tour was started in 1608 by an intrepid but down-at-the-heels English courtier named Thomas Coryate, who walked across Europe, miraculously managed to return home in one piece, and wrote a book about his bawdy misadventures. With The Grand Tour, Tim Moore proves not only that he is Coryate's worthy successor but one of the finest and funniest travel writers working today. Armed with a well-thumbed reprint of Coryate's book, Moore donned a purple plush suit and set off in a second-hand and highly temperamental Rolls-Royce through France, Italy, Germany, Switzerland, and Holland. Like Coryate, Moore possesses an astonishing ability to land himself in humiliating predicaments. His account of his hilariously memorable misadventures on Venice's canals on one fateful afternoon is by itself worth the price of admission. Moore brings new life to the Old World and in the process sends readers into paroxysms of laugher and delight.