Grand Tour(中文译音为”壮游”) 这个词大概是在3年前接触的，最近在某些文章再次看到这个词，自己突然很想进行一次这样的游历。
The Grand Tour was the traditional travel of Europe undertaken by mainly upper-class European young men of means. The custom flourished from about 1660 until the advent of large-scale rail transit in the 1840s, and was associated with a standard itinerary. It served as an educational rite of passage. Primarily associated with Britain (particularly the British nobility and wealthy gentry), similar trips were made by wealthy young men of Protestant Northern European nations on the Continent, and from the second half of the 18th century some American and other overseas youth joined in. The tradition was extended to include more of the middle class after rail and steamship travel made the journey less of a burden, and Thomas Cook made the “Cook’s Tour” a by-word.Recently The New York Times described the Grand Tour in this way:
Three hundred years ago, wealthy young Englishmen began taking a post-Oxbridge trek through France and Italy in search of art, culture and the roots of Western civilization. With nearly unlimited funds, aristocratic connections and months (or years) to roam, they commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.
The primary value of the Grand Tour, it was believed, lay in the exposure both to the cultural legacy of classical antiquity and the Renaissance, and to the aristocratic and fashionable polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A grand tour could last from several months to several years. It was commonly undertaken in the company of a knowledgeable guide or tutor. The Grand Tour had more than superficial cultural importance; as E.P. Thompson stated, “ruling-class control in the 18th century was located primarily in a cultural hegemony, and only secondarily in an expression of economic or physical (military) power.”The Grand Tourist, like Francis Basset, would become familiar with Antiquities, though this altar is the invention of the painter Pompeo Batoni, 1778.In essence the Grand Tour was neither a scholar’s pilgrimage nor a religious one, 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 gentleman’s 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 and fewer still to Greece, still under Turkish rule.