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The New Plan of Rome by Giambattista Nolli, 1748.<\/p><\/div>\n
With its monuments and works of art, together with Naples, Pompeii and Sicily, Rome was, in fact, a greatly desired part of this journey. Students and art lovers could get in touch with the original beauties of classical antiquity, practicing in drawing and reproductions right there, on the spot. Rome was an open-air museum, a city where the ancient ruins were stratified with those of the Christian period as well as those of the modern era. The Capitoline Museums, for example, were opened in 1734, and in 1771 the Pio-Clementino Museum. Even the outskirts of the capital fascinated the visitors: Frascati, Nemi, and especially Tivoli with its Villa Adriana became essential travelling destinations. This gave birth to the fashion of collecting and interest for antiques.<\/p>\n
But who first used the term \u201cGrand Tour\u201d and who explored Rome?<\/strong><\/p>\n The term Grand Tour is linked to Richard Lessels\u2019 guidebook, “The Voyage of Italy” published in 1670. The famous writer, Johann Wolfgang Goethe<\/strong> wrote “Journey to Italy” (Italienische Reise), published between 1816 and 1817. The two volumes that form this publication are the narrative of a real journey that Goethe himself undertook at the end of the nineteenth century. In Rome he could admire the works of Guercino, like the \u201cSanta Petronilla\u201d, or the \u201cMadonna di S. Niccol\u00f2 dei Frari\u201d by Tiziano, or the \u201cAnnunciation\u201d by Guido Reni, all works of art of the seventeenth century.<\/p>\n
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