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The Grand Tour was the highpoint of the education of the sons of many members of the British upper classes. Despite its contributions to British culture, the Tour came in for contemporary objection and satire. More recently Richard Leppert has used his construct of 18th-century British ideology of gender, class and music to argue that men’s musical activities on the Tour were devalued. This article re-assesses the role of music-making of males on the Grand Tour. It questions the basis of Leppert’s account, and documents an array of paintings depicting Grand Tourists with instruments. The paintings range from highly finished, formal portraits by Pompeo Batoni, to the personal caricatures by Joshua Reynolds, and the informal chalk sketches by Thomas Patch. The article also uses the newly discovered account book of the Hon. Charles Stanhope to show the attention and expenses he devoted to music while on his Grand Tour.

Music, men and masculinity on the Grand Tour: British flautists in Italy