However, Netherlandish travel diaries, along with some literature from England, Germany, and France, evidence a missing link in this regard. It has long been assumed that nineteenth-century tourism was rooted in the early modern Grand Tour. By examining micromosaics as souvenirs I have been able to suggest a methodology for looking at souvenirs during the Grand Tour that contributes to our understanding of both tourists’ desires and their actual experiences understanding antiquity in the eighteenth and nineteenth centuries.įoreshadowing Tourism aims to hone or even to upset our understanding of the genesis of tourism. I examine how micromosaicists memorialized, erased, altered, and added components to these antiquities depicted on micromosaics with the intention to make them marketable to tourists. My dissertation seeks to analyze ancient monuments, mosaics, paintings, and sculptures on early modern European micromosaics in order to demonstrate how much these objects enhance our understanding of Grand Tourists’ experiences. However, scholarship is lacking that links micromosaics to recent thinking about souvenirs, especially the souvenir’s role as a modifier of experience and their place in the shaping and marketing of memory. This very necessary, foundational work has produced volumes on specific private and public collections. Publications have focused on specific public or private collections. Scholars of art history and the decorative arts largely overlooked micromosaics until the late twentieth century. Created from tiny, intricately arranged tesserae, micromosaics typically depict classically-derived scenes, famous Roman monuments, daily life scenes, or Renaissance and Baroque paintings and were intended to appeal to Grand Tour travelers. Micromosaics were popular souvenir objects on the eighteenth- and nineteenth-century Grand Tour.
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