18th-Century Grand Tour & Baelo Claudia Roman City
The Grand Tour in 18th-Century Europe
Eighteenth-century Europe discovered the pleasure of traveling, seeking routes that led to the knowledge of classical antiquity, inspired by the ideals of the Enlightenment (reason, knowledge). It established the trip as a way of learning. Italy, from ancient times, was seen as the complement and completion of intellectual pursuits. It became a common goal for young, wealthy, mostly British aristocrats, who, once they had completed their studies at top universities, undertook a journey through Europe (France, Switzerland, Germany, Netherlands, and Italy) for one or two years, assisted by a tutor. The words “travel” and “traveler” gained respect and reflected the quality of this trip.
Pompeo Batoni. Portrait of Francis Basset. 1778. Prado
Development of travel books: Memories of the Grand Tour included collecting books, antiques, and artwork. Francis Basset, for example, went to Rome, where he had his portrait painted by Pompeo Batoni. (Batoni finished it only after Basset left, and – on the way back to England in the Westmoreland – Basset was captured by the French and sold to the Spanish.) It is very rare to find a ship over two hundred years old with all its cargo intact, including valuable works of art, books, drawings, maps, and complete scores. All this, plus extensive documentation of the time, can be admired in the exhibition “The Westmorland: Memories of the Grand Tour.” This English ship sailed from Italy on New Year’s Eve of 1778 for London. A few days later, in the Mediterranean, two French ships preyed on the Westmorland and took it to the port of Málaga. These facts could be part of a normal account of any incident between ships of France and Britain, which were at war. Such incidents often included the capture of merchant ships full of food, equipment, and even art destined for the burgeoning English market. But the exceptional aspect of this case is the further development of the facts: French warships followed their destiny, quickly selling the ship and its cargo through French agents installed there for this purpose. The cargo included a major batch of drawers filled with marbles, paintings, drawings, watercolors, and other items, which were acquired by the Company of Lonjistas of Madrid and stored in the port of Málaga until they were bought by the Spanish State for the Royal Academy of Fine Arts of San Fernando, where the museum store has preserved the load almost intact.
Claudia Baelo Visitors Center
The archaeological site of Baelo Claudia is located in the Ensenada de Bolonia, in the Parque Natural del Estrecho, about 12 km from Tarifa (Cadiz). The Roman city of Baelo Claudia emerged in the late second century BC, and its existence is linked primarily to trade with North Africa. The fishing industry, salting, and garum (a derivative sauce) were the main sources of wealth. The Emperor Claudius (41–54 AD) awarded it the rank of a Roman town. Its economic decline began in the second half of the second century AD, probably due to an earthquake that destroyed much of the city. The site preserves the most representative elements that constituted the essence of a Roman city. The archaeological remains are divided on the one hand into the Roman city itself, with its own visitor circuit, and on the other hand, a covered museum within the new headquarters, which includes showrooms, projections, and an interpretation center. The aim is for visitors to leave with a complete vision of Baelo Claudia. There are important archaeological remains, including the Public Plaza (Forum) and Courthouse columns (basilica). A reproduction of the statue of Trajan is also present.
Heritage Interpretation
C) Interpretive Centers: Interpretation centers are often the mainstay of this methodological approach we call heritage interpretation. Unlike museums, they are not intended for the collection, preservation, and study of original objects. The interpretive center is important because it provides basic knowledge and helps us organize our time to visit heritage sites in the most effective way possible—as a strategy of presentation using primarily scenic exposure, supported by technological and audiovisual items. Through an attractive, accessible, varied, and original approach, it can attract the public.
5. Communication with the Public: Interpretation Resources
To develop effective communication for heritage and for visitors to enjoy a quality cultural experience, certain requirements must be met:
- Bringing heritage to a broad and diverse public, taking into account different profiles.
- Sustainable practices in scientific research.
Issues around the Construction of Visitor Centers and Accessible Heritage
Interpretation resources:
- CAST resources or means: Non-personal signage, publications, exhibitions, audio guides, etc.
- Personal: Guided tours, animations, or demonstrations (activities).
Guided Tours
The guide plays a basic role in the presentation of heritage. They should strive for attractive and participatory communication. As a rule, they should avoid technical references and the use of scientific concepts. Brevity, simplicity, and clarity are essential.
Other Resources for Interpretation and Presentation of Heritage
- Publications: Different levels: brochures, pocket guides, workbooks, case studies, guidebooks, etc.
- Models and other media (video, audio guides).
- Scenery, environments.
- Activities: Workshops, demonstrations, festivals, etc.; the possibility of direct experience.