Grand Tourists would return with crates full of books, works of art, scientific instruments, and cultural artefacts – from snuff boxes and paperweights, to altars, fountains, and statuary – to be displayed in libraries, cabinets, gardens, drawing rooms, and galleries built for that purpose. The trappings of the Grand Tour, especially portraits of the traveller painted in continental settings, became the obligatory emblems of worldliness, gravitas and influence. Artists who particularly thrived on the Grand Tour market included Carlo Maratti, who was first patronised by John Evelyn as early as 1645,[5] Pompeo Batoni the portraitist, and the vedutisti such as Canaletto, Pannini and Guardi.