STATE UNIVERSITY LIBRARIES

S00648354 U

GAP.DEK CR.AFT
IN EUROPE

CcntrallcLcPqcncraL CLnccem^ 'des dastzme/ns doscL^icuistc.
Jardi.fu,,ArU esfS^tanufcLctivrcs cU J^rrurice^.

GARDETsf CB.AFT
IN EUROPE

HtlMGO TMGGS

^^ormaC gardens ui Gngfancfsr ScodancCr
'^Thc Art of garden T)eslan in Stxi^l
ett.

LOTSJDON
B. X BATSFOKD, 94 HIGH HOLBOKN

PREFACE

THE love of gardens is an old characteristic of our race. " The English-
man has ever felt the lure of green things growing," wrote the author of
Piers Plozvma?i more than six centuries ago, and though fashions have come
and gone in gardens as in everything else, this interest, far from having died
out, is nowadays stronger than ever.

Since Mr. J. D. Sedding wrote his poetic essay on Garden Craft, and for
the first time treated the subject from the standpoint of the best architectural
taste, there has been an extraordinary revival in garden craft (or as the French
express it, jardinage, that is, the art of designing gardens as distinct from
horticulture) and the old nineteenth century naturalistic ideas of garden
design are fast losing their hold upon the public.

When my work on Formal Gardetis in England and Scotland appeared
ten years ago, it met with so gratifying a reception that I felt induced to
extend my studies to the Continent, and especially to Italy. Many oppor-
tunities of travel in France, Germany, Holland and Spain have since enabled
me to collect the material for the present work. In all these countries examples
of old garden craft are but rarely to be met with, and considering the changes
wrought by succeeding fashions, this is hardly to be wondered at. Few people
realize how fragmentary are the remains that exist, and it is difficult to grasp
the original lay-out and the various changes that have taken place on
a visit even to such gardens as Versailles and Fontainebleau. I have
preferred, therefore, to take my illustrations as far as possible from contem-
porary engravings, in the collection of which I have been assisted by the
Librarians of the Bibliotheque Nationale, Paris, by M. de Nolhac, the curator
of Versailles, by Mr. Leonard Springer, of Haarlem, and by my publisher,
who has in his possession numerous rare books on the subject. To all of these

S9S1^

vi PREFACE

my thanks are due. Particulars of my indebtedness to those who have sup-
plied material for illustration will be found in the Note of Acknowledgment.

The first history of Garden Craft was written in 1770 when Hirschfeld
published his Theorie de VArt des Jar dins ; this was followed in 1824 by an inter-
esting series of historical references in Loudon's £«cy<:/o/)^J/^. An instructive
little work by George Riat, entitled V Art des Jar dins, \v2iS published in Paris
a few years ago. With these few exceptions I know of no work tracing the
historical development of garden craft in Europe. Mr. Forbes Sieve-
king's work, The Praise of Gardens, contains a valuable and interesting
collection of citations on gardens, from authors of all ages, and in
glancing through this fascinating collection it is curious to note how very
modern some of the old writers seem to be. They did not distinguish
the subject as that of " Formal " gardens, because in the view of most
garden lovers, at any rate until the middle of the eighteenth century,
all gardens were necessarily formal and regarded as essentially artificial
productions and not merely a strip of nature, captured and railed off.

Miss Amherst's History of Gardening i?t England, issued in 1896, and Mr.
Blomfield's small book on The Formal Garden in England, 1892, together with
my own folio work upon the English and Scotch gardens, have made it un-
necessary to deal with English gardens as fully as I otherwise should.

This short account of the development of garden-craft in Europe does not
profess to be exhaustive. The field is a wide one, and in order to have achieved
such a purpose it would have been necessary to have extended the size of
the work to at least several volumes. I have not given more than a passing
glance at the gardens of Norway, Sweden and Russia ; the development of
garden design in these countries occurred in the decadent period of the
eighteenth century and such gardens as were carried out were usually poor
imitations of the school of Le Notre or of the all-pervading English landscape
style. The Bibliography at the end of the volume will assist those who desire
to make a special study of any branch of the subject.

H. INIGO TRIGGS.
Little Boarhunt

LiPHOOK,

February, 1913.

NOTE OF ACKNOWLEDGMENT

I HAVE to thank Messrs. Longmans for permission to include some sub-
jects from my work on The Art of Garden Design in Italy, published
by them, and Mrs. Aubrey le Blond has been good enough to place at my
disposal the negatives which are reproduced on the plates facing pages
34, 46, and 50. My publisher has permitted the reproduction of several
subjects from works published by him. Mr. Martinus Nijhoff , of The Hague,
has kindly supplied from Oud-N ederlandsche Tuinkunst the illustrations
of the subjects from the Grimani Breviary, included among Mediaeval
Gardens, as well as several subjects in the chapters on Dutch and German
Gardens. An acknowledgment is due to the authorities of the British
Museum, the Victoria and Albert Museum, the Bodleian Library, and the
Bibliotheque Rationale {Cabinet des Estam-pes) for engravings and draw-
ings photographed from their collections. Mr. B. Zweers, of Haarlem, has
furnished the negatives for the subjects reproduced on pages 169, 191, and
196. I have to acknowledge Mr. A. E. Walsham in connection with the illus-
trations on pages 122, 145, and the plates facing pages 88, 130, 134, and 150,
and Mr. H. N. King, of Hammersmith, has allowed me to reproduce several
of his photographs of EngHsh work, which will be found on pages 208 (lower
subject), 214, and 231, and on the plates facing pages 226 and 306. Mr.
Charles Latham photographed the subjects illustrated on page 221 and on
the plates facing pages 203 and 205. To Mr. Thomas Lewis is due the photo-
graphs reproduced on page 208 (upper subject) and on the plate facing page
228.

CONTENTS

CHAP. PAGE

PREFACE V

I ANCIENT GARDENS IN EUROPE i

II THE GARDENS OF THE MIDDLE AGES 13

HI THE ITALIAN GARDEN 28

IV FRENCH GARDENS OF THE SIXTEENTH AND EARLY SEVENTEENTH

CENTURIES 65

V LE NOTRE AND VERSAILLES . .86

VI FRENCH GARDENS OF THE LATER SEVENTEENTH AND EIGHTEENTH

CENTURIES 121

VII GARDEN DESIGN IN THE NETHERLANDS 159

VIII ENGLISH GARDENS OF THE SIXTEENTH, SEVENTEENTH AND

EIGHTEENTH CENTURIES 203

IX GERMAN AND AUSTRIAN GARDENS 232

X GARDEN DESIGN IN SPAIN 264

XI THE ENGLISH LANDSCAPE SCHOOL AND ITS INFLUENCE ON THE

CONTINENT 288

BIBLIOGRAPHY OF SELECTED WORKS ON EUROPEAN GARDEN

DESIGN 312

INDEX TO TEXT AND ILLUSTRATIONS 322

ix

LIST OF PLATES

facing page 34

WITH THE EXCEPTION OF THE TWO DOUBLE PAGE SUBJECTS, INDICATED BY (*),
THE PLATES ARE REPRODUCED IN COLLOTYPE.

Portrait of Andre Le Notre ........ Frontispiece

From a Mezzotint Engraving by J. Smith, after a Painting by Carl Marat.
Villa Castello, near Florence ")
The Water Garden, Villa Marlia)
The Parterre, Villa Caprarola ....

The Water Parterre, Villa Lante ....

The Parterre, Vaux-le-Vicomte .....

A Lead Fountain at the Grand Trianon, Versailles
Le Basson de Trianon, Versailles ....

*Plan of Fontainebleau in the Eighteenth Century

The Allee d'Eau at St. Cloud

*The Palace of " Het Loo "

The Garden at Canons Ashby, Northamptonshire

The " Twelve Apostles " Yew Hedge, Cleeve Prior Manor House,

Worcestershire .......

An old Garden-House, Sutton Place, Surrey

Ironwork Screens at Belton House, Lincolnshire : the Main Gates and

the Wilderness Gate ......

The Rocher at Bagatelle ......

))

,5 46

??

55 50

5?

„ 88

55

55 130

55

55 134

between pp. 144

and 145

facing page 150

between pp. 190

and 191

facing page 203
-^ouse

5, 205

55

55 226

es and

5;

55 228

55

55 306

CHAPTER I
ANCIENT GARDENS IN EUROPE

HE art of garden design, like all the decorative arts,
extended with civilization from East to West. The
Greeks drew their earliest inspirations from Egypt,
Persia, and Assyria, and in their turn passed on the
tradition to the Romans. Upon the banks of the
Nile horticulture flourished from the tenth to the
third century B.C., and there is no lack of evidence to
show that garden design was practised as an art from the very earliest ages
and flourished especially during the fourth, twelfth and eighteenth dynasties.
Under the rule of the Ptolemies and in the early years of Roman
domination, Egypt was one of the most fertile regions of the world, and in the
Augustan Age the public and private gardens of Alexandria are said to have
covered more than a quarter of the city area. From the many graphic records
that have been brought to light in modern times, it is not a difficult matter to
obtain a very accurate idea of the plan of these ancient Egyptian gardens.
In order to facihtate irrigation they were usually laid out, either upon the
banks of the Nile or upon canals fed by it, and took the form of a rectan-
gular area, surrounded by an embattled wall or pahsade, the entrance
being by means of high gates or fylons, whose lintels and jambs were
decorated with hieroglyphic inscriptions. The walks were shaded by palms
or by tunnels of trained plants, similar to the pleached alley that was so pre-
valent a feature of the seventeenth century gardens ; small canals traversed
the gardens and fed the numerous tanks, whilst here and there gaily
painted pavilions and bowers, lightly constructed of trelHs, were reflected in
the tranquil pools, glistening with the lotus and tenanted by a large variety
of fish, ducks, cranes and other aquatic birds. ^

^ See Charles Joret, Les Plantes dans Fanfiquite ct an moyen age. Paris, 1897.

1 B

2 GARDEN CRAFT IN EUROPE

From the flat nature of their situation the gardens of ancient Egypt
must always have lacked variety ; this element, however, was not wanting in
the gardens of ancient Greece, where the physical character of the country
gave far greater scope for artistic display. To a nation like the Greeks, so
eager to take advantage of every device for embellishing their surroundings,
the cultivation of beautiful gardens became a prime necessity in setting off
their architecture. They always preserved a studied symmetry in laying
out their gardens, which were planned to meet the principal requirements
of shade, coolness, fragrance and repose. The idea of imitating nature does
not seem to have been seriously entertained, and though Homer, in describ-
ing the Garden of Calypso, speaks of the capricious winding of silver
streams and generally indicates an informal or natural garden, the descrip-
tion refers more to one of those sacred and mysterious retreats, every-
where to be found, dedicated to the gods of the waters and of the woods,
or else to some local divinity. The deities favourable to gardening were,
above all, Aphrodite, venerated at Athens, where her statue was set up in
a grove of oleanders, and Dionysus, to whom Xenophon dedicated a
temple near Olympia. Secondary to these were the Graces or Charites.

In Athens, amongst other famous pubHc gardens, was one known as
the Lyceum. This was also the resort of a great school of philosophy and
was famous for the plantations laid out by the orator, Lycurgus. Theo-
phrastus and Demetrius built a museum in its groves, and here it was that
Aristotle used to walk with his disciples. The most ancient allusion to a
Greek garden is in Homer's account of the palace of Alcinous, where the
Gods were pleased to dwell and upon which Ulysses had gazed with admira-
tion. The description, which appears to have been written from nature,
is worth transcribing here.

" And without the courtyard hard by the door is a great garden, of
four plough gates, and a hedge runs round on either side. And there grow
tall trees blossoming, pear-trees and pomegranates, and apple-trees with
bright fruit, and sweet figs, and olives in their bloom. The fruit of these
trees never perisheth, neither faileth winter nor summer, enduring through
all the year. Evermore the West Wind blowing brings some fruits to birth
and ripens others. Pear upon pear waxes old, and apple on apple, yea
and cluster ripens upon cluster of the grape, and fig upon fig. There too
hath he a fruitful vineyard planted, whereof the one part is being dried

ANCIENT GARDENS IN EUROPE 3

by the heat, a sunny plot on level ground, while other grapes men are gather-
ing, and yet others they are treading in the wine-press. In the foremost
row are unripe grapes that cast the blossom, and others there be that are
growing black to vintaging. There too, skirting the furthest line, are all
manner of garden beds, planted trimly, that are perpetually fresh, and
therein are two fountains of water, whereof one scatters his streams all about
the garden, and the other runs over against it beneath the threshold of
the courtyard, and issues by the lofty house, and thence did the townsfolk
draw water. These were the splendid gifts of the gods in the palace of
Alcinous." 1

About the sixth century b.c. the effect of foreign influence began to
make itself felt, and travellers returned with glowing accounts of the " Para-
deisoi " of the Persian kings and of the wonders of Babylon and Egypt.
On account of the smallness of the Greek cities and their democratic rule
it was vain to attempt any approach to Eastern magnificence ; but although
unable to compete in extent or display, the Greek gardens by the beauty
of their statuary and architecture equalled, if they did not surpass, their
larger prototypes. The principal apartments of a Greek dwelling were
planned upon the opposite side to the entrance, and the garden was usually
enclosed by the rear wings of the house. At the further end would probably
be a high bank of earth planted with sweet-smelling shrubs, roses, myrtles
and agnus-castus, in order that the scent might be freely wafted across the
garden area. Upon one side was often a cool shady wood, thickly planted
like the Italian bosco. The art of forcing and retarding flowers was
considerably practised by the Greeks, who thus ensured a continuous supply
throughout the year. Democritus speaks of the lentisk and of freshly cut
branches of the vine being used to form soft springy couches upon which
to enjoy the midday rest. Flowers were cultivated upon an elaborate
scale, each variety being as a rule in separate beds. In the collection of
writings known as the " Geoponica " there are frequent allusions to the
varieties of plants and also to the general planning of Greek gardens. Myrtles,
violets, roses, lilies, hyacinths and iris were largely grown. The narcissus
was used for crowning the statues of goddesses ; actors and dancers often
wore crowns of flowers, and at every feast it was the custom for guests to
adorn themselves with chaplets and garlands. The temples and altars
1 Odyssey, VII, Translation of S. H. Butcher and A. Lang.

4 GARDEN CRAFT IN EUROPE

were also hung with flowers. Pindar bestowed upon the City of Pallas
the poetic appellation of " the brilliant city of violet wreaths."

There is no doubt that Roman garden craft was largely borrowed from
the Greeks ; the same strictly formal type appears to have everywhere
prevailed, and the technical terms in use are frequently of Greek origin.
The Roman gardens of the Republican period were comparatively simple
' and largely used for the growth of fruit and vegetables, but amenity
and formality were the groundwork of the design, and even the stern
^Cato demanded that gardens, especially if in or near the city, " should
be planted with all kinds of ornamental trees, bulbs from Alegara, myrtle
on palisades, both white and black, the Delphic and Cyprian laurel. . . .
A city garden, especially of one who has no other, ought to be planted and
ornamented with all possible care." Of the earliest Roman gardens very
little can be gathered from ancient authors. One of the first mentioned in
history is that of Tarquinius Superbus, 534 e.g. It adjoined the royal
palace and abounded in flowers, chiefly lilies, roses and poppies.

Four hundred years later we have records of the gardens of Lucullus,
which were laid out at a time when the great General, fresh from his
■victories over Mithridates and Tigranes, deserted by his men and superseded
by Pompey, retired to his sumptuous houses and carried out the immense
garden works described by Plutarch. Lucullus may be said to have been
the real creator of the princely garden and set an example which was quickly
followed by other Roman nobles. His gardens were conceived upon a most
lavish scale at Cape Misenum near Baiae, and in their magnificence rivalled
the splendid pleasure gardens of the East. He expended vast sums of money
in cutting through hills and rocks, and finding insufficient scope for his labours
upon land, must needs throw out advanced works into the sea.

Cicero, both by his writings and his example, introduced a greater modera-
tion of taste. In his villa at Tusculum he had covered alleys and terraces,,
and in imitation of the philosophic gardens of ancient Greece he called
one the Academy and another the Lyceum. Neither Virgil nor Horace
have left us descriptions of the gardens of their time, and although we have
frequent allusions to sylvan beauties and to flowers, these authors give us
no information as to the artistic disposition of gardens. But, among
Roman writers of the classical period, we have three, Varro, Columella
and Pliny, who have all left valuable accounts of the gardens of their

ANCIENT GARDENS IN EUROPE

5

day. Varro's well known work^ mostly deals with agriculture, but in
the third book he describes his villa at Casinum which, amongst other
features, contained an aviary of rare birds, arranged within a portico over
which a hempen net was spread. Pliny's descriptions of his two villas are
so well known that it is unnecessary to do more than refer to them here.
He owned several villas and loved to spend his leisure in seclusion where,
as he says, " there is no need to put on your toga, no one wants you in the
neighbourhood, everything is calm and quiet, and this in itself adds to the
healthfulness and^heerfulness of the place, no less than the brightness of the

THE LAURENTINE VILLA OF PLINY THE YOUNGER, FROM A RESTORATION BY HAUDEBOURT.

sky and the clearness of the atmosphere." - The two principal villas described
were known as the Laurentine and the Tuscan. The former (illus., pp.
5 and 6), was situated some fifteen miles to the south-west of Rome upon the sea
coast, and the description shows the care with which the position was chosen
to embrace the splendid view commanded by the coenatio or dining-room.
An enclosed portico, with a range of windows overlooking the sea on one
side and the garden on the other, was arranged so ingeniously that in windy
or bad weather either side could be thrown open and acted as a protection
to the xystos or flower garden " fragrant with sweet scented violets."

1 See De Re Rustica, § VIII.

^ A good translation with restored plans is given in R. Castell's J''iUas of the Jncients, 1728.

6 GARDEN CRAFT IN EUROPE

The Tuscan country seat, described in his letter to Apollinaris,
was his favourite villa, and whereas the Laurentine house was used in the
modern sense of a villa in the suburbs, this was intended more as a summer
resort and was situated about a hundred and fifty miles from Rome.

Pliny's writings afford us the finest descriptions extant of Roman
villas, and it is remarkable how similar in many points these villas must
have been to those of the Italian Renaissance. Some learned restora-

m* ^j

PLAN OF PLINY S LAURENTINE VILLA, AS RESTORED BY HAUDEBOURT.

tions on paper have been made by servants. Scamozzi, FeHbien, Castell,
Marquez, Haudebourt and Bouchet have all endeavoured to reconstruct
their glories. The restoration made by Haudebourt in 1852 is in many
respects the best, and is conceived in a very architectural spirit, both in
reference to its building and in the rectangular nature of its lines.

This type of villa was known as the Villa Urbafia, and the neigh-
bourhood of Rome abounded in examples, each one differing in plan from

ANCIENT GARDENS IN EUROPE 7

Pliny's descriptions only as the exigencies of the situation demanded. Their
sites were invariably well chosen, especially with regard to the season of
the year during which they were to be occupied. A hillside has always
been the most attractive situation to the Italians for their villas, and apart
from its healthiness, it affords great opportunities for garden display in the
construction of terrace walks and in the arrangement and distribution of
water. On the other hand, a level site affords greater opportunities for
extensive display. The villa rustica was a smaller type of country house,
more of the nature of a pleasure farm.

The whole of the Campagna round Rome was studded with such villas,
arranged in zones or districts according to their size. The Roman love
of the country during autumn still survives in the annual villeggiatura, which
is so essential a feature in the life of a modern Italian.

In the neighbourhood of Rome the favourite situations for country
villas were upon the slopes of the Sabine and Alban mountains, at Tibur
(the modern Tivoli), Laurentium, Sublaqueum (Subiaco), where Nero
had a large villa, Antium, upon the sea coast, Centumcellae (Civita Vecchia),
and Praeneste. The last named was a very famous summer resort under
the Emperors on account of its bracing climate, and together with Tibur
and Baiae is much extolled by Horace. Pliny describes the roses of Praeneste
as being the finest in Italy, and they were grown in enormous quantities
for the Roman market. Another favourite district for villas was along the
shore of the Bay of Naples, especially Baiae, where Nero, Pompey and Csesar
all had sumptuous villas. Here all restraint was thrown off and life entirely
given up to pleasure and luxury.

The larger country villas and their farms often covered an area of several
hundred acres. The house itself being taken as the key to the situation,
the courts round it were arranged to conform to its architecture. The various
courts and loggie merged into the atrium, which was usually enclosed by a
colonnade adorned with statuary. The principal parts of the garden
plan were separated from each other by thick hedges or shady pergolas.
The most important feature was the hippodrome, a place devoted
to running and equestrian exercise, divided longitudinally by hedges
of box ornamented with topiary work. The Hippodrome survived even
to the days of the Renaissance, and an excellent example may still be seen
in the gardens of the Villa Borghese at Rome. Next in importance was

8 GARDEN CRAFT IN EUROPE

the xystos or flower garden, consisting of a parterre composed of beds and
paths. The Romans in borrowing the word from the Greeks had altered
its meaning ; with the Greeks it meant a covered gallery, and Vitruvius
expressly notes the difference. Sometimes the bed was raised above the
level of the path, in which case it was called a -pulvinus or torus. If the bed
was not raised it was often outlined with box or rosemary. A rosarium or
rose garden and a labyrinth were planned adjoining the xystos, and the
fruit and vegetable garden, with trees arranged quincunciaily,^ frequently
formed part of the garden scheme. A finely organized system of aqueducts
brought water from the hills to supply the summer fountains and pools.

The staff required to keep in order such a villa garden was very large.
First came the \topiarii, chief of all the slaves whose primary duty was
to exercise their art in the clipping and pruning of trees into all kinds of
fantastic shapes. In addition to these were the viridarii, whose work lay
probably more within doors ; the aquarii, who had charge of the fountains
and waterworks ; the vinitori, presiding over the vineyards ; and the olitori,
who looked after the olive yards.

The most characteristic ornament of the classic garden was its topiary
work (opus topiarum), and the plants chosen for this work were those that
preserved their foliage in winter, as the box and cypress. They assumed a
variety of shapes ; cut into quite low hedges, they traced the letters forming
the name of the artist or proprietor, an idea we may still see in the gardens
of the Vatican ; or, when required to accentuate certain points of the xystos,
they were cut into pyramids, cones, and other geometrical forms, figures
of men and animals were often employed, and in some cases a hunt or an
entire fleet was represented in topiary.

All the larger Roman villas had a number of garden buildings collected
within the enclosure of the park and garden, and Hadrian's Villa at Tivoli is an
astonishing example of their extent and variety; besides several theatres were
the Hippodrome, the Academy, Baths, a building known as the Canopus con-
taining a number of Egyptian statues, some of which are now in the Vatican,
the so-called Elysium, the Prytaneum, the Nymphcsum and Palcestra. The
most luxurious and expensive materials, such as marble, porphyry and
precious woods, were used in the construction of the triclinia and

^ Quincunx is the name given to a mode of planting in rows so that in a plot of ground thus
planted the trees appear in rows in four directions.

ANCIENT GARDENS IN EUROPE

garden pavilions, which were by no means the ephemeral constructions
of the Egyptians and Greeks. The finest sculpture was employed in the
statues of philosophers, athletes, gods and goddesses, satyrs, muses, cen-
taurs and animals, and in the decoration of vases. In fact, much of the
best ancient sculpture adorned these sumptuous gardens of the age when
Imperial Rome was in her glory.

Conservatories and hot-houses for the protection of the more tender
plants are mentioned as early as the first century, though we do not know
the technical name by which they were designated. Some of the references
in ancient authors may refer to mere frames, but others are more explicit
and indicate that substantial buildings were erected to shelter plants in
winter ; otherwise some of
the more tender plants im-
ported from the East could
hardly have acclimatized
themselves. As the taste
for exotic plants came more
into vogue the necessity
arose for more elaborate
buildings. They were en-
closed with specularia or
windows of talc and heated
by means of lines. In the
Villa of Maecenas at Rome,
a building was excavated in
1874 which is supposed to have been such a conservatory ; it had masonry
tiers for displaying the plants and was heated. Martial once sarcastically
wrote that " he wished he were his friend's apple tree, rather than his guest,
for it was protected from the cold by glass or talc, whilst his bedroom had
none."

The principal features of the villas which have been described were
to be found upon a grander scale in all the great imperial palaces ; the most
stupendous of these being Hadrian's villa, the ruins of which still exist. It
was begun about twelve years before Hadrian gave up the administration of
public affairs, and occupied an area of about 160 acres. The gardens were
mostly confined to courtyards and terraces commanding glorious views over

HOUSE OF SALLUST, POMPEII.

GARDEN CRAFT IN EUROPE

HOUSE OF SALLUST, POMPEII.

the beautiful vale of Tempe,
within sight of Rome, y-et
away from its noise. It was
customary in the larger villas
to erect models in miniature
of celebrated monuments,
triumphal arches, etc. After
having frequented the streets
of Rome during the winter
the fashionable world liked
to find reproductions of its
monuments in their gardens
during the summer. The
idea was revived during the
Renaissance, and in the garden at the Villa d'Este atTivoli there still exists
a model of part of ancient Rome with temples. Forum and triumphal arches.
In Rome itself there were a considerable number of beautiful gardens
surrounding the town houses, which were mostly used during the
winter months or during the Roman season until, as Pliny says, " the
appearance of spring was a signal for the aristocracy to disperse to
their country seats." The Pincian hill was occupied by the magnificent
gardens of Acilius Glabrio. Upon the Janiculum stood the gardens of
Julius Caesar, and on the Tiber's banks were those of Augustus, Pompey,
Nero and Caligula. Domi-

tian laid out his gardens ^MSKBBK^^^^MK'".'-^*^-''"-
upon the Palatine Hill in
imitation of the gardens of
Adonis, and their plan has
been discovered, incised on
marble slabs. Upon the site
of the Vatican were the
Horti Agrippinae.

In the restricted areas of
the less pretentious town gar-
dens, every square yard of
available space was turned house of marcus lucretius, pompeii.

ANCIENT GARDENS IN EUROPE

II

to good account. Terraces, balconies and roof-gardens (solaria) helped to
satisfy the desire for fresh air, and where space permitted were laid out
with beds of flowers or even fruit trees. In almost all town houses the
living apartments were arranged round one or more open courtyards ; the
smaller of these was the atrium and the larger, which only existed in more
important houses, was known as the peristyle. Many examples may be
seen at Pompeii where even
the smallest atrium was laid
out in some fashion as a
garden. In the centre was
an imfluvium or shallow
pool, which received the
water of the roof, and was
enclosed by a low coping
hollowed out to contain
lilies and aquatic plants, or
bordered with fresh green
moss, its rippling fountain
merrily spurting in the sun-
light. Sometimes the larger
court or -peristyle was laid
out with beds of flowers and
shrubs and ornamented with
statuettes, fountains, and
mosaic or shellwork grottos,
and tables or basins of
marble were scattered
about. Many examples of
such decorative features are

to be seen in the museum at Naples, and others still remain in their original
position at Pompeii, where the authorities have very wisely reconstructed
several of the ancient gardens, as may' be seen in the illustrations, showing
how delightful an effect may be produced within the smallest compass.

In many of the wall paintings, both at Herculaneum and Pompeii,
various ephemeral structures are depicted, summer-houses (illus., p. 12),
nymphaea, shrines, temples and aviaries, generally of wood, and enclosures of

MOSAIC NYMPHAEUM AT POMPEII.

12

GARDEN CRAFT IN EUROPE

trellis, with angle posts carved and decorated. Such structures were painted
in the gayest colours, an example which might with advantage be followed

to-day. The pergola has always been a
great feature in Italian garden design and.
by the use of marble columns with carved
and painted beams, was capable of great
elaboration.

With the fall of Rome and the incursions
of barbaric tribes the sumptuous villas did
not long survive destruction, often being
converted into fortified abodes where there
was little opportunity for gardening. The
best traditions, however, passed on to the
Eastern Empire, and under the influence of
Byzantine taste, were never entirely lost. In
Italy and the West of Europe generally, the
art of horticulture was only kept from entire
degeneration by the monks in the compara-
tive peace afforded by convent walls, and
by their untiring labours whole districts in
Italy, France and Spain were fertilized after
having been abandoned in consequence of the
ravages of Goths and Saracens. Nevertheless, the influence of Pliny and other
writers on agriculture was felt through all these centuries. The Herbal of
Apuleius, founded on PHny's works, was compiled in the fourth century and
later translated into Anglo-Saxon.

TRELLIS ARBOUR FROM A
FRESCO AT POMPEII

CHAPTER II
THE GARDENS OE THE MIDDLE AGES

URING the dark ages that followed the downfall of the
Roman Empire, all taste for country life was soon extin-
guished. War once more became the ruling passion, and
in Italy agriculture fell upon bad times. In the South of
France the Gallo-Roman establishments did not dis-
appear so completely. Sidonius Apollinaris, the Bishop
of Clermont, mentions several beautiful gardens of this
epoch, and takes pleasure in describing the delights to be found in them.
The wise policy of the early Church in respecting pagan customs by turning
them to the profit of the Christian religion was instrumental in the develop-
ment of horticulture and incidentally created a demand for the cultivation
of flowers for use at festivals. Thus the garlands which young girls used to
weave for the pagan festivals of the Ambarvalia, under the new regime
were used to adorn Rogation processions.

The growth of monastic life also helped the progress of gardening.
To the monks, entirely shut off from the world, the most human and uni-
versal taste for gardening served well as an outlet for the expression of their
love of beauty, and filled a void in their Hves, so debarred from all participa-
tion in earthly pleasures.

The gardens of the royal villas belonging to the Merovingian dynasty
were not of any great importance, being little better than clearings on the
outskirts of forests, and the cultivation of palatial gardens does not appear
to have made very great progress until the ninth century, when Charle-
magne, having warred successfully against Saracens, Lombards and Saxons,
built his sumptuous palaces at Aix la Chapelle and at Ingelheim on the
Rhine. Besides these he had vast estates throughout the whole extent of his

H

GARDEN CRAFT IN EUROPE

given
a

empire, from which he drew a large proportion of his revenue. He inter-
ested himself very much in agriculture and horticulture, and in 812 issued
his famous capitulary, De villis et curtis, in which particular directions are
concerning the maintenance of orchards and gardens, together with
list of trees and plants that should be cultivated. This is one of
the most valuable and expHcit documents relating to the art of gardening
in these early centuries that has been preserved. We find enumerated
all the plants which the Emperor had grown himself, and the culture of
which he recommended to his subjects ; they were principally fruit trees
and medicinal herbs, but a certain number of ornamental plants are also

described.^ An im-
portant feature in
these gardens of Char-
lemagne was the great
menagerie; wild
animals were much
prized as royal gifts,
and we read that the
King of Persia pre-
sented Charlemagne
with an elephant
which was brought to
the menagerie at Aix-
la-Chapelle. How
such a bulky pre-
sent journeyed across
Europe it would be interesting to know.

The plans of the Abbey of St. Gall, situated near the lake of Con-
stance, give very exact information as to early monastic gardens in general ;
here the hortus is indicated as a regular enclosure, with .a central path leading
from the gardener's house, and nine long and narrow beds of equal size upon
each side ; the herbularis, or physic garden, is smaller with a border of plants
round the wall, and four beds on both sides of a central wall, the plants
contained in each of these beds are carefully noted. At the monastery

^ This capitulary is dealt with at length in the Magasin encyclo-pediqiie, by MM. Sereau et
Harman, An VIII, tomes III et IV.

MONKS GARDEN AT THE CERTOSA, PAVIA.

THE GARDENS OF THE MIDDLE AGES

m

^VS'-o^Sx- L

r~^^

HAZEL-NUTS

^n

^VvS/'Sr^^s-

of Monte Cassino the Benedictines created the earliest school of medicine,
the forerunner of the great botanic gardens of the sixteenth century.

The tenth century was an age of great depression over the larger part
of Europe, and horti- •
culture passed through
a period of decline, from
which it did not emerge
until the beginning of
the next century when,
owing to the great reli-
gious revival and the
stimulating effects of the
crusades, gardening, in
common with all the
arts, made considerable
progress. 1 It was much
to the advantage of
Western Europe that at
this crisis it should have
become acquainted with
the marvels of the East,
of Egypt, and the North
of Africa. Many hither-
to unknown plants and
fruits were brought back
by the Crusaders and
acclimatized in Europe,
adding a new impetus
to gardening, such as it
had not experienced for
centuries.

Some of the archi-
tectural features, such

as the bathing-pools (illus., p. i6) that are so frequently met with in
mediaeval drawings, can be directly traced to oriental influence ; they were

^ See Leopold Delisle, Etuie agricole en Normandie au moyen age. Evreux ,1851.

r

1 1 f^

It

iiii

F H f^

Hi

I

25

o

i

ABBEY of SraALL 9™CENXlM0NKS GARDEN

i6

GARDEN CRAFT IN EUROPE

usually quite shallow pools approached by several steps. Another garden acces-
sory that owes its origin to the East is the tent, pictures of which may often

be found in minia-
ture paintings.

The flower
garden now had a
definite place al-
lotted to it, and
the space which
had hitherto been
devoted to the
orchard became
more curtailed.
Many new varie-
ties of flowers were
introduced. The
yellow Persian rose
is said to date its
introduction into
Europe from this
period, and the
damask rose, or
rose of Damascus,
also betokens its
Eastern origin.
The jessamine was
brought from
Arabia by way of
Spain, and very
soon the tulip,
fritillary, ranuncu-
lus, balsam, hya-
cinth, lilac and

A BATHING-POOL, FROM AN ILLUMINATED MS.
MUSEUM.

IN THE BRITISH

mimosa were im-
ported from Turkey and Asia Minor, whflst many other exotics, now almost
considered indigenous to Europe, were introduced by the Crusaders.

THE GARDENS OE THE MIDDLE AGES

7

About 1270 Jacob van Maedant, a Flemish poet, wrote De Naturen
Bloemg, a treatise in verse on plants, beasts and minerals ; it is illustrated
by coloured drawings and claims to be based on the work of Albrecht van
Keulen ; it was written in thirteen books, of which three deal respectivelv
with trees, medicinal plants and herbs.

Life in a feudal castle had much monotony, and it may easily be imagined
what diversion the small verger, or private garden gave to the chatelaine and
her ladies, who no doubt
often found their greatest
pleasure in carefully tend-
ing some little plot of
ground hidden away in the
recesses of the castle.

Our knowledge of
mediaeval gardens can only
be acquired from casual
references in old chronicles
or from stray pictures to
be found in. breviaries,
missals, and Books of the
Hours. Though consider-
able allowance must be
made for the fluent fanc}
of the artists, these little
sketches assist us in recon-
structing the quaint plea-
saunce of the middle ages

with its babbling, sparkling fountain, its curious seats and arbours, its low .
wattled hedges and quaint topiary works. In the beautiful fifteenth-cen-
tury manuscript of the "Romance of the Rose" preserved in the British
Museum we find a considerable number of garden sketches. In one of
these (illus., p. 19) the pleasaunce is laid out with grass plots divided
by a fence. Here we see a variety of fruit trees and a fountain throw-
ing up jets of water which fall into a basin, while the chatelaine sits with
her music, singing to the accompaniment of a troubadour. In another
picture, illustrated above, a gay company of knights and ladies is seen in an

c

A MEDIAEVAL GARDEN SCENE.

1-8 GARDEN CRAFT IN EUROPE

orchard surrounded by a high embattled wall, walking in procession to the
accompaniment of minstrels.

Although the use of statuary was so general in Roman gardens, it does
not seem to have been known at all, as a form of garden ornamentation,
during the middle ages. Wherever statues appear, they belong either to
the house itself or to some purely architectural feature, such as a fountain,
a wall, or a bridge.

Plants in pots are often seen in representations of mediaeval gardens,
and, as rare foreign plants were one of the earhest luxuries of garden lovers,
the use of ornamental pots was frequently resorted to and these were them-
selves made objects of beauty. A French illumination in the Bibliotheque de
r Arsenal, entitled ^he instruction of a young 'prince, shows a round vase
containing a curiously cut shrub. Other mediaeval drawings show gardens
embellished with flowering plants in low pots either of metal or earthenware
and painted blue and white. The Grimani breviary illustrates several pots
of this character.

Water in a variety of forms was introduced into the garden as often as
possible. The fountain was the central and most ornamental feature ; it was
generally gilt and decorated in brilliant colours, and its design gave scope
for many different forms of architectural treatment. From the fountain
little channelled ways branched off in several directions, leading the water to
pools scattered about the garden.

The fish ponds and pools were planned away from the castle and were
often very extensive ; they were generally encircled by a wall or by a con-
tinuous arbour extending round the four sides. In the manuscript Les tres
riches Heures du Due de Berry preserved in the Museum at Chantilly
such a delightful little water garden is represented, encircled by an arbour
and having a parterre divided off by low wattled screens.

Little or no garden furniture is to be found in representations of
mediaeval gardens ; people sat on the lawns or upon the resting-places round
the boundary walls. These consisted either of brick seats cushioned with turf^
or earth banked up round a tree and kept in position by wattled reeds ; such
seats were about two feet wide and eighteen inches above the ground, and
sometimes, instead of the grass seat there were beds of roses, camomile,
and. other plants. A Dutch painting of the fourteenth century in the Rijks
Museum at Amsterdam shows a large U-shaped seat, with grass upon brick-

GARDEN FROM THE BRITISH MUSEUM MS. OF "THE ROMAUNT OF THE ROSE,
SHOWING TREILLAGE SCREEN AND FOUNTAIN.

THE GARDENS OF THE MIDDLE AGES

21

work, placed away from the walls in the middle of a cloister garden. In
another example, shown in a woodcut of 1487, the child Jesus is seated upon
a turfed seat with attendant figures on the grass at His feet. Two illustra-
tions from Der Meister des Liebesgartens show a table set out for a feast
and a canopied throne for the lady personifying Love. The mediaeval
custom of raising the flower bed well above the ground was a very pleasing
one and worthy of imitation nowadays.

The parterre was subdivided into
compartments of trellis work, square
or diamond-shaped (illus., p. 27), or
else of rough lattice, the angle posts
often gaily decorated in colour, while
the main paths and alleys were either
of grass or loosely covered with sand.
Wooden galleries, their structure con-
cealed by flowering shrubs or vines,
often encircled the garden.

Sauval, the historian of Paris, tells
us that the town gardens of Paris in
the fifteenth century were surrounded
by hedges, kept within bounds b^-
crossed stakes or else by tunnels of ver-
dure framed in a similar way. Guille-
bert de Aletz, in his description of Paris
in 1422, relates that on the fortifications
of the Petit Chatelet the Parisians cul-
tivated curious hanging gardens in this
way. In the Menager de Parish com-
posed about 1393, we find an account
of the plants, flowers and vegetables usually cultivated in town gardens.

From very early times labyrinths were laid out in gardens. At first
merely winding paths cut in the ground, they later on developed into walks
entirely enclosed by hedges. Charles V laid out a famous labyrinth known
as the Maison de Dedale in the gardens of the Hotel Saint Paul, at
Paris, where amongst other curiosities was a collection of bay-trees which at
^ Published by the Societe des bibliophiles jran^ais.

A TRELLIS ARBOUR FROM "THE ROMAUNT
OF THE ROSE."

.22

GARDEN CRAFT IN EUROPE

this. time were considered quite a novelty. The garden was reconstructed in
143 1 by the English Regent, Bedford, who, we are told, introduced holly
trees and planted many hundred elms. Charles V appears to have been a
great patron of gardeners, and a rare volume dedicated to him, entitled Des
prauffits Champestres et Ruraulx,hy one Pierre de Croistens, was recently sold
from the library of the Earl of Cork and Orrery. It deals at length with

\fafvnta$nc<tUmfpim

RAISED SEAT SURROUNDING AN ENCLOSURE
FROM "the ROMAUNT OF THE ROSE."

A GARDEN' POOL AND CHANNEL FROM
"the ROMAUNT OF THE ROSE."'

flower gardens, with the planting and pruning of trees, ploughing, and
threshing corn.

During the reigns of Charles VIII and Louis XII great changes took
place in garden design in France. As property became more secure, life
became more sedentary. Considerable progress was made in the cultivation
of plants, and above all the increased use of artillery necessitated great altera-
tions in the planning of castles. They were made much more habitable and
a less severe aspect was given to them, but still a large space was invariably
left free immediately round the castle to prevent sudden attack and in order

THE GARDENS OF THE MIDDLE AGES

that a look-out might be kept in all directions. It
was not until the seventeenth century was well
advanced that the moat could be dispensed with in
safety. Old plans of the castles of Commines and
Viniers show the gardens beyond the outermost forti-
fications, connected with the ramparts by a bridge,
and laid out in geometrical patterns. Frequently
these outside gardens were left quite undefended or
at most protected by a slight wall or palisade.

The development of gardening in Italy during the
middle ages generally followed the lead of France.
The incessant wars, resulting in the mingling of so
many different nations on Italian soil, ravaged the
length and breadth of the country and hardly per-
mitted the same development of horticulture that
we see in the more northern parts of Europe. It is
not until the latter half of the thirteenth century,
when Pietro Crescenzi compiled his great work. Opus
Ruralium Commodorum, that we have any very definite
account of garden design.

The work of Crescenzi was by far the most
important treatise upon agriculture produced during
the middle ages, and stands quite alone in the litera-
ture of gardening ; it was founded upon the works
of the ancient agrimonists, Cato, Varro and Colu-
mella and on the author's own personal observation.
It remained in manuscript for more than a century
and a half and was first printed in 1471 in Latin, but
was afterwards translated into Italian, French and
German. The eighth chapter treats of the laying out
of gardens, which the author divides into three classes.
Firstly, he deals with small herb gardens, under which
term he includes small orchards, and gardens of fruit
trees and herbs pleasing to the sight. After giving
minute directions as to the preparation of the soil, he
recommends that the garden be square. In its bor-

FIFTEENTH-CENTURY
GARDEN FROM THE
GRIMANI BREVIARY.

24

GARDEN CRAFT IN EUROPE

A FLOWER GARDEN,

FIFTEENTH CEN-

TtTRY, GRIMANI

BREVIARY.

ders should be planted every species of odoriferous
herb, such as goats-rue, sage, basil, marjoram, mint and
the like. The paths were to be of grass, and against the
wall a high bank of earth arranged as a seat, blossoming
and beautiful, whilst pergolas of vines gave to the charm-
ing spot a cool and delightful shade. " As in trees of this
kind the shade is sought rather than the fruit, they must
not be dry or manured because it would hurt the neigh-
bouring herbs and flowers, . . . and care must be taken
that the trees neither be too many nor grow too thickly,
because the shutting off of air corrupts the health of the
place, also because the garden requires a free current of
air."

He recommends the use of sweet-scented and shady
trees, and advises that " in the middle of the lawn there
should be no trees, but the fresh level of the grass left
alone in a pure and glad air, and if possible a clear foun-
tain, to add pleasure and gaiety by its beauty."

Crescenzi then proceeds to deal with gardens for
ordinary personsfrom two to four acres in extent ; these,
he suggests, should be surrounded by trenches of prickly
shrubs and white briars, with a hedge beyond of pome-
granates in hot countries, and of hazel nuts or quinces
in cold. He also suggests an arbour or trellis bower
made in the fittest and most convenient plan, " like unto
a pavilion." Thirdly, the treatise deals with the gar-
dens of kings and other rich persons for, " whereas such
persons having great riches and power can in these
worldlv things entirely satisfy their wills, most times only
lack the industry and the science of ordering them. . . .
On the northern side let there be planted a forest of
different trees where the wild animals let loose in the
cjarden can run and hide. On the southern side let
there be built a beautiful palace where the king or
queen will dwell when bent on escaping serious thoughts
and renew their soul with comfort and mirth. . . . Also

THE GARDENS OF THE MIDDLE AGES

^5

in some part of this garden can the orchards be
planted. And let a fishpond be made in which many
generations of fish shall be fed, and also let there be
hares, stags, roebucks, rabbits and such animals as are
not rapacious. And at the top of some small trees
near the palace let there be built a kind of house
having a roof and walls of copper wire finely netted,
where shall be put pheasants, partridges, nightingales,
blackbirds, goldfinches, linnets, and all kinds of singing
birds. And let the rows of the trees in the garden of
the palace be far from the forest, in order that from
the palace it may be seen what the animals in the
garden are doing. There also ought to be made in
this garden a dwelling-place, with walks and bowers
of trees only, in which the king or the queen may
sojourn with their barons in dry weather."

The early Britons owed to the Romans all the
knowledge they possessed of horticultural science.
Strabo, writing in the fourth century, says " The
people of Britain are entirely ignorant of the art of
cultivating gardens as well as of the other parts of
agriculture." With the fall of the Roman Empire
a death-blow was struck to horticulture, and garden-
ing as an art of design entirely disappeared during the
stormy centuries that succeeded. Shelter and defence
are implied by the etymology of our words " yard "
and " garden," and such were the leading characteristics
of the little enclosed spaces devoted by our Saxon
ancestors to such plant culture as then obtained.

In the latter half of the eleventh century the
advent of the Normans added considerably to the
general comforts of living, but again during the
troublous period following the Conquest the quiet
pleasures of a garden could hardly be enjoyed.

The earliest writers on horticulture in England
were monks, and the most valuable authority upon

A CASTLE COURTYARD,
FIFTEENTH CENTURY,
GRIMANI BREVIARY.

26 GARDEN CRAFT IN EUROPE

the subject of early English gardens is Alexander Neckham, Abbot of
Cirencester. He was born at St. Albans in 1157 and died in 1217, and
in early life was a professor at the University of Paris. His account
consists of a series of notes entitled De Naturis Rerum (a kind of con-
temporary encyclopaedia). His description of the herbs, fruits and flowers
to be found in a garden of his day is interesting, and gives a good idea of
what was considered necessary for the support of a monastic establishment
of the time. Neckham was a compiler rather than an observer or a thinker,
and his knowledge of gardens was drawn more from writers of another age
and climate than from practical experience in his own country. Classic
authors, such as Pliny, were studied for directions as to culture rather than
for information on laying out, and so Neckham is silent on the subject of
garden design.

Other writers of this period were Bishop Grosseteste of Lincoln and
John de Garlande, an Englishman who resided in Paris during the first half
of the thirteenth century and who has left a description of his garden there.
From this and other accounts it is evident that both in matters of taste and
in horticulture France had advanced further than England in garden craft.
The two countries were so intimately connected at this period that the
accounts already given of French gardens would equally apply to English, at
any rate as far as the more important gardens were concerned.

One of the most important of the gardens surrounding the royal palaces
was that of Woodstock, where Henry HI carried out many improvements.
He commanded the Bailiff of Woodstock " to make round about the garden
of our Queen, two walls good and high so that no one may be able to enter,
with a becoming and honourable herbary near our fish-pond in which the
same Queen may be able to amuse herself."

There were also royal gardens at Windsor, Westminster, Whitehall and
the Tower. The old maps of London show what a number of magnificent
gardens there were belonging to the palaces that bordered the Strand and
extended in terraces to the River Thames.

Considerable advances in horticultural science were made in the reign
of Edward I, when the mediaeval prosperity of the English may be said
to have culminated. The King and all the nobility devoted much attention
to the cultivation of their demesnes, and, at the same time, a class of smaller
landowners was growing up who, gradually throv^ing off allegiance to their

THE GARDENS OF THE MIDDLE AGES

27

feudal lords, built for themselves small farms and manor-houses which they
surrounded with orchards and gardens, so that, by the end of the fourteenth
century, almost every small manor and farm had its pleasaunce. During
the Wars of the Roses much that civilization had gained in horticulture
was lost, and progress was not continued until the restoration of peace
under the Tudors.

HORTUS CONCLUSUS, GRIMAM BREVIARY,

CHAPTER III
THE ITALIAN GARDEN

HE account of Pietro Crescenzi, quoted in the last
chapter, enables us to form some idea of the state of
garden design in Italy during the latter half of the thir-
teenth century. Throughout the whole of the fourteenth
and fifteenth centuries the work of Crescenzi stands
alone in the history of gardening. As the Renaissance
in architecture proceeded, villas sprang into being upon all sides, the
result of a period of peace and comparative security, and during the
fourteenth century the craze for gardening grew apace, and had become
quite a passion when Boccaccio sketched from life the delightful picture
of the garden of his time in the introduction to the third day of the Decamero?i.
He describes a garden breathing the spirit of the Ancients, one which might
have been laid out quite as well in the days of Pliny as in the middle of the
fourteenth century. The garden of the fairy palace to which Pampinea
conducts her gay company has been identified as that of the Villa Palmiera,
some few miles outside Florence. The spot was well known to Boccaccio,
and from his habit of taking many of his sketches direct from life it may
readily be assumed that he faithfully portrays the Italian garden of his
time.

Such gardens as Boccaccio has described are frequently found in paint-
ings of the period. The well-known " Massacre of the Innocents " in
the Academy at Florence shows a courtyard enclosure, upon the walls of
which is a pergola with low round bowls alternating between the columns.
In Lorenzo Lotto's picture of " Christ's farewell to the Virgin " is a
garden with pleached alleys leading to a circular arbour (see annexed figure),
and in Pinturicchio's picture of " Susanna and the Elders "' the garden is
shown, surrounded by a low red wall and a hedge of roses trained upon a

THE ITALIAN GARDEN

29

lattice of gilded reeds. Long before the Renaissance had fully matured
the classic passion for beautiful gardens reasserted itself with renewed
vigour as a growing sense of safety and an influx of wealth permitted the
pleasures of country life to become more and more appreciated by the
noble families of the day, and so great an impetus was given to the move-
ment that the whole countryside round Florence and other great cities
soon became studded with villas and pleasure grounds.

A GARDEN FROM LORENZO LOTTO S PICTURE OF
TO THE VIRGIN."

CHRISTS FAREWELL

Chief amongst the makers of princely gardens were the Medici at Flor-
ence, and Cosimo de Medici was one of the first great princes to turn his serious
attention to garden design. In 1417 he purchased a country seat at Careggio,
which he entirely rebuilt and laid out from the designs of Michelozzo Miche-
lozzi ; the villa still exists, though little of Cosimo's work remains. Here
he spent the last years of an arduous life, seldom moving abroad, and here
he died in 1464. According to Vasari, Alichelozzi also laid out the for-

30

GARDEN CRAFT IN EUROPE

tress villa at Cafaggiuolo, but no vestige of these gardens now exists. The
example of Cosimo de Medici was soon followed by other members of his
family, each vying with the other in efforts to create more grandiose schemes,
so that in addition to the great palace in Florence they had no less than

tcr^i^irrJ

A COVERED FOUNTAIN.

TOPIARY DESIGNS.

A TREILLAGE SCREEN.
GARDEN DETAILS FROM " POLIPHILI HYPNEROTOMACHIA."

eleven magnificent villas in the immediate vicinity. The Boboli gardeiiy
laid out upon the hillside behind the Pitti Palace, was begun in 1549 by
Eleonora de Medici, who commissioned Buontalenti and II Tribolo to
design the gardens extending to the south and west of the palace. The
character of these has been but little altered, and nowhere are we better

THE ITALIAN GARDEN

able to study an Italian garden of the sixteenth century. The palace is
situated at the foot of a steep hillside which has been considerably exca-
vated. Instead of a parterre the principal apartments overlook an immense
amphitheatre with six tiers of stone benches, set off by a background of
laurel hedge behind which rise the ilex-clad slopes of the upper garden.

32

GARDEN CRAFT IN EUROPE

This amphitheatre was designed to show off the superb spectacles given
from time to time by the Medici, and is a feature rarely to be seen in Italian
gardens. The engravings of Delia Bella illustrate the great fetes that took
place here, when all Florence flocked to see the entertainments.

Another beautiful feature of the Boboli garden is the Isolotto, an oval-
shaped island at the foot of the long cypress alley dividing the garden.
It is laid out as a lemon garden, connected by two bridges, and is sur-
rounded by a balustrade in which orange trees in large red pots alternate
with short lengths of balustrading. In the middle is John of Bologna's
gigantic fountain surmounted by a figure of Oceanus.

THE AMPHITHEATRE OF THE BOBOLI GARDEN ON THE OCCASION OF A GRAND FETE,
FROM AN ENGRAVING BY DELLA BELLA.

A delightful picture of a city garden in Florence during the halcyon
days of the sixteenth century is given by Bocchi, an author who, writing
about the middle of the century, thus describes the garden of one of the
Acciaiuoli palaces : " There is a garden on strong arches about fifteen cubits
high, in a street close to the Arno and looking due south, where the air is
soft and pleasant. There in pots and on espaliers are such delightful greenery
and fruits, such as lemons and pomegranates, that although the space is
not really large, yet the delight it gives is so great that it appears so. Above
this and behind, rising yet higher, is another terrace filled with similar trees ;
it is marvellous to see the quantitv of fruit produced and what good condition

THE ITALIAN GARDEN

33

it is in. Above, and still further back, is yet another terrace, more than
thirty cubits from the ground, and the view thence is so beautiful that the
soul is rejoiced ; wherever a man turns he enjoys the sweet air, full of the
perfume of fruit and of flowers which are ever abundant according to their
season. Water is lifted by ingenious devices from below up to the garden
on the third terrace so that when dried up by the heat the moisture may be
quickly restored."

THE ISOLOTTO, BOBOLI GARDEN, FLORENCE.

The most important Medicean villas remaining outside Florence are
those of Castello and Petraja, now the property of the Royal Family ; they
lie side by side, resting against the hillside amid beautiful surrounding woods
of ilex. The great parterre at Castello lies behind the low facade of the
Casino that Buontalenti built for Pier Francesco de Medici, and is backed
by a noble terrace, its brilliant whiteness admirably contrasting with the
rich tones of the dark ilex woods behind. In the centre of the parterre
is the fountain of Hercules, a work of consummate art and one of the finest

D

34

GARDEN CRAFT IN EUROPE

fountains in Italy. It is generally supposed to have been executed by John
of Bologna. Beyond lies the orange garden, enclosed on three sides by
the terrace. One of the grottos, that devised by II Tribolo, still remains
in working order ; it is probably the finest of its kind in Italy and is decorated
with arabesques of different coloured shells and pebble-work with life-
sized animals. The garden was everywhere adorned with exquisite bronzes

THE MODERN WATER PARTERRE AT VILLA GAMBERALA, NEAR FLORENCE.

of animals and birds ; several of them have been removed and are now
among the treasures of the Bargello museum ; upon the topmost terrace
is a colossal recumbent figure representing the Apennines shrinking beneath
the shower of water thrown by a jet high into the air.

The villa of Petraja has suffered more from the ravages of time than
Castello. It was a favourite resort of Cosimo I, and here he spent his
honeymoon with Camilla Martelli. II Tribolo's fountain, brought from

THE WATER GARDEN, VILLA MARLLA,

36

GARDEN CRAFT IN EUROPE

FOUNTAIN BY IL TRIBOLO AT VILLA PETRAJA, FLORENCE.

THE ITALIAN GARDEN

37

Castello, still adorns the parterre, but the whole garden has been allowed
to run riot.

Both Castello and Petraja were planned upon what the Italians con-
sidered the ideal gar-
den site, as described
by Ferrari in his De
Florum Cultural
" First let the man
whose nature exults in
the culture of flowers,
choose for his flower
garden a plot exposed
to a healthy climate,
and remote from
marshes, lest the gar-
dener himself, among
the gaily coloured
flowers, should by
breathing pestilential
air be overcome by
the pale hue of death ;
not facing a river lest
he should breathe cold
and damp, and there-
fore unhealthy air ;
and if possible close
to his house so that
he may have a golden
age of eternal spring
at home, and may see
a paradise of flowers
laid out below his
windows ; as large as possible, lest the various and manifold nation of
flowers should be too closely crowded ; sheltered from the north, whose
deadly cold might be breathed by the tender plants in winter ; turning
towards the south, whose warm, humid, gentle-blowing breath is the hfe

38

GARDEN CRAFT IN EUROPE

of the flowers. So let not the little garden be inferior in the amenity of its
site to Italy herself, which, sheltered from the cold of the sterile north wind
by her Alpine walls, seemed to Varro to be one orchard spread out towards
the fertile warmth of the southern sky."

Poggio a Cajano, some ten miles beyond Florence, was laid out about

A COURT IN THE GARDENS OF THE VATICAN.

1485 from the designs of Giulio di San Gallo, and was famous for its planta-
tion of mulberry trees and for its wonderful parks, where Lorenzo de Medici
formed a collection of all kinds of rare birds and animals. He was also keenly
interested in the study of plants, and owing to his efforts Italy may claim to
be the creator of botanical gardens. The grounds of his villa at Careggio might

THE ITALIAN GARDEN

39

almost be called a botanical garden, as they contained countless specimens of
trees and shrubs. The collection of rare animals soon became a princely
occupation, and by the end of the fifteenth century menageries {serragli)
were reckoned part of the suitable appointments of every court. " It
belongs to the position of the great," says Matarazzo, "to keep horses, dogs,
mules, falcons and other birds, court jesters, singers, and foreign animals."

THE PARTERRE AT THE VATICAN.

Towards the end of the fifteenth century the famous Orti Orcellari,
at Florence, were laid out by Bernardo Rucellai, the kinsman of Lorenzo
il Magnifico. Here it was that the celebrated Platonic Academy held its
meetings and Niccolo Machiavelli read his discourses.

At the same time that these villas were being laid out in the neigh-
bourhood of Florence, many of the best artists of the day were engaged upon
the princely villas in and about Rome. Raphael, San Gallo, Bramante,
Peruzzi, all giants in art, who knew how to combine the attainments of

40

GARDEN CRAFT IN EUROPE

painter, architect and engineer, did not consider it beneath them to be
also the designers of gardens. Amongst the most beautiful villas were those
of Cardinal d'Este at Monte Cavallo, the Villa of Pope JuHus, the Farnese
gardens, and those of Cardinal Riario at Trastevere and of Cesio outside
the Porta del Popolo. Bramante was engaged in laying out the gardens
of the Vatican ; and Raphael, with San Gallo, was creating the Villa Madama

THE VILLA MEDICI IN THE SEVENTEENTH CENTURY. FROM AN ENGRAVING BY FALDA,

[670.

for Margaret, Duchess of Parma, upon the slopes of Monte Mario just
outside Rome. In spite of the alterations that have taken place from time
to time the Vatican gardens retain many traces of the works carried out
at this period. Quite their most interesting feature is the delightful little
garden pavihon known as the Villa Pia (of which the entrance is illus.,p. 37).
There are few more charming examples of garden architecture than this
exquisite Httle work which Pirro Ligorio designed for Pope Julius IV in 1560.

THE ITALIAN GARDEN

41

It lies in a hollow against a rising background of ilex woods, and is said to
have been built in imitation of the old Roman villa architecture ; in
fact, it embodies exactly the descriptions of Pliny.

The Villa Medici (illus. opposite), now the home of the French Academy
in Rome, has preserved its characteristics untouched for many years. It was
begun about 1540 from
the designs of Annibale
Lippi, and the gar-
dens were laid out at
the same time. They
are approached from
the piazza in front of
the Casino by a shad)
drive ascending to the
parterre, which is thus
arranged upon the
same level as the piano
nobile of the house.
The parterre is divided
into sixteen plots,
shaded by ilex trees
and stone-pines, and
traversed by hedged
alleys. Falda's draw-
ing of the garden in
1670 shows that it
remains to-day in very
much its original con-
dition. There is a
mount surrounded by
an ilex boschetto, and

from its summit a grand view of Rome may be obtained. The mount is
a feature rarely to be met with in Italian gardens, though we occasionally
find it in the North of Italy at a later date. There are few gardens in
Italy that can be compared with the Villa Medici, or 'which exhibit to a
greater extent the good taste and simplicity characteristic of the best period

THENtLL'A MEDICI , ROME

42

GARDEN CRAFT IN EUROPE

of Italian garden-craft. Everywhere one feels a sense of quiet repose, due
principally to the fact that no effort has been made to produce the violent
contrasts in tree planting that so often quite destroy the charm of modern
gardens. Stone-pine and ilex give a pleasing setting to the cool greys and
green tones of the Casino at all seasons of the year.

THE AVIARY Vai^LA. BORGHESE , ROME

In the early years of the seventeenth century Scipione Borghese, the
nephew of Pope Paul V, began to lay out the Villa Borghese. The Casino
was designed about 1618 by Giovanni Vansanzio, a Flemish architect, and
the grounds were originally laid out by Rainaldi and afterwards extended
and remodelled. The gardens were famous in the seventeenth century for
their wonderful fountains and grottos, and for a collection of " simples,'*

TERRACE OF THE VILLA PAMPHILI DORIA, ROME, FROM AN ENGRAVING BY FALDA.

THE LOGGIA AT VILLA ALBANI, ROME.
44

THE ITALIAN GARDEN

45

cultivated in the enclosures upon either side of the Casino. The parterre
still remains surrounded by gigantic caryatid figures, but most of the other
features have been scattered.

The Villa Pamphili (illus. opposite), is just outside the city walls on the
Janiculum hill. The casino was built about 1650 by Olimpia Pamphili for
her son Camillo, and
as Goncourt says " has
the appearance of one
of Benvenuto Cellini's
chests in burnished
silver, with little white
statues standing out
against the deep blue
sky, as sentinels from
Olympus, set in the
midst of dark indigo
trees, and surrounded
by grass plots, white
in springtime with
daisies, and terraces
with huge vases of
bluish aloes or great
camellia bushes."

There is no lack of
documentary evidence
to show the princely
magnificence of these
pleasure houses in and
about Rome. Besides
the many descriptions
given by travellers they
have been the subject of numerous engravings. Falda's work / Giardini di
Roma is of considerable interest, in spite of the somewhat coarse character"
of the engraved plans and bird's-eye views, as it shows records of gardens
which have now been entirely swept away or altered beyond recognition.

FOUNTAIN IN THE COURTYARD OF THE PALAZZO
BORGHESE, ROME.

46

GARDEN CRAFT IN FXTROPE

AN ITALIAN SEVENTEENTH CEN-
TURY VASE FROM AN OLD
MODEL.

In the bcginnini;- of the nhieteenth cen-
tiir\' Percier and Fontaine published the
plans of man}- of the most famous Roman
gardens as the\" existed before the craze
for natural gardening had wrought such
liavoc.

In addition to their villas in Rome
man} oi the great cardinals had sumptuous
establishments in the countr}'. In the little
mountain village of Caprarola, Cardinal
Alessandro Farnese built his fortress palace
upon an eminence looking out over the
broad Campagna. The garden stretches
behind up to a single crowning architectural
:onception, a quadrangle of gigantic figures
standing out against the skyline. The palace
and garden were designed bv Giacomo \'ignola, and nowhere is his
genius seen to better advantage. Fortunately it has been handed down
to our time in a state that presents a vivid picture of the magnificent
splendour of the Princes of the Church in the glorious cinquecento. The
palace is approached b}- a magnificent stairwa}- and surrounded b}- a
moat, walls of massive masonry three miles in circuit etfectualh- shut-
ting it out from all intrusion. The plan
is arranged in the form of a pentagon en-
closing a circular court. Round four sides
of the palace stretches a broad terrace, and
from two of the sides, stairway's lead to
square parterre gardens joined by a central
loggia and fountain. Huge barocco statues,
bearing baskets of fruit (illus., p. 49), and
elaborately wrought balustrades complete the
design. H pon one side is an immense grotto,
worked in stucco and pebbles, its walls sus-
tained by six gigantic svlvan figures. The

ground rises gentlv behind these

parterres.

ANOTHER FORM OF VASE.

VILLA CAPRAROLA, NEAR VITERBO.

PLAN OF GARDEN AT VILLA LANTE.
47

THE ITALIAN GARDEN

49

and an avenue of cypresses leads to a graceful little casino known as the
Villa Farnese, laid out some seventy years later than the palace by Cardinal
Odoardo Farnese, At the extremity of the cypress avenue is a square court-
yard with a circular pool, and on both sides are grottos, between which a
broad ascent leads to a series of parterres cut out of the hillside.

The Palace of
Caprarola set a fashion
in villa building that
was quickly followed
by Cardinal Ippolito
d'Este at Tivoli, and
by Cardinal di Gam-
bara in the Villa Lante
near Viterbo. At the
Villa Lante (illus., p.
47), almost within
sight of Caprarola,
Cardinal Gambara de-

vised theinter-
esting garden scheme
that still remains in
almost the same con-
dition as when first
constructed. It is re-
puted to have been
designed by Vignola,
and is one of the most
pleasing gardens in
Italy. The lower par-
terre is arranged as
a water garden with
beautifully propor-
tioned balustrades leading up to the central fountain of bronze figures sup-
porting the stemma of the family. The square twin villas stand out on
both sides of a series of stairways and waterworks, ascending the hillside.
■ Caprarola is a complete epitome of an Italian nobleman's country-house —

" 2

ON THE TERRACE OF VILLA CAPRAROLA, VITERBO.

50

GARDEN CRAFT IN EUROPE

a place of retirement when the summer heat, unbearable in cities, begets
a craving for shade amid the sound and sight of water, which everywhere
occupies a foremost place in the garden scheme.

It was in 1549 ^^^^ Ippolito d'Este, Cardinal of Ferrara, having been
appointed governor of Tivoli by Pope Paul III, decided to take up his
residence there ; he called to his aid Pirro Ligorio, the architect of the pictur-

r«, TTO NE.L Q> M t I R\rl K hMAFLVERc ITClDFIJ H t<TI F I Fl NTA^NE t HE I. OTv INl. FJ^HO 1 MMJ ADCR^ AM E.NTLE1 ^*ARA Ifl
I \ EL) N \flL\\ILI «.iS TI ^-^1 ' ^ "^l T ^l4^ *■ ' ' *■ ^l- "^'^ DHn^tLITODA >^1^ CAPDINAL Dl FFrKA,R-v

VILLA D ESTE, TIVOLI, IN I573.

esque little Villa Pia in the Vatican garden. The Villa is most beautifully
situated with an extensive view over towering cypress spires and silvery
waves of olive woods and ilexes to the vast stretches of the Campagna, and
the Sabine mountains faint on the distant horizon. Much of the land had
to be acquired from the municipality to lay out the garden, and according
to Uberto Faglietta, writing in 1629, a considerable part of the village had
to be demolished. The Villa was intended only as a summer residence, and

r

VILLA LANCELLOTTI, FRASCATI.

BOX PARTERRE AT VILLA LANCELLOTTI.
52

THE ITALIAN GARDEN 53

we see it to-day in an incomplete state, void of all architectural embellish-
ment— a barrack-like structure planned to house a cardinal and his suite,
numbering, it is said, as many as two hundred and fifty persons. Though
the Casino was never entirely completed, no effort was spared in laying out
the gardens, which were the joint design of Pirro Ligorio, Giacomo della
Porta, and the famous hydraulic engineer, Orazio Olivieri. The River Anio
flowed into Tivoli from the mountain heights, and a part of its waters was
diverted to supply the enormous amount required for the multitude of
fountains, cascades and hydraulic surprises that excited so much wonder
and admiration when in the heyday of their glory, and as they appeared'
when Evelyn saw them: "We went to the Palace of Este. In the'
garden are sixteen vast conchas of marble, jetting out water, before
the ascent of the Palace is the famous fountain of Leda and not far
from that four sweet and delicious gardens. Descending thence are
two pyramids of water and in a grove of trees near it the fountains of
Tethys, Esculapius, etc. The cupids pouring out water are most rare and
the grots are richly paved with ' pietra-commessa ' shells, coral, etc. A
long fountain walk led to a curious model of ancient Rome with temples
and streets all in miniature, and in another part was the great water
organ, which, as Montaigne complained, always played the same tune.
This was effected by means of water, which, falling in a large body, and
with a sudden descent into a round arched cave, strikes upon the air in it,
and compels it to make its exit through the pipes of the organ which are
thus suppHed with wind. Another fall of waTer turns a broad wheel fur-
nished with teeth so fixed in it as to strike in due order the keys of the organ
and thus produce the tune to which the wheel is set."

The Casino stands upon a wide terrace some four hundred and fifty
yards long, high above the garden ; in the centre opposite the Casino, one
descends to the next terrace below and by means of ramps and stairways
to the level of the great fountain terrace, or gallery of a hundred fountains.
The balustrades to the stairways are ingeniously formed of a series of basins
and jets of water, leaping from step to step.

At one end of the great fountain terrace is a large theatre d^eau, known
as the fountain of Arethusa, and an adjoining grotto, with bathing rooms ;
at the other end is a miniature representation of an ancient city, supposed
to represent old Rome with its little streets, temples and theatres.

54

GARDEN CRAFT IN EUROPE

Frascati has long been famous for its villas and pleasure grounds, and
since ancient days the undulating country at the foot of the Alban Moun-
tains has been the favourite resort of the citizens of Rome wishing to
escape from the heat and bustle of the great city.

The Villa Aldobrandini stands grandly upon a succession of broad terraces
with three main avenues of approach. It was built in 1598 for the nephew
of Pope Clement VIII, Cardinal Pietro Aldobrandini, from the designs of

ARCHITECTURAL TERMINATION TO THE CASCADE, VILLA ALDOBRANDINI, FRASCATI.

Giacoma della Porta, famous as the architect who completed the dome of
St. Peters. For the best contemporary account of the villa we must again
turn to the description of John Evelyn, who saw it soon after completion. He
gives a picturesque description of the vvater theatre that Giovanni Eon- '
tana and Orazio Olivieri designed behind the palace. " From the summit
of the hill, falls a cascade precipitating into a large theatre of water (illus. p. 55).
Under this is an artificial grotto, wherein are curious rocks, hydraulic organs,

•^''?***. i %3

-ittra. TeJutj, in Fiospetdi^j. del Tcatr'o et Giardtno conti^uo cIl J-Iandra^ixne. in Frojcati Architettura

dv Gioi'tmnv Fonta-n-a^ . j--»SA<r„^„y ^^ i;n.J

GIOVANNI FONTANa's GARDEN THEATRE AT VILLA MONDRAGONE, FRASCATI.

55

THE ITALIAN GARDEN

57

and all kinds of singing birds, moving and chirping by force of the water,
with several other pageants and surprising inventions. In one of the theatres
of water is an Atlas spouting and in another a monster makes a terrible
roaring with a horn. The steep hillside upon which the villa stands was

GARDEN THEATRE AT THE VILLA GORI, SIENA.

formed into a long platform some 300 yards long and 40 wide, and upon
the edge of this space the casino was built with bosquets upon either side."
During the last century the garden has fallen upon evil days, like most of
the Frascati villas, but we can still trace enough of its former glories to
form a good idea of its appearance in the seventeenth century.

58

GARDEN CRAFT IN EUROPE

The Villa Torlonia belonged originally to the Conti and later passed
by marriage into the Torlonia family. The garden consists entirely of
ilex boschi laid out upon the hillside in rectangular forms divided by mossy
alleys. Here and there, at the intersections of the walks, are fountains
sending up high jets of water, and these, seen at the termination of long

vistas, give a very pleasing effect. The two
principal features are a fine terrace extending
the entire width of the gardens and the great
cascade (illus. opposite). Another famous Fras-
cati garden is that of the Villa Mondragone
(illus., p. 55) built in 1567 for Cardinal Marco
d'Attempo. The garden is now much
neglected, but the fine theatre d'eau ter-
minating the parterre still remains. Other
villas at Frascati which have now all prac-
tically disappeared were the Villa Falconiere
built for Cardinal Ruffini, the Villa Palla-
vicini and the Villa Muti.

Around Siena are several most interest-
ing old Tuscan villas. The Villa Gori still
has its long dense ilex tunnels radiating
from the Casino across the farmlands ; one
leads to a circular decoy arranged upon a small
Jiill covered with thickets, and another tunnel
conducts to the Garden theatre (illus., p. 57),
a charming feature often found in Italian
gardens. The stage was a grass platform,
rows of clipped cypresses forming the wings,
and framing the whole. A rather larger
example of a garden theatre is just outside
Siena at the Villa Sergardi, and in this case it is so arranged that the
audience need not trouble themselves to leave the house, as the stage is
placed in full view of the first ffoor windows.

In the South of Italy and in Sicily old formal gardens are not so often
to be met with. There are a few in the neighbourhood of Naples, but these
date chiefly from the eighteenth century and cannot be compared with the

A WELL-HEAD AT VICOBELLO,

SIENA.

FONrAN\ SVPERIORE IN CIMA LA SC^XA F CAic VI \. PI --OPIU M M \ I IW MI DOm ) nil ,;\1J)I\0 J \ UOVIil

A 1-RAii-jVll.

FOUNTAIN AT VILLA TORLONIA, FRASCATI.

VEDVrA LN FBOFILO ET P£R FXAJVCO DELL ANKCEDENTE TEATRO DEELE F0MTA>;E NEL GIAKDINO EVDOVISI A FRASCSTl.

TERMINATION TO THE CASCADE, VILLA TORLONIA.

THE ITALIAN GARDEN

Roman gardens. The most famous is at the Palace of Caserta between
Naples and Rome ; this is one of the largest palaces in Europe and recalls
the Escurial in its vastness and desolation.

The finest gardens in the North of Italy are to be found round the
Lakes of Garda, Maggiore and Como, and principally date from the late
seventeenth and eighteenth centuries. Isola Bella upon Lake Maggiore
(illus., p. 63) is perhaps the most famous. Romantically situated upon one
of the Borromean Islands, it is a most fascinating study in garden planning.
The garden was begun in 1632 by Count Carlo Borromeo under] the
direction of Carlo
Fontana, but the whole
work was not com-
pleted until 1 67 1.
Although the concep-
tion of Isola Bella
is undoubtedly good
there is a great falling
off in the architectural
detail, which is often
coarse and lacks the
refinement of the
Roman and Floren-
tine villas.

The whole dis-
trict round Milan,
especially the neigh-
bourhood of Varese,

abounded in large country villas, built in the seventeenth century.
The flatness of the ground, which nowadays consists mostly of marsh-
land, was ill-suited to the making of gardens, but nevertheless in the rare
volumes of Alberto dal Re, Ville di Delizia di Milano, we find an inter-
esting series of villas, all more or less laid out in the style of Le Notre. Most
of these have since been abandoned for more beautiful situations on the
Italian lakes. A few, however, still remain, and of these the Villa of
Castellazzo is a well preserved specimen. Upon Lake Como the well-
known Villa Carlotta still attracts many sightseers. It is a characteristic

FOUNTAIN AT VILLA CARLOTTA, CADENABBIA.

62

GARDEN CRAFT IN EUROPE

example of the way in which the Italian villa has been so often spoiled,
and we would fain see the beautiful terraces and pavilions that Dal Re
engraves instead of the present meaningless plan. The water approach
alone remains of all the former beauties of this garden.

All along the Italian Riviera were beautiful villas ; their situations, with
the mountain scenery behind and the blue Mediterranean in front, could
hardly fail to inspire a garden designer. In the environs of Genoa, and
especially at the fashionable suburb of Sampierdarena, were many fine villas
with stately gardens, pleasure houses of the merchant princes of Genoa,
who in the sixteenth century commissioned such artists as Galeazzo Alessi,
Giacoma della Porta, Pirro Ligorio, and Annibale Lippi to build their
sumptuous palaces. With very few exceptions these have long since dis-
appeared, but fortunately an excellent series of records of the finest villas
was made in 1832 by M. Gauthier.i The situations were in some respects
unsuited to gardens, the soil being barren and rocky, and the designers
resorted more especially to architecture in order to obtain their effects, and
instead of hoschi which are so general in Italy, we find an extensive use of
pergolas, in order that all parts of the garden might be reached in shade.

1 See Les -plus beaux Edifices de la Ville de Genes et de ses Environs, par M. P. Gauthier. Paris.
1832.

f^^i

•:~; ^^4

w

^^''^■"■r^^::^

w

"l^^^ii

:7

;

-^

f

^^^

1

- - -'-.iB^

W

SEVENTEENTH-CENTURY
TERRA-COTTA VASE AND STAND.

ISOLA BELLA IN THE EIGHTEENTH CENTURY FROM AN ENGRAVING BY DAL RE.

A VILLA NEAR MILAN IN THE EIGHTEENTH CENTURY FROM AN ENGRAVING BY DAL RE.

CHAPTER IV

FRENCH GARDENS OF THE SIXTEENTH
AND EARLY SEVENTEENTH CENTURIES

N France the art of garden design had a very definite
beginning with the reign of Frangois I, and its
development continued without interruption during
the next two centuries until the culminating point
was reached under Le Notre and his school.
Chambord, Fontainebleau, and Saint Germain
were the principal creations of Francois I, who,
like his great successor Louis XIV, appears to have been always
fortunate in attracting the best artists of the day to his court. Few
kings have shown an equal amount of discrimination and taste, or exercised a
more powerful influence on the art of their country. From Italy he drew
the greatest talent of the day, and employed such artists as II Rosso,
Primaticcio, Serlio and Vignola, who handed on the finest traditions of
the Italian Renaissance to a most brilliant school of Frenchmen, a school
numbering in its ranks Pierre Lescot, Jean Goujon and Philibert de I'Orme.
In laying out the gardens of Fontainebleau (illus., p. d'])^ Frangois I
introduced many Italian features, and although at the present time hardly
anything remains of the gardens as they existed at this period, Du Cerceau's
plan of about 1570 enables us to form a very accurate idea of them. The
great parterre must have been a most delightful garden, an admirable comple-
ment to the irregular outline of the quaint collection of turrets and pavilions
that constituted the palace. The gardens were not long allowed to remain
as Frangois left them. Henri IV considerably extended the boundaries
and employed Francini, an Italian designer, to -^^arrange the great parterre
or King's Garden, which was now known as ie jardin du Tibre, from a

66

GARDEN CRAFT IN EUROPE

colossal allegorical statue placed in the centre. Henri IV also added the
canals and planted avenues upon both sides.

The splendid Chateau de Chenonceaux was another of the palaces of
Francois I. It passed into his hands in 1524, but he did not reside here
very much, and Henri II presented it to Diane de Poitiers, who, in 1556,
employed Philibert de I'Orme to remodel the building and lay out the

gardens. In later
years Bernard
Palissy, whose work
we shall consider
presently, created a
garden, the descrip-
tion of which reads
like a fable. He
completely aban-
doned himself to
his exuberant fancy
for rockeries, basins,
and grotesque orna-
ments.

About the year
1538 the Constable
Anne de Montmo-
rency began the
improvement and
rebuilding of the
Chateau de Chan-
tilly, near Paris.
The property had
passed into his
hands in 1522 and soon after this date, at a period when he was estranged
from the Court, he conceived the idea of converting the castle into a
rich and agreeable dwelling, surrounded with gardens and parterres, and
enlarging and planting the park.

A most important addition to gardening literature appeared in 1545,
when Charles Estienne (i 504-1 564), a physician of Paris and member of a

FONTAINEBLEAU IN THE SIXTEENTH CENTURY FROM THE PLAN
BY DU CERCEAU.

J. l^t- Cmr du cbeual hluu:
it brv] ct S^-de Lac.
xLi^ranJe^alleric a 7-S.hi/u dr Isnj cb 3

^La Our dr Ufonhuti^ a So.toj/l) as loiw ct s,8. Je lapjc.

,f Lajale JcL bdh; ciemiic'ir a 2.0. buhj dr Icpj ei- S- delnrjc.
'La bii-ih^al&ru: a so. tsjfis de baa eA- y.de Ucpc.

•^Lralist Jc'^L trini&c j 2.0- i-i>i/2i dcbna ct f.-dc larjjr.

S.Lcj Ictjx dr iiaulmiTs.

o.Lc Lzrilin Jc ~h Rp;pnc a S'-i'"'!^ dc lafw d ^S.cL Lmc.
jc.La vpiicrc a jA toifcs dc loiw c^t ^.dr Liajc. y^ ^

^jLagalcric^ dcs cerfz^t de la Rjyne mit a. 8- hifudcLrw ctj
ja. Lc haemant du lUjp ct dc la Kfync
jy-La ccnciccacne.

)^i-,a c^ur dlu donaon a ^o.iro^ls dc Lnq ci i.o.dc Lrae.
jSLaJale du haLa js-^rt>ife£ de brm et ^.de laac.
jS'.Ciabpcllcj iaiJre eh hajjc .

jl-ha ccur dcj a f ices a ^y. hijcs dc Lnq ct j.o. de larac.
j 8L ea rand porta'd.
}^Lc Ipnus dc Moiifieur "Zjimct.
iwheanind t.irdin ajpo.hjfcs dc hiyj ct j^f..dc lame.

y Le leais dc Monfcur clr Sup-

XiLc uirdtn dc Hf-anh

tailcs de Lr

C^ ''^ ^1"^ t

i.^.Eeflan a _yv hJ^IcA de L>tw

etjj^. dc la roe
XAjha V telle canctecaeric
i^.LaJvntjjrtc donsj-onhiinc bclleaa ^ rant Jon noni
i,S.L,e tardin Jej ^ins ajSh. tvjfcj lie lono cr 80, ae laroe
tJ.Lc larJin dcs J'ruis a S^.toilcs de loiw ct 8o.de Lrne.
oS-Le hois dcs canaux a SS.irol/h de biw eb 80. de br^e.'
M. Le chcnd.
20. La CaJrH-auienc .

,-j;. Lejiaflc-mad a ^^oo.hifes de lono eAr :^. de uti^^ ■
32.- Le ctrcuit de hub Ic Ciafhrau n Jf^o. boijcs de hur

FONTAINEBLEAU IN THE SEVENTEENTH CENTURY.
67

FRENCH GARDENS: i6th AND EARLY 17TH CENTURIES 69

family of famous printers, published his treatise on agriculture. In 1570
he published in conjunction with his father-in-law, Jean Liebault, a work
entitled La Maison Rustiqtie. This book went through upwards of thirty
editions, and was translated into English in 1600 by Richard Surflet, and was
reprinted in 1616 byGervase Markham. " It is a commendable and seemely
thing," says the author," to behold out of a window manie acres of ground
well tilled and husbanded, whether it be a Medow, a Plot for planting of

■ONS HORTO DESTINATA

Vernevl

Fontaine pov^ le iardrin

A FOUNTAIN AT THE CHATEAU DE VERNEUIL, FROM DU CERCEAU. J

Willowes, or arable ground : but yet it is much more to behold faire and
comely Proportions, handsome and pleasant Arbors, and, as it were. Closets,
delightfuU borders of Lavender, Rosemarie, Boxe, and other such like."
In the middle of the sixteenth century, Androuet du Cerceau began
the wonderful series of surveys for his great work Les plus excellents Bastiments
de France, many of the original drawings for which are now preserved in
the British Museum.

The work of Du Cerceau gives an excellent resume of French architecture

70

GARDEN CRAFT IN EUROPE

under the last of the Valois, and shows the extraordinary activity in chateau
building that characterized a period of between fifty and sixty years of
comparative peace. From these designs we realize the undoubted influence
of the Italian taste, but not even Italy can show us so marvellous a series of
buildings produced within so short a space of time.

Of this wonderful series the chateaux of Madrid, Creil, Montargis and
Verneuil no longer exist. The Louvre, Vincennes, Coussy, Gaillon, Blois,
Amboise, Fontainebleau, Villers-Cotterets, the Tuileries, Chantilly, Anet,

are all more or less mutilated by
alterations and restorations. Cham-
bord, Ecouen, Saint Germain, Ancy-
le-Franc, Chenonceaux, Dampierre
have still much of their original
appearance left.

The irregular shapes of the castle
buildings rendered it almost impos-
sible for the French garden designers
to imitate the Italians in laying out
their gardens upon a main axial line
with the house, and the gardens illus-
trated by Du Cerceau are in most
cases designed quite irrespective of
the chateau, as is the case at Blois and
Gaillon. On the other hand, at Ancy-
le-Franc and Verneuil both chateau
and garden are designed as a whole.
The parterres are almost invari-
ably square, and the designs for the ^
flower borders of simple geometric /
form. They are often surrounded by a low balustrade with posts supporting
heraldic beasts, gilt or picked out in gay colours. This craving for colour,
which was so characteristic a feature of the mediaeval garden, disappeared
in the seventeenth century, since when garden woodwork has lost consider-
able charm by its lack of colour. A central feature, such as a fountain or
sundial, often gains much when richly coloured or gilt.

The Chateau of Gaillon (v. illus. opposite), on a hill overlooking the wind-

A FOUNTAIN AT THE CHATEAU DE GAILLON.

FRENCH GARDENS: i6th AND EARLY 17TH CENTURIES 71

" f ■^'^■'

^-^t ^^^#--^4^^ f^^^^^^^^-^^-^l^ri^i^^'^N^i-!^-^^^-*^^^^ H^f-rt

THE GREAT PARTERRE AT THE CHATEAU DE GAILLON, FROM DU CERCEAU.

ings of the Seine about thirty miles south-east of Rouen, was erected between
1497 and 1 5 10 and was the most sumptuous private residence in France.
"In the eighteenth century people said of a fine country seat *C'est un petit
Versailles ' ; in the sixteenth the saying was : — ' C'est un petit Gaillon.'
Its creator was George of Amboise, Cardinal Archbishop of Rouen and
Prime Minister to Louis XII, the chief of a group of enlightened prelates
who did much to spread Renaissance culture in France."

£lEVAT10N DV BASTI v\eNT ET t\p OINS
DVCOSTE DE LENTREE

zw:'mi m tn sa

THE CHATEAU DE BLOIS.

72

GARDEN CRAFT IN EUROPE

Amongst other curiosities of the Chateau de Gaillon were the Hermitage
and an island retreat known as La Maison bla?iche, a shining white garden
pavilion that glistened in the sun, surrounded by fairylike parterres. The
magnificent octagonal marble fountain reproduced on page 70 from Du
Cerceau's drawing had three large basins, the water spouting from one to
the other through satyr masks ; the lower panels were richly sculptured with
iimornl be-^rmgs

THE CHATEAU DE MONTARGIS.

At the Chateau de Blois (illus., p. 71) the garden scheme consisted of
three principal large gardens with several smaller ones attached. The largest
of all had a central pavilion similar to that at Gaillon and was divided into
a series of square flower parterres, each enclosed within a low railing. It
was entirely surrounded by a wooden gallery for the training of plants, and
similar galleries leading from one garden to the other made it possible to
reach almost any part under cover, protected from rain or sun. These also
appear in the garden at the Chateau de Beauregard, illustrated from Du
Cerceau's drawing.

FRENCH GARDENS: i6th AND EARLY i/th CENTURIES 73

The Chateau de Creil, which was commenced by Charles V and destroyed
by the Prince de Conde before the Revolution, was planned on a little island in
the river Oise in Picardy. The garden shown in Du Cerceau's plan is not exten-
sive and consists of four enclosures divided into simple knots, each garden
surrounded by a high wall and one containing a pavilion overlooking the river.

Montargis (illus.,pp. 72 and 74) was, in the words of Du Cerceau, "un
demesne vrayment Royale." Situated upon the junction of the Loing and

THE CHATEAU DE BEAUREGARD.

Vernisson, it had one of the most beautiful sites in France. Its group of
buildings of different periods, clustered round a central keep, were sheltered
from the east by great forests. During the Revolution the greater part of
the chateau was destroyed, and nothing now remains save the fine buttressed
terrace. Upon the original plan is a note that the small garden within the
castle was known as the Jardin d'Orleans ; it was probably used as a
herb or medicinal garden. Du Cerceau's view shows how the Gra^it jardin,

74

GARDEN CRAFT IN EUROPE

or pleasure garden, was divided from the chateau by a ditch and again from
the orchards and more utilitarian gardens by a high buttressed wall. The
pleasure garden was divided by great galeries de charfenterie^ elaborate and
massive architectural constructions, which were probably intended to be
covered with plants.

As yet flowers were seldom grown in gardens for decorative purposes,
and it will be found that their cultivation for these purposes, without regard
to their medicinal uses, was very much neglected. The famous gardens of
Vauquelin des Yveteaux in the neighbourhood of Paris are said to have con-
tained more melons than tulips and more cabbages than hyacinths.

The galleries surrounding the great parterre at Anet were of considerable
architectural pretensions ; they were vaulted, and lighted by large open

A WOODEN GALLERY AT MONTARGIS, FROM DU CERCEAU.

windows decorated with rusticated pilasters ; the windows had pediments,
and the floor was paved with a pattern of cut stone and brick. The great
parterre in the middle was divided into twenty-four large unequal squares,
some laid out in regular geometric patterns, others of grass, box and aromatic
plants. Two square pavilions occupied the angles of the gallery and over-
looked the deer park ; they were designed by Philibert de I'Orme. " I have had
made," says De I'Orme, "in the Chateau d' Anet for Madame la Duchesse de
Valentinois two little pavilions overlooking the park where may be put the
players of cornets and trumpets and other instruments to give pleasure to
the King and to the Princes." The gardens were celebrated for their wonder-
ful collection of plants formed under the supervision of the famous gardener
MoUet — the first of the great family of French gardeners — who by purchase
and exchange brought together an immense variety of the rarest plants of

FRENCH GARDENS: i6th AND EARLY lyxH CENTURIES 75

his day. In 1685 the park and gardens were almost entirely destroyed by
Le Notre, and the beautiful decorations of the sixteenth century nearly all
annihilated.

Besides Du Cerceau the principal professional garden designers of the
sixteenth and early
seventeenth cen-
turies were Bernard
Palissy, Olivier de
Serres and the three
Mollets.

Bernard Palissy
has been described
as a man "obscurely
great amongst the
prominently little."
In 1563 appeared
his most important
work, the Recepte
veritable.'^ We find
him also employed as
a garden designer at
Ecouen, Chaulnes,
and Nesle in
Picardy, Reux in
Normandy, Madrid
in the environs of
Paris, and the
Chateau de Chen-
onceaux.

The Rece-pte
veritable is essen-
tially original and full of charm ; it gives very important information of the
garden design of this period and is written, as he says in the preface, "that
the simple may be instructed by the wise, in order that we may none of us

^ Recepte veritable far laquelle tons les hommes de la France pourrent af prendre a augmenter
leurs Tresors avec le Desstn d'un jardin delectable et Utile. Rochelle, 410., 1563.

BERNARD PALISSY.

-je

GARDEN CRAFT IN EUROPE

be rebuked at the last day for having hidden talents in the earth." It takes
the form of a dialogue in which he represents the speakers as Theory and
Practice. The first part of the book deals entirely with agriculture, and in
the second part Palissy lays down his plan for a delectable garden which is
in reality a description of the garden he laid out at Chaulnes in Normandy.
First of all he recommends that a hilly site be chosen that water may be
easily brought down from the high ground; he then proceeds to give minute
details of the eight cabinets, or garden houses that were to mark the angles,

y.rr...<_/ii£/Zrr j^V

Pi'Aic du Jt: 3 rail Ju 'J)rii_^on ati h,.rui: 3it ParU:rTC
A SURPRISE FOUNTAIN.

ChajL.

£^^.[z,fc^.i

and the termination of the four cross walks of the great parterre. He pro-
poses to form the rock upon the mountain sides to the north and west of
the garden into a series of chambers, with aspects exposed to the sun in
order to protect tender plants during the winter months. He directs
that the terrace is to be bordered by a balustrade on which are to be damask
roses, violets, and the most fragrant flowers, in enamelled pots.

Although Palissy, like Bacon, professes to dislike the hydraulic surprises
so dear to the fashionable world of his day, he nevertheless suggests that place
should be found in his garden for a statue holding a vase of water in one hand

FRENCH GARDENS : i6th AND EARLY 17TH CENTURIES ^^

and an inscription in the other, so placed that when any one steps forward
to examine the inscription he may have the vase of water emptied on his head.
The surprise fountain illustrated on p. ^6 consisted of a revolving dragon,
emitting a jet of water that could be made to play in any direction by a
concealed operator. In describing the arrangement of the trees to form the
cahinets de verdure or natural summer houses, he says that young elms should
be planted at even distances, trained upward, and lopped until their trunks
are grown to a sufficient height to form the columns of a little temple ; they are
then to receive, above and below, circular wounds which will cause a deposit of
fresh wood, and natural protuberances corresponding to the bases and capitals
of ordinary columns. The branches which shoot from the capitals of these
living pillars are to be trained in the first instance, and elaborately worked
into the pattern of an architectural frieze. Evidently fearing the ridicule
with which these ideas might be met, Palissy goes on to say that whereas in
these days men admired gardens abounding in dragons, cocks, and other
absurdities, even soldiers on horseback, cut out of rosemary and other
plants, how much more should they admire his living house, which when
established would not need attention more than about twice a year.

Olivier de Serres (1539-1619) was another great gardener of the period,
though he is famous more as a practical horticulturist than as a designer.
He published in 1599 his Treatise on the Silkworm and in 1600 the Theatre
d^ Agriculture.

The MoUets may be said to have formed a dynasty in their art.
The first was the chief gardener at the Chateau d'Anet, where he laid out
the famous gardens that we have already described and formed a collection
of rare flowers and herbs for the Due d'Aumale. His son, Claude MoUet,
was born in 1563 and succeeded his father as the designer of the Royal
gardens of Henri IV and Louis XIII. He is said to have been the first in
France to create the 'parterres a compartiments de broderie (v. p. 125). In
1595 we find him employed at Saint Germain-en-Laye and a few years later
at Monceaux, Fontainebleau and also at the Tuileries. He left two sons,
Claude and Andre, both of whom were famous gardeners, the latter being
appointed head gardener to James I. In 165 1 Andre Mollet published his
great work, Le Jardin de Plaisir. He was the first author to recom-
mend the extensive planting of avenues, a fashion destined to effect great
changes in the garden craft of both France and England. He insists that

78

GARDEN CRAFT IN EUROPE

PARTERRES AT ST. GERMAIN-EN-LAYE,
DESIGNED BY CLAUDE MOLLET.

la/cr.iuuJuMrrcun as-Cfrm.un . hy^ tKc first adommeiit of a Royal

palace should be a grand double
avenue or triple row of elms or
limes, " which ought to be laid
out at right angles with the front
of the house ; at the beginning of
the avenue there should be a large
semicircle or square, so that the
general design can be better ob-
served. Then at the back of the
house there should be constructed
parterres en broderie near it so that
they can be easily enjoyed from the
windows without any obstacles of
trees, palisades or any other high
objects that might impede the eye
from seeing their full extent."

Another garden author of
the sixteenth century was Andre Mizauld, who published many works,
chiefly in Latin. The first one which relates to gardening appeared in
1564; it was followed by other pamphlets and the whole was collected
by Caille, a physician, and published in 1578 in French.^ The work
was translated into German and printed at Basle in 1675. Mizauld
was known in his day as the Esculafe de France^ and his writings were held
in great repute, but the descriptions relating to the design of gardens
cannot compare in charm with those of Bernard Palissy.

In examining the maps of Paris at this period it is astonishing to find
the large number of beautiful gardens that existed in the sixteenth and
seventeenth centuries, of which hardly any trace now remains. Their
sites, that might have been used to so great advantage for the creation of
public squares, have in many cases been built over, and in this respect Paris
has suffered much more than London. The plan of Gomboust, 1642, shows
the botanic garden of Nicholas Houel, famed for its pavilions and fountains ;

^ Le jardinage de Mizauld contenant la maniere d'embelltr les jardins et comment il faut enter
es arbres et lesrendre medicinaux. Paris, 1578. Andre de la Caille. Another edition published
in 1607 is entitled La Maison Champestre, by E. Vinet et A. Mizauld.

FRENCH GARDENS : i6th AND EARLY 17TH CENTURIES 79

the parterres of Nicholas d'Yveteaux and of Conrart, described in the Clelie
of Mile, de Scudery, where the founders of the Academie Frangaise first
met together. Many of the great abbeys of the seventeenth century had
parterres that rivalled the large palaces in their magnificence. The royal
abbey of St. Denis had in additon to a most elaborate -parterre de broderie

THE TUILERIE3 GARDEN FROM GOMBOUSt's PLAN, 1642.

within the cloisters, another splendid parterre garden with long avenues
stretched out in the form of a gigantic cross.

The two most important Parisian gardens were those of the Tuileries
and the Luxembourg ; the first was laid out by Catherine de Medici, in
the latter part of the sixteenth century, and the second by Marie de Medici
some years later. Both princesses delighted in their gardens, and in their
childhood's days had revelled in the charming country villas of their family
at Pratolino and Castello in the neighbourhood of Florence, and also in the
magnificent Boboli garden adjoining the Pitti Palace. It was therefore only
natural that in later life they should have shown so great a taste for horticulture.

8o

GARDEN CRAFT IN EUROPE

THE LUXEMBOURG GARDEN IN 1642 FROM GOMBOUSt's PLAN OF PARIS.

The Palace of the Tuileries (illus., p. 79) was created by Catherine de
Medici as a retreat from the bustle and business of the Louvre. Here life
might be enjoyed at greater ease, untrammelled by the etiquette of the Court.

THE LUXEMBOURG GARDEN IN THE SEVENTEENTH CENTURY, FROM I. SILVESTRE.

FRENCH GARDENS: i6th AND EARLY ijth CENTURIES 8i

From the plan of the gardens of this period by Du Cerceau we see that
they were laid out upon a piece of meadow-land alongside the Seine,
known as the Tuileries on account of the tile-yards long established upon
the spot. They had elaborate com-partiments de broderie, designed by Claude
Mollet near the palace, and there was a small bosquet and a rectangular
basin beyond. A plan by Merian shows the gardens as they existed
in 1 615, with a series of quaint treillage pavilions. The voliere or
aviary, consisting of several buildings, was planned in the middle of
the Quai des Tuileries. ^he most famous feature of the garden was the
"echo," a kind of grotto with numerous hydraulic surprises, the work of
Palissy. Here it
was that the gal-
lants of the day
betook themselves
to serenade their
mistresses. Some
little distance
from the "echo"
was the menagerie^
containing a col-
lection of wild
animals. A con-
temporary account
of a visit of the
Swiss Ambassa-
dors to the garden

relates that : " In the morning the Ambassadors set out for the garden of
the Queen called the Tuillerie. The garden is very large and very pleasant.
A broad path divides it into two parts, planted on each side with tall trees,
elms and sycamores, which afford shade to the walkers. There is a laby-
rinth designed with such art that, once inside, exit is difficult. There
are tables made of branches and leaves, beds, etc. The astonishing thing
is that this labyrinth is almost entirely formed of bent cherry trees.
There are several fountains with nymphs and fauns, holding urns from
which the water flows. One is especially remarkable. It is a rock over
which run various reptiles, serpents, snails, tortoises, lizards, frogs, etc.

o

LA FONTAINE DE MEDICIS, LUXEMBOURG GARDEN.

t^

82

GARDEN CRAFT IN EUROPE

They also poured water — one would have said the rock itself exuded water.'*
In building the Palace of the Luxembourg (illus., pp. 80, 82), Marie
de Medici was particularly desirous that it should resemble the archi-
tecture of the Pitti Palace which belonged to her family. It was one of
the earliest instances in France of a palace and garden being considered

as one whole design.
There was a magnifi-
cent scheme of foun-
tains, and the water
supply was brought
from Arcueil in a
monumental aque-
duct. The " Fontaine
de Medicis" (p. 81),
said to have been
designed by Rubens,
may still be admired
to the east of the
palace. It represents
Polyphemus surprising
Acis and Galatea. The
parterre at the Lux-
embourg, as shown in
the engravings of
Israel Silvestre, must
have been a marvel-
lous creation. John
Evelyn says that — " it
is so rarely designed
and accurately kept
cut, that the embroidery makes a wonderful effect to the lodgings which
front it."

The most famous garden in the neighbourhood of Paris before the
creation of Versailles, was that of Saint Germain-en-Laye, which
was justly considered one of the marvels of the age. The old fortress of
St. Germain was rebuilt in 1367 by Charles V, and again in 1540 by

IN THE LUXEMBOURG GARDEN.

FRENCH GARDENS: i6th AND EARLY 17TH CENTURIES 83

Frangois I. The engraving shows the garden as it appeared in 1654, ^^'^^
out for Henri IV. The gardens were designed hy Duperac and laid out
b^ Claude Mollet.

A splendid series of terraces, arcades and stairways led down to the
river Seine, two hundred feet below. The grottos under the terraces were
decorated with shellwork, painting and statuary, and contained many curious

SAINT GERMAIN-EN-LAYE IN

[654.

mechanical contrivances and fanciful waterworks invented by the great
Florentine fontamier, Thomas Francini, who was brought from Italy
by Henri IV. A description of them was published by Andre Duchesne
in 1610, and they have also been engraved by Abraham Bosse.

Before considering the work of Le Notre and his school there is
one garden designer to whom attention must be drawn. Jacques Boyceau,

84

GARDEN CRAFT IN EUROPE

Sieur de la Baradiere, was
one of the gardeners of Louis
XIII and also of Louis XIV
during his minority. He is
chiefly celebrated as the
author of a rare volume,
Traite du Jardinage selon les
Raisons de la Nature et de
rArt, 1688. In the first part
he deals with the elements in
general, and with the qualities
that go to make a good gar-
dener, who, he says, should
have had training in the art of
design, or failing this, the de-
sign of a garden should be left

A PARTERRE BY JACQUES BOYCEAU. ^^ ^^.^ ^^^^^ ^^ ^^^ architCCt.

Writing on the shapes suitable
to gardens, he disapproves the continual use of straight lines and square par-

ccjfe di-j Cajciiici xEdium profj>crfiii vcifiij priTif)itcj aqiiaruin l<iprus

THE CHATEAU DE REUX, FROM I, SILVESTRE.

FRENCH GARDENS: i6th AND EARLY 17TH CENTURIES. 85

terres and recommends a greater use of circles and curves to give variety to
the plan ; he further recommends the designer to take care that all the walks
communicate with one another so that it is unnecessary to return by the
same route by which one came. He says that alleys are necessary to
gardens, as much to serve for promenades as for the growth of those plants
that are usually cultivated in them. The width of avenues should be pro-
portionate to their length ; if they exceed a length of three or four hundred
toises they should be from 7 to 8 toises in width. ^ In preference, oaks, elms
and limes were to be used, planted in two or more rows ; if walnuts or
chestnuts, one row would suffice. As the alleys approach to the centre of
the garden they should diminish in width. Parterres, he says, give grace
to a garden, especially when placed that they may be seen from an eleva-
tion ; they should be composed of various coloured shrubs and low
growing plants fashioned into all manner of compartments, the variations
of their designs being produced by flowers, grass and coloured sands. He
gives a very large number of designs for parterres, including those he laid
out at the Louvre, the Tuileries, St. Germain-en-Laye and Versailles.

^ The toise may be reckoned as 6'395 feet.

CHAPTER V

^ LE NOTRE AND VERSAILLES

E now reach a period when for more than a century
the art of garden design was entirely dominated hy
one strong individuality, whose influence extended over
the whole of Europe ; Andre le Notre, " the gardener
of kings and king of gardeners," under whom the
art of formal or architectural gardening attained its
highest point.

Le Notre was born in Paris in 1613 ; his father,
Jean le Notre, was one of the gardeners employed at the Palace of the Tuileries
under Marie de Medicis. The father was anxious that his son should become
a painter, and Andre was apprenticed early in life to Simon Vouet, the
King's painter. The training he received in Vouet's atelier stood him in

good stead in
after life, and
besides the
companionship
of his fellow
students, Le
Sueur, Mig-
nard and Le
Brun, a power-
ful influence
over his artis-
tic develop-
ment was exer-

~'" -. -^ . ■ — . cised by his

vAux-LE-vicoMTE. constaHt lutcr-

LE NOTRE AND VERSAILLES

87

course with the great artists of the day who often visited the master's
studio. These influences, taken in conjunction with a practical knowledge
of gardening, inherited from his father, enabled him to start on his career
singularly well equipped for the great task that lay before him.

After leaving Vouet he worked quietly with his father in the royal
gardens for many years, always studying horticulture and the practical

THE PARTERRE, VAUX-LE-VICOMTE.

science of gardening, and drawing a small salary as an under gardener, his
work being coniined to the care of an espalier of Spanish jessamine and
white mulberries.

Le Notre is said to have made some designs for Richelieu's chateau
of Rueil and for Gaillon, but the first work which brought him into promin-
ence was the garden at Vaux-le-Vicomte, between Paris and Fontainebleau,
where Fouquet raised his superb chateau upon a scale of magnificence that

GARDEN CRAFT IN EUROPE

ultimately caused his downfall. He is said to have spent eighteen million
francs at Vaux, an enormous sum even for the present day, proving, as a
contemporary writer said, that the Chancellor served himself with no more
economy than he served his King. Fouquet had the good fortune to be
the patron of Charles Le Brun, who introduced his fellow student Le Notre,
and the two artists worked amicably together, both being artists great enough
to inspire one another. The work was begun in 1656 and was sufficiently
advanced by 1661 for the famous fete which was given to Louis XIV on
August 17 of that year. This was the most brilliant event of a period of
brilliant festivities, when the fete champetre reached the zenith of magnifi-
cence. The lavish
entertainment of
his King caused the
ruin of the great
financier, who was
arrested three weeks
afterwards ; but for
Le Notre it meant
the rise to fame,
for the renown of
these gardens, to-
gether with those of
Chantilly, brought
him into such
prominence that he
was soon afterwards
invited to assist in the laying out of the new Versailles.

The Chateau at Vaux was planned upon a scale that had never before
been attempted in France. It is approached through a vast courtyard with
extensive dependencies planned on either side ; the enormous parterre
(illus., p. 86) stretches to the south and is terminated by a broad sheet of
water and theatre d'eau. Perhaps the most interesting feature of the plan
is the very able way in which Le Notre dealt with the variations in level of
the parterre, which besides sloping to the south had a considerable fall from
west to east ; this has been cleverly concealed by a bosquet on one side and a
balancing terrace upon the opposite side. In the centre of the parterre is

HtAiRE O EAU, VAUX-LE-VICOMTE.

LE NOTRE AND VERSAILLES

89

a magnificent piece cCeau^ to the right was a maze, and to the left a splendid
cascade. The entrance front of the cour d^ entree is closed by a wrought-iron
grille with a series of stone terms modelled by Poussin. - Le Notre had for
chief fontainier one Claude Roubillard and for gardener Antoine Trumel. The
gardens still retain many of their herceaux and 'palisades just as Le Notre left
them, and have been less changed than any of his other great schemes ; the
parterres have been altered, but the terraces, the fountains, and charming
perspectives are perhaps more beautiful than in Fouquet's day, having an
added beauty in their setting
of large trees.

Before considering the
work of Le Notre at Ver-
sailles it is important to follow
him at Chantilly, where he
carried out very extensive
designs for the great Conde.
It is also important to note
that the works at Chantilly
are of earlier date than Ver-
sailles, and great as may be
the difference in size of the
two it is nevertheless certain
that it was after his famous
visit to Conde at Chantilly
that Louis XIV determined
to entrust the whole of the
works at Versailles to Le

Notre. We have already seen how a century earlier the Constable Anne
de Montmorency remodelled the gardens. They remained in this form
until the great Conde took up his residence, and like his ancestors employed
his leisure in completely transforming and beautifying the chateau. Natural
conditions of the soil gave Le Notre greater opportunities than he had had
atVaux. He transformed a rapid stream, "La Nonette " into a broad
canal and piece d'eau known as "La Manche," which advanced towards the
chateau and divided the two great parterres. An aqueduct supplied the
fountains and the moat, and an elaborate system of machinery was devised

VAUX-LE-VICOMTE.

90

GA^EN CRAFT IN EUROPE

for pumping the water. The canal was nearly as large as the one at Ver-
sailles and the great cascades were considered amongst the most wonderful
of their day. At the same time the great esplanade was constructed, long
avenues were cut through the park with pattes (Toie, or goose feet,^ very
characteristic of the formal gardens of the ^ay.

The plans of the whole scheme are preserved in the Bibliotheque
Nationale, and a comparison of these with those made by Du Cerceau in
the previous century gives an idea of the gigantic work. Le Notre began

THE PARTERRE AT CHANTILLY.

operations in 1663, assisted by his nephew Desgots,- Daniel Gitard the
architect, La Quintanie the gardener and the water engineer Le Manse.

The Maison de Syhie (illus., p. 93) was constructed in 1670. It was so
named after the Duchesse de Montmorency and still exists, a delightful cool
retreat, amidst secluded woods. Conde spent much of his time at Chantilly,
especially at those periods when he was forced to hold himself aloof from
public affairs. Here he died in 1686, after having transformed a fortified castle

^ The " goose foot " consisted of three or more avenues radiating from a small semicircle.
- Desgots afterwards worked for Charles II and also designed the gardens of the Palais Royal,
and the parks of Bagnolet and St. Maur.

Q^aw et petxrpccauc de LaCjrandjc di^u luh • i/. ( hantilh,
THE GRAND CASCADE. CHANTILLY

THE CANAJ. AT CHANTILLY.

LE NOTRE AND VERSAILLES

93

into a palace, the splendours of which can only be gathered from the engrav-
ings of Perelle. The chateau is now a Museum, the gigantic -parterre (Teau,
although shorn of its surrounding flower beds and therefore not so beautiful
as formerly, being still impressive by its size. Would it were possible to
restore in some measure the beautiful designs of Le Notre for the gardens !
Le Notre was fortunate in his patron, and Louis XIV, although he
constantly interfered with the works of other artists whom he employed,
was sufficiently astute to realize the talent of Le Notre. He afforded him
the noblest opportunities, and heaped benefits and honours upon him. He

c=c cs CSerceaiiJc du/ardin dc S ilvixL

TREILLAGE BERCEAUX AT CHANTILLY.

employed him for a period of forty years, and when at the age of eighty-six
Le Notre was obliged to resign, he was frequently visited by the King.
In addition to the fine portrait of him at Versailles, there is a bust by
Coysevox and statues at the Louvre and at Chantilly. When Le Notre
was sixty-two, Louis XIV insisted on making him a chevalier of the Order of
St. Michael, and suggested that he should adopt a coat-of-arms, which sugges-
tion he laughingly declined, saying that he had one ready made — three snails
surrounding a spade and surmounted by a cabbage leaf. Le Notre died
in 1700 and was buried in the church of St. Roch.

94

GARDEN CRAFT IN EUROPE

It is difficult to fix the exact date when Le Notre was first employed
at Versailles, but it is probable that he submitted his preliminary sketches
to the King soon after 1662. About this time the spoliation of Fouquet's
garden was proceeding apace ; during the previous winter no less than 1,200
trees were transplanted from Vaux and the greater part of the statuary
there was removed, and became the nucleus of the superb collection of
sculpture for which the gardens soon became famous.

Between 1662 and 1663 a commencement was made, by altering Boyceau's
parterre de broderie, and preparing the huge artificial plateau which is now
known as the parterre d''eau maintained by a gigantic semi-circular earth-
work, known in later years as the rampe de Latone. An engraving of Sil-

VIEW FROM THE TERRACE AT VERSAILLES.

vestre (p. 95) shows the ramp with the fountain of Latona, and the palace in
its second stage before the long wings had been added on both sides. In the
same year the central walk, or Allee Royale, was laid out, but it was after-
wards widened and extended and named the Tapis vert, terminating in a
small pond that later became the Bassin d'Apollon (illus., p. 100). By 1665
the principal lines of the garden had been established, and up to this date
the enormous sum of 1,500,000 livres had been spent upon the works.
The brothers Francini were busily employed in constructing their first
hydraulic effort, " The Grotto of Tethys " dedicated to the " Glory of the
Sun," a most beautiful construction carried out in perfect taste en rocaille.
The grotto existed only for a few years and was destroyed in 1686.

LE NOTRE AND VERSAILLES

99

A great many
changes took place in
the planning of the
great parterre in front
of the Palace. B07-
ceau's original design
consisted of a -parterre
de broderie with ten
-plates bandes in ara-
besque arranged round
a circular basin. In
1664 Perelle's engrav-
ing shows a parterre of
four squares flanked
right and left by
clumps of trees, and a
plan made by La
Pointe in the same
year shows two plates
bandes of grass bor-
dered with box: the

,d^^

Hit-.

^ _^ _

LE NOTRE S DESIGN FOR THE PARTERRE D EAU, FROM HIS
ORIGINAL DRAWING.

THE RHONE, BY TUBY. ONE OF THE EIGHT FIGURES
SURROUNDING THE PARTERRE d'eAU, VERSAILLES.

next change took place
about 1674, when the grass
plates bandes gave way to
fountains and the name was
changed to the parterre
d'eau. The plan reproduced
above is preserved at Ver-
sailles, and shows an alter-
native scheme of Le Notre
for this parterre. The idea
appears to have been to
create a water parterre, the
design of which was traced
by multi-coloured currents.

100

GARDEN CRAFT IN EUROPE

The idea was never carried out, and in its stead Louis XIV formed the two
large pools enclosed within marble kerbs that mirror on their surface the long
lines of the white palace. Around this kerb are placed a series of bronzes
without equal in Europe, — each one a masterpiece of grace and dignity. The
angles of each basin are marked hy four recumbent figures representing the
rivers of France by Tuby, le Hongre, Regnaudin, and Coysevox, and between
are graceful-figures of recumbent nymphs alternating with playful groups of

THE FOUNTAIN OF APOLLO.

children. In this immense garden, to quote the words of Louis XIV, there
is " childhood everywhere." The whole of the wonderful series of bronzes
was cast by the Brothers Keller of Zurich. " They will do honour to the
France of the last two centuries as long as an artist lives to visit them, and as
long as thoughtful minds take pleasure in the places where the figures of
history can be made to live and move."

In a part of the garden known as the Salle du Conseil was the piece of

W.-^-Mil^

kff^^i^^ k.

GROUPS OF CHILDREN ROUND THE PARTERRE D EAU, BY LESPIGNOLA.

LE NOTRE AND VERSAILLES

103

water called the Obelisque. Here water pipes were arranged to make an effect
of a regular obelisk three yards in diameter at its base, and twenty-seven
yards high ; owing to the careful adjustment of the pipes the colour of the
water as it fell was as white as snow. Among the green walks diverging
from the Bassin de Neptu7ie Le Notre planned the bosquet of the Theatre
(TEau (illus., p. 102). It took its name from the three cascades that met in a

L OBELISQUE D EAU, FROM RIGAUD.

central oval space ; the effects of the hundreds of water jets in the cool greenery
of the bosquet were unequalled, but nothing now remains of this marvellous
work, except engravings and paintings. The Theatre d''Eau disappeared
in the middle of the eighteenth century, and in its place is a large cup-
shaped hollow covered with turf.

In addition to the Theatre d'Eau there was another theatre known as

104

GARDEN CRAFT IN EUROPE

Les trois /ow/^/w^j' (illus. opposite), so called from three basins arranged on
different levels ; the lowest was octagonal with sixteen jets of water, some
forming huge arches, others rising as single jets.

The next work to be undertaken was the cutting of the grand canal,
which was devised in order to enlarge the view, and at the same time to
drain the marsh)^ area of the low-lying ground. When seen from the upper
terrace it is difficult to realize that this canal is more than a mile long, and
one can only grasp its extent from seeing a plan of the grounds. It is pro-
bable that Le Notre felt this himself, for he afterwards broke up its straight
length by cutting two arms which branch off about the middle as transepts,
one leading to the Trianon and the other to the Menagerie.

There is an authentic list of no less than ninety-five sculptors, including
all the famous men of the day, who were employed to carry out the decorative
works in the gardens of Versailles. This band of artists was presided over
by the genius of Le Brun, who bestowed the greatest pains upon every
detail, and " little by little, grove by grove, fountain by fountain, the magic
of this most beautiful spot in the world was born." Models were first
made in plaster, then put into position, coloured to represent bronze or
marble and left for the decision of the King as to the nature of the final
material. Among the earliest works of sculpture are the two charming
groups of children riding on sphinxes which now overlook the parterre des
fleurs. They were modelled in 1660 by Jacques Sarrazin, the earliest sculptor
employed at Versailles. When first set up they were gilt, but this was after-
wards removed in order to make them more in harmony with the bronzes
that surround the two large ponds.

About 1669 that part of the gardens which descends to the bassin
du Dragon was rearranged, and this important work involved a whole
series of magnificent fountains, the pyramid by Girardon and the charming
series of fourteen fountains known as the Allee d'eau. The Alice d'eau was
quite a new form of water decoration devised by Claude Perrault, and as first
designed consisted of fourteen small fountains (illus., p. 109) ranged upon both
sides of the grass allee ; each fountain was of gilt metal and consisted of beauti-
fully modelled groups of children supporting a dish of fruit and flowers.
The famous fountain of the Pyramid adorns the entrance to the Allee d^eau
from the Parterre du Nord ; it is one of the most original and beautiful
fountains in the gardens, and was carried out by Frangois Girardon. M.

A NYMPH, BY LE HONGRE, PARTERRE D EAU.

lASSIN DE LA GERBE.
107

LE. NOTRE AND VERSAILLES

109

Pierre de Nolhac says that " the general idea was devised by Le Brun,who
gave the most minute attention to the w^ork. ... It is composed of the
flora and fauna of the ocean, amongst which sirens and tritons are disporting
themselves. Upon the lead, which was originally gilt, as much workmanship
has been employed as though it were a specimen of the goldsmith's art.
Under the quivering foa.m the sea-gods seem to be alive as they laughingly
chase each other in the. running water."

AMORIXI IN THE ALLEE D EAU.

Another famous work of Girardon was the Bath of the Nymphs of
Diana, a composition of eleven graceful nymphs disporting themselves on
the borders of a river.

The fountains of Ceres and Flora by Tuby were set up in 1672-75, the

GARDEN CRAFT IN EUROPE

Mirror pond in 1672, the
fountain of Bacchus from
1673-1677, the Royal Island
1 674-1 683, the fountain of
Enceladus, 1675-76. The
figure of the giant is by
Marsy; from its mouth
issues a jet of water seventy-
eight feet high. The Bosquet
de V arc de triomphe and also
the Bosquet des trois fontaines
were constructed between 1679 ^^^ 1^83. The new orangery (illus., p. 112)
was begun in 1670 and finished in 1687. Louis XIV had a passion for orange
trees, and as the old building was unable to house the enormous collection
that had been got together by Le Notre, plans were prepared by Mansart
for the new orangery while Le Notre made the designs for the parterre,
Le Notre brought 3,000 young trees from Italy and rare varieties were
also sent from San Domingo and from Flanders, and in the summer of

LEADEN FOUNTAIN GROUP.

FOUNTAIN GROUP OF AMORINI.

LORAMiERIE DE VERSAILLES. TITRE. DXf LEVRE. DB L^OIRE, PAR CJiRTOUCHEi

PLAN OF THE ORANGERY.
112

LE NOTRE AND VERSAILLES

113

1687 the collection from Fontainebleau was added to the newly finished
building. The Orangery comprises a central gallery and two side galleries,
the former being 506 feet long by 40 feet wide. The building was fre-
quently used for en-
tertainments, and at
the present day is
sometimes employed
for the same pur-
pose.

The parterre in
front of the Orangery
(illus. opposite) had
many fine pieces of
sculpture in marble
and bronze, and some
beautiful examples of
leaden vases still
adorn the surround-
ing terraces. Lespi-
gnola modelleda series
of fourteen baskets
of fruit and flowers,
and to Le Gros and
Le Comte were en-
trusted the colossal
stone groups that rest
on the pillars of the
double entrance to
the gardens. Inside
the parterre were
numerous decora-
tive sculptures in
marble and bronze,
but of these only four are left. Not far from the Orangery was the
Labyrinth, which has now disappeared. It was famous for its series of
thirty-nine leaden figures representing scenes from the Fables of Aesop, and

FOUNTAIN IN THE ALLEE d'eAU, i688, BY MAZELINE.
For contemporary engraving v. p. 109. The basin has been replaced.

TI4

GARDEN CRAFT IN EUROPE

THE BASSIN DES SIRENES, PARTERRE DU NORD.

was composed of a complicated network of alleys cutting one another at
right angles or forming curves of the most puzzling character.

THE COLONNADE, DESIGNED BY MANSART IN K

A LEADEN VASE.

A BRONZE VASE BY BALLIN.

LEADEN VASES, BASSIN DE NEPTUNE.
115

LE NOTRE AND VERSAILLES

The Salle du Bal (illus. opposite) placed in a bosquet near b}', was one
of the most charming features of the garden ; it was elliptical in shape,
and had a cascade of rockwork at one end from which fell silvery sheets
of water, producing a scintillating effect when brilliantly lit up on
the occasion of a ball. The orchestra were seated above, and the spectators
ranged themselves opposite
upon tiers rising from the
arena where the dancing
took place.

The great sheet of water
known as the Piece des Suisse s
was completed in 1683. It
serves most effectively to
continue the perspective be-
yond the Orangery parterre
and reflects upon its surface
the hills of Satory beyond. It
was made by Le Notre out
of a swamp which the
engineers had tried in vain
to drain. In 1688, with the
completion of the Salle dn
Bal and the Colonnade, the
colossal work of laying out
the gardens appears to have
been achieved, and although
changes continually took
place afterwards, these did
not materially destroy the
general lines of the design.

Of all the groves, with their delicate cabinets de treillage and frail rocaille
fountains, the Salle du Bal and the Colo?inade alone remain in anything like
their old completeness and elegance.

The Gardens of Versailles remained much as Le Notre had left them
for the next half century, though under the Regency the palace was de-
serted and they were not kept up. An interesting picture, painted in

GROUP OF CHILDREN, BY LE GROS.

ii8

GARDEN CRAFT IN EUROPE

THE CONDITION OF VERSAILLES IN 1775, FROM A PAINTING BY HUBERT ROBERT.

1775 by Hubert Robert, shows in a most realistic way the havoc that had
been wrought by this period several years before the Revolution added
the finishing touch to their ruin. Although to-day the garden is not
kept up as it should be, it is fortunate that it escaped the doom threatened
during the Directoire. A plan that was made during the Revolution for
the partition of the garden actually exists in the Bibliothcque Nationale.

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A GARDEN SCENE AFTER LE BARBIER.

CHAPTER VI

FRENCH GARDENS OF THE LATER
SEVENTEENTH & EIGHTEENTH CENTURIES

ESIDES the immense garden schemes at Vaux, Chantillv
and Versailles, Le Notre in the course of his long and
busy life laid out gardens over the whole of France, and
established a standard and tradition of garden design
in the " grand manner " which were accepted as a
matter of course throughout Europe. Plans sufficient
to fill several volumes exist of the work he carried out.

m^Wj

•^^

'J

^P

^^ W

,_ -^. -.--

~ . -af'WK

and either he or his pupils were at some time or other engaged upon nearly
all the most important estates in France. His invention seems inexhaustible,
and his gardens display an astonishing variety, for to each one he was able
to give a different charm, as he always carefully studied the site and adapted
it to the taste and the purse of the owner. Le Notre was invited by Charles
II to come over in person to layout Hampton Court gardens, but although
he did not accept the invitation, he probably inspired the design, which was
put into the hands of French gardeners. It is said that he also made plans
for Greenwich and St. James' Parks. At any rate for the next half century
his style was paramount in England, and his influence spread over the whole
of Europe. His pupils became Court gardeners in Russia, Austria, and
Germany, whilst his methods were even adopted in the Sultan's gardens
at Constantinople. Amongst his pupils were his two nephews, Claude
Desgots and Michel Le Bouteux ; the former went to England as a young
man and worked in the royal gardens, and, returning to France, designed
the new gardens at Anet and the parks of Bagnolet and St. Maur.

The great pleasure houses of Meudon, Clagny, Marly and Sceaux,
built as retreats from the etiquette of Versailles, have nearly all disappeared ;

122 GARDEN CRAFT IN EUROPE

here and there remnants of the old avenues and bosquets remain with
perhaps some moss-covered statue or fountain long past repair.

Elaborate and costly cascades were set up in every garden. They were
by no means the ephemeral structures of rockwork and cement that con-
tented the Italians, but fine architectural compositions of coursed ashlar
stonework, verv beautifully finished. At Saint Cloud the great cascade is a

«liifc:''>P>,

=1

THE CASCADE AT ST. CLOUD.

really fine conception ; it consists of three central waterways and inter-
vening stone channels and flights of stone steps ; it is still in working
order, and on the days of the grandes eaux presents a sight worth going far

Vto see. Nearly every garden had its grotto intended to represent a wild
cave ; where it was impossible to excavate the natural rock, it was con-
structed beneath some artificial hillock, and ornamented with rustic work of
spongy stone, rocks and rare pebbles, stalactites, and various kinds of shells.
r By means of water, engines and machines were set in motion by which
V^gures worked, musical instruments were made to play and birds to sing.

FRENCH GARDENS: LATER ijth AND i8th CENTURIES 123

The art of treillage was considerably developed towards the end of the
seventeenth century; and Perelle's engravings of Clagny (illus., p. 137) and
the Trianon de Porcelaine show the finest examples. The idea was handed down
from classic times, but
the French intro-
duced an elabora-
tion and refinement
that transformed the
rude carpentry of
classic and mediaeval
days into an import-
ant element of garden
architecture. We can
only translate treillage
into English as trellis-
work ; this, however,
does not suggest the
same meaning to our
minds as the French
word, because it does
not presuppose the
existence of design of
an architectural char-
acter.

The best account
of eighteenth-century
treillage in France is
contained in Roubo's
rare work V Art du
Treillageur, which ap-
peared in Paris in 1 775 .
*' The Art of Treil-
lage," says Roubo, "is one of the most modern, and its perfection, like that of
jardinage, is due to the French. Like many another art it was simple in its
origin and limited to utilitarian purposes, such as a support to the treillis
or tendrils of the vine — whence its name." At first it was only used to train

A TREILLAGE DESIGN BY LE PAUTRE.

124 GARDEN CRAFT IN EUROPE

espalier branches, then to separate the paths of thickets and the different

PROMENADE DE JARDIN DU PALAIS-ROYAL, PARIS, SHOWING A TREILLAGE
PAVILION, AFTER AN ENGRAVING BY DEBUCOURT.

parts of the vegetable garden ; these were its principal uses until the days
of Louis XIV, when under the guidance of Le Notre and J. H. Mansart

FRENCH GARDENS: LATER 17TH AND i8th CENTURIES 125

treillage began to form a distinct and separate part of garden craft. Its
execution was entrusted to workmen who made it their sole occupation
and assumed the title of treillageurs, working under architects, or from their
own designs, until in 1769 the^ were united to the Corps des Menuisiers.
The use of treillage became very popular. It was a material particularly
suited to the period when gardens often had to be designed and carried
out within the space of a
few months, and gave a
finished effect long before
the tree backgrounds had
time to grow up. It was and
is still especially used in town
gardens, and often provides a
most effective covering to an
unsightly wall. Summer-
houses, salons, gateways, gal-
leries, and indeed any archi-
tectural feature could be easily
imitated in treillage, and from
its lightness of construction and
cheapness it is often more
suitable than solid stone or
stucco.

The Parterres of Le
Notre's gardens are lighter
and more refined than those
of the previous century, animal
forms being omitted and an
attempt made to imitate
embroidery patterns. Parterres were divided into four kinds : — Parterres
de broderie, in which the box lines imitated embroidery, — these were con-
sidered the finest ; Parterres de Compartiment, which consisted of a com-
bination of scrolls, grass plots, knots, and borders for flowers ; Parterres a
Vanglaise, consisting of grass plots all in one piece or cut into shapes, and
surrounded by a border of flowers ; this was considered the most un-
attractive kind of parterre ; Parterres de Pieces coupees, differing from the

LE MOULINET, BY WATTEAU.

26

GARDEN CRAFT IN EUROPE

^CiiiqiK dt tr,iUo(/c au inilu u <iji peUi(3cir ctcn/acc du
[Par tan iielOinnc/Lnc a C luuitdh/

A TREILLAGE ARCHWAY AT CHANTILLY.

Others in that all the parts
composing them were in
symmetrical shapes of box-
work and that they admitted
neither grass nor embroidery.
The Grand Trianon at
Versailles (illus., p. 127), which
was so called after the Petit
Trianon came into existence,
was built by Louis XIV for
Madame de Montespan dur-
ing 1670 and occupied the site
of a village named Trianon,
which was removed to make
way for the gardens. The
building, which is not the
one now existing, was entirely
decorated with porcelain and
was known as

the Trianon de \

Porcelaine. It

A TREILLAGE SCREEN.

FRENCH GARDENS: LATER 17TH AND i8tii CENTURIES 129

was pulled down after seven
years and the present Tria-
non de Marhre was built from
Mansart's design in its place.
The Trianon de Porcelains,
says a contemporary writer,
" was regarded at first by
every one as a work of magic,
for it was begun only at the
end of the winter and was
finished by the spring, as
though it had sprung from the

AN ELABORATE EXAMPLE OF TREILLAGE THE TEMPLE

d'amour at CHANTILLY.

TRULLAGL OBLLISKS AT '1 IIL

ENTRANCE TO l'ilE d'aMOUR,

CHANTILLY.

earth with the flowers of the
gardens that came into being
with it." The garden of the
first Trianon was designed
by IMichel Le Bouteux,
who was given carte blanche
to do as he pleased, the only
stipulation being that there
should be an abundance of
flowers, for which a greater
craving now became appar-
ent, owing to the improve-
ments made by the Dutch
in their cultivation. Col-
bert, who was now in charge
of all the royal palaces,
wrote to his agent at Mar-
seilles : " You know that for
the ornamentation of the
royal gardens we must have a
large quantity of flowers. As

K

130

GARDEN CRAFT IN EUROPE

there arc so many varieties in Provence I beg you to buy all the jon-
quils and tuberoses that you can find, and also any other curious flowers
that would contribute to the ornamentation of the gardens." Rare
flowers were sent from all parts and LeBouteux was so successful in propagat-
ing them that he was considered the first fiorist of his day. He established
an open-air orangery, which was a great novelty. On the demolition of the
Triafion de Porcelaifie the orange garden gave place to the parterre de bro-
derie. According to Dangeau the soirees de Trianon were conducted on a
magnificent scale, the fiowers in the parterres were changed almost every

■■■BBI^^ '^HJHHHB

i^^^^iS- -_ _ _ _ — Z-^SB^^HB^^' 1 . - .». ~. 'Sb^^Sm

W~^^ : ■ -:~ '^^^l/^^UHt

LJHRJlHi^

■■^^^

HHM||H|^^pilR!l|P^'^^^^^^^^^^H^^^H

^9^IH

THE GRAND TRIANON.

day, and on one occasion the King and the entire court were obliged to leave
the gardens owing to the overpowering scent of the tuberoses. The glory
of the Trianon de Marbre lasted only for a short time, and with Louis XIV its
brilliant history came to an end ; under the regency Trianon and Versailles
were alike deserted, the former until the year 1 741, when Louis XV gave it
to his queen. Thanks to Madame de Pompadour in 1749, ^^^ Grand Trianon
received a new lease of life, when in order to amuse the King, amongst
other attractions, a completely equipped model dairy was started. The
gardens of the Grand Trianon have been so well restored and kept up that
they may still be seen at their best, with their cool bosquets and retreats and

A LEAD FOUNTAIN AT THE GRAND TRIANON,

Aventte du tiuioj
»_<4 vtntit de la Pepi
S.Avenuf lie rfotsy
4.tirUU dt ( fntr er
p J^autt^ ^ecj ifietii

7.Caiutet des <// «< i
S.Sa/^e Jej^Jeiqnriir^
p.Courdej Ciu une

Salle dt Cometlu
WSalle du

iJ.Prrish/le •

,4..ChapeUe
^ SG^rie

6. Saloru'

17 (jtatidA/.

fcV Triaiwn .rou.f U Hour

<o Petujairiin du Roi

i/i Bosiiuet dejSoiiiveS

*-^L^ 1/ Can eaui dejiiiir , enpciM

r^n^lr.ury, In i^.u^ d,,n H.,nuna ,,.,^m^^^ iJacte ., I U, d, rr'tu m Li; ^ r,., I, I, ^rm lir )/M/,„^„r.„v' ,'„„

'^pl--l''U.LupujaB„l,^t>-adeor,,,..,.l,F,.,,,r>^,td,Va^e^.l.,sLamtnJd.^e^Ap,uu,,M,i>f^^^^

PLAN OF THE GRAND TRIANON AND ITS GARDENS.

132

FRENCH GARDENS: LATER 17TH AND i8th CENTURIES 133

fountain basins bor-
dered with little
gilded cupids. The
principal basin, known
as the Plafond, lies in
front of the chateau
and is guarded by
marine monsters. But
the chief water feature
is the buff-et d'eaii,
designed by Mansart,
consisting of steps
of variously coloured
marble with gilt
figures and reliefs.

Considerably more than half the environs of Paris within fifteen miles
of the city, comprising all the finest sites, were given up to the immense parks
and gardens of Louis XIV and XV and their courts. Delagrive's map of the
environs of Paris, published in 1754, gives an excellent idea of the vast

THE GRAND TRIANON.

GARDEN HOUSE IX Till: I'LIIT

134

GARDEN CRAFT IN EUROPE

extent of these estates. The parks of St. Germain, Marly, Versailles, St.
Cloud, Meudon and Sceaux occupied the greater part of an area^300 square
miles in extent to the west of Paris ; whilst to the east were the immense
parks of Vaux-le-Vicomte and Fontainebleau, with the smaller estates of
Gros-bois, St. Maur, Choisy, Vincennes, Raincy, Bois-le-Vicomte and 'others.
The original Chateau of Meudon (illus. opposite) was built ',for Cardinal
Charles of Lorraine by Philibert de I'Orme, in the reign of Henri II, and
eventually became the property of the Marquis de Louvois, when large addi-
tions were made to the chateau. Louis XIV purchased the property in
1694 and presented it to the Dauphin. After the death of the Dauphin in

THE PARTERRE AT THE GRAND TRIANON.

171 1 the chateau, though occasionally occupied, was much neglected, and
its ruin was finally completed during the Franco-Prussian war. Le Notre
worked here, both under Louvois and also for the Dauphin.

In laying out the gardens, he was helped by their wonderful situation
upon the heights overlooking the windings of the Seine. The Cardinal's
garden had been quite small, but Le Notre made large additions ; for the
water decoration he worked in conjunction with the mditre fontainier. Lop-
pin, who published a volume of designs for the fountains here. A princi-
pal feature was an elaborate double terrace with ramps on either side, recall-
ing that of the villa Mondragone at Frascati. The great orangery, with its

FRENCH GARDENS: LATER 17TH AND i8th CENTURIES 135

square parterre and terrace walls, is illustrated in several of Silvestre's engrav-
ings and remains almost the last vestige of the once famous gardens. Much
of Le Notre's work in the park may still be admired ; a broad green tafis
vert leads from the terraces into the woods ascending the hillside, and superb
vistas alternate with alleys and formal pieces of water. One of the remarkable
features of this park was a large cluster of oaks (illus., p. 136), surrounding
an octagonal space, with a large pool.

^Veue etpciirf_iaiiih df la nruiitle pn\r ih'utu ctdi- lOiiiiujeriCiiu i luitean ile'lUt'iuion
THE CHATEAU OF MEUDON.

Clagny was bought by Louis XIV in 1665 and presented to Madame de
Montespan (illus., p. 137). The adjoining estate of Glatigny having been
acquired, the gardens were laid out by Le Notre at a total cost, it is said, of
three million livres. Some ten years later the Mercure de France^ describing
the garden soon after its completion, says " it derives its chief ornamentation
from a wood of high trees, several -parterres en broderie and bowling greens
of various shapes. There are beautiful palisades of myrtle arranged to hide

36

GARDEN CRAFT IN EUROPE

the tubs, which hold oranges in such a way as to make it appear that the
orange trees are planted in the palisades." " We were at Clagny," wrote
Madame de Sevigne in 1675. " How can I describe it ? It is a veritable
palace of Armida ; the building is growing visibly ; the gardens are made.
You know the manner of Le Notre ; he has left a little dark wood which does
very well. There is a grove of orange trees in great tubs ; you walk there ;
and they form alleys in the shade ; and to hide the tubs there are rows of
pallisades high enough to lean on, all aflower with tuberoses, roses, jasmines^

t (^c7M-i/i acta q one oati dcf COojqucU Ac nieudari

FOUNTAINS IN A BOSQUET AT MEUDON.

and carnations ; it is surely the most beautiful, the most surprising, and the
most enchanted novelty imaginable." According to a writer in the Mercure
Galant the garden was celebrated for its bosquets of forest trees, parterres
and grass walks, horn-beam bosquets and its treillage.

The cost of Clagny was a mere bagatelle to that of Marly, where between
1677 and 1684 Mansart and Duruse spent immense sums^ in creating the

1 Between 1679 and 1715 the money spent on Marly in pavilions and gardens amounted
to 11,686,979 ^^'^'•' °^ nearly 50 million francs in modern money. CY\tovi,Histoire de MarLy.

Jc

DC

THE RIVIERE D EAU AT MARLY.
137

FRENCH GARDENS: LATER 17TH AND i8th CENTURIES 139

superb " Hermitage " that De Brosses thought finer than any of the villas
in Rome. Saint Simon says the site was a narrow deep valley, without
any view, solely chosen in order to spend money, such was the King's " superb
pleasure in forc-
ing nature." The
" Hermitage " was
rarely used and
never for more than
a few nights at a
time, but in spite
of this it was con-
tinually being en-
larged ; the hills
were cut away to
make space for
building, and those
which stood in the
way of the view
were bodily re-
moved. Marly was
in one respect pre-
ferable to Versailles
— there was much
more shade. The
central pavilion was
shaded on the south
by dense bosquets
ascending the hill-
side. The great
cascade or Riviere
(Teau (illus,, p. 137)
was planned on the
central axial line of the garden. It was an entirely new and ingenious idea
composed of sixty-three steps so evenly adjusted that the water flowing from
one to the other gave the impression of a single sheet of water when viewed
from below. The pool into which the water fell was decorated by magnifi-

IN THE MARLY GARDENS, AFTER

MOREAU LE JEUNE (1773).

140

GARDEN CRAFT IX EUROPE

cent groups of sculpture by Coustou. The park of Marly adjoined that of
Versailles, and the two chateaux were connected by a broad avenue. The
design of the park and gardens has been erroneously attributed to Le Notre,
but they were entirely due to Mansart during the absence of Le Notre in
Italy. Under Louis XV many changes were made with a view to decreasingthe
enormous expenses of Marly, and in 1728 the Riviere d''eau was replaced by a
Tapis vert. The opening years of Louis XVI's reign saw the decline of Marly
as a royal resort, and after 1784 Marie Antoinette's influence caused the King

to weary of the place. Just before the Revolution much of the park had been
let for agricultural purposes, and subsequently all that remained of Marly was
sold. Nowadays it is difficult to trace the outlines of what was once a famous
pleasure house, the only architectural feature remaining is the abreuvoir,
where from a gilded balcony the Court amused itself by watching the horses
being watered. The balcony was flanked by the famous groups of horses,
Coysevox's masterpieces, now adorning the entrance to the Champs Elysees.
All was destroyed in 1793, and Le Brun's series of pavilions where Louis
lodged his guests are now only shapeless ruins.

FRENCH GARDENS: LATER lyxH AND i8th CENTURIES 141

The chateau of Sceaux, about four miles from Paris, on the road to
Orleans, was bought by Colbert in 1670. Le Notre was employed to hy
out the gardens, whilst Le Brun and Claude Perrault were engaged upon the
alterations to the building (illus., p. 140). Colbert, possibly warned by the
sad fate of Fouquet, decided to exercise a greater economy, and instead of
entirely rebuilding the old chateau contented himself with remodelling.
Le Notre, wishing to retain as much of the existing garden as possible, con-
fined his alteration to the creation of two main axial lines; one formed
the approach by a double avenue and passed through the chateau to the
parterres beyond, the other, at right angles, took the form of a canal 1,000

THE PARTERRE DU TIBRE AT FONTAINEBLEAU (PRESENT DAV).

yards in length. The illustration (p. 140) shows the garden front with the far-
terre de hroderie as planned by Le Notre. Colbert died in 1684 and Sceaux
passed to his eldest son, the Marquis de Seignelay, who entertained here upon
a lavish scale. The Mercure Galant, describing a fete at Sceaux in 1685 in
honour of Louis XIV and Madame de Maintenon, relates how the royal
party after reposing an hour in the Pavilion de I'Aurore, proceeded through
the Salle des Marroniers to a Httle wood fait en labyrinthe and sparkling with
fountains. From here they passed to the allee d'eau, a shady spot with ter-
races ranged on both sides, and a water jet between each — the water fiowed
through tiny channels to four large shells. High treillage covered with

[42

GARDEN CRAFT IN EUROPE

verdure formed a pleasing enclosure to the alley. In 1699 the property was
sold to the Due de Maine. The park and a few alleys still remain, but the
chateau and gardens have been much changed. The Pavilion de V Aurore
still exists and is a delightful specimen of the seventeenth century garden-
house at its best.

An immense sum of money was spent upon the gardens of Saint Ger-
main. At one time Louis XIV thought of rebuilding the whole palace
upon a much more magnificent scale ; as it was, he added five pavilions
and employed Le Notre to re-design the gardens. The parterres were

THE PARTERRE OF THE TUILERIES IN 1 73©.

entirely transformed, chiefly to please the spirituelle Henriette d'Orleans.
A large bowling alley was laid out and three small terraces thrown into one
great lime-planted promenade, one of the finest walks in Europe, extending
nearly a mile and a half with a beautiful view overlooking the valley of
the Seine. James II in his exile used to take his daily walks here, and often
declared that the view from the terrace of Saint Germain was only equalled
by that from Richmond Hill. The length of the terrace is most impressive,
and the effect of distance is rendered even greater by a slight change of angle
towards the middle.

Le Notre made considerable alterations to the gardens at Fontaine-

THE ORANGERY AT FONTAINEBLEAU IN 1679.

'^eii£. et per jpecUiu^ duq rand parterre ditUibre etduderrwre dii Chateau de Erontaine-bieaa. 5^

THE PARTERRE DU TIBRE, FONTAINEBLEAU.
144

^I^^v

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/• OrurdiiCkeval ilan

rj - Omr dwDenicm cttdelcvaJe. ii
4 • Ccur dt^t offices puCiojtruj a

6'- Gallerve. i&^' <^^^^ 14

^- Ora^voerte j^

f.Jardtn de loranocrie, 16

PLAN GENERA

■ill.'. r7- PcnnUcrvd^SLcuis-

p- GallerU de.'CAe
dru df PauTTif .

CAapeUe ■ ip. Jiir-jntznxdance dej
E.'caZi&r du/^ra CJiei'ol- Finance j ■

Ga/!enc dVL'se. 2C-Hctti dJilh-ct--

Salic dcj-Batns. 2i.P^i'dlon duChaniie/Iun-

Croftr Jujardin des ptnj- :zGnmd Parteft-e-

Pai'Ulc^ dePcmcme y-Fcntatne du flocAcr-

■24Fcniainc duTUrrc-

2^-Tcf-ra^scs •

2S- Cascades ■

27 -Grand Canal-

ig. Hotel de Ccndc'-

2p ■ Carntalncrtc-

Jc-Paznllcm, de. laCkaujjc.

SI- Alle'c dciaCkaujsek'

S2 Fcmfaine. de Pe
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jgEcuriejdela Vi

.AFarir clu^z.TMariette, riie. Sf^Jaajutr a la Victo'ire et <

Col en

d'He.

FONTAINEBLEAU IN THE EIGHTEENTI

NTAINE-BLEAU

■URern^cno 4^.UMj>-Vc7e. <S ■ la CAa^^.J/ ' ^ t!^ T^ 70-UPo^b,.

iOWING THE DESIGN OF LE NOTRE.

FRENCH GARDENS: LATER i/th AND i8th CENTURIES 145

bleau ; his work consisted chiefly in bringing the garden up to date in
obedience to the King's never-ceasing desire for change. The stiff square
and intersecting canals of the grand parterre as they were designed for
Frangois I were all demolished, and in their place a large square parterre de
hroderie^ known as the Parterre du Tibre (illus. opposite), was planned with
a square pool in the middle. The grand canal was already cut, and Le
Notre's work was confined to laying out the bosquets and re-arranging the
parterre, which is shown in Perelle's view. Nowadays the elaborate embroi-
deries have disappeared and grass plots take their place ; in size this parterre

will compare with anything of its kind ever laid out. At the head of the
grand canal is a theatre d'eau, which, although not so imposing as those of
Versailles or St. Cloud, is decorated with some remarkably fine bronzes.

The gardens of the Tuileries in their present form are also due to
Le Notre. He entirely re-modelled the designs of Regnard and D'Orbay
and made great changes in the levels. The land had an inconvenient
fall of some few feet towards the Seine, and in order to overcome this
defect Le Notre raised the lateral terraces, and also extended the garden
by enclosing the site of the Rue des Tuileries and a piece of ground

46

GARDEN CRAFT IN EUROPE

known as Renard's garden, retaining the main division of the old garden;
he enlarged the parterres in order to provide a greater space in front of
the palace, at the same time doing away with the grotto, maze and other
toys then out of fashion. The remainder of the garden he divided into
quincunxes and bosquets, in the midst of which was an open air theatre. Le
Notre made the terrace of the Cours la Reine overlooking the Seine, and
• planted the great central

avenue which was later con-
tinued into the present
Champs Elysees,.and put in
the two central fountains
with their high single jets of
water, which are still the
delight of small children who
sail boats in their large basins.
Louis XIV made little use of
the palace, preferring the life
at Versailles, and after 1722
royal visits were restricted
to rare ceremonial occasions.
Saint Cloud has suffered
much ; the palace was burnt
down in i 870 and very little
remains of its elaborate gar-
dens and waterworks, while
the park, with its straight
avenues, is a desolate place
save on fine Sundays, when
it is generally gay with the
Louis XIV in 1658 and was

DETAIL OF THE CASCADE AT ST. CLOUD.
{For a general vieiv see page izz.)

It Was bought

by

population of Paris
rebuilt from Mansart's designs ; the gardens were at once taken in hand
and Le Notre worked in conjunction with Mansart. Being upon a
hillside it was possible to make terraces without accumulating vast quan-
tities of earth. The great parterre de Trianon is shown in Fragonard's
delightful picture, " Fete at St. Cloud," and has been often engraved.
In the midst was the fontaine de Vetms surrounded by compartiments de

From a drawing by C. A. Peixotto.

THE GARDENS AT ST. CLOUD.
147

FRENCH GARDENS: LATER 17TH AND i8th CENTURIES 149

broderie, with here and there the wonderful vases of Le Brun. The
greatest feature of St. Cloud is the cascade (illus., pp.' 122 and 146), which
was designed upon the hillside overlooking the Seine, and which when fully
working, can hardly be matched in Europe The cascade shows the distinct
influence of those at the Villas Torlonia and Aldobrandini at Frascati ; it is
divided into two parts by a wide terrace; the upper part is an earlier work bv

\ir 1)1 oKwi) 11 1 1)1 \\ j)i p\u( 1)1 s (ion)

Le Pautre, the lower was afterwards cleverly added by Mansart. The water,
spurting from an urn flanked on either side by recumbent figures of the Seine
and Loire, falls down a series of steps and water buffets, through masks, shells,
and dolphins into a big basin, and thence beneath the terrace to the second
cascade shaped in horseshoe form. The wonderful series of statues by
Coysevox and other great French sculptors has been removed, and now
only poor copies remain. There is still the delightfully cool allee cTeau

so

GARDEN CRAFT IN EUROPE

with its central water channel broken by alternate round and octagonal
pools, where the water, issuing from a fountain, gaily sparkles from pool to
pool. " Water," says Boyceau, " is necessary to a garden for its irrigation
and refreshment during drought, but it also serves to embellish, especially
running water in streams. Its vivacity and movement are the living spirit
of the garden." Le Blond, in his work La Theorie et la Pratique du
Jardinage, devotes a chapter to its treatment and illustrates several designs.
Where the fall of the ground permitted, the water from the first basin was
conducted by underground pipes to the third and fifth, forming a series of
small water jets. Sometimes the channels were lined with coloured tiles
and pebble work.

The Chateau de Maisons was designed by Frangois Alansart, and in
later years was the scene of the sumptuous entertainments which were
offered by the Comte d'Artois to Louis XV'I and Marie Antoinette.
Saint Simon tells us that the chateau garden was celebrated for its rare

\ I J I'll W \L ])L ( H \I 1 \l 1)1 Iv \MIH)1 II 1 I I ] KI^l 1)1 15\I t (3N ])L K0\

THE ALLEE D'EAU AT St. CLOUD

FRENCH GARDENS: LATER i/th AND i8th CENTURIES 15

botanical collections, and that the gardeners here grew the only coffee
that was successfully matured in France. The Chateau of Ram-
bouillet (illus., p.
150) is situated
some twenty miles
south of Versailles ;
it was one of the
favourite residences
of Louis XVI and
the gardens, which
are now quite de-
stroyed, were laid
out by Le Notre.
They were famous
in their day for
their beautiful par-
terres of roses
which were grown
in very great
variety. Great
canals were cut
after the prevalent
fashion of the day,
to allow the ladies
of the Court to be
rowed in their
gilded barges to all
parts of the grounds.
In 1780 an experi-
mental farm was
laid out with small
farmhouse and
dairies ; flocks of
sheep with their shepherds were brought from Spain. There is an im-
mense park where the President of the Republic now hunts, though in less
grand style than did the courtiers of Louis XVI.

Ses yCTrx. fbntlcrmes an i our
G)mme £bn coenr a L amour

A GARDEN SCENE, AFTER MOREAU LE JEUNE (1774).

152 GARDEN CRAFT IN EUROPE

Another famous eighteenth-century garden laid out by a pupil of Le
Notre was at Rochefoucauld's Chateau at Liancourt. The waterworks
were renowned in their day, and Silvestre's engravings show the -parterre des
cascades, and long alleys of fountains, each connected by a series of channels
and small pools. The Grand parterre was surrounded by berceaux of lattice
work, terminating in pavihons. Upon the eastern side of the chateau was
the flower garden and orangery, a combined arrangement often to be met
with in French eighteenth-century gardens, where the parterre was generally
reserved for bedding out. Amongst other curiosities of these gardens was
a large cabinet de verdure, or summer-house, in the midst of a square pool ;
this was quite surrounded by a series of green arcades each containing a
tiny fountain jet. Another feature at Liancourt were the avenues of
poplars, trees which found little favour with horticulturists of the seven-
teenth century.

A good insight into the smaller town gardens of the period may be
obtained from the exhaustive collections of plans that exist, showing them
in detail. They generally include a small forecourt set back from the street;
behind the house, terraces led to trim parterres ; the odd angles of
the sites were often filled in with bosquets or cut trees, forming walls of
verdure. Blondel, in his Architecture a la Mode, gives many examples of
the larger town gardens. The Palais Royal, as laid out by Le Notre with
little parterres de broderie, and planted with bosquets of chestnuts, limes,
and hundreds of cut yews, is a good example of the palatial town gardens
of Paris.

There are two manuscript volumes preserved in the Bibliotheque Na-
tionale which give minute plans of scores of beautiful country seats exist-
ing round Paris in the middle of the century; these volumes are quite a
study of eighteenth-century garden planning. The Chateaux were mostly
planned with an avenue leading to the cour d'honneur which was frequently
protected by a broad moat. The parterre is usually placed upon the
opposite side, terminating in a formal piece d'eau, and every garden, even
of a few acres, had its bosquet. At Nogent and along the banks of the
Marne were many large gardens, while Fromont, on the way to Fontaine-
bleau, Ecouen, where the Conde property lay, and the Forest of Bondy
were all favourite districts.

La Meutte was one of the smaller villas built for the Court of Louis XV,

'cr ^^c ic ^ L>i

a r!t<rj c.C'2. I'.^/iautJtxL- aui Q/.-nil.' )(t4^i:u/tJ.

\LL DL ClIMEAU DE LA MtUTTL CT DL NE PARTIL DL P\RrtRPE

THE CHATEAU DE LA MEUTTE.

153

FRENCH GARDENS: LATER i/th AND i8th CENTURIES 155

where an existing country house was adapted ; the chateau was completed
under Louis XVI, when the gardens were laid out.

At Luneville, the Duke of Lorraine laid out immense garden schemes,
which involved the destruction of whole villages and the removal of a
monastery. Between the years 171 1 and 1718 the colossal work was
directed by Yves des Hours, who aspired to rival Le Notre, and in 1724

THE GROTTO AT LUNEVILLE.

the gardens were placed under the control of Louis Gervais, the future
designer of Schonbrunn, then a youth fresh from studying at Meudon and
Vienna. Voltaire wrote in 1738 : "One can hardly think one has changed
places when one comes from Versailles to Luneville." A theatre de verdure
with grass seats, perfumed by numbers of orange trees and surrounded by
varieties of water jets, was the scene of a famous hat riutique in 1739 upon
the occasion of the marriage of Madame Louise Elizabeth with the Infante
Don Philip. But the most wonderful feature of the garden was the Rocher

56

GARDEN CRAFT IN EUROPE

m

S^:^

constructed by the
architect, Emmanuel
Here (illus.,p. 155); it
was a grotto nearly
300 yards in length,
attempting to repro-
duce a village grouped
upon a mountainous
site with an extra-
ordinary collection of
water devices.

For the same
patron Here laid out
the gardens of the
Chateau de Com-
mercy, where there was a curious bridge crossing a canal with a colonnade
upon both sides, known as 2. colonnade hydraulique ; the shafts consisted of
an outer framework of gilt metal with numerous tiny water-jets producing
a sparkling column of falling water.

The style of Le Notre spread rapidly, and at every court in Europe garden
designers, steeped in his traditions, found ample employment. In England
and Holland the French gardens were imitated only upon a small scale, but in
Italy, Germany, Austria and Sweden a number of extensive schemes were
carried out. ' y , ^

111

COLONNADE HYDRAULIQUE AT THE CHATEAU DE
COMMERCY.

JAN VREDEMAN DE VRIES.

CHAPTER VII

GARDEN DESIGN IN THE NETHERLANDS

HE influence of the Italian Renaissance in architecture
penetrated to the Netherlands at about the same
period as it did to France, that is, in the early years of
the sixteenth century. The Dutch had already a
European reputation for their cultivation of flowers. As
early as the end of the fifteenth century we read of
the vermakhoven, or pleasure yards, and of the dwellers
in towns laying out their gardens. In Amsterdam a certain Sheriff Benning
laid out the gardens at his country seat at Brillenburg on the Amstel. Such
gardens were of very simple design, and quite small, only consisting of one
or more courts, each serving a special domestic purpose.

Erasmus in his Colloquies draws a vivid picture of the square walled
enclosures " neatly kept and in perfect order " that might as well have applied
to his own native Holland as to either Italy or England. " Designed for
the entertainment of the Sight, the Smell, and the Refreshment of the very
Mind," it consisted of a series of walled enclosures, one containing nothing
but sweet herbs " and those only choice ones too ; " and every kind had its bed
by itself. From the Fountain basin, cunningly contrived in imitation of
marble, small channels run to every corner of the garden, reflecting the border-
ing flowers in their surface. The garden walls are painted with trees and
flowers as " one piece of ground will not holdall sorts of plants " and " 'tis a
double pleasure to compare painted Flowers with the Life, moreover, the
Painting holds fresh and green all the Winter when the Flowers are dead and
wither'd." Beyond the Herb-garden was " an indifferent fair garden cut
into two : the one's for the Kitchin, and that's my Wife's ; the other is a
Physick Garden ! Upon the left hand, you have an open green Meadow
enclosed with a Quickset Hedge. There do I take the Air sometimes, and

i6o

GARDEN CRAFT IN EUROPE

divert myself with good Company. Upon the right hand there's a Nursery
of foreign Plants, which I have brought by degrees to endure this Climate.
At the end of the upper Walk, there's an Aviary : at the further end of the
Orchard I have my Bees, which is a sight worth your curiosity." ^

The earliest Dutch book on garden craft that gives definite instruc-
tions for laying out gardens was published in Antwerp in 1582. It is a

A CASTLE GARDEN OF THE LATE SIXTEENTH CENTURY, FROM A PAINTING OF DIVES AND
LAZARUS ASCRIBED TO VREDEMAN DE VRIES.

translation from the Praediuni rusticum of Charles Estienne, which had
appeared in Paris some thirty years earlier. According to this work the
gardens of that time were mostly used for the cultivation of vegetables.
The herb garden was considered the pleasantest of all. As in most horti-
cultural books of this period, besides the description of each plant, there is

'^Colloquia : " Convivium Rellgiosum " (Translated by Sir Roger L'Estrange, Kt.).

GARDEN DESIGN IN THE NETHERLANDS

[6i

an account of its healing properties, and directions showing how it should
be used in sickness.

The most famous garden designer of the sixteenth century was Jan
Vredeman de Vries, the Dutch " Du Cerceau," born at Leeuwarden in 1527.
His designs were pubhshed in Antwerp in 1583.1 Amongst many books

A GARDEN DESIGN BY DE VRIES ABOUT I585, WITH GREEN ARBOURS AND PARTERRE.

dealing with architectural design, he published one volume entitled Hor-
torum viridariorumque together with many designs for fountains and grottos.
His drawings give us almost as great an insight into the chateau life of the
period as do those of his famous French contemporary, and taken in conjunc-

^ Under the title of Hortorum viridariormnque elegantes et multipltcis formae architectonicae,
artis normam affaire delineatae a Johanne Vredemanno Frisio, Phillipus Gallaetis execudebat Jnt-
werfiae 1583.

62

GARDEN CRAFT IN EUROPE

tion with the translation of Charles Estienne enable us to form a very com-
plete idea of the gardens of that time. Here we see ladies being rowed in
gaily-painted barges and luncheon served in richly decorated arbours, amidst
the garden parterres. Even the bleaching ground is not forgotten " where
should stand nothing but green grass or herbs and the fountain in the centre
or with some platane or lime trees, the branches of which have been led

A DUTCH GARDEN IN THE SEVENTEENTH CENTURY,

and shaped to a bower, as may be seen at Basel and elsewhere, serving as an
amusement to the Lady and her guests." In his engravings De Vries divides
garden designs into various styles named after the orders of Architecture.

Though it is probable that few gardens were actually laid out from the
designs of Vredeman de Vries, yet they set the style which was generally
followed. This new Dutch style was largely followed both in England and
in Germany.

For many years the region in which the principal chateaux of the Nether-

GARDEN DESIGN IN THE NETHERLANDS

163

lands were situated was the battleground of Europe, and during these troublous
times most of the noble families to whom the estates belonged were ruined by
revolution, their houses pillaged and burnt. As a result, it is hardly possible
to find a chateau of the seventeenth century in the Netherlands that retains
its garden surroundings unaltered ; here and there the remains of some arbour,
or perhaps a moss-covered fountain, long past repair, serve to mark what might
once have been a gay pleasaunce, but we may search in vain for any complete
scheme.

Fortunately we are able to know the chateaux as they existed in the
first half of the
seventeenth cen-
tury by the splen-
did engravings of
such artists as
Wenceslaus Hollar,
Peeters, Bruyn,
Harrewyn, Van-
weerden and
others, collected
in several compre-
hensive volumes.
Chief among
these are : A. San-
dremius' Flandria
Illustrata, 1641 ;
Brabantia Sacra et

Projana ; the very early work Artzinger's De Leone Belgico, and Castellorum
et Praediorum Nobilium Brabantiae. The last deals exhaustively with the
provinces of Louvain, Brussels, Antwerp and Bois-le-Duc and gives
quaintly-executed bird's-eye views of chateaux and their gardens that
enable us to restore, mentally at least, these beautiful homes of the old
Dutch and Flemish nobility.

A survey of these volumes must fill us with regret for all the fine
chateaux that have been destroyed. We can hardly peruse them without
realizing to what an extent the artistic influence of the Netherlands made
itself felt in the sixteenth and seventeenth centuries in England, Germany,

A CASTLE GARDEN.

^64

GARDEN CRAFT IN EUROPE

and Austria, and how fully the country gentleman of this period under-
stood the art of beautifying the surroundings of his home.

The architecture of these chateaux is always picturesque, with varied
outlines of gable and turret, twisted chimneys and elaborately-wrought vanes ;
delightful buildings that it would be a pleasure to surround with quaint
gardens, thoroughly comfortable and cheerful old homes with none of the
ostentation and pompous discomfort of the dwellings that succeeded them.

A FOUNTAIN AND BOSQUET, LATE SIXTEENTH CENTURY.

The principal buildings were grouped round an internal courtyard and
were approached by a drawbridge across the moat, which usually came right
up to the castle walls. The upper part of the portcullis tower was sometimes
treated as a dovecot. The basse-cour was planned in close proximity and
conveniently arranged for stables, farm buildings and granaries. The
orchards, kitchen gardens, herbaries, and the pleasaunce consisted of a series

GARDEN DESIGN IN THE NETHERLANDS

165

of small islands, divided by canals and each approached by its little bridge.
Occasionally, though very rarely, the pleasaunce is planned upon the same
island as the dwelling house.

In all these chateaux the parterre was planned upon an elaborate scale,
with an infinite variety of designs worked in cut box, and planted with flowers.
An illustration is given of a garden which forms the frontispiece to Crispin

A CASTLE GARDEN OF THE LATE SIXTEENTH CENTURY.

deVsiSse's H or tus Floridus, published at Arnhem in 1614 (p. 166). There was
an English edition published in 1616, and described as containing " Rarer
and less Vulgar flowers accurately drawn by the incredible labour and dili-
gence of Crispin de Passe, Jun." The garden is surrounded by architectural
wooden galleries such as may be seen in Du Cerceau's drawings of the princely
gardens of France in the sixteenth century. A cavalier rests on the balustrade
and a lady is gathering tulips, of which there are four beds. The tulips do

i66 GARDEN CRAFT IN EUROPE

not appear in the earlier print, and in the later edition there are eleven
additional plates giving nev^^ varieties, mostly named after Dutch-
men ; this addendum marks the beginning of the tulip mania and roughly
fixes its date. The use of coloured earths and sands, an expedient invented
by the Italians rather than by the Dutch, became more prevalent ; in some
cases the paths and alleys were covered over w^ith line sand or marble dust or

A FLOWER GARDEN FROM CRISPIN DE PASSES HORTUS FLORIDUS, I614.

paved with bricks, tiles, or cut stones. Sometimes when the parterre is large
it is divided into four parts by miniature canals. Fountains occupy an impor-
tant part in the design, and they were frequently elaborate structures of bronze,
marble or lead.

The storks' nests, provided by the owners of the houses, are always
shown in these old illustrations, and may still be met with in any country
house in the Netherlands. They are constructed about twenty or thirty

GARDEN DESIGN IN THE NETHERLANDS

167

feet above the ground, and unfortunate is the house that fails to secure a
tenant for its nest.

In Holland, which Butler sarcastically describes as

" A land that rides at anchor and is moored
In which they do not live, but go aboard,"

the vyvers, or fish ponds, were important accessories in all country
houses. They often covered a considerable area and had a system of dams,

water-wheels, and ___^__

sluices to prevent I _^ ;rf' / "^ ^ _ *'**

the water from
becoming stag-
nant. The ar-
rangement of
moats and canals,
with their varying
levels, was of the
utmost import-
ance, and as a
sanitary precau-
tion great care
and attention
were required to
regulate the levels
of the water
courses and to
prevent the accu-
mulation of weeds. The edges of the canals were carefully trimmed and
kept in position either by lattice work or by an edging of stone. When these
precautions were neglected and the sluices and dams allowed to fall into
disrepair they were soon liable to become plague spots, and Alderman Beck-
ford, who toured in Holland in 1780, must have suffered considerably, for
he notes in his diary that although "Every flower that wealth can purchase
diffuses its perfume on the one side, every stench a canal can exhale poisons
the air on the other. Who knows, but their odour is congenial to a Dutch
constitution ? One should be inchned to this supposition by the numerous

GALLERIES IN THE GARDEN OF ADRIAAN VAN DE VENNE AT
MIDDLEBURG, SEVENTEENTH CENTURY.

1 68

GARDEN CRAFT IN EUROPE

banqueting rooms and pleasure houses which hang directly over their surface
and seem calculated on purpose to enjoy them."

There is an immense variety shown in the designs for arbours and summer
houses (illus., pp. 169, 170), which, with their quaintly-shaped roofs, gilt vanes
and gaily-painted shutters added greatly to the attraction of the gardens.
The principal arbours were comfortable retreats, solidly built of brick and

*^V Vrf^'-^-Nv V-«!-'v v^ -^

] ^arhus,Aj}rtlis^hXaiusJunt tempera ueris ( Pumh^ iomj,tr j) I ere lenus aaiukt fforenhius aurea ferbs

SPRINGTIME, FROM AN ENGRAVING BY P. VAN DER HEYDE, 15/0.

stone to withstand rough weather, the less important constructed of light
woodwork and often of topiary. Green tunnels frequently surround the par-
terre ; the quaint example illustrated shows an oblong island surrounded by
a crenellated wall and divided into two circular parterres with surrounding
tunnels of verdure and cone-shaped arbours.

GARDEN DESIGN IN THE NETHERLANDS

SEVENTEENTH-CENTURY WALLED GARDEN, WITH TWO CIRCULAR PARTERRES.

Terraces are not often to be met with in Holland, and it is this
principally gives individuality to the Dutch garden, for nowhere
country sufficiently hilly to allow of their natural construction. E
Guelderland and Overyssel, where the ground is partly hilly, the
are too small to allow
of terracing. In-
stead we sometimes
find an artificial
mount placed in a
position command-
ing a view or as the
central feature to a
maze. Any want of
variety which in other
countries would have
been overcome by a
change in the levels
of the garden, was, in
Holland, provided by
a profusion of flowers
that the smallness of
the gardens and the an eighteenth-century garden house.

which
is the
ven in
incline

170

GARDEN CRAFT IN EUROPE

DUTCH GAZEBO*^

high state of cultivation of the land permitted. In all the larger gardens
the vast parterre unrelieved hy Siuy difference in level appears dull and
uninteresting.

Later gardens are well illustrated in De Cantillon's work Verma-
kelykheden van Brabant^ containing a variety of garden designs in quaint
perspective views. The characteristics of the gardens we have already
noticed are not to any extent changed and the influence of Le Notre is not
yet felt. Although the work was published in 1770, the probability is
that these engravings are much earlier, for another work, Les delices de Bra-
bant, which was published in 1757, shows into what a state of disrepair the

chateaux of this 'district had then
fallen.

The influence of Versailles and
Le Notre did not immediately spread
to Holland, and garden books that
appeared a quarter of a century
after Versailles reached the height of
its glory, do not even mention the
new style that Le Notre had intro-
duced. It was not until William
III had laid out his royal gardens,
that the great French gardens were

l\ H|[> ,-C*

KASTEEL-VAN- lERWEREN

GARDEN DESIGN IN THE NETHERLANDS 171

imitated on a much smaller scale. The reasons are not far to seek, for
in Holland, which at this date was thickly populated, the land was mostly
in small lots and in the hands of the middle classes, and though there
were many among the wealthy Amsterdam merchants who could have
afforded to lay out large estates, their democratic spirit prevented them doing

V

THE CASTLE OF BAERLANDT.

SO. Le Notre is sometimes reputed to have designed the gardens at Het
Loo, but we are unable to find any evidence that he worked there or any-
where else in Holland.

Another reason why the style of Le Notre was not considerably followed
lies in the fact that the French gardens relied largely for their effect upon the
treatment of bosquets and woods. In most parts ofHolland the growth of

72

GARDEN CRAFT IN EUROPE

large trees was prevented by heavy winds, and because the roots were unable
to penetrate into the ground to any depth without coming to water.

One of the most interesting Flemish gardens was that of the Castle
of the Due d'Enghien, eighteen miles from Brussels, destroyed during

the French Revolu-
tion. From the en-
gravings of Romain
de Hooghe we see it
illustrated when the
gardens were at their
best, and as they ap-
peared at the period
when Voltaire and
the Marquise de
Chatelet stayed here
in 1739. " The gar-
dens were so attrac-
tive that they almost
reconciled Voltaire to
a house where there
was not a single book
except those which
he had brought him-
self." De Hooghe's
plan shows a broad
alley leading directly
from the castle to a
kind of fort with
seven bastions over-
looking shooting
ranges. There was
a mount known as
" Parnas " planned in three tiers, each connected by ramps enclosed with
hedges. The Vyver was near the castle and contained a square island
known as "la Motte," surrounded by hedges, with a tremendous water-jet
in the middle. Another feature was the Mall (p. 174), an alley some three

SIMON SCHYNVOET.

GARDEN DESIGN IN THE NETHERLANDS

173

hundred yards long enclosed within high hedges and terminating in a
fountain and paviHon. It had side walks, slightly raised, from which
spectators might witness the game. A labyrinth, an orange garden and
an ingenious mechanical island were also among the attractions of Enghien.
The Park still existed in the early years of the nineteenth century, and

ze; Orjfujttrv ~^cjf ntet iU nuvTiure 'T'oTUxyrv van.

•dg Jrte GraAeji.
»S. jR^nJ van .Hercules nuc twe^ Tirmen- Aon d: fv'^i

2if. Oraji^em ayec Zt 'Jen
trois &ractj .

THE ORANGE GARDEN AT ENGHIEN.

Loudon describes the famous temple and the grande etoile. The temple
was of a heptangular shape and at every angle were two parallel columns
placed about a foot apart. " From the seven large sides proceed as many
broad, straight and long avenues of noble trees affording rich prospects of
the distant country in all these directions ; and from the seven angles, and
seen between the columns, proceed an equal number of small and narrow

174

GARDEN CRAFT IN EUROPE

alleys, each terminated by some statue, vase, bust, or other ornament.
The temple is surrounded by a moat lined with polished marble. The old
orange-grove is situated at the end of the avenue, and contains one hundred
and eight orange trees in tubs, many of them, as is the case in different old
family seats in the Netherlands, presents from the Kings of Spain 200 years
and more ago. The trees show straight stems of six and eight feet, and

THE MALL AT ENGHIEN.

globular heads, from which, according to continental practice, protruding
shoots and blossoms are pinched off as soon as they appear, for culinary and
perfumery purposes."

Among the better-known garden designers were Simon Schynvoet
(165 2-1 727), Daniel Marot, and Jacques Roman. All three followed closely
the traditions of Le Notre. Schynvoet designed the gardens of Soclen
and had a large Court connection; he was responsible for most of the import-

GARDEN DESIGN IN THE NETHERLANDS

^75

ant gardens round the Hague, and many villas along the banks of the Amstel
and the Vecht. His portrait, engraved by Schenck, might almost be taken
for a likeness of the King himself. Daniel Marotwas a pupil of Le Notre,
and while still a young man left Versailles and went to The Hague, where
he was soon afterwards appointed Court gardener to William III, whom he
accompanied to England. He is said to have been partly responsible for
the gardens at Hampton Court. He published a large number of his schemes,
together with many designs for treillage, garden ornament, etc. Besides

fie- deAvr

^^,s

RUPELMONDE ON THE VECHT.

working at The Hague he laid out the Huis-te-Dieren for William III and
Voorst near Zutphen for the Count of Albemarle. Jacques Roman was
also employed by William III ; the most important of his gardens was that of
" Het Loo." Jan van Call was another famous Dutch designer ; he was born
at The Hague in 1689, and he laid out a number of gardens in that neighbour-
hood, including Clingendaal.

In 1669 J. van de Groen published De Nederlmidsche Hovenier (The
Dutch Gardener). The work was issued in both French and German, and
up to the middle of the eighteenth century held the field as the most popular

176

GARDEN CRAFT IN EUROPE

THE ORANGERY AT GUNTERSTEIN.

treatise on garden
craft. The quaint
illustrations of
Ryswyck, Hons-
holredyk and the
Huis 'ten Bosch
near The Hague
show these gar-
dens before they
had been re-
modelled on
French lines. Van
de Groen gives a
dissertation on
country life in
general, on foun-
tains, the culti-
vation of flowers,
trees, vines, and oranges. He deals with the laying out of simple parterres
and the construction of treillage, which he illustrates by a quaint collection of
designs for pyramids, doorways, galleries, and arbours. Finally, he instructs
his readers on dials, and illustrates a curious example laid out upon the
ground, its gnomon formed by a tree and the figures cut out in box.

A more elaborate work appeared
in 1676, entitled De Ko7iinglycke "^

Hovenier (The Royal Gardener), with a
variety of more extensive parterres.
This work was in great repute in Eng-
land, and no doubt many of our best
gardens were laid out from its designs.
It consists of two parts, the first
devoted to fruits and flowers, and the
second to garden design.

There was a great similarity be-
tween the Dutch house of the late
seventeenth and eighteenth centuries

A SEVENTEENTH-CENTURY ORANGE TUB.

GARDEN DESIGN IN THE NETHERLANDS

11

and the English country house of the same period. Almost invariably
of classic type, solidly built of brick with a sparing use of stone, they
lack the variety of outline that characterized the chateaux of Germany
and Flanders. Until the beginning of the nineteenth century it was still
necessary to surround the house by a deep moat, which was also put to
good use as the fish-pond. The garden generally followed the earlier
French taste of Marot
and was laid out in
symmetrical and regu-
lar forms. But as the
style of Le Notre
spread over the Con-
tinent after his death,
many gardens were
laid out for the rich
merchants of Amster-
dam, furnished with
bosquets, allees and
canals, but lacking
the profusion of sculp-
ture that was such an
important feature in
the French garden .
What is usually spoken
of as the Dutch style
hardly differs from
the French, except in
the more extended
use of canals, and m a roadside gazebo near haarlem.

the fact that the
Dutch gardens are more enclosed.

The clairvoyee is a purely Dutch invention. Placed at the end of an
alley, it consists of two or more brick piers with an ornamental iron grille
between, to extend the garden view to the country beyond, perhaps to some
church steeple or other feature of the landscape.

The orange was much cultivated in Holland in the seventeenth and

N

178

GARDEN CRAFT IN EUROPE

eighteenth centuries, and every garden of importance had its orangery.
The cultivation was brought to great perfection, and Dutch oranges are
said to have been not inferior to those of Spain. There are many v^orks
treating of the cultivation of oranges in Holland, but the most important
is Jan Commelyn's Nederlantze Hesferides, published in 1676, v^hich
was translated into English in 1683 as " the Belgick or Netherlandish

Hesperides " ; it has a collection of
engravings of the many varieties of
oranges, lemons and citrons in cultiva-
tion. Dutch methods soon spread
to England, and until recent years,
some of the orange trees brought
from the Loo were flourishing at
Hampton Court.

The Dutch summer house
(zomerhuis), or gazebo (illus., pp. 170,
177), is a characteristic feature in
every garden, and great variety is
shown in its design. It is usually
built of brick or stone, panelled in
wood, and often with a fireplace.
Whenever the house is situated
near the high road or canal it
is sure to be placed in a position
from whence the passing coach or
post-boat may be easily hailed. In
the long summer evenings the men
bring their pipes here and the
ladies their needlework. Often
in the neighbourhood of large towns the citizens would erect such gazebos
upon some little patch of ground outside the town, to which they could
retire with their families after the business of the day and criticise the
passers-by. These little buildings are quite a characteristic feature, and
often have quaint names or mottoes inscribed over their doors, bespeaking
content or comfort on the. part of the owner. Thus amongst others we read
Lust en rust, Pleasure and ease ; Wei tevreden, Well content ; Nood gedacht.^

iiiiǤliliS7;:f?ag-:.i'

AN EIGHTEENTH-CENTURY GAZEBO.

GARDEN DESIGN IN THE NETHERLANDS

i8i

LAYING OUT THE PARTERRE, SEVENTEENTH CENTURY.

Never expected ;

Vriendschap

en gexelschaf.

Friendship and

sociability ; Het

vermaak is in

t'' h 0 z> e n i e r e n^

There is pleasure

in gardening. In

the early Dutch

gardens, aviaries

were provided for

domestic purposes,

but by the seven-
teenth century

they had become

decorative acces-
sories. The elaborate example from Westerhof dates from the early

eighteenth century ; an octagonal aviary for smaller birds is placed within a

sunken square
court. During the
landscape period
a great variety of
aviaries were de-
signed, in the shape
of Classic temples
and Chinese pago-
das, Gothic ruins
and Turkish
Mosques, but
they do not
compare with the
more appropriate
structures of the
seventeenth cen-

AVIARY AT WESTERHOF, FROM AN ENGRAVING BY J. MOUCHERON. tury.

I 82

GARDEN CRAFT IN EUROPE

The cultivation of flowers, and especially of tulips, has always been a
considerable industry in Holland, and according to Loudon is believed to
have originated as early as the twelfth century. Lotel, in his preface to his
Histoire des Plantes, 1756, states that the taste for plants existed among the
Flemings during the Crusades, and under the Dukes of Burgundy; that plants
were brought home from the Levant, and the two Indies ; that exotics
were more cultivated in the Netherlands than anywhere else ; and that the
Dutch gardens contained more rarities than all the rest of Europe, until,
during the desolating civil wars of the sixteenth century, many of the
finest gardens were abandoned or destroyed. To-day a traveller by rail
from The Hague to Haarlem in springtime will pass field upon field of gor-
geous colour. In the seventeenth
century the competition to obtain
the rarer bulbs was very remarkable
and became quite a mania, thou-
sands of florins being lost in tulip
speculation. In 1637 ^^^ registers
of Alkmaar show that at a public
sale for the profit of the Orphan-
age 120 bulbs were sold for 9,000
florins, a single bulb fetching up-
wards of 4,000 florins. The writer
of a letter in 1780 says : "Yesterday I
was in a garden where they showed
me The Emperor and Empress of Russia, the King of Peru, the Comte
d'CEyras, Madame du Bari, Donne Margarite, la Comtesse de Wassenaer,
le Baron de Cranendonc, the Prince Charles Frederic, and a quantity of other
most illustrious personages, which together they offered me for 100 sous.
However, I refused them, for all these grand persons were only oignons (bulbs).
Thus they honour here the difi^erent flowers and distinguish them from each
other [apparently at this date it was unusual to call flowers by other than
their generic names]. I bought a catalogue of flowers of one of these gar-
deners, which is a thing very curious for a foreigner, for it contains the names
of more than 6,000 bulbs of different kinds. The first sort is the double
hyacinth, amongst which is one, the heautc tendre, of which the price is
100 florins, the ' chrysolora,' 60 florins ; the Prince Guillaume Frederic,

A SMALL AVIARY, EIGHTEENTH CENTURY,
FROM AN ENGRAVING BY D. A. CLEMENS.

GARDEN DESIGN IN THE NETHERLANDS

83

Oboscl^- en '7€ofe7i.

of 80 florins ; the ' Nimrot,' of 45 ; the ' Flossanguines,' of 60. There
are many others even more costly, and some as cheap as 5, 3 or 2 sous each.
Hyacinths were the most sought after, first the double, then the single, and
tulips only came third ; after tulips came renoncules, anemones, narcisses,
oreilles d'ours, and violets last of all. Haarlem is of all the seven provinces
the most celebrated centre for the cultivation of flowers. The gardeners
have a quarter in one of the fauxbourgs of the city, and in the season the
fashionable world comes from all the seven provinces to see these gardens.
There are also professional gardeners at other places, but principally at
Alkmaar and Leyden." The cultivation of the hyacinth and tulip prob-
ably started the idea of the
use of flowers for table and
household decoration. In
Hampton Court may still be
seen fine specimens of Delft
vases specially designed for
the effective display of these
flowers, and as a motij for
decorative schemes they are
frequently to be met with in
the textiles and furniture of
the period. This love of
flowers acted upon the design
of both English and French
gardens, and the French par-
terre was never popular with the Dutch, who wisely preferred their simple
square flower beds to the elaborate display of a parterre de broderie. In the
Koniglyck Hovenier, published in 1676, the designs of the most palatial
gardens retained the old-fashioned square beds of the previous century.

The Dutch are often supposed to have revived the ancient topiary
work, but there can be no doubt that the revival came from Italy to France.
Both Palissy in 1564 and Olivier de Serres in 1604 give directions as to the
best method of cutting trees. Merian in 163 1 gives further information,
together with many illustrations, and mentions France and England (especi-
ally Hampton Court) as the countries where the fashion was in vogue.

Topiary work was still fashionable in the eighteenth century, though

PARTERRE BORDER.

1 84

GARDEN CRAFT IN EUROPE

not carried to its former excesses. Low hedges of box and rosemary were
often cut into fanciful lines to border the parterres, the angles being accent-
uated in the forms of obelisks. The example illustrated (p. 183) is from
Bosch-en-Hoven, near Haarlem, where the whole parterre was surrounded
by a topiary border.

Aiost of the country seats were in the neighbourhood of Amsterdam,
the largest commercial city, The Hague, the seat of Government, Haarlem,

SEVENTEENTH-CENTURY DESIGNS FOR TREILLAGE FENCES.

Leyden and Utrecht. Travelling by road was neither safe nor easy, and
as both the Amstel and Vecht offered fine opportunities for transport to and
fro by yacht, the whole district between Utrecht and Amsterdam became
one vast garden. Mr. Wortley Montagu writes in 1763 : " At every moment
we passed a succession of these gardens with their labyrinth, parterres and
hedges cut out in all manner of fantastic designs. Sometimes the gardens
are divided from each other by a tiny canal, sometimes by a little field.
They extended without interruption as far as Brenkelm during more than

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ti I^m£" 1 In

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BOENDERMAKER ON THE VECHT.

(aau van. m .-i "" , AtdJi.! k^ Bor\DF R\l \KFR
■•71 .viiUcr t/i ^yjc tt,.in^ rj.-i'r i^ttu/t: ^

BOENDERMAKER ON THE VECHT
186

GARDEN DESIGN IN THE NETHERLANDS 187

an hour, each garden touching its neighbour, then came a break of a few
miles, only to be continued again for several hours." Haarlem was connected
with Amsterdam by a line of small country seats, and from Alkmaar to The
Hague stretched a long string of picturesque estates.

It seems to have been the ambition of every owner to have his garden
engraved, and these engravings, together with the surveys prepared to show
the drainage of the polders, enable us to study the plans of practically every
country seat in the North of Holland.

In 1732 Rademaker published a delightful series of engravings of the
Dutch Maison de plaisance,^ each surrounded by its canal, crossed by little
bridges variously treated in design and flanked by massive gate piers. A
forecourt generally leads to the plain severe brick house, or in its absence, an
alley of limes serves the same purpose. There are many quaint gazebos with
an endless variety in the shape of their roofs. The hedges are invariably
cut low to permit a good look-out over the surrounding scenery, and very
pleasant it must have been to survey the long panorama of quaint little
country places on the canal banks from the deck of a gaily-painted yacht.

To the north of Haarlem, in a district known as the " Kennemerlant,"
a number of wealthy merchants from Amsterdam had their country seats
during the prosperous times of the eighteenth century. Many of these
still remain, but few of their gardens escaped the general spoliation of the
early nineteenth century. They were mostly laid out in the style of Le Notre,
though of necessity upon a very modified scale. Their plans and a splendid
series of small engravings were published at Amsterdam by Hendrik de Leth.-
The houses as a rule are not large, but are often beautifully decorated and
are built with an air of comfort, although they were only intended for
summer use. Here and there we may come across some remnant of a scheme
of avenues, some forecourt, or oftener still a gazebo or orangery that has
escaped the general destruction. A mile beyond Haarlem, at Mannepall, is
a typical small country seat. Here the house is approached by a short drive,
through a quincunx of limes, flanked upon either side by out-buildings, one
the orangery, the other used as stables ; an ornamental bridge leads to the
square built house surrounded by a broad moat, and beyond and on either
side are parterres.

1 Rhynlands Fraaiste Gezichsten. Abraham Rademaker, Amsterdam, 1732.
^ Het zegepralent Kennemerlant. Hendrik de Leth, Amsterdam, 1730.

GARDEN CRAFT IN EUROPE

At Marquette, near Haarlem, many of the old avenues remain ; the
chateau was placed upon an island with a broad surrounding moat. At
Merestein the house is protected by no less than three moats. The Dutch
always had a predilection for avenues, and almost every house was approached
from the high road by an avenue of limes, sometimes, as at Watervleit, so
closely planted as to form a dense tunnel of verdure. At Waterland, near
Velsen, there is little or no parterre, and the whole effect is concentrated

upon a magnificent central
water piece from which a
series of lime avenues radiate,
each terminating in a sum-
mer house or temple.

The neighbouring house
of " Velsenbeck " had for-
merly one of the most in-
teresting garden schemes in
the neighbourhood, but all
was unfortunately changed in
the early nineteenth century.
The house was of quite
small dimensions, but was
approached by several superb
lime avenues. Here, as at
Waterland, the parterre was
small, for the frugal Dutch-
man never favoured the large
and expensive French par-
terre, preferring rather to
lay out his bosquets in posi-
tions where they could always be turned to good account in affording an
occasional day's shooting. The old orangery is still in perfect condition, and
scattered about the grounds are many little buildings, including a hermitage
upon an island, an inn and a children's play-house, completely furnished.

Garden theatres were frequently to be met with. That at Westerwyk
was quite elaborate with a proscenium of hornbeam arranged as a big
arch, behind which the orchestra sat in a sunken oval arena adjoining the

EIGHTEENTH-CENTURY SEAT IN A GARDEN AT VELSEN.

GARDEN DESIGN IN THE NETHERLANDS

189

stage. The wings were of hedges closely trimmed and formed backgrounds
to a series of leaden statues. The back of the stage was a permanent
architectural composition. These theatres were often constructed of
treillage, but naturally, none so made are now in existence. An ephemeral
element such as treillage is particularly suited for a garden theatre.

The hedges were invariably of hornbeam, which seems to thrive well
in the light, sandy soil of Holland ; they were kept well trimmed and occa-

^01£,ZS:ij[hlXL:^ pi^aeCi /y-an^'^en/yi.^:''^aac cJli

SOETSNDAEL Ua pUc^ <pu. Qf Jsaac O/tnians

SOETENDAEL ON THE VECHT.

sionally cut into fanciful forms. Sometimes the fruit gardens were sur-
rounded by brick walls, their plan consisting of a series of concave and convex
curves for the better protection of the fruit. The Dutch may be said to have
introduced the hot-house, and early examples of such buildings with their
heating arrangements are still to be met with.

A Haarlem country seat is thus described in 1748 in a letter. The
writer, after expatiating on the number of villas round the town, says : " I
walked to Madame Redelyk's country seat, situated quite close to the mooring

190

GARDEN CRAFT IX EUROPE

place of the irekschuyt. The name of the house was Tulpenburg, the first
owner having bought it from the winnings gained in gambling ; the late
proprietors have considerablv enlarged it. After having been originally
designed upon the system of Le Notre — now condemned as stiff— the garden
has just been improved according to the principles of d'Argenville. I
must confess to have nowhere seen a garden where those principles had

A PLEACHED ALLEY AT ZEYST.

been followed and carried out in a prettier and better way. The many
ornaments of box alternated in a pleasant way with coloured stones,
coloured glass, sand, and the refuse of smithies. A so-called English par-
terre had been arranged of curiously cut grass beds enclosed within wide
borders ornamented by flowers. Low hedges, clipped into different shapes,
divide the various parts of the garden, whilst a maze with countless turns
and corners, arranged so as to mislead the visitor, forms the centre of the

NISCHE MAJESTEIT ^\^1LLEM DE DERDE, or T L (^ O

GARDEN DESIGN IN THE NETHERLANDS 191

garden. A part of the garden has been laid out as a bosquet through which
a few alleys have been cut, but these are so narrow that a lady dressed in a
stylish farthingale could with difficulty traverse them."

The Palace of the Loo (v, annexed illus.) had fine formal gardens until the
end of the eighteenth century, but these have now all given place to landscape
gardens. The palace originally consisted of a central block of buildings with
wings, enclosing small square parterres on either side, one known as the King's
parterre, or Konmgsttmi, and the other the Queen's garden, or Koninginnetuin ;

THE FOUNTAIN OF VENUS AT

the latter was a cabinet de verdure, with pleached alleys or tunnels disposed in
serpentine winding walks, and in the centre a gilt leaden fountain. The
bowling green was surrounded by a low box hedge, and near by was the
Doolhof, or Labyrinth. There was a famous orangery that supplied most of
the plants to Hampton Court when William III took up his residence there.
From a detailed description of the Loo in 1699, by Dr. W. Harris, we learn
that •' the hedges are chiefly of Dutch elms, and the avenues of oaks, elms,
and limes. The figures into which the trees and shrubs are cut are, for the

192

GARDEN CRAFT IN EUROPE

most part, pyramids. On the walls fresco paintings are introduced in various
places between the trees. In the arbour walks of the queen's garden are
seats, and opposite to them windows through which views can be had of the
fountains, statues, and other objects in the open garden. The parterres in
the queen's garden are surrounded by hedges of Dutch elms about four feet
high. The seats and prop-work of all the arbours, and the trellis work on
the fruit tree walk, are painted green. All along the gravel walks and round
the middle fountain are placed orange trees and lemon trees in portable
wooden frames and flower pots about them."

At The Hague the most important garden was that of the Royal Palace ;
it was laid out in the seventeenth century, but in later years the formal
vyver was converted into an " English " lake and the gardens were entirely
remodelled and spoiled. The plan engraved by Jacob de Remier in 1730
shows the garden parterres unspoiled, and is also quite a study in itself of the
smaller town gardens of the court officials. In the neighbourhood of The
Hague were several important palaces with gardens upon a large scale ;
Ryswick, Honslaerdyck, Sorgvliet and the " Huis t'en Bosch," or House in
the Wood (illus., p. 194), were all designed upon a very large scale, but with
the exception of the last have all disappeared. Honslaerdyck, between The
Hague and the Hook, was one of the finest seats in the Low Countries, and
the favourite palace of William III, who replanned it upon the foundations
of an old manor house, and fitted it up wdth great magnificence. Behind the
palace was an extensive bosquet regularly planted, and beyond was a menagerie
where foreign birds and beasts w^ere kept in large numbers. An engraving
in the Nederlandsche Hovenier shows the gardens as they existed in the seven-
teenth century, and they have also been engraved by Vischer.

The Chateau of Sorgvliet, on the road to Schevening, was another im-
portant country seat near The Hague ; it belonged to the Duke of Portland,
was often visited by William and Mary and was the scene of many famous
fetes in the early eighteenth century. The great feature of these gardens
was an immense orangery planned as a semicircle with pavilions in the centre
and at both ends. There was also a mount known as Parnassus-berg, a
grotto with rockworks, cascades, berceaux, fishponds, a labyrinth, aviaries
for cranes and a series of fountains, which last are rarely to be met with in
Holland. All these features have long since disappeared, but a part of the
low one-story building still remains. In 1780, when Alderman Beckford

mm
mm

GARDEN DESIGN IN THE NETHERLANDS

195

visited the garden, it had been ah'eady replanned in accordance with the
ideas that had recently been introduced from England. " I returned to-
wards The Hague," he writes, " and looked into the country house of the
late Count Bentinck, with parterres and bosquets by no means resembling^
one should conjecture, the gardens of the Hesperides. But, considering
that the whole group of trees, terraces and verdure were in a manner created

the place may claim some portion of merit. The walks

out of hills of sand,
and alleys have
all the stiffness and
formality which
our ancestors ad-
mired, but the in-
termediate spaces,
being dotted
with clumps and
sprinkled with
flowers, are im-
agined in Holland
to be in the Eng-
lish style. An
Englishman ought
certainly to behold
it with partial eyes,
since every pos-
sible attempt has
been made to twist
it into the taste of
his country.

" I need hardly say how liberally I bestowed my encomiums on
Count Bentinck's tasteful invention ; nor how happy I was, when I had
duly serpentized over his garden, to find myself once more in the grand
avenue.

" All the way home I reflected upon the unyielding perseverance of the
Dutch, who raise gardens from heaps of sand, and cities out of the bosom of
the waters."

" The House in the Wood " was originally built as a dower house by Amelia

SORGVLIET.

96

GARDEN CRAFT IN EUROPE

of Solms, the widow of Frederick Henry, Prince of Orange. About the year
1645 the Princess, dissatisfied with the old dower houses at The Hague and
Ryswick, conceived a wish to build a country house in part of the beautiful
wood which still forms the entrance to The Hague on the north side. In
building the house she was imbued with the idea of making it a monument
to the House of Orange, an idea, no doubt, supplied by Marie de Medicis,
Luxembourg Palace. The illustration shows the palace as it was originally
laid out, upon a large square plot of land surrounded by a moat, which is the
only part of the old gardens still remaining, for the grounds have been
completely changed and hardly a vestige of their original design is left.
Many engravings exist which show the palace as it was in the sixteenth and

_ seventeenth cen-

turies, and the
plans were pub-
lished by the
architect, Pierre
Post, in 1715,1 and
later in 1758 by
Bescot, showing
the great altera-
tions in the design
that had taken
place then.

Other famous

gardens in the

neighbourhood of

The Hague were those of Swanenburg, Ryxdorp, and Vredenburg, plans of

all of which have been engraved by Pierre Post.

At Ryswyck (illus., p. 197), belonging to the House of Nassau, the
gardens occupied an oblong piece of ground surrounded by a moat. The
palace was famous as the scene of the signing of the Treaty of Peace in 1697,
and the gardens were laid out in formal lines, which in their design suggest ,
those of Herrenhausen, near Hanover. The palace was destroyed by the
French, but parts of the gardens still exist.

1 Le Sale d'Orange. Batie far son altesse Amalia Princesse Douairiere d'Orange par Pierre
Post, 1715.

A TOPIARY PARTERRE AT " THE HOUSE IN THE WOOD.

GARDEN DESIGN IN THE NETHERLANDS 199

The gardens at Rosendaal, Twickel near Delden, Zuylesteyn, Ameringen,
Middachten near Dieren, all retain some of their original features.

Magnificent gardens were designed at Clingendaal and also at Gunter-
stein. The former occupied an immense oblong piece of land divided into
square plots hy numerous canals. The Bloemetipark terminated in a large
Fyver crossed by bridges which led to a bosquet, and beyond were exten-
sive fruit gardens and more fishponds. Gunterstein was planned upon a
triangular piece of land and had a large bosquet and labyrinth some little
distance from the house. Here the orangery had a courtyard enclosed
within high walls, the piers of which were decorated with full size leaden
statues (p. 176). Both of these gardens have entirely disappeared, but
complete monographs with delightful little illustrations were published by
Nicholas Vischer.

In their smallness of scale the old Dutch gardens resemble those of
Japan, though in all their other characteristics they are entirely different.
Kaempfer, who whilst in the service of the Dutch East Indian Company
visited Japan in 1690, gives a quaint description of the smaller gardens,
many of which were laid out upon a space no more than 30 feet square.
" If there be not room enough for a garden," he writes," they have at least
an old ingrotted plane or cherry tree. The older, the more crooked and
monstrous this tree is, the greater value they put upon it." Similarly, in
the Dutch garden, no tree could be admitted until its growth had been
stunted, and only those flowers like the tulip could be allowed to engross the
space without danger of spoiling the composition. It was for this reason
that topiary work became so important a feature in every small garden, that
it came to be looked upon as a purely Dutch invention.

In many of the smaller towns of North Holland, where the houses
are closely packed together, gardens were designed upon the smallest scale,
always surrounded by a moat and in most cases approached by a draw-
bridge. The Dutchman is even more than the Englishman master of his own
castle. The approaches to these miniature fortresses are sometimes by
fixed bridges, but more often by draw or swing bridges which are designed
in a variety of ingenious ways, and, painted in tones of green and black or
white, they impart a most picturesque aspect to the village streets. The
little gardens themselves are full of quaint ideas and seem to have been made
for children. The paths are scarcely wide enough to walk upon, and the

200

GARDEN CRAFT IN EUROPE

LIME TREE ARBOLm : KLEEF

arbours often hardly large enough
for two persons. Silver balls reflect
and magnify the tiny flower beds and
gaily painted statues' of lead and
wood. Houses and gardens are sur-
rounded by trees cut into fantastic
forms, and occasionally the artistic
owner goes so far as to paint their
trunks in shades of blue and white.
At Zaandyck the angles of a small
parterre have leaden figures of Night,
Morning, Midday and Evening wdth
Bacchus in the middle.
At Zaandam some of these Lilliputian gardens may still be found, and
for an extreme instance we cannot do better than quote De Amicis's descrip-
tion of the gardens at Broek : " The gardens are not less odd than the houses.
They seem made for dwarfs. The paths are scarcely wide enough for the feet,
the arbours can contain two very small persons standing close together, the
box borders would not reach the knee of a child of four years old. Between
the arbours and the tiny flower beds there are little canals, apparently made
for toy boats, which are spanned here and there by superfluous bridges with
little painted rail-
ings and columns ;
basins about as
large as an ordin-
ary sitz-bath con-
tain a Lilliputian
boat tied by a red
cord to a sky-blue
post ; tiny steps,
paths, gates and
lattices abound,
each of which can
be measured with
the hand, or
knocked down a town garden in the eighteenth century

GARDEN DESIGN IN THE NETHERLANDS

201

with a blow of the fist, or jumped over with ease. Around houses and gar-
dens stand trees cut in the shape of fans, plumes, discs, etc., with their trunks
painted white and blue, and there appears a little wooden house for a
domestic animal, painted, gilded and carved like a house in a puppet show." ^
Some of the earliest and most famous botanical gardens in Europe are

n_-t L\'Gi:)\'>fO-liA'rA\A. C\'\T ARKOM-^ P:T F\^.VII.[.r< "VT-yA UTII.IN KA Tl O

THE BUTAMC GARDEN AT LEYDEN , SEVENTEENTH CENTURY.

to be found in Holland. The garden at Levden was founded as early as
1577, only thirty-one years after that of Padua. It was confided to Cluyt,
a celebrated botanist, afterwards to Bontius, and in 1592 L'Ecluse from
Frankfort, was appointed professor of Botany. In 1633 the catalogue of
the garden contained 1,104 species. At this time the magistrates, the
1 Holland, translated from the Italian by Caroline Tilton, 1880.

202 GARDEN CRAFT IN EUROPE

learned men and the wealthier citizens, all gave their attention to facilitating
the progress of botany. " A ship never left the port of Holland," says
Deleuze, " the captain of which was not instructed to procure seeds and
plants wherever possible." The most distinguished citizens filled their
gardens at great expense and had a pleasure in communicating those plants to
the garden at Leyden. This garden in the early eighteenth century con-
tained upwards of 6,000 plants. Sir J. E. Smith, who visited the garden in
1786, says, " that it has been much enlarged within the last forty years and
is now about as large as the Chelsea garden." By 18 14 it appears to have
already been much neglected, though it still contained many curious old
specimens of exotics, such as Cluyt's palm, twenty feet high and upwards of
225 years old, a curious ash and various other trees and shrubs planted by
Cluyt. A merchant, Pierre de la Court, had famous gardens at Dreihock,
near Leyden, where he was the first to introduce and cultivate with
success the pineapple and the tuberose. It was more than fifty years
before the example of Leyden was followed in other cities, but by the middle
of the seventeenth century Botanic Gardens were established in all the
provinces. That of Amsterdam was under the direction of Jan Com-
melyn, who did much for the advance of botany and spared neither pains nor
money to let the treasures of his garden be known among savants. He was
succeeded by his nephew Gaspard, who was the author of Hortus Amstelo-
damus, 1678 — a superb collection of engravings of plants, the greater part
until then unknown, and derived largely from the Dutch colonies. This
volume contains the earliest representation of the sweet pea. Amster-
dam was the first garden in Europe that procured a specimen of the coffee
tree. A seedling of this tree was sent to Paris in 17 14. Two seedlings
from this plant were sent to Martinique in 1726; from them were pro-
duced all the coffee trees afterwards cultivated in the French colonies.
According to Loudon, the botanic garden at Groningen was begun by Henry
Munting, a zealous botanist and man of learning who had spent eight years
travelling in the different countries of Europe, establishing correspondence
between botanists and cultivators. He spent the greatest part of his fortune
upon his garden ; but in 1641 the States of Groningen, thinking so useful an
establishment ought to be under the protection of the republic, purchased
it and appointed him professor. The catalogue of this garden, published in
1646, contained about 1,500 plants.

CHAPTER VIII

ENGLISH GARDENS OF THE SIXTEENTH,
SEVENTEENTH & EIGHTEENTH CENTURIES

HE England of the Tudors was wealthier and more secure
than that of the Plantagenets, and it was also better
informed ; more in touch with the new learning which
had taken such hold upon the Continent ; and with
the beginning of the Tudor age we reach a point when
great changes came over Enghsh domestic architecture.
The destruction of the old nobility during the Wars of
the Roses, the magnificence of the Court, and the dissolution of the monas-
teries were all powerful incentives to the remarkable activity of housebuilding
that characterized the period. Of these three causes the dissolution of the
monasteries exercised the greatest influence ; for, during the three years 1536-
1539, nearly one-third of the land in the country changed hands, and large for-
tunes were quickly made. Inevitably, a large part of this land given, or granted
on very easy terms, to royal favourites, found its way into the market and
was sold at relatively low prices. The opportunity thus afforded was eagerly
seized by countrymen and townsmen alike. The former, landed proprietors
already, had amassed wealth by turning their land into sheep runs ; the
latter by a rapidly developing commerce. Thus a new class of landowners
was created, and with the possession of land came the necessity of building ;
for the modest granges that sufficed for the monks were quite inadequate
to the needs of the new owners. The mediaeval castle too, with its confined
garden enclosures, was eventually succeeded by the more comfortable type
of house, and in this development of building gardening had its share. Those
Englishmen who had travelled in Italy and France must have been struck
by the enormous development in Itahan and French gardens, and on their
return home they determined to imitate what they had seen abroad.

As in the Dutch and German gardens of this period, the moat often
enclosed an area sufficient for the formation of a fair-sized kitchen and
herb garden, whilst the orchards and vineyards were more usually planned
beyond. As the sense of security increased and the necessity of keeping

204

GARDEN CRAFT IN EUROPE

all property within the protecting lines of a moat was thereby lessened, a
much greater scope was afforded for the development of the pleasure garden.
The love of our Tudor monarchs for flowers and gardens was very pronounced,
and Henry VIII, like Frangois I, delighted in surrounding all his palaces
with splendid pleasaunces. In the portraits, too, of Queen Elizabeth we
often see her decked with blossoms, and she evidently shared her father's
love of flowers. By her influence she did very much to encourage her nobles

ENCLOSED GARDEN AND MOUNT AT NEW COLLEGE, OXFORD, ABOUT I733.

to live at their country seats ; and the fine houses and gardens laid out in
her reign have not often been equalled for good taste and beauty.

One of the first innovations in garden design was the flower bed, separated
and enclosed within a railing of trellis, or raised from the ground by a low
wall of brick or stone. Another important feature was the introduc-
tion of topiary work. The more sober tastes of the English gardeners
restrained them from the excesses of their Continental neighbours,
neither were water surprises and hydraulic jokes to the liking of the
gentleman of Tudor days. The mount, often, as Leland says, " writhen

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 205

about with degrees like the turnings of cockil shelles to come to the
top without payn," is very frequently to be found in Tudor gardens^
and is in all probability a feature of great antiquity ; it was planned prin-
cipally in flat situations and was a favourite expedient for getting a view
beyond the confines of the high walled gardens, and it did not die out until
the clairvoyee and the ha-ha began to take the place of the wall in the seven-
teenth century. William Lawson, writing in 161 8, suggests that mounts
might be placed near the stewpond, so that from within a shady arbour
" you might sit and angle a peckled trout, or a sleightie Eele." Old mounts
still remain in many English gardens. At Rockingham, in Northampton-
shire, the great terraced mount is raised against a high wall surrounding the
garden, and an even finer example may be seen at Boscobel, near Wolver-
hampton. Another Tudor innovation was the knot or knotted bed, which
corresponded to the French parterre.

The most characteristic and original feature of Tudor gardens was,
however, the gallery. These were often constructions of considerable solidity
completely surrounding the gardens, and gave access to the various outlying
buildings, which could thus be reached under shelter from the main building.
The pond garden at Hampton Court was designed in this manner.

By far the most famous Tudor gardens were those of Hampton Court,,
where Cardinal Wolsey laid out a park with gardens and orchards covering
an area of close upon two thousand acres. When the Cardinal was disgraced
in 1529 and Henry VIII entered into possession, the pleasure gardens were
still further enlarged between the palace and the river. The King's new
garden was laid out in 1533 and occupied the space now known as the Privy
Garden. There is preserved a drawing of the garden in the Bodleian
Library which gives an idea of its appearance with its little knots and dividing
gravel walks, its alleys, arbours and banqueting houses ; its heraldic beasts
on gaily painted pedestals, distributed about the gardens and orchards, or
placed at intervals on posts round the parterre or on the stone copings of
the terrace, holding vanes with the King's arms and badges, or supporting
curious dials of brass.

Another important Tudor palace was Nonsuch, near Ewell in Surrey,
which Henry VIII built towards the end of his reign. Hentzner, who
visited the palace in 1591, says " it is so encompassed with parks full of deer,
delicious gardens, groves ornamented with trellis work, cabinets of verdure,.

206

GARDEN CRAFT IN EUROPE

and walks that it seems to be a place pitched upon by pleasure herself to
dwell in along with health. In the pleasure and artificial gardens are many
columns and pyramids of marble, two fountains that spout water, one round,
the other like a pyramid upon which are perched small birds that stream
water out of their bills. There is besides another pyramid of marble full

PAVILION IN THE FORECOURT AT MONTACUTE, SOMERSETSHIRE.

of concealed pipes, which spirt upon all who come within their reach."
The palace and gardens have been entirely destroyed, and it would be diffi-
cult now to trace even the outlines of what was one of the most famous
Tudor palaces.

A similar fate befell the palace at Theobalds which Cecil exchanged
with James I for Hatfield House. The great garden here is described in

ENGLISH GARDENS OF i6th, lyrn AND i8th CENTURIES 207

the Parliamentary Survey of 1650 as having " nine compleat squares or
knotts lyinge upon a levell in ye middle of ye garden whereof one is sett
forth with box borders in ye likenesse of ye Kinges arms ; one other plott
is planted with
choice flowers ;
the other seven
knotts are all
grass knotts
handsomely
turfed, a quick-
sett hedge of
white Thorne
and Privett cut
into a handsome
fashion at every
angle."

The EHza-
bethan garden
combined much
of what was best
in the older Eng-
lish garden, with
the new fashions
which travelled
country gentle-
men were begin-
ning to intro-
duce from Italy,
France, and the
Netherlands.
Although the
designs of these
countries were

copied, the men employed to carry them out were generally English, and
we do not find any evidence of foreigners being employed in England until
the beginning of the seventeenth century.

ST. JOHN S COLLEGE, OXFORD, ABOUT I733.

208

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THE TERRACE, POWIS CASTLE, WALES.

The chief point of difference between English and continental gardens
at this period was in the desire that the English showed for a greater cultiva-
tion of flowers. Under the influence of a more gloomy atmosphere the
English gardeners sought to supply a note of gaiety by bright flower parterres
rather than by the use of coloured earths, sculpture and vases. In the

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 209

sixteenth and seventeenth centuries the houses of the upper classes must
have been very fragrant, for in addition to placing flowers about the rooms,
the floors were often strewn with herbs. Levimus Leminius, a Dutchman
travelling in this country in 1560, writes of the English people that " their
chambers and parlours strawed over with sweet herbes refreshed mee ; their
nosegays finely intermingled with sundry sorts of fragraunte floures, in their
bed chambers and privy rooms, with comfortable smell cheered me up,
and entirely delyghted all my senses."

The most important rooms of the manor houses generally faced the
flower plots massed with bright colours. " What more delightful than
an. infinite varietie of sweet smeUing flowers ? " writes William Lawson,
the Isaac Walton of Gardeners, " colouring not onely the earth, but deck-
ing the ayre, and sweetning every breath and spirit."

The plan, subject to much variety in the treatment of detail, was usually
drawn up on somewhat similar lines to that of Montacute, in Somersetshire,
with a walled forecourt in front of the house, which unlike the continental
chateaux was rarely moated, sometimes paved with stone, but more often
laid out in turf with a fountain pool. Occasionally there was also a second
or ante-court which seems to have been designed more for the sake of dignity
than utility. On one side of the forecourt lay the base or bass-court
surrounded by the kitchens, stables, and other domestic offices which it was
intended to serve, and on the other sides the more ornamental pleasure
gardens and parterres.

Overlooking the garden and next to the house would be the terrace,
usually some twenty to thirty feet wide. In Tudor gardens these were
often placed in a position next to the enclosing walls where a view of the
surrounding country might be obtained, as well as affording a convenient
point of vantage from which to see the arrangement of the garden plots.
Such a terrace may still be found in the Privy Garden at Hampton Court,
where it rises to within a few feet of the top of the wall.

The parterre was divided into square plots edged with knots and com-
partments. Much attention was devoted to the edgings or borders, and
for this purpose strongly perfumed plants were usually chosen ; lavender,
sage, rosemary, marjoram and thyme, with a fountain in the middle with
pipes and open conduits carrying the water to all parts of the garden. Ar-
bours of trelHs were placed at convenient places at the angles or elsewhere.

p

210

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Parkinson advises that the walks may be made of sufficient breadth, " for
the fairer and larger your allies and walks be, the more grace your Garden
shall have, the lesse harm the herbs and flowers shall receive, by passing by
them that grow next unto the allies sides, and the better shall your Weeders
cleanse both the beds and the allies." ^

Any account of
Tudor and Eliza-
bethan garden craft
must be somewhat
fragmentary from the
scantiness of surviving
specimens or of written
record. The garden
literature of the period
helps us little, the
writers being mostly
agricultural or medi-
cal. Amongst others,
Fitzherbert and Tus-
ser wrote on husban-
dry, Thomas Hill and
Leonard Mascall on
plant raising, growing,
and grafting.

The first English
writer who gave direc-
tions upon the plan-
ning of gardens was
Dr. Andrew Boorde,
who published about
1540 The boke for to
Lerne a man to he wyse in buylding of his howse ; he gives much practical
advice which was, however, borrowed wholesale from Italian writers. Boorde
was followed by Thomas Tusser, who wrote a curious poem, A hundreth

1 Paradisi in Sole Paradisus Terrestris (The Earthly Paradise of Park-in-Sun) or a Garden of
all sorts of fleasant flowers, etc., 1629.

JOHN GERARDE, FROM TITLE-PAGE OF HIS HERBAL, 1597-

ENGLISH GARDENS OF i6th, i/th AND i8th CENTURIES 211

good fointes of hushanderie^ which appeared in 1557. Tusser's advice is
practical and simple-minded. Thomas Hill was another author, whose
two works, The profitable Arte of Gardening (1563) and The Gardeners Laby-
rinth: containing a discourse of the Gardener's life (1577), also add to our
information concerning the gardens of this period. The voyages of Raleigh
and Cavendish in 1580 and 1588 immensely stimulated the growing interest
in botanical study and research. The return of Raleigh and the fame of his
collections brought over from the con-
tinent the celebrated Clusius, trans-
lator of Dodoeus' History of Plants.
John Gerarde's Herbal, published in
1597, is founded entirely on that of
Dodoeus. Gerarde was born in 1546,
cultivated his physic garden at Hol-
born, and for twenty years superin-
tended the garden of Lord Burleigh.
Bacon's essay upon Gardening
is too well known to need transcrib-
ing here. Whether the garden which
he described was ideal and wholly
imaginary, or whether it was the pic-
ture of an actual garden, we cannot
tell, but there can be no doubt that
the essay fairly represented the ideal
of a nobleman of the Elizabethan
and early Jacobean period. It is inter-
esting to note, as the late J. D. Sedding
pointed out, ^ that in spite of its lofty

dreaming, "it treats of the hard and dry side of gardening as a science and
exhibits the rational attitude of Bacon and his school towards external nature,
with no trace of the mawkish sentimentality of the modern landscape gar-
dener, proud of his discoveries, bursting to show how condescending he can
be towards nature."

John Parkinson was the first English gardener who seriously encouraged
the cultivation of flowers for other than medicinal purposes ; he was appointed

1 Garden Craft, Old and New. J..T5. Sedding.

JOHN PARKINSON, FROM THE ENGRAVED POR-
TRAIT IN THE " THEATRUM BOTANICUM."

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apothecary to James I, and in the course of a life of travel he collected many
rare plants at his gardens in Long Acre. He divides the country gentleman's
garden into four separate parts, namely that of pleasant and delightful
flowers, of kitchen herbs and roots, of simples, and of fruit trees. He is
the first writer who appears to have had regard for the flower garden as a

THE BOTANIC GARDEN, OXFORD, 1633, FROM AN ENGRAVING OF I733.

pleasaunce and not only for the growth of medicinal plants, and he gives
many designs for setting out parterres.

In the reign of Charles I the first Botanical Garden in England was
laid out from the designs of Inigo Jones in 1632 at Oxford, just one hundred
years after the establishment of that at Padua. The Oxford Garden
was founded by Henry, Earl of Danby, who gave five acres of land

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 213

and endowed the institution, and built greenhouses for the reception of
tender plants. These houses were among the earliest of their kind to be
constructed. The garden still flourishes, and during its long career has
done much useful work in furthering the study of botany.

Fountains and pools were largely in use as decorative features and were
sometimes used for practical joking, when the water from hidden jets, being
made to play upon unsuspecting visitors, caused much merriment to the

STEW-POXD AT BRICKWALL, SUSSEX.

onlookers. In the gardens of Whitehall Palace was a fountain with a sundial
which, whilst being inspected by strangers, suddenly sprinkled them well
with water, turned on by a gardener from a distance. These practical
jokes were not, however, carried to such an excess in England as they were
in France and Italy

Bacon speaks of bathing pools as being frequently found in gardens
of his day and says they should be thirty to forty feet square. Every garden
had its fishpond or stewpond. There are good examples of these at

214

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Penshurst Place, in Kent, and at Brickwall (illus,, p. 213), a charming Sussex
house built towards the close of the sixteenth century. Here the stew-
pond — 75 feet long by 25 feet wide — is placed upon one side of the flower
garden.

A maze or labyrinth was an almost indispensable adjunct to the Renais-
sance garden. The hedges were not always planted high enough to conceal

THE BOWLING GREEN, ST. CATHERINES COURT, SOMERSET.

the intricacies of the paths, as we are accustomed to see them nowadays,
but they were more often mere borderings of lavender, rosemary or some
other low-growing plant. The central feature of the maze was generally
an arbour or some fancifully clipped tree. Long covered walks and pleached
alleys of lime or of hornbeam formed another important feature in every
garden, and were so woven together as to make a complete enclosure. They
were often solidly constructed of wooden posts and trellis work covered with

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 215

creeping plants. The pond garden at Hampton Court was originally so
enclosed.

Bowling greens and greens for practising archery were considered
essential in the gardens of every important country house. They are still
to be met with throughout England ; carefully levelled and shaded stretches
of turf generally overlooked by some pleasant gazebo.

A TERRACE AT ST. CATHERINE S COURT.

The English garden authors of the seventeenth century relied almost
entirely upon'the French writers of the sixteenth, for though Richard Surflet
brought out his edition of Estienne's Maison Rustique towards the latter years
of the sixteenth century, it did not attain any great popularity until Gervase
Markham re-edited the work in 1616. Markham had travelled much on
the Continent, having also served as a soldier in the Low Countries. He

2i6 GARDEN CRAFT IN EUROPE

was a practical agriculturist, an intelligent reformer in matters connected
with horse-breeding and racing, and almost the first importer of Arab horses,
of which he sold one to James I for ^^500. He was, moreover, a poet and
a playwright.

Among the best sources of information about English Renaissance
gardens is a work called The Country Housewije' s Garden^ published by
Gervase Markham in 161 7, and also William Lawson's A new orchard and
garden (161 8), These two authors were friends and sometimes collabor-
ators, and both wrote from their own experience. Lawson in his preface
tells us that his work was the result of forty-eight years' experience. Gervase
Markham affects a supreme contempt for those garden authors who con-
tented themselves with merely translating the works of foreigners. " Con-
trary to all other authors," he writes, " I am neither beholding to Pliny,
Virgil, Columella, etc., according to the plaine true Enghshe fashion, thus
I pursue my purpose." But nevertheless in the title page of his Country
House he tells us that it is a " translation from Estienne and Liebault by
Rd. Surflet Practitioner in Physicke " but " reviewed and augmented
with additions out of Serres, Vinet, and others Spanish and Italian, by
G. M." The work is composed of five books ; book II deals with gardens.
A situation is recommended where the owner can enjoy the garden from
his windows : " Some plaine plot of ground, which is, as it were, a little
hanging and thereby at the foot receiving the stream of some pleasant water."
It must be hedged, or better, walled " if the revenues of the house will
beare it."

William Lawson treats more of orchards and fruit trees ; he writes
in a delightful style of country life and deals with one of the most charming
sides of the English Renaissance, its delight in flowers and birds. " One
chiefe grace," he writes, " that adorns an Orcharde I cannot let slippe.
A brood of nightingales, who with their several notes and tunes with a strong
delightsome voyce, out of a weake body, will beare you company night
and day."

It was not until the early years of the seventeenth century that the Eng-
lish gardeners seriously devoted themselves to the collection of foreign plants.
Amongst others the three generations of the Tradescant family stand pre-
eminent for their zeal and knowledge, and under their influence gardening rose
to be a more exact art than it had hitherto been. The family originated in

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 217

Holland and came over to England in the reign of James I. John Tradescaut
was employed at Hatfield by the first Lord Salisbury and soon made the
gardens famous for the many new varieties of fruit trees and other plants he
introduced from abroad. We are told that he travelled much in Europe,
Barbary and Virginia. It is curious that so many of the most famous gardens
of this period were to be found in Lon-
don, though Parkinson complains bitterly
that " neither herb nor tree will prosper
since the use of sea-coal." The Trades-
cant garden in South Lambeth was the
resort of the learned, and was even hon-
oured by a visit from the King and
Queen. In its day it was said to be the
finest in England, but it had retained a
good deal of the old herbalist character.
All the English botanists looked up to
Mathias de Lobel as their master in the
art of horticulture. He was one of the
first to attempt the scientific classification
of plants, and the lobelia was so named
in his honour. Eor many years he had
charge of the gardens belonging to Lord
Zouche, in Hackney, and he was made
botanist to James I.

During the reign of Charles I no
great progress was made in gardening,

but during the Commonwealth much was done to improve horticulture.
The Puritan did not wish for anything so frivolous as a parterre, and
considered the garden from a purely practical point of view — what would
pay best to cultivate, and how the fertility of his garden could be increased.
Not many pleasure gardens were laid out in consequence, and during the
Civil War nearly all the finest Tudor and Elizabethan examples were destroyed.
Nonsuch and Wimbledon were sold, and the fate of Hampton Court itself
hung in the balance, but it was eventually left untouched.

A good type of the seventeenth-century garden, devoid of such exaggera-
tion as Pope afterwards effectually ridiculed, was that at Moor Park in
Hertfordshire, of which Sir William Temple has left so delightful a descrip-

JOH\ lK\DLbC\M.

2i8 GARDEN CRAFT IN EUROPE

tion. He considered it " The perfectest Figure of a garden " he ever saw,
either at home or abroad.

Charles II, during his sojourn abroad, acquired much of the taste for
stately gardens with which Le Notre and his followers were imbuing
the whole of France and Holland. He remarks on " Ye improvement of
gardens and buildings now very rare in England comparatively to other
countries," and one of his first cares after his accession was the improvement
and renovation of his gardens at Hampton Court, for which purpose he
sent to Versailles for gardeners. Of the alterations made by Charles II
the most important was the laying out of the Home Park in its present form,
the planting of the great avenues of limes with the semi-circular avenue
enclosing the great parterre of nine and a half acres, and the digging of the
great canal, three-quarters of a mile in length. These radiating avenues
are probably the earliest instances of the introduction of that French taste
which was afterwards copied all over the country, for though the planting
of single avenues of approach was customary as early as the reign of Queen
Elizabeth, nothing had been attempted in planting avenues as part of the
garden scheme.

When William and Mary made the alterations to the palace from Sir
Christopher Wren's design they carried to completion the works begun by
Charles II. They appointed George London to the post of Royal Gardener,
who, acting in conjunction with his partner, laid out the gardens as we
see it in the engraving of Kip. There can be . no doubt that much of
the actual design for the gardens emanated from the master mind of Sir
Christopher Wren, and there is a plan by him which shows the Privy Gar-
den exactly as in Kip's view (illus.,p. 219). Under William HI the avenues
surrounding the great parterre were set back, and many changes made in
the design of the parterre itself. When Queen Anne came into possession
of the palace the gardens were again remodelled, alterations were made
to the fountain garden and all the box scrollwork of William and Mary
was rooted up, plain lawns being substituted. The gardens were again
altered under William Kent about 1736, in the early days of the landscape
garden movement.

With the accession of William and Mary came further changes in the
■fashion of gardens, and the Dutch manner as practised in the great gardens
at Honslaerdyk, the Hague, and the Loo was mingled with the more stately
principles of Le Notre's school. The old Dutch garden at Levens Hall

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 221

is probably the most perfect example remaining in England of a garden
designed under the Dutch influence, although curiously enough the designer
happened to be a Frenchman. It is a particularly valuable example, because
in all its main features the garden has been handed down to the present
day exactly as it was originally designed. The property belonged to Colonel
James Grahme, Keeper of the Privy Purse to James II, who, soon after
becoming possessed of the estate, called in the assistance of M. Beaumont,
a pupil of Le Notre who had previously worked at Hampton Court. The
garden was begun about the year 1700, and there is fortunately preserved
in the house a plan made in 1720, which shows that, with the exception of

VIEW IN THE TOPIARY GARDEN, LEVENS HALL.

a few alterations, every path and hedge remain as originally planned ; this
is probably a unique instance in England.

Amongst the gardeners sent to France to study under Le Notre was
John Rose, reputed to be the best English gardener of his time. On his
return from Versailles he became chief gardener to Charles II, at the
royal gardens in St. James's Park. He had an extensive connection, and
laid out a number of gardens for the larger country houses. Another
who by his writings did much for gardens was John Evelyn, the author
of the well known Diary. Besides his great work on Forest Trees he
intended to write a book on garden design, but unfortunately never

222 GARDEN CRAFT IN EUROPE

got further than a list of the chapters. He laid out the gardens at Wooton in
Surrey and Albury near Guildford, and is believed also to have designed the
delightful little garden at the moated manor house of Groombridge in Kent,
The early years of the eighteenth century saw the creation of many
garden schemes, principally under the direction of London and Wise. In
1706 they jointly published The Retired Gardener, which is a translation
of Le Jardmier Solitaire by the Sieur Louis Liger of Auxerre. London

WESTBUKV COURT, GLOUCESTERSHIRE.

died in 171 3. The firm carried out many gardens separately and in partner-
ship ; few, especially of the smaller class, are now remaining. Melbourne
Hall in Derbyshire may be considered a good example on a compara-
tively small scale of the manner of Le Notre as developed in England.
The gardens were remodelled for Thomas Coke, afterwards Vice-Chamber-
lain to George I, from designs by Henry Wise, between the years 1704
and 171 1. They have been altered since this date, but many of the alleys
and the great fishpond still remain.

ENGLISH GARDENS OF i6th, i/th AND i8th CENTURIES 223

The charming formal water garden at Westbury Court in Gloucestershire
(illus., p. 222) is a good example of a smaller garden of this period, and preserves
its original character in a marked degree. It is situated amid pleasant surround-
ings, somewhat reminiscent of Holland. A long narrow canal runs through the
garden. Beyond the canal the outlook is extended to the surrounding country

LEES COURT, KENT, A GARDEN LAID OUT IX THE STYLE OF LE NOTRE.

through a clairvoyee or open iron grille, which was a favourite device for carry-
ing the view beyond the garden enclosure. On the south side of the house were
the bowling green and parterre, beyond which a pleached alley divided the
kitchen garden, which was surrounded by a quincunx of fruit trees. Beyond,
and occupying the greater part of the ground, is the water garden.

Following London and Wise as garden designers came Stephen Switzer,

224

GARDEN CRAFT IN EUROPE

the author of Ichnographia Rustica and other important works in gardening,
and later on Bridgeman, who laid out Stowe in Buckinghamshire for Lord
Cobham about 1714. Bridgeman, amongst other changes, almost discarded
topiary work and, says Horace Walpole, " introduced a little gentle disorder
into the plantation of his trees and bushes." What great changes were

CHILSON MANOR HOUSE, KENT.

to result from this " little gentle disorder ! " Soon after this the reaction
began to set in. A taste for specimen trees, or " trees of curiosity " as they
were called, was fostered by the nurserymen gardeners ; the employment
of variegated foHage became more usual, and some difficulty having arisen
in accommodating the old fashions in garden craft to the new fashion in
specimen plants, the only solution of the problem that presented itself was

ENGLISH GARDENS OF i6th, ijth AND i8th CENTURIES 225

the abolition of the formal garden altogether. A bitter attack was made by
those who declared that the formal garden was opposed to nature, which they
proposed not to leave untouched but to " improve." " Nor is there anything
more ridiculous and forbidding than a garden which is regular," says Batty
Langley, and this was the opinion generally held by garden designers for a
century, as far as the more
ambitious schemes were con-
cerned, but in the quiet
country places the older
tradition was never entirely
obliterated.

The eighteenth - cen -
tury country gentleman took
a keen delight in erecting
here and there a good, sub-
stantial garden house and
realized that besides being an
ornamental feature it should
be able to withstand the
vagaries of our climate.
Generally speaking they seem
to have been of two types,
those that closed a vista in
a garden at the end of a
long walk and those that
were placed in the corner of
a bowling green or court.
These were raised a few steps
above the terrace on which
they stood, which in its turn
sloped down to the bowling

green below. There is a good example of this type at Clifton Maubank in
Somerset, and another is illustrated in an old view of Oxenhoath in Kent
with elaborate pilasters and gabled roof. With the dilettantism of the latter
half of the eighteenth century the substantial summer house gave place to
the Greek temple and Chinese pagoda.

Q

GAZEBO AT OXENHOATH.

226

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Banqueting houses, gaze-
bos, and garden houses mean
very much the same thing
in an old English garden.
As we have already seen, the
word gazebo is of Dutch
origin, and signifies particu-
larly the type of summer
house built at the corner of
a terrace, or angle of a
moated garden, whence from
its position it could command
a widespread view. Such a
garden house was frequently
used as a waiting-room for

GARDEN HOUSE IN THE MOAT, LONG
MELFORD HALL, SUFFOLK.

THE GARDEN HOUSE AT POKESWELL, DORSET.

the coach, and this is no doubt the
reason why a fireplace was sometimes
provided. At the little village of
Beckington, in Somerset, there is a
small square brick building with stone
quoins and a handsome pedimented
doorway, with one window overlook-
ing the roadway, and others the bowl-
ing, green and garden. At Nun Monc-
ton near York, there is a gazebo with
an ogee-shaped lead roof. It is placed
at the end of a walk lined with lead
figures and clipped yews. The windows
on one side overlook the trim bowling
green, and on the other the picturesque
windings of the River Ouse.

In some cases garden houses were
used as retreats, but instances are not
often to be found. A two-storied

AN OLD GARDEN HOUSE, SUTTON PLACE, SURREY

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 227

example exists at Severn End, erected in 1661 by Judge Lechmere as
a place for retirement and quiet contemplation amongst the flowers.
Another prominent feature which might have been seen in many of
the larger country houses after the time of William III was the
orangery. Kip's views show many examples ; the largest were at Windsor and
Chatsworth. At Chiswick House the small orangery still remains overlooking

A SMALL PAVILION AT KINROSS HOUSE.

a little amphitheatre of grass terraces on which the trees were placed in
the summer. At Bredby in Derbyshire the orangery overlooked a semi-
circular pool with a series of terraces, and at Swanstead in Sussex it was
planned along one side of a grass court, well protected by high walls.
In summer time arrangements could be made for placing the trees in a
separate orange garden in the park. These orange trees were used only for
purposes of decoration, for placing round the margins of pools, on terraces, etc.
The bowling green was to be found in every garden of any size.

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f

Ay

~^i^^

h

LEADEN FIGURE.

Markham distinguishes between three sorts of bowling

greens : The bowling alley ; " open grounds of advan-
tage," that is bowling greens with a fall one way ; and

level bowling greens. They were generally placed where

they could be overlooked by the windows of the house,

but where this was impossible they were planned in other

convenient parts of the garden, either as a central feature

as at Chatsworth, or in the angles of the parterre as at

Staunton Harold in Leicestershire and at Grimsthorp.

The shape was either oblong, or oval as at Knole in Kent.

Occasionally, as at Guisborough in Yorkshire, or Esher

Place in Surrey, the green was placed at some little

distance from the house ; at Cassiobury the circular

bowling green was in the midst of a wood, approached

from the house by an avenue.

One of the most characteristic features of English

gardens is the Gate Pier, frequently surmounted by heraldic animals or

stone balls. The use of wrought-iron gates did not become general until

the end of the XVIIth century, and many of the finest examples perished

in the era of landscape gardening. Frequently handsome wrought-iron

screens were erected, as may be seen in XVIIIth century views, and

in some remain-

— " • - ""— ™ — ing examples, such

as those illus-
trated from Belton
House. English
wrought ironwork
possesses, according to
Mr. Starkie Gardner,
a simple dignity and
fitness which har-
monizes admirably
with the national
temperament, and
hich expresses itself
in well knitted and

A LEADEN CISTERN. graCCful liuCS.

w

fe

THE WILDERNESS GATE.
IRONWORK SCREENS AT BELTON HOUSE. LINCOLNSHIRE.

ENGLISH GARDENS OF i6th, 17TH AND i8th CENTURIES 229

Among the many delightful ornaments that go to make up the charm
of the eighteenth century garden the most satisfactory were the figures,
vases, and other ornaments formed of lead. The adaptability of this material
and the delicacy of its colouring make it eminently suitable for such objects,
and one can readily recall many instances of the fine effect produced by
the soft silvery-gray colour of a leaden figure against the rich green back-
ground of an old yew hedge.
Throughout the eighteenth
century, lead-work was very
much used in the large gar-
dens of the nobility as well
as in those of the smaller
manor-houses, and there is
no lack of good examples
still to be found in excellent
preservation, showing both
how extensive its use in
gardens has been, and its
lasting value in the English
climate. The making of
leaden statues was largely
undertaken by such workers
as Cheere and a Dutch
modeller Van Nost, who
towards the middle of the
century established himself
in St. Martin's Lane and
seems to have had a flourish-
ing business. His stock prin-
cipally consisted of classic
subjects ; Flora and Bac-
chus, Venus, Juno, Neptune, Minerva, were all represented, as; well as
little leaden Amorini, such as those at Wilton known as " Lady Pembroke's
boys," and the fine series of groups at Melbourne Hall. Portrait statues
in lead are also frequently to be met with, as for example those at Wilton
and Wrest and of William HI in the courtyard of Hoghton in Lancashire
and at Petersfield. These statues were sometimes picked out in colours or

LEADEN AMORINI AT WILTON HOUSE.

230

A LEAD VASE AT CHISWICK HOUSE.

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painted to imitate stone, and where this was
the case, in order to carry the imitation
even further, sand was thrown on the
paint when wet.

In addition to the vases and statues,
sundials occupied a foremost place among
the ornamental adjuncts of the eighteenth
century garden. It is curious that sundials
should be so much more frequently found
in England than on the Continent. They
are sometimes seen in Holland, but rarely
in Italy, France or Spain. They seem to
take the place of the fountain of warmer
climes in supplying the central motif of a
garden scheme. Although, of course, they
were originally regarded entirely from the
utiHtarian standpoint, it was not long before
it became the custom to devote considerable

attention and skill to their design,
for which reason they have often
survived in their position when all
other trace of the garden has disap-
peared. The example from Belton
in Lincolnshire, dating from about
the middle of the eighteenth cen-
tury, is particularly pleasing ; the
dial is supported by a figure of
Father Time assisted by a Cupid. In
Scotland, sundials were much more
elaborate and monumental than in
England ; one situated in the grounds
of Holyrood Palace stands on a high k
wide-spreading base, consisting of
three moulded and panelled steps ;
the dial support is hexagonal,
delicately carved and moulded.

SUNDIAL AT

S' I" HIGH
(ELTON HOUSE.

ExNGLISH GARDENS OF i6th, i/th AND i8th CENTURIES 231

It belongs to a type known
as " facet-headed dials," and
has about twenty different
facets or sides, some orna-
mented with heart-shaped
sinkings, others hollowed out
and with gnomons, others
again containing the royal
arms with the collar and badge
of the thistle.

A comprehensive record
of Enghsh gardens of the
seventeenth and eighteenth
centuries may be found in the
engravings of Kip, Badeslade,
Atkyns, Dugdak, Switzer and
others. In these realistic bird's-eye views of country seats we

miDagg

DC

cjg.a

no

BIH

L,;ii:iiiiiiiiiS

imaSiBMi^^'

SUNDIAL AT HOLYROOD.

SUNDIAL AT WREST, BEDFORDSI

are able
to form a good
idea of the num-
ber of import-
ant gardens that
existed during
this period, and
get a vivid im-
pression of the
care and intelli-
gent interest then
being taken in
garden design.
Unfortunately
they also afford
evidence of the
losses this coun-
try has sustained
owing to the van-
dalism of suc-
ceeding

CHAPTER IX
GERMAN AND AUSTRIAN GARDENS

N garden-craft, as in architecture, we find that Germany
has always been a follower rather than a leader. The
great princely gardens of the sixteenth and seventeenth
centuries were generally designed by Dutch artists ;
in the eighteenth century they closely followed the
school of Le Notre, under the direction of designers
who had served their apprenticeship at Versailles, and
finally, towards the end of the eighteenth century, they eagerly took up
the craze for the English garden then pervading the Continent.

But although Germany has never been distinguished by a school of
her own she has produced in Hirschfeld a writer whose comprehensive work ^
played an important part in spreading theoretical knowledge. He deplores
the Gallomania pervading his country in the eighteenth century, from the
prince down to the peasant, " ainsi font les fran^ois ; voild ce que f ai vu
en France ; these words were sufficient to reduce the German to a mere
copyist, and in consequence we had French gardens as we had Parisian
fashions. Our nobles gave the first example of imitation, and everywhere
laid out miniatures of Versailles, Marly and Trianon.''

Botanic gardens were founded in Germany soon after those of Italy,
and the earliest private one is said to have been formed by WilHam, Land-
grave of Hesse, early in the sixteenth century ; his example was imitated by
many of the nobility, and in 1 5 80 the first public botanic garden was established
at Leipzig by the Elector of Saxony, while those of Giessen, Ratisbon, Altdorf
and LUm soon followed. A famous writer on botany was the apothecary
Basil Besler of Nuremberg (i 561-1629). In 161 3 he published his work,

■*■ Theorle de rart dcs Jardins. Leipzig, 1770. q vols.

GERMAN AND AUSTRIAN GARDENS

233

Hortus Eystettensis, a description of the plants collected by Jean Conrad de
Gemmingen, Bishop of Eichstiitt, in the gardens of the monastery at Mount
St. Willibald. It is a remarkable book as regards the engravings of flowers
and plants, but its arrangement is not so scientific as the Dutch works of
the period. Besler afterwards founded a museum and accumulated an
important botanical collection.

The first great garden designer in Germany was Salomon de Caus ; he was
born in T576 at Dieppe, and after spending his early years studying architec-

A GERMAN GARDEN IN THE SEVENTEENTH CENTURY, FROM A PAINTING BY VALKENBORCH.

ture in France, he crossed to England. We first hear of him in an important
capacity in 1609, as mathematical tutor to Henry, Prince of Wales, for
whom he made many designs for fountains, which he afterwards published.
In his book Des Grots et Fontaines ■pour rornenient des Maisons de Plaisance
et Jardins are many designs, which he tells us were made for the adornment of
Richmond and the amusement of the Prince who lived there. He, no doubt,
is the " Frenche Gardiner " whom we find employed at Somerset House and
at Greenwich. After the marriage of the Princess Elizabeth with the Elector

234

GARDEN CRAFT IN EUROPE

Palatine, Frederic V, de Caus followed her to Germany, where about 1615 he
was employed upon the great palace of Heidelberg (illus., p. 235), observ-
ing closely his master's instructions in laying out the gardens with " toutes
les raretes que Ton y pourroit faire." These works were stopped in 161 9,
when they were almost finished, on account of the Thirty Years' War, and
at the same time de Caus returned to Fraace, where his fame had already
preceded him, and was appointed to the Court of Louis XIII. De Caus was
the author of an interesting work on hydraulics, Les Raisons des Forces mouv-
vantes (translated into Enghsh by Moxon), wherein he gives directions for
making the hydrauHc toys without which no garden was then complete.
He show^s how birds may be made to sing, owls to hoot, and illustrates a number
of other quaint water devices. In one design for a grotto, Galatea, drawn by
dolphins, glides round a pond to the accompaniment of a Cyclops playing
upon a flute. In another, Neptune stands upon a shell, drawn by sea horses
and attended by amorini riding dolphins. He describes the construction
of water organs, musical wheels, trumpets which sound only when the sun
reaches the meridian, etc. Many of these extraordinary water curiosities
were constructed in the Heidelberg gardens, and de Caus published the
designs in 1620,^ in a quaint book full of interesting drawings. The

^ Hortus Palatinus a Frcdcrico. . . . Electore. . . . Hcidelbcrgae exstructus. Frankfort,
1620. Also Pfnor, Monographic dii Chateau de Heidelberg, 1857.

■Cb-NJOCRAPHIA HO"RT\S PALAFIW ; \ i KLDKKILO \ H FL lOliB I'M.M INO HhlDl'J.nERGA f-A-lR\CT\5
THE CASTLE OF HEIDELBERG IN THE SEVENTEENTH CENTURY.

A KNOT-PARTERRE FROM HEIDELBERG, DESIGNED BY DE CAUS, 162O.

losC^flTu.rtt(nl>a.ch ]riu(ntar l,!ilt<oiCim^ujm<voi-

DESIGN FOR A PRINCELY GARDEN, BY FURTTENBACH, 164O.

icnli

mKSc<

GERMAN AND AUSTRIAN GARDENS

237

Heidelberg gardens were planned in a series of terraces adjoining the old
castle and overlooking the Neckar, and the situation, with an abundant
water supply from the mountain behind, was particularly advantageous for
hydraulic displays. The gardens have long since disappeared and we know
them only from drawings ; there are several paintings on vellum in the Bihlio-

Q,X^Jl„>nte

(ifOf

oruAiS

DESIGN FOR A SMALL HOUSE AND GARDEN BY FURTTENBACH, 164I.

theque Nationals of these gardens, in one of which is a series of the quaint
painted vases that gave such an air of gaiety to all old German gardens.

Joseph Furttenbach, 1 591-1667, published several important works on
architecture. His Architectura Recreatiojiis and Architectura Privata contain
many designs for princely and private gardens. The illustration opposite shows
a large garden enclosed within a moat. The entire space is divided into three
parts : the first consists of the house and forecourt ; the second is devoted to the

238

GARDEN CRAFT IN EUROPE

parterre surrounded by pleached tunnels ; the third is divided between the
orchard and kitchen garden ; six circular arbours project into the moat,
and each arbour has an upper chamber formed by pleaching the branches of
the trees. Smaller designs for town gardens are also illustrated.

The best general idea of German and Austrian gardens of the seven-
teenth century is to be had from the exhaustive collection of topographical
prints published about 1650 by Matthew Merian.i His descriptive accounts
are most instructive, and the engravings include all the principal German
castles, together with a number of smaller houses and monasteries. In one of

these gardens near
Vienna we see a low
orangery with dining
halls at either end
leading to two terraces
and to the flower gar-
den. The great par-
terre upon the other
side of the orangery
is surrounded by a
stone-paved walk with
picturesque angle
towers rising to a
height of three stories ;
beyond the walls that
enclosed the parterre
was a meadow separ-
ated by a canal from
the deer park, which was enclosed within a high wall having ten large round
pigeon towers.

Another garden known as /)^r Kielmdrmische Garten (illus., p. 241), also
near Vienna, has both orchard and parterre enclosed within long tunnelled
walks ; part of the parterre is reserved for herbs, and the remaining part laid
out in regular geometrical patterns.

A GERMAN SEVENTEENTH-CENTURY GARDEN, FROM AN
ENGRAVING BY MATTHEW MERIAN.

^ In addition to his topographical works he published a volume Florilegiiim Renovatum et
Auctnm, Frankfort, 1641, containing a series of garden designs.

FURTTEXBACH S GARDEN AT ULM, 1 64 1 .

THE CASTLE GARDEN AT STUTTGART, 1 643.
239

GERMAN AND AUSTRIAN GARDENS

241

As in Holland, the moat survived as a means of protection well into the
eighteenth century and the majority of castle gardens were moated, but
where this was not possible for lack of water they are enclosed within strong
walls with protective angle towers. Old engravings of the city of Bruns-
wick show a collection of large and small gardens and parterres beyond the
fortifications of the city, each with its little watch tower and gardener's

DER KIELMANNISCIIE GARTEN, NEAR VIENNA.

house. The Castle of Zeillern had its gardens entirely within the moat.
The Palace of the Kurfurst at Berlin had one of the finest gardens of the
period, laid out upon an artificial island surrounded by an arm of the Spree.
Here water forms the principal part of the design. It was pumped up from
the river and traced out the design of the parterre in little running channels
set within stone kerbs.

242

GARDEN CRAFT IN EUROPE

Jlti-A^

GERMAN SUynnER HOUSES SEVENJTEENTH CENTURY

The pleasure gar-
den of the Alte Resi-
denz at Munich, laid
out by Peter Candid
for the Elector Maxi-
milian I, 1 600-1 61 6,
was planned upon
part of the city fortifi-
cations, and connected
with the castle hy a
covered bridge ; the
rectangular form re-
sembles the idealistic

N,ytK» , Jm, —-^

oTptil'i^Pi™™

THE CASTLE OF HESSEN, 163I, FROM AN ENGRAVING BY MI

GERMAN AND AUSTRIAN GARDENS

245

designs of Furttenbach. The parterre is divided by a number of walks,
and at each intersection is a little arbour. At one end of the garden is a
large banqueting house overlooking the fountain pool.

In the Castle of Hessen (illus., p. 242) a bridge across the moat leads from
the castle to the garden, which is divided into squares, some with the family
crest worked into the parterre, others with regular geometric patterns, while
the tops of the hedges are quaintly cut into lions and crowns with the date —
163 1. The Germans were particularly ingenious in their mechanical garden
fountains, which were more generally of metal than stone ; they were often
arranged in tiers, approached by steps, and surrounded by balustrades. The
well was made a very decorative feature and even the garden pump ! In
some gardens we find the parterre surrounded by long berceaux, or tunnels,
which in other cases divide the parterre
into four parts.

Topiary work was to be found in
every garden, hedges and trees being cut
in all manner of quaint shapes. In the
Count of Sachsen's garden at Schlaum-
werth the entrance to the parterre was
through the legs of a huge topiary Colos-
sus. Every garden had a variety of
arbours and summer houses, aviaries and
pigeon towers, which were usually placed
in the centre or at the angles of the

parterre.

Another

FOUNTAIN

CENT:

garden feature was the
mount, a square mound of earth with a gazebo on the top, ascended by
paths in easy stages, as at the Castle of Weimar, where a great circular
mount known as Parnassus had corkscrew paths protected by low hedges.

Many castles had their tilt yards. At Schloss Lothen we find one in
a very prominent position adjoining the castle and the stables, the space
reserved for jousting being surrounded by a low wall. There was another
fine example at the Castle of Gothen in Saxony.

The orchards, fruit and kitchen gardens were usually laid out apart
from the pleasaunce, and protected by stout palisades or by moats.

The gardens of the early eighteenth century are illustrated in a curious

246

GARDEN CRAFT IN EUROPE

volume by J. C. Volkamer, N iirnbergische Hesferides ; a work that is especially
instructive upon the subject of the smaller gardens, of which a number of
examples are given with a variety of designs for summer houses, gazebos
and treillage. Nearly every garden had its orangery, and in some cases,
instead of this being a building, we find a substantial framework of columns,
surmounted by little gilt leaden figures and so left that the plants could

GERMAN FXXJNTAINS l7™CEMTl7RY

be protected in winter by a covering stretched over the framework. This
arrangement added considerably to the architectural embellishment of the
garden in the winter months.

In the eighteenth century the gardens of Heidelberg Castle fell a prey
to the landscapist, and in their present form offer the greatest contrast to
their original character, but the gardens of the summer palace of Schwet-
zingen, a few miles away, have been fortunately preserved and still retain a
great deal of their former glory. The present garden occupies the site of
one laid out in the first half of the seventeenth century, when the castle

GERMAN AND AUSTRIAN GARDENS

247

sum of 1,500
was set apart

became the residence of the Counts Palatine, under whom the gardens were
chiefly devoted to the cultivation of fruit and vegetables. Karl Ludwig,
the hereditary Prince of Pfalz, who had spent his early youth in Holland,
ordered the gardens to be laid out in close imitation of the Dutch, but his
son in 1682 transformed his father's kitchen gardens into parterres, and
denuded the Royal gardens of Mannheim of their lemon and orange trees.
Its glories lasted but a short time, and Schwetzingen fell a victim to the
desolation of war. The garden exists to-day as it was replanned
in the early eighteenth century by Johann Belling, Court gardener of
Diisseldorf, when a

ulden . , .

every
month for their up-
keep. There was an
immense parterre and
in its centre a great
fountain, afterwards
presented to the town
of Mannheim. In
1722 a number of
statues were brought
from the old Heidel-
berg gardens. Two
years later, in the
autumn of 1724, the
whole of the Diissel-
dorf orangery, over

700 plants in all, was conveyed by ship down the Rhine, amongst them
447 orange trees, pomegranates, laurels and myrtles, with 100 Spanish
jasmines. The parterres were planted with Dutch tulips, hyacinths,
auriculas, stocks and pinks, the fashion of the day being to intro-
duce more colour in the parterres and to impregnate them with the
scent of orange blossom and flowers. In 1726 further land was added,
and Schwetzingen became one of the most famous gardens of its day.
In 1748 the gardens were again extended by the Elector Karl Theodor,
and immense numbers of limes, planes, and elms were brought from the

THE ORANGERY AT HERRENHAUSEN.

248

GARDEN CRAFT IN EUROPE

nurseries of Haarlem and from Vitry-sur-Seine and most of the pome-
granate, lemon and orange trees were despatched to Mannheim.

The Palace of Herrenhausen (illus., opposite) lies about li miles from
Hanover, being connected with it by a beautiful avenue of limes, known as the
Herrenhausen Allee, which is believed to have been laid out by Le Notre.
It was made the summer residence of Hanoverian royalty in 1665, when the
Duke" John Frederick began the broad low building that was designed by

THE GARDEN THEATRE AT MIRABELL.

an Italian, Quirini. The following year saw the commencement of the superb
gardens, which are also said to have been designed by Le Notre. The proba-
bility is, however, that he only made the designs on paper and that the gar-
dens were laid out by another Frenchman, Charbonnier, with his son. The
plan very closely resembles a design for an imaginary garden by Andre MoUet,
which is illustrated and described in that author's work, Le Jardin de Plaisir.
The gardens were enlarged in 1692 and then comprised a large square Lust-
stuck^ or arrangement of parterres, bounded upon three sides by a broad moat,

GERMAN AND AUSTRIAN GARDENS

251

the fourth being enclosed by the Schloss ; triple rows of limes bordered the
moat and the angles were marked by pavilions in the form of small Roman
temples. Large sandstone statues of ancient heroes and handsome stone

A TREILLAGE NICHE AND FOUNTAIN AT MIRABELL.

vases mark the intersecting points of the parterre, and at one side the old
garden theatre still remains ; with its coulisses of high hornbeam hedges
and the inclined stage decorated with rows of statues ; opposite rises the

252

GARDEN CRAFT IN EUROPE

amphitheatre where the spectators were seated on a series of seven terraces.
The vast waterworks of Herrenhausen were very famous in their day ;
the cascade partly remains, occupying a wall of the eastern wing of the
palace, and consists of a series of rows of small basins, each overflowing in
turn to that beneath ; the extensive display of fountains involved a large
plant for pumping.

At Salzburg the gardens of the Mirabell Schloss, laid out in the French

^^*^^^ t^^ -^\^^ ^,^m ^M m

iUu'

> \ '\/^'^ ^^% ^^.;.- ^M

THE GARDEN AT HELLBRUNN IN THE SEVENTEENTH CENTURY.

Style of the eighteenth century, may still be seen in something of their
original state, but a more interesting garden is that of the Schloss Hell-
brunn,! three miles to the south, laid out by Archbishop Marcus Sittich. Both
were designed by M. Diesel,- who modelled them upon the lines of Versailles

^ For engravings see Die Garten Prospect von Hellbriin hei Salzburg. F. A. Danreiter, 1740.
2 Fortsetzimg erlustierenden Jugenzveide in zwrstelliing Herrlicher Gart-en und Lust gehaiide
n.d. I. Wolff.

GERMAN AND AUSTRIAN GARDENS

253

and Saint Cloud. The gardens are full of curiosities ; raised upon a hill is a
casino known as the Monats-schUsschen, built within a single month, and a
garden theatre and water garden combined, where pastorals and operas
used to be performed before the archbishops, but the interest of Hell-
brunn is centred in the wonderful waterworks and fountains, which are still
preserved intact, and in working order. Water is made to accomplish

t)as?u!fri Rirj ,

vSil)li>U \u ^tfliri

SCHL0S3 LOTHEN, FROM AN ENGRAVING BY MERIAN.

every variety of purpose, and some of the contrivances are very curious.
There is the representation of a town in all the bustle of daily life, the figures
in it as well as the music being driven by water-power. Munich was for-
merly a city of beautiful gardens, but these have almost all disappeared, the
Hof Garten, laid out in 1614, alone being kept up.

The Palace of Nymphenburg (illus., pp. 254, 255), three miles from

254

GARDEN CRAFT IN EUROPE

Munich, was built for the Elector Max Emanuel in 1663. The gardens
were laid out upon a small scale some few years later, and in 170 1 a
Dutch garden-architect're-designed them upon the more elaborate scale as
existing to-day. Imbued with the Dutch idea, he laid out long canals on
both sides of the palace and round the gardens. In 1715 a Frenchman, le

THE SKITTLE SWING AT NYMPHENBURG.

Sieur Giraud from Paris, was appointed head gardener and jontainier. He
constructed the elaborate scheme of waterworks and fountains for which
Nymphenburg was so celebrated ; one fountain threw up a jet of water 85
feet in height. The whole of the works were completed about 1722, when
magnificent fetes were given by the Court. In a bosquet to the left of
the parterre a charming casino, known as the Amalienburg, still exists, but
a corresponding building upon the opposite side, the " Hermitage," has long
since gone. Perhaps the finest feature of these gardens was the magnificent

mv^m.'Vtxtrmar, (ojnfa^an^ fie|£_CanaLs iu. enS bty^c^StS" . roiufe noire et^ bLmc, auec aJ/ojwtioTL '2u Canal au houtiu jai-Jjii

THE CANAL AND CASCADE AT NYMPHENBURG

THE MALL AT NYMPHENBURG.
255

GER^IAN AND AUSTRIAN GARDENS

257

approach from Munich. A long lime-bordered canal, ending in a tine water-
piece, leads from the city to an immense semi-circular forecourt, 600 \-ards
across, round which are grouped the white houses of various court func-
tionaries.

Besides Nymphenburg there were several other Court gardens in

THE CASTLE OF LINDERHOF.

the neighbourhood of Munich, connected with each other by a network
of canals. They were all in the height of their glory about the early years
of the eighteenth century, and were designed by le Sieur Giraud and his
assistants. Dachau was laid out upon a very irregular site upon sloping
ground. Schleissheim and Lustheim were conceived upon such a gigantic
plan that, although the two palaces stood nearly a mile apart, the whole of

s

258

GARDEN CRAFT IN EUROPE

the intervening space was devoted to parterres and bosquets. Lustheim,
which was intended only as a temporary residence, stood upon a huge circular
island laid out as -parterres de broderie ; beyond was a semi-circular gallery,
400 yards in length, for the exhibition of paintings and sculpture. There
seems no end to the vast parterres, long straight waterpieces and immense
bosquets of these German Court gardens, laid out upon a scale of grandeur
which their owners could hardly hope to keep up.

THE CASINO AT SANS SOUCI.

The German princes of the eighteenth century vied with each other
in creating immense garden schemes. At Carlsruhe the Margrave of Baden
conceived the stupendous idea of combining the palace and gardens in a
huge circular plan that included the whole of the town itself. The Schloss,
planned fanwise, was connected by a gallery, used for the jeu de faume, with
a tower from which the Prince could look down thirty-two main avenues,
twenty-three stretching across his park, and nine forming the streets of
his town. The gardens of the Elector's Palace at Dresden were famous

GERMAN AND AUSTRIAN GARDENS

259

in the seventeenth and eighteenth centuries. Those which the Bishop of
Wiirzburg laid out, adjoining the fortifications of the city, had a large rock-
work cascade, with groups of huntsmen and dogs, and in the labyrinth were
a series of small retreats or chapels. At Cassel the gardens of the Prince
of Hesse were designed by a Frenchman, De Lisle, about 1761.

In the neighbourhood of Berlin the principal old gardens are those of
Charlottenburg and Potsdam. The former have been engraved by Jeremias

SCHONBRUNN IN THE EIGHTEENTH CENTURY.

Wolff, who gives a good idea of their ancient grandeur. There is little left
now except the orange garden and the great forecourt ; the parterres have
been made into lawns. Clean, quiet Potsdam stands on the River Havel,
sixteen miles from Berlin. The gardens of the old Schloss have been
modernized, but the little white, rococo Palace of Sans Souci (illus.,p. 258),
which the great Frederick built in 1745, has still its delightful terraced garden.
He desired to be buried at the foot of a statue of Flora on one of the
terraces — " when I am there I shall be saiis souci.'''' Frederick's own design

26o

GARDEN CRAFT IN EUROPE

for laying out the gardens still exists in the library. Sans Souci is a kind of
miniature Versailles, and was the King's favourite retreat ; here it was that
he first met Voltaire, July lo, 1750. The one-storied casino, decorated
with a row of caryatides supporting the cornice, stands upon a hill with six
formal terraces descending in concave form to a large circular fountain pool
below. The terraces were intended for fruit cultivation, but the long rows
of orange trees and glass-houses have now disappeared, and specimen shrubs
have taken away much of the charm these terraces must have had when
they were first laid out by the royal architect.

SCHLOSSHOF.

The largest and most important of the older Austrian gardens is that
of the Palace of Schonbrunn (illus., p. 259), two miles east of Vienna, the
summer residence of the Emperor of Austria. Like Versailles, the palace had
its origin in a small hunting lodge, built by the Emperor Maximilian II,
in 1570. It was rebuilt in 1619 and again after the Turkish siege of Vienna
in 1696, this time from the designs of the Court architect, Fischer von Erlach.
An English traveller who visited Schonbrunn in 1676 says that the gardens
were neglected and ruinous ; they consisted of two large square parterres
about the size of the Palais Royal at Paris. He speaks of pavilions in the
garden with roofs of copper so burnished " that the common people think

GERMAN AND AUSTRIAN GARDENS

261

them to be gold." The menagerie that was founded in these days still
exists, the delight of the youth of Vienna on Sundays. The great parterre,
shown in our illustration, was enlarged and re-laid out for the Emperor
Francis I by Adrian Steckhoven, a Dutch gardener from Leyden. Steck-
hoven was assisted by Van der Schott of Delft, and together they con-
structed immense ranges of hothouses and formed the great botanic garden
here, bringing from Holland all the plants they could collect. Expedi-
tions were despatched to the West Indies and to South America to collect
rare plants, which were shipped to Leghorn, whence they were transported
on the backs of mules to Schonbrunn. Unfortunately in 1780 an accident
caused the loss of most of the plants ; the gardener forgot to light the stoves
during a frosty night, and
hoping to remedy the evil
in the morning by making a
brisk fire ; the sudden change
of temperature proved fatal
to most of the trees. Joseph
II engaged naturalists to
undertake a new voyage to
the West Indies and America
to replenish the houses.
Schonbrunn was celebrated
for its beautiful sculpture ;
in the parterre were thirty-
two marble statues by Beyer
and others. There are still
many fine fountains remain-
ing in the gardens.

Just outside the fortifications of Vienna, but now quite within the
city boundary, were the gardens of Princes Liechtenstein and Schwartzenberg ;
the latter were laid out in the French manner in about 1720 under
the direction of le Sieur Giraud, whose work has been already noticed at
Nymphenburg. Giraud was considerably assisted here in his fountain
display by the slight fall in the land, of which he took full advantage. The
garden walks are laid out everywhere for carriages, and upon both sides of
the garden stairways are mosaic ramps for carriage traffic. The old Augarten

AN ALLEY AT SCHONBRUNN.

262

GARDEN CRAFT IN EUROPE

is now in quite a ruinous condition ; it was originally laid out as a public
promenade.

The Count of Schonborn's gardens at Weissenstein and Genbach were
both famous in the eighteenth century. The engravings of Salomon
Kleiner show them laid out in the stiff French manner of the school that
succeeded Le Notre, Weissenstein occupying a large oblong space with
elaborate fountains. Genbach, surrounded by a moat, was the more inter-

A MODERN GLRMAN GARDEN.

esting of the two, and had curious waterworks, a grotto and a very original
circular parterre garden.

According to Loudon, gardening as an art of design was introduced into
Poland by the electoral kings about the end of the seventeenth century,
and especially by Stanislaus Augustus, the third elector. The palace of
Lazienki was built by Stanislaus I at Ujasdow, and the garden, which was a
poor imitation of the style of Le Notre, consisted of a number of broad green
alleys crossing each other at right angles, and of smaller paths leading to
open circles of turf for dancing and music, and for tents and booths. Pavilions

GERMAN AND AUSTRIAN GARDENS 263

and coffee houses with ice-cellars attached were placed in different parts of
the garden, and the principal casinos were connected with the palace by
trellis berceaux. The garden appears to have been wanting in statuary, but in
order to overcome this scarcity, living figures, both male and female, were
dressed in character and posed to represent mythological deities upon the
occasion of any important fete.

CHAPTER X
GARDEN DESIGN IN SPAIN

SPAIN, " The Paradise of flowers," ought to be the
land of gardens. The love of outdoor life amongst
a people predisposed by climate to habits of indolence
and indulgence, the fertility of the soil, and the
necessity for shade from a scorching sun are all good
reasons for the existence of beautiful gardens, and yet
everywhere the traveller is struck by the scarcity of
them.
For the golden age of Spanish garden design, we must go back to the time
of the Moors, " nature's gentlemen," in whom, as we can easily imagine,

A MODERN MOORISH GARDEN.

a love of gardens, as of all other, forms of beauty, was inherent. Having
invaded Spain in the eighth century, they eventually spread their influence

GARDEN DESIGN IN SPAIN

265

FOUNTAIN IN A GARDEN FORMERLY ATTACHED TO
THE PALACE AT CORDOVA.

over the whole of the Penin-
sula and developed a luxur}-
and refinement far in ad-
vance of anything known at
the time ; they cultivated
the arts with a success which
Western Europe might well
have envied, had it better
realized their immense value,
and taken the trouble to reap
the benefit of Moorish cul-
ture, when in the fifteenth
century the great cities of
Seville, Cordova, Segovia,
Granada and Toledo were
finally taken from the Moors.

The first Omeyyad Sultan, Abd-er-Rahman I, who ruled about the
middle of the ninth century, took a peculiar delight in his gardens, and
nothing was too precious for their enrichment. He was passionately fond
of flowers, and caused all kinds of rare and exotic plants and fine trees
to be brought from foreign lands. Agents were despatched to Syria,

India and other
countries, commis-
sioned to procure
at all cost rare
plants and seeds for
the royal gardens.
By this means many
new varieties were
introduced from
the Far East which
were previously un-
known even to cul-
tivated Rome. To
remind him of his

ORANGE PATIO, MOSQUE OF CORDOVA. old hoUlC, hc illl-

266

GARDEN CRAFT IN EUROPE

ported a date tree from Syria and planted it in a part of the gardens
which he laid out in imitation of those of his grandfather at Damascus,
where he had been brought up as a child. So skilful were the Sultan's
gardeners that these foreign importations were speedily naturalized and
spread from the palace throughout the land. The pomegranate, the em-
blem of Andalusia,
was among the fruits
introduced at this
time by means of a
tree brought from
Damascus.

Ebn-el-Avram, in
his works on agricul-
ture, gives the names
of several renowned
gardeners, and we read
of the horticultural
fame of Abu Zacharias,
and Abu-el-Thair of
Seville, of El-Hadj
who flourished at
Granada, and Abu-
Xacer, who was fam-
ous for his profound
knowledge of flowers.
The work of El-Avram
has been translated
into Spanish,^ and
amongst much con-
cerning the growth of
plants contains some curious details on the culture of roses.

Cordova, says an old Arab writer, is the bride of Andalusia, and in
the days of its greatest prosperity it must have been a capital to be proud
of. The fairy palace of Abd-er-Rahman III, in the neighbourhood of
Cordova, possessed beautiful gardens, abounding in jets of sparkling

^ Josef Antonio Banqueri, Libra de agricoltura traducido for Don J. A. B. 1802, fol.

THE GENERALIFE, GRANADA.

GARDEN DESIGN IN SPAIN

267

water with a marvellous central fountain of quicksilver, whose glitter in
the sun is said to have been too dazzling for eyes to bear. There was also
a menagerie of curious animals and aviaries of rare birds, while fruits and vege-
tables were cultivated in rare perfection and variety. Oriental eulogy
is apt to be somewhat high flown, but Cordova really deserved the praise
that has been lavished upon it. At the time of the Ommeyads the city
measured twenty miles by
six, the greater part of which
area was covered by mosques
and palaces, many of them
standing in beautiful gardens.
These houses were palaces of
luxury, magnificently decor-
ated and kept cool in sum-
mer by ingeniously arranged
draughts of fresh air drawn
from the garden over beds
of flowers carefully chosen for
their perfume; an idea which
has been already noted in the
gardens of ancient Greece.

The other cities of the
Arabs in Spain were no less
remarkable for their gardens.
In one of the palaces of
Toledo there was an artificial
lake, in the centre of which
stood a kiosk of stained glass
adorned with gold. The
architect so contrived this that water was made to ascend to the top of
the pavilion, dropping at both sides in the form of a dome. In this room
the Sultan could sit untouched by the water which fell everywhere around
him and refreshed the air in the hot season. Sometimes wax taper
were lighted within the room, producing an admirable effect on the tra ns-
parent walls of the Kiosk. ^

^ Lady Lugard, A Tropical Dependency.

FOUNTAIN AT THE GARDEN OF THE GENERALIFE,
GRANADA.

268

GARDEN CRAFT IN EUROPE

The Cordova palaces and pleasure grounds have vanished like a dream
of the Arabian Nights, and the once splendid Alcazar is now a nursery gar-
den with just a few pools and fountains to remind us of its past glory ;
but fortunately the Spanish kings had suihcient taste to spare some works
of Moorish art. Even Ferdinand, who so despised the learning and literature
of the Moors as to burn in an open square of Granada all the Arab books
he could collect throughout Spain, refrained from destroying all their build-
ings, so we can still enjoy
the Alhambra and the Gene-
ralife with their cool shady
terraces and endless streams
of water, and the sweetly
scented court of oranges in
front of the old mosques at
Cordova and Seville. The
feathery palms and fountains
of the gardens of the Alcazar
at Seville still remain to give
some faint idea of what gar-
den design has once been and
might be again, if only the
Spaniard could awaken to a
sense of the beautiful in art,
and consent to take a lesson
from the beauty-loving Arab.
Granada, " the city of
groves and mountains," rising
3,000 feet above the level of
the sea, was compared by the
old Arabian historians to a " goblet of silver full of emeralds " and con-
sidered by them far superior in extent and productiveness to the celebrated
ghauttah, or meadow of Damascus.

The remains of the gardens are unfortunately very few, but there is
quite enough left to enable the authorities to restore them to their original
Moorish form at no very great expense, and thus add immensely to the charm

MARBLE TAZZA, PATIO DE LOS ARRAYANES,
ALHAMBRA.

GARDEN DESIGN IN SPAIN

269

A FOUNTAIN AT THE ALHAMBRA.

of this wonder-
ful palace. The

Court of the

Lions, which is

now gravelled

over, would

be much finer

if its original

garden could

be restored

with its wealth

of flowers;

again the de-
lightful little

patio of Lin-

daraja, or the

larger garden overlooked by the mosque^ how exquisite could both be made by

the restoration of. their water courses, tiled benches and gay flower-beds ! As

you enter through
the Gate of Justice
a flight of steps
leads to the beauti-
ful little garden of
Los Adarves on
the way to the
Torre de la Vela,
laid out by Charles
V on the bastions
of the fortress
wall as hanging
gardens with foun-
tains, busts and
cinquecento sculp-
ture, of which
alas very little

THE PATIO OF LINDARAJA, ALHAMBRA. rCmainS.

270

GARDEN CRAFT IN EUROPE

The entrance to the Alhambra is through the Patio de los Arrayanes
(ilhis., p. 268) with its oblong pool used for ablutions by the Royal Family and
all who were present at the zaldh held in the private mosque of the palace,
which is close by. The pool is full of goldfish, and along the sides are broad
hedges of myrtle, carefully trimmed and kept low. At each end is a great

white marble tazza, where the water
flows through a
trickles into the
the famous

oozes rather than
bronze pipe and
reservoir. Near by is
Court of the Lions, built by the
architect Abu Concind in 1377. In
the centre is an alabaster fountain
with its great basin resting on the
backs of twelve rudely carved heral-
dic lions, each with a water pipe
stuck into its mouth, hardly adding
to its dignity.

Just beyond the Court of the
Lions, a balcony overlooks the gar-
den of Lindaraja (illus., p. 269), a
typical Moorish patio. "Here," says
Washington Irving, " the twittering
martlet, the only bird sacred and un-
molested in Spain, because they are
believed to have plucked off the
thorns from the Crown of our
Saviour as He hung on the Cross,
builds his nest, breaking the silence
of these sunny courts once made for
oriental enjoyment, and even now just
the place to read the Arabian Nights, with a charming oriental fountain,
violets, Japanese medlar and orange trees, buried in the heart of the building
with its roses and citrons and shrubbery of emerald green. How beauteous
is this garden, says the Arab inscription, where the flowers of the Earth
vie with the stars of Heaven ! "

An abundant supply of water was brought by an aqueduct and

MOORISH FOVNTAIN AT THE ALHAMBRA

A PLAN OF THE GENERALIFE, GRANADA.
272

GARDEN DESIGN IN SPAIN

273

circulated everywhere throughout the palace, sparkling up in jets in
the midst of the apartments and then tinkling through marble channels
to the various courtyards and gardens, and supplying the baths and fish-
pools. After it has sufficed to meet all the requirements of the palace
it f^ows down the hillside, maintaining a perpetual verdure and coolness.
The Moors carried the art of irrigation to its highest point ; their
hydraulic works still exist, and it is to them that Granada owes its repu-
tation of being the Paradise of Spain and the fact of its enjoying an
eternal spring in an African temperature.

THE HILL OF THE GENERALIFE.

The Generalife (illus., p. 272) {jennatu-r-arif, the Garden of the
Architect) is situated upon a hillside above the Alhambra, from which it is
separated by a ravine. It was the casa de canipo, or country house, of the
Alhambra, where the Moorish kings came to spend the summer months.
The road to this beautiful place winds through the vineyards and orchards
of the farm, which extend right up to the garden walls, and for the last
few hundred yards the approach is by an avenue of square cut cypress trees.
The whole hillside is composed of a rich red soil, wonderfully fertile, and

T

74

GARDEN CRAFT IN EUROPE

several streams have been diverted from their course to provide an ample
supply for the fountains of the garden.

The cypress avenue leads to a small forecourt in front of the house,
which like all Oriental buildings is very simple. A low Moorish portico
looks out on the deHcious cool greenery of an oblong enclosed garden
(illus., p. 277). A canal, paved with marble, runs through the whole length
of the enclosure and is bordered on both sides by numberless fountain
jets which, when playing, form a sparkling arcade of water. The whole
garden abounds in sweet smelling flowers, roses, carnations, lilies, jessamine

and lavender. Every-
thing blooms in luxuri-
ant disorder and the
air is heavy with the
scent of orange blos-
som.

The flower court
terminates in a por-
ticoed gallery like the
Patio of the Myrtles
at the Alhambra. At
the further end is an
open building con-
taining a few living
rooms, the walls of
which preserve traces
of sixteenth century
frescoes. Beyond is a balcony, affording wide spreading views of the Vega
and the purple hills beyond, while the Moorish part of Granada lies at
our feet. A short flight of steps leads to an open portico entirely covered
with a glorious wealth of roses which forms the end of a water garden
where myriads of goldfish swim in the cool green pools ; along one side is a
group of enormous cypresses, believed to be four centuries old.

Another broad flight of steps leads to the lower of the terraces that
ascend the hillside up to the quaint two-storied whitewashed Mirador, or
summer house crowning the garden, beyond which are some Moorish tanks
and a knoll still called La Silla del Moro, The Moor's Chair. Each terrace

CYPRESS AVENUE AT THE GENERALIFE.

GARDEN OF ZORAYA, GENERALIFE.
275

GARDEN DESIGN IN SPAIN

277

has designs traced out in box and myrtle, and the topmost of all is orna-
mented with a row of green enamelled earthenware busts. Fountains
abound everywhere ; they are invariably small and often consist of merely
a tiny jet of
water set with-
in a stone basin.
Curious fea-
tures of the
garden are two
cypress ar-
bours, one in
the centre of
the lower ter-
race, made of
eight cypresses
bent inwards
and joined at
the top to form
a dome (illus.,
p. 279). Gau-
tier, when he
visited the gar-
den, found the
arbour like an
immense bas-
ket covered
with flowers.
The garden is
bordered upon
one side by
a s t a i r w a y,
broken at in-
tervals corresponding with the levels of the terraces by small circular
resting places, which have been planned each with a tiny pool and fountain
jet, shooting a crystal aigrette into the thick growth of trees overhead.
Water runs down on both sides in silvery streams with a gay murmur in

THE PATIO, GENERALIFE.

278

GARDEN CRAFT IN EUROPE

channels of inverted green tiles let into the rough masonry of the balus-
trade walls.

After the Alhambra the most beautiful and best preserved Moorish
palace is the Alcazar at Seville, constructed and decorated in the same style
as the Alhambra, but on a smaller scale. The lovely citiquecento gardens
which Charles V, with a genuine love for gardening, remodelled from the

HEAD OF THE WATER GARDEN AT THE GENERALIFE.

older Moorish gardens, are among the most curious and interesting in Spain,
and although they have neither the marvellous situation nor the profusion
of water that form the great delight of the Generalife they possess a
charm produced by the elegance of the architecture and the wonderful
richness of the vegetation.

GARDEN DESIGN IN SPAIN

279

The Alcazar lies in the south-east corner of Seville. In the time of
the Moors it covered a far greater area than at present, reaching as far as
the banks of the Guadalquivir and including the famous Torre del Oro
within its boundary. As may be seen from the sketch plan (illus., p. 280),
the gardens at present form an irregular triangle with parterres marked
off into squares and
divided from one an-
other by walls of
brick and tile ; the
compartments are ar-
ranged in quaint
patterns of cut box
and myrtle, and for-
merly contained the
eagles and armorial
bearings of Charles
V. Walks of gaily
coloured tiles or
azulejos are here and
there broken by
fountains set in
basins of simple de-
sign.

The gardens are
entered in the angle
formed by the palace
fagade and the gal-
lery of Pedro el
Cruel. Here is a
large square pool
which collects the

water necessary for irrigation. In the middle is a bronze fountain and
the pool is full of fish. There are several bathing pools about the gardens,
the largest being the vaulted 5<2woj where Maria de Padilla, mistress of Pedro
el Cruel, used to bathe. The bath of Joan the Mad (illus., p. 282), with its
domed pavilion and oblong tank all wrought in gaily coloured tiles, still exists

CYPRESS ARBOUR kethe GENERTMJFE

28o

GARDEN CRAFT IN EUROPE

surrounded by an orange grove. The pavilion has seat recesses completely
covered with old purple tiles. Upon one side of the parterre is a well pre-
served maze, and beyond is the labyrinth of Charles V, intersected by tiled
paths with seats at intervals arranged round miniature fountains ; beyond
again is the paved orange court which has in the centre the lovely old

PEDRO EU

PAI^ace;

Qoft)efLS" of /no
' 9v1jCAZAR.

SEVILLE

NKO TRKc:S

pavilion of Charles V (illus., p. 284), a square building faced inside and
out with magnificent azidejos. The floor has a small octagonal pool and is
intersected with marble channels of running water that impart a refreshing
coolness in the intense heat of summer.

We must sit at the foot of the Moor if we are to learn the secret of
the successful treatment of water in a garden. Living under the fierce glare

GARDEN DESIGN IN SPAIN

281

of a southern sky the
merry tinkle of falling
water was above every-
thing a delight, the
source of all that is
pleasant to hear and
feel and see. " It
ran," says Washing-
ton Irving, " in chan-
nels along his marble
pavements, it filled
bath and fishpond
with a sound like the
murmurine of a dis-

FOUNTAIN IN THE PARTERRE OF MARIA DE PADILLA.

TILED SEATS, THE ALCAZAR,
SEVILLE.

tant multitude, it
flowed bubbling along
in underground pipes
to feed basin and
fountain : to-day it
still offers its glassy
face to image marble
wall and evergreen
hedge in the Court of
Myrtles ; it plashes in
alabaster basins in the
Court of Lions, it
leaps from the ground
in elfin jets and frolics
in a hundred glisten-
ing bows in the gar-
den of the Gener-
ahfe."

282

GARDEN CRAFT IN EUROPE

BATH OF JOAN THE MAD.

A popular Anda-
lusian verse runs : —

Garden without water ;

House without a roof ;
Wife whose talk is all

Scolding and reproof ;
Husband who forgets his
home

In the tavern revel :
Here are four things

Ready for the Devil.

The neighbour-
hood of Madrid is not
so conducive to good
gardens ; the climate
in winter is cold, and
icy winds sweep down

from the north, whilst in summer the heat parches and burns up all vege-
tation, and only the public and more important private gardens can be

kept green by liberal irrigation.

At the Escurial, ^^^^^^mrMmf.\'m\--^

some thirty miles from ^||HR^9k'|_ _

Madrid, are several

lovely gardens. The

monastery was origin-
ally built by Philip II

as a cell in which to

spend his last days,

but was added to by

succeeding kings and

converted at last into

a luxurious palace ;
gardens
created

by Philip IV. The '

Court of the Evangel- ^■

istS (illuS., p. 285) is INTERIOR OF THE PAVILION OF CHARLES V.

the present
were mostly

GARDEN DESIGN IN SPAIN

283

a most interesting courtyard garden with a central stone pavilion and four
pools surrounded by a parterre laid out in regular forms with hedges of box
and narrow pathways. Rising on the slope of a hill not far from the monas-
tery is the Casita de Abajo, built for Prince Charles ia 1770. The gardens
are not extensive, but well worth a visit. A high cypress hedge forms an
effective background to the entrance, and in front of the house is an
almost square formal garden, with pools of water reflecting bright masses
of colour in the box-edged beds.

Within a day's journey of Madrid are the famous summer palaces of
Aranjuez and La
Granja. The larger
of the two palaces
was one of the ex-
travagances of
Charles III. It is
an oasis in the wil-
derness. The Tagus
and the Xarama,
meeting almost be-
neath the palace
walls, keep its island
garden fresh and
verdant even
through a burning
Spanish summer.
The fine old Eng-
lish oaks and elms

were brought over by Philip II. They still attract as much notice in
Spain as a grove of palm or prickly pears would at Hampton Court.
The gardens remain as we see them portrayed in the pictures of Velasquez
in the Museum at Madrid, and as they were described by Lady Fanshawe,
wife of the English Ambassador, during the reign of Philip IV. Long
shady avenues of planes and elms lead through closely planted woods
and have been the scene of countless intrigues both in politics and
love.

The Chateau of La Granja occupies the site of a shooting lodge built

,.®^-

SECRET FOUNTAINS AND HEDGES OF MYRTLE.

284

GARDEN CRAFT IN EUROPE

hy Henry IV of Castile in 1450. The shooting lodge took its name form
a granja, or grange, and ever since the early part of the eighteenth century,
when it was much enlarged by PhiHp V, who came to the throne in 1701
and with true Bourbon instinct wished to surround himself with all that was
best in art. Being only about 60 miles distant from Madrid, La Granja has

always been a favourite sum-
mer palace of the Spanish
monarchs.

Both chateau and gar-
dens are French in style and
are an imitation on a smaller
scale of those at Versailles,
but the fountains, the unique
and crowning joy of La
Granja, are far more real
than those of the celebrated
French original. Great
reservoirs, the largest of
which is modestly called el
Mar, the ocean, are placed
high up on the mountain
side, and collecting an abun-
dance of water from streams
and springs lead a vast
volume to the famous cas-
cade, Ce?iador, down to the
garden level. Thence the
Avater is led away to all
manner of wonderful foun-
tains and surprises. The
great fountain, whose like
is hardly to be found in Europe, represents Fame mounted on Pegasus
and has a single huge jet of water rising to a height of 132 feet. In
another spot, called the Plazuela de las ocho Calles, eight fountains unite
to form a sort of Ionic temple, with columns of white marble. There
are twenty-six great fountains in all ; the finest are known as los Bailos de

ALCAZAR , SEVILLE: PAVILION of CHARLES ,V.

GARDEN DESIGN IN SPAIN

285

Diana. When Philip V was first taken to see them he is said to have stopped
admiringly and remarked to his courtiers that though they had cost him
three million pesetas he had been amused for three minutes.

From the scientific point of view gardening has been much neglected in
Spain, and such botanic gardens as exist are hardly to be compared with those
of other European countries. The study of medicine under the Moors necessi-
tated the establishment of botanic gardens, and they are mentioned as early
as the time of King
Nasr, who laid out
experimental gardens
at Cadiz, and placed
them under the
direction of the bot-
anist, Al Shafrah.
In the sixteenth cen-
tury Spain wished to
emulate the example
of Italy and Holland,
who were devoting
much attention to
botany, and in 1555
Dr. Laguna, in his
translation of Dios-
corides, which he
dedicated to Philip
II, entreats the King
to found a botanical
garden which, he
curiously says, would

turn to the benefit of His Majesty's health and at the same time encourage
la disciplina herbaria. This request was granted and a portion of the royal
gardens at Aranjuez allotted to that object. A few years later, in 1595,
the private gardens of Simon Tovar Cortavilla were founded and at the
end of the seventeenth century Jaime Salvador formed a remarkable botanic
garden at San Juan d'Espe on the banks of the Llobregat,and a most inter-
esting herbary at Barcelona, Botanic gardens were estabhshed at Seville

COVRTVATiO GARDEN AT THE ESCURIAlL^^fADRID.

286 GARDEN CRAFT IN EUROPE

and Madrid in the eighteenth century. At the present day the best are
at Madrid, Valencia, and Barcelona.

As gardens in the country, except those attached to palaces, are rarely
to be met with, greater attention has been devoted to those of towns, and thus

A MODERN PATIO, ALGECIRAS

we find that the fatio, or internal courtyard, is the most striking feature
of all {important Spanish houses. It is the direct descendant of the old
Roman atrium with its impluvium and complumum, as may still be seen at
Pompeii, and in some ways it corresponds with the cortile of the Italians.

GARDEN DESIGN IN SPAIN

287

It is admirably suited to the intense heat of Spain, and forms the ordinary
summer apartment where the family receive their friends. The most pic-
turesque are to be found in Andalusia and the South, especially at Cor-
dova and Seville. As a rule rectangular in plan, and entirely surrounded by at
least two stories of arcading,they are capable of a great variety of treatment.
We frequently find them
paved with marble and nearly
always a small fountain bubb-
ling up in the centre. As the
entrance to the Spanish house
is invariably by a broad pas-
sage leading from the street
to the fatio and divided from
the latter only by an open
wrought iron gate, the passer-
by has a delightful series of
glimpses from the hot and
dusty street into cool green
■patios, with myrtles, pome-
granates, and jasmine trained
and planted in red clay pots
and forming a background to
a wealth of beautiful flowers.
In the words of Gautier "the
fatio is a delightful invention ;

it affords greater coolness and more space than a room, — you can walk about
there, read, be alone, or mix with others. It is a neutral ground where
people meet and when as at Granada or Seville the -patio possesses a jet
of water or a fountain, nothing can be more delightful, especially in a country
where the thermometer often indicates a Senegambian heat."

PATIO AT RONDA.

CHAPTER XI

THE ENGLISH LANDSCAPE SCHOOL AND
ITS INFLUENCE ON THE CONTINENT

ONDON and Wise, whose work we have already con-
sidered in Chapter VIII, were succeeded as garden
designers by their pupil Stephen Switzer, the author
of Ichnographia Rustica and other important works on
gardening. The old formal gardens were ruthlessly,
destroyed in the extraordinary but not incompre-
hensible reaction against all kinds of formahsm
that marked the middle and latter half of the eighteenth century. The
■formal school had undoubtedly overstepped the mark with their monoton-
ous statues and vases and their excesses in topiary work or " verdant
sculpture " and soon fell a prey to the scathing criticism of Addison and
Pope. The former, in his essays contributed to the Spectator on the " Plea-
sures of a Garden," complains that British gardeners instead of humouring
nature, love to deviate from it as much as possible. He objected to " trees
rising in cones, globes, and pyramids " and says that " he would rather look
upon. a tree in all its luxuriancy and diffusion of boughs and branches,"
while Pope complained that the grand manner of gardening was contrary
to the simplicity of Homer. " We seem to make it our study " he says, " to-
recede from Nature, not only in the various tonsure of greens into the most
regular and formal shapes, but even in monstrous attempts beyond the reach
of the art itself. We run into sculpture, and are yet better pleased to have
our trees in the most awkward figures of men and animals, than in the most
regular of their own." Two years later he proceeded to lay out his fanciful
garden at Twickenham which, far from being on the simple lines he professed

THE ENGLISH LANDSCAPE SCHOOL

289

so much to admire, was a compendium of all sorts of rural scenery, crowded
within the narrow limits of a five acre plot.

Foremost among the leaders of the new style in garden design was
William Kent, who first distinguished himself as an architect and ornamental
gardener at his great patron's (Lord Burlington's) villa at Chiswick ; and his
additions to the plans of Bridgewater and Vanbrugh at Stowe firmly estab-
lished his fame. He laid out the gardens at Esher and Claremont, those at
Carlton House for the Prince of Wales, and at Rousham in Oxfordshire. He

IN THE PARK AT STOWE, FROM AN ORIGINAL DRAWING BY ROWLANDSON,

appears to have been inspired with a desire to produce results that should
resemble the compositions of classical landscape painters.

In the early part of his career Kent followed somewhat on the lines laid
down by Bridgeman, who " disdained to make every division tally to the
opposite " and though he still adhered much to straight walks with high
clipped hedges, they were his only great lines ; the rest he diversified by
wilderness, though still within surrounding hedges. As time went on, Kent
entirely left the formal garden and substituted for it the landscape style.

u

290

GARDEN CRAFT IN EUROPE

" Nature abhors a straight line," was one of his ruling principles, and he accord-
ingly set himself to destroy the grand avenues left by former generations,
and to make his paths wind aimlessly about in all directions, their destination
always concealed by an artfully placed clump of bushes. The ornamental
sheets of water were either swept away altogether or converted into artificial
lakes fed by winding streams, and with miniature waterfalls. The height

of absurdity was at-
tained when he planted
dead trees in Kensing-
ton Gardens " to give
the greater air of truth
to the scene."

The most popu-
lar of all the landscape
gardeners was Lance-
lot Brown, Kent's col-
laborator and pupil,
better known as
" Capability Brown,"
from a habit he had
of expatiating on the
" capabilities " of any
place he was asked to
improve. Born in
1 71 5, he began his
career as a kitchen
gardener, first at a
place near Woodstock
and then at Stowe.
His first attempt at
designing was in 1750, when he constructed an artificial lake at Wake-
field Lodge for the Duke of Grafton. He was appointed Royal Gardener
at Hampton Court, where he planted the celebrated vine in 1769. He
soon had an enormous practice, and the old gardens disappeared with
alarming rapidity before the ruthless hand of the " omnipotent magician,"
as Cowper calls him. The formation of artificial lakes was a strong point in

LANCELOT BROWN.

THE ENGLISH LANDSCAPE SCHOOL 291

his designs, and one upon which he prided himself. " Thames ! Thames
thou wilt never forgive me," he was overheard to exclaim when lost in admira-
tion of one of his pet schemes. So completely did the landscape school of
Kent and Brown obliterate all previous work that Repton, writing in 1806,
declares that " no trace now remains " of the Italian style of gardening,
which he defines as consisting of " balustraded terraces of masonry, magnifi-
cent flights of steps,
arcades and architec-
tural grottoes, lofty
clipped hedges, with
niches and recesses en-
riched by sculpture." ^^ ^^^

It would be hardly i

possible to enumerate
all the fine old gardens
remodelled by Brown,
always according to
the system upon which
he worked with per-
severing uniformity.
His reputation and
consequent wealth
gave him almost ex-
clusive pretensions.

Brown died in
1783 and was suc-
ceeded by Humphrey
Repton ; fortunately
the wholesale destruc-
tion of old gardens was checked, for Repton had not sufficient influ-
ence to suggest the sweeping alterations that Brown had made. At
first Repton followed closely the rules laid down by his famous predecessor,
but aa_ his own reputation increased he invented for himself, trusting
to his own talents. He was the first to assume the title of " Landscape
Gardener " and declared himself the professor of an art to which he gave
the name of " Landscape Gardening," because he says " the art can only

HUMPHREY REPTON.

'.(^2

GARDEN CRAFT IN EUROPE

be advanced and perfected hy the united powers of the landscape painter
and the practical gardener." In 1795 he published Sketches and Hints on
Landscape Gardetiing,' wherein he lays down the four following rules for
the design of . a garden. " First it must display the natural beauties and
hide the natural defects of every situation. Secondly, it should give the
appearance of. extent and freedom, by carefully disguising or hiding the
boundary. Thirdly, it must studiously conceal every interference of art, how-
ever expensive, by which the scenery is improved ; making the whole appear
the production of nature only; and fourthly, all objects of mere convenience
or comfort, if incapable of being made ornamental, or of becoming proper
parts of the general scenery, must be removed or concealed." He was the
author of several other works on the same subject and continued to practise
his profession of *' producing beautiful effects " until his death in 1818.

A further impetus to the landscape school was given by Sir William
Chambers, who published j4 Dissertation on Oriental Gardening in 1772.
This work created a commotion quite out of keeping with its value, and it
is said that with the exception of the preface, which is in earnest enough,
the book is really a solemn joke intended to mystify the public, and prompted
to a certain extent by a personal feeling against Capability Brown, who had
obtained a commission for laying out an important estate which Chambers
coveted. It is this which gives point to the following sarcastic description
of the English garden of his day, a description little exaggerated, as we know
from other records of Brown's methods of dealing with the surroundings of
a house. " Our gardens," he says, " differ very little from common fields,
so closely Is common nature copied in most of them. There is generally so
little variety In the objects, such a poverty of imagination in the contrivance,
and of art In the arrangement, that these compositions rather appear the
offspring of chance than design, and a stranger is often at a loss to know
whether he is walking in a meadow or in a pleasure-ground, made and kept
at a considerable expense. He sees nothing to amuse him, nothing to excite
his curiosity, nor anything to keep up his attention. At his first entrance,
he is treated with the sight of a large green field, scattered over with a few
straggling trees, and verged with a confused border of little shrubs and
flowers ; after further inspection, he finds a little serpentine path, twining
in regular esses {sic) among the shrubs of the border, upon which he is to go
round, to look on one side at what he has already seen — the large green field,

THE ENGLISH LANDSCAPE SCHOOL

295

and on the other side at the boundary, which is never more than a few yards
from him and always obtruding upon his sight ; from time to time he per-
ceives a little seat or temple stuck up against the wall ; he rejoices at the
discovery, sits down, rests his wearied limbs, and then reels on again, cursing
the line of beauty ; till, spent with fatigue, nearly roasted by the sun, for
there is never any shade, and tired for want of entertainment, he resolves
to see no more ; vain resolution ! There is but one path ; he must either
drag on to the end, or return
back by the same tedious way
he came. Such is the favour-
ite plan of all our smaller
gardens, and our larger works
are only a repetition of the
smaller ones ; more green
fields, more shrubberies, more
serpentine walks, and more
seats."

In his own work Cham-
bers brought to bear a highly
cultivated mind upon the
subject of garden design and
did what he could to check
the absurdities that were be-
ing perpetrated everywhere.
In this, however, he was not
altogether successful, and the
Chinese style, in the hands of
less skilful designers, led to
the erection of the most

amazing of garden freaks. The interest in China was further stimu-
lated when Lord Macartney conducted the first diplomatic mission to that
country. Chambers was afterwards appointed superintendent of the royal
gardens and designed the gardens at Kew in 1730; he constructed several
Chinese buildings, including the Pagoda (illus., p. 293) which still remains
a monument to this extraordinary passing craze for things Chinese. He is
more happy when designing the graceful little garden buildings ; the little

AN ARBOUR AT KEW, DESIGNED BY SIR WILLIAM
CHAMBERS.

296

GARDEN CRAFT IN EUROPE

circular Temple of ^olus is one of the most pleasing buildings of its kind
that has been seen.

Although during the greater part of the eighteenth century the landscape
style reigned supreme, in the remoter parts of the country the less pretentious
gardens of the middle classes still adhered to the best principles of the formal
school. During the nineteenth century, the introduction of many new plants

and improved methods of .culti-
vation and the more extended
use of hothouse and con-
servatory have brought about
many changes. In the early
part of the century landscape
•gardening was all the fashion,
but towards the middle of
the century, with a revival of
Italian architecture, an at-
tempt was made to introduce
the Italian garden. Several
large schemes were designed
by Sir Charles Barry, amongst
which are the gardens of
Trentham and Shrublands.
The practice of bedding-out
plants came into vogue, and
instead of the glorious bor-
ders of old-fashioned peren-
nials which for years had
been the pride of English
gardens, we were asked to
admire rows of blue lobelia
planted in front of scarlet geraniums against a gorgeous background of yellow
calceolaria.

The taste for landscape gardening quickly spread all over the Continent,
and after the peace of 1762 the Jardin a ranglaise became all the fashion
in France. It seems strange indeed that, with the great examples of garden
design that then existed, the French should have been content to follow the

A CHINESE PAVILION AT KEW.

THE ENGLISH LANDSCAPE SCHOOL

297

lead of England and to replace the magnificent tradition of Le Notre with
the ridiculous fancies of the landscape gardener.

Although the landscape garden was generally called le jar din anglais
in France, and might be supposed to have mainly originated in England,
there had already been several attempts to break away from the stiff formality
of the seventeenth century. A designer named Dufreny, born in Paris in 1648)
has been regarded as one of ^the pioneers of the natural style, and accordin
to D'Alen^on, when Louis XIV first resolved upon laying out Versailles on

an extensive scale, Dufreny

submitted two different
schemes which were refused
by the King, on account of
the expense ; some of these
designs were published in
173 1. Dufreny said that he
preferred to lay out his gar-
dens upon an irregular site,
and when Nature offered no
obstacles to overcome he
created them himself, that is
to say, when he had to deal
with a flat site he promptly
raised a hill and utilized it for
a belvedere. He designed the
gardens of Mignaux near
Poissy, and also laid out a piece
of ground which belonged
to him in the Faubourg St.
Antoine, ^n the natural style.

Paramount above all was the influence of Jean-Jacques Rousseau, who
as Taine said " made the dawn visible to people who had never risen till
noon, the landscape to eyes that had only rested hitherto upon drawing-
rooms and palaces, the natural garden to men who had only walked between
tonsured yews and rectilinear flower borders." Rousseau in La nouvelle
Heloise explains the radical change of taste that was taking place in garden
design. Describing an imaginary garden on the banks of the Lake of Geneva

THE TEMPLE OE .T.OLUS, KEVV.

GARDEN CRAFT IN EUROPE

he says, " you see nothing regular and nothing levelled ; the gardener's line is
unknown here. Nature never plants anything in line, the windings of paths
and streams in their intentional irregularity are designed with art, the better
to prolong the promenades, hide the extent of the island, and increase its
apparent size."

Horace Walpole never made a greater mistake than when he predicted
the failure of the introduction of the English garden in France. " The

people of the eighteenth cen-
tury," saysRiat, " with their
refined cultivation, their ex-
quisite delicacy and remark-
able adaptability, perceived
at once all the advantages of
Kent's theories and did not
trouble themselves that the
innovation proceeded from
England." French society
had passed through such
changes that the architec-
tural garden of Le Notre
was no longer suitable. In
France, as in England, it was
left to literature to lead
Fashion away from the best
ideals of the Formal gar-
den. Langier was the first
French author to popularize
the English style of garden-
ing in his Essai sur f Archi-
tecture, published in 1753. In 1760 Thompson's Seasons was translated
into French, and the following year Rousseau wrote La nouvelle Heluise
with the description of the landscape garden of Clarens. In 1770 appeared
Les Ruhies des plus beaux Monuments de la Grece ; in 1764, Les Saisons,
by Saint-Lambert; in 1777, La Composition des Paysages,hY the Marquis
de Girardin ; then, in 1779, ^^ Jardin de Monceau, by Carmontelle, and
in 1784, Etudes de la Nature, by Bernardin de Saint-Pierre ; in 1787, Paul

LNULISII GARDEN AT THE PETIT TRIANON.

THE ENGLISH LANDSCAPE SCHOOL

299

et Virginie, in which the descriptions of nature created a great impression ;
in 1782, Le Voyage en Grece, by Gouffier ; in the same year Les Jardins
of Delille, and also the Idylls of Gessner, and La Nature Chamfetre, by
Marnezia.

This revulsion of feeling was quite in accordance with the taste of the
time, which tended towards the life of the fields and opposed the simplicity
of rustic manners to the luxury and artificiality of town life. It soon became
the fashion for landscape gardens to have an entire rustic village or hameau ;

THE HAMLET AT THE PETIT TRIANON.

one of the first was laid out at Chantilly about 1780. A water mill was set
on the bank of a meandering stream with several groups of thatched cottages.
One farmhouse of modest exterior contained a richly decorated salon and
boudoir, and a dining hall with ceiling painted to represent foliage, that one
might fancy oneself in a dense forest ; other thatched cottages were devoted
to the billiard-room, library, etc.

According to Delille, the two first landscape gardens were those of Tivoli,
laid out by Boutin near Paris, and those of the Duchesse de Boufflers ; but
the perfect type of the new style was the Petit Trianon at Versailles.

300

GARDEN CRAFT IN EUROPE

Marie Antoinette had always been fond of gardening, and whilst still
Dauphine had much wished to own a country house. Fired with envy at
the gardens which the Due de Chartres had laid out at Monceau, she deter-
mined to imitate him. The King therefore gave her Trianon, and an English
gardener, Richard, was employed to lay out the grounds. He accumu-
lated a variety of garden buildings, a pagoda, Chinese aviary, theatre.
Temple of Diana, Turkish fountains, dairy, farm. His work, however, did
not give satisfaction, and the Count de Caraman put before the Queen

THE MILL AT THE HAMLET, PETIT TRIANON.

another project, which was accepted. The works were at once begun,
but were stopped soon after for lack of funds. In 1776 the jeu de bague was
set up, then once again the plans were discarded and the architect Mique
elaborated an entirely new plan. Amongst his innovations were a hermitage,
a salon hydraidique, Chinese decorations, an ancient temple on a large
rock, and a belvedere. Between 1778 and 1782 further works were carried
out — a thatched cottage, a stone bridge and on a grassy island Le Temple
d' Amour was erected from the designs of the sculptor Deschamps. The next
year Mique also planned for the Queen a little_hamlet like that at Chantilly-

THE ENGLISH LANDSCAPE SCHOOL 301

The head gardener by this time was Claude Richard, who had succeeded his
father and greatly delighted the Queen by his abundant cultivation of flowers.

The building of the hamlet was the last flight of Marie Antoinette's
imagination. It is still kept up as one of the most curious of the attractions
of Versailles. The two groups of cottages were formerly occupied by several
rustic households, who carried out real farming operations on the spot. The
farm stands a little aloof from the other buildings. It was famous for its
herd of Swiss sheep, and there was also an excellent dairy, where the Queen
amused herself and her friends by making butter and cheese under the direc-
tion of the farmer's wife. A mill, manor house, grange and boudoir com-
pleted the bijou village, which was finished and in full swing by 1784;
Mique wanted to enlarge the scheme, and proposed the addition of a " Tem-
ple of the Muses," but the Queen would not give her consent, and built the
Tour de Marlborough instead.

Though not the first in France, the Trianon garden soon became the
model of the Anglo-Chinese style, and no money was spared to adorn it with
everything that was charming and novel. For several years the Queen led
a simple life here with a few companions, amusing herself by occasionally
giving small receptions to the King and his courtiers.

In 1763 the estate of Ermenonville was acquired by the Marquis de
Girardin, large sums were spent on laying it out, and after Trianon it became
the most famous landscape garden in France. In 1778 Rousseau, being
obliged to quit Paris, was invited to take up his residence here, but only
enjoyed two months of the quiet rest before he died. His body was em-
balmed and buried by moonlight on the He des Peupliers, and the spot soon
became a popular shrine. An account of this place was written by Girardin
himself in 1775 and translated into English. Among other objects of inter-
est in the grounds were Rousseau's cottage, a garden in ruins, and a cascade.
Girardin had travelled much in England and drew his ideas from the English
garden designers. He professes, however, that his object is " neither to
create English gardens, nor Chinese gardens, and less to divide his grounds
into pleasure grounds and parks than to produce interesting landscapes."
He was assisted by J. B. Morel, the " Kent " of France, who afterwards pub-
lished the Theorie des Jar dins, and probably also by his guest, Rousseau.
Girardin kept a band of musicians, who constantly perambulated the grounds,
playing sometimes in the woods and at other times on the waters, and in

302

GARDEN CRAFT IN EUROPE

scenes devised for particular seasons, so as to draw the attention of visitors
to them at the proper time. The Marquise and her daughter w^ore dresses
of common brown stuif " en amaz,one " with black hats, while the boys
wore " hahillements les 'plus simples et les plus propres a les faire confondre
avec les enfants des campagnardsy

In 1774 C. H. Watelet published an Essai sur les Jardins, wherein he
professed to take utility for the basis of his art. With this end he laid out

\UI LNai.ULflKK IJUN J.UiniN ANCrl.OIS,

U//L&! /^ Jfjui/iy^/y a </at.r /ma- Je J'^u if>/>arMl4mt uJl' Jfii-/ft Jir^ataa- jaicral diirym,l/lcej-

ENGLISH GARDEN AT " LE MOULIN-JOLI," NEAR PARIS.

the Moulin-joli on the Seine near Paris, of which the Prince de Eigne
wrote : —

" Here is a place more after my own heart than Ermenonville, and
nearer to Paris. Having turned my back on the gaieties of Paris, I was wander-
ing aimlessly along the banks of the Seine and at last, losing sight of the City
at Moulin-Joli found myself, for it is only alone with Nature that one
finds oneself. Whoever you may be, if your heart be not hardened, perch
yourself in the branches of a willow at Moulin-Joli on the banks of the river.

THE ENGLISH LANDSCAPE SCHOOL

303

Read, gaze and weep. It will not be from sadness, but from delighted
emotion. You may see your innermost soul, meditate with the sage, sigh
with -the lover, and bless Watelet."

Morfontaine, near Chantilly, famous as the place where the Treaty
between France and America was signed, was laid out about 1770
upon a waste piece of land presenting enough obstacles to please any land-
scape designer. In the early nineteenth century it became the favourite

^tn^3,.^f -t,

THE AVIARY AT MORFONTAINE.

residence of Joseph Bonaparte, who only quitted it in 1806 to accept the
Crown of Naples. There was a small garden theatre here with a screen,
which being removed, disclosed a natural sylvan background.

In the Bibliotheque Nationale is a curious volume of Chinese drawings
of the eleven principal pleasure houses of the Emperor of China, taken from
a collection of pictures on silk that was presented to Louis XVI. These, to-
gether with the Chinese text, were published by Le Rouge, who in 1784 also
published an extraordinary project by an Italian, Francesco Beltini, for a

304

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combined English, French and Chinese garden. The garden was designed for
the Venetian Ambassador, and its description is worth transcribing to show
the wild excesses to which a French gardener could run. Like the Chinese
gardens, its perfection was to consist in the number and diversity of its scenes,
and in the artful combination of their parts, planned to suit every mood of
the owner. Arriving by the grand avenue we find the chateau placed in

the midst of the gardens, which
are laid out regularly upon the side
of approach, with a path leading
to the Hameaii, and a tiny Gothic
ruined chapel and group of cot-
tages, each with its separate
garden, a pyramid overlooking a
pond, a fishing lodge, dairy and
sheep-fold. Hard by is an Italian
vineyard, overlooked by a Temple
appropriately dedicated to Bac-
chus ; as a great contrast the
visitor passed from this joyous
spot to one more serious, " The
Isle of Tombs," with monuments
dedicated to the great dead of all
time, virtuous citizens, dead or
even living friends ; this scene we
are told would always evoke
emotion. The next is of quite a
different kind ; a triumphal
bridge decorated with military
trophies and two rostral columns, leads from the Island of Sadness to
the Temple of Momus, placed within gay surroundings, well cut lawns,
flowery parterres ; here were established all sorts of Jeux Champetres,
a Balangoire^ and Jeu de Bague. It was even suggested that failing a
better use the temple might be a fitting place for a billiard table. Now
we pass to the English garden, whose principal feature was to be the collec-
tion of evergreen trees, and then on to the Dutch garden, formally laid
out with tiny canals and a Temple of Venus decorated with shells and

MONUMLNT TO THE MEMORY OF CAPTAIN COOK
AT MEREVILLE.

THE ENGLISH LANDSCAPE SCHOOL

305

coloured spar, in the usual Dutch manner. This garden was to be sur-
rounded hy roses, and to be as gay as possible in order to form the greater
contrast to the next scene, which was to represent a fearsome desert, a scene
which the writer says is very difficult to treat, and ought not only to offer
,a spectacle of sterility, but one which by means of ruined habitations, the
debris of burnt houses, trees overturned by the tempest, and caverns in-
habited by monsters, is calculated to inspire sadness. It is suggested that

BRIDGE AND CLASSIC RUIN AT MEREVILLE.

the effect might be still further heightened by a volcano artfully constructed
in imitation of Vesuvius, emitting smoke by means of a coal fire. An under-
ground passage leads from this dreadful spot to the Champs Elysees
where abundance reigns supreme. Then came the Chinese garden, where
plenty of water was necessary for the meandering streams. Marble pavilions,
bridges, and pagodas were interspersed with rare trees and plants from China
and Japan. The side of the chateau which faced this garden was to be
.decorated in the Chinese manner ; in fact, each elevation of the house was to
be treated in a different style to suit the garden it overlooked.

X

3o6

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Le Rouge published a number of landscape garden schemes, including
that of the Due de Chartres at Monceau, Bagatelle in the Bois de Boulogne,
the retreat of the Comte d'Artois, Bagnolet, laid out by La Chapelle for
theDuchesse d'Orleans, Gennevilliers,near Paris, laid out in 1785 by Labriere,
Romainville, the seat of the Marquis de Segur,and the Chateau de Brunoy
or the King's brother. He also published detailed descriptions of the Royal

"-uucycja CaJa7^/rj.m yvr/u/;^i/</j./ii Ca/'a/ic a^cJ U)/-Mir/<i/. (ia/2JJcyi7j''/://u M!Joa^a/c^.

Situe dans le Bol3 de I\ouIognc

THE CASCADE AT BAGATELLE.

Gardens at Richmond, Lord Burlington's garden at Chiswick House, and
that of the Princess of Wales at Kew Palace.

The Due de Chartres' garden at Monceau is also described by Carmon-
telle. It was designed by a Scotchman named Blaikie, who had worked under
Richard at the Trianon, and later on at Malmaison. He first went to France
in 1 776, and remained there during the Revolution, when he was engaged by
the National Assembly to plant the Tuileries with potatoes. He was next

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J
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hi
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THE ENGLISH LANDSCAPE SCHOOL

307

offered the appointment of Commissioner for the establishment of a botanic
garden at Versailles, but as he had never been paid for his work at the Tuil-
eries he respectfully declined the appointment and preferred to return to
his old profession of garden-designer. He was one of the most famous
designers in the style anglais on the Continent, and his work extended
to Holland, Germany and Austria. At Monceau there was a grove of
tombs, an Italian vineyard, and a very curious hexagonal plot with central
space laid out for roses, to which were added three other gardens, each con-
taining flowers of one colour only ; there was a group of rustic cottages, a
Dutch windmill upon a foundation of rock, a Tartar tent, and lastly the
Jeu de Bague, with
real Chinese attend-
ants.

In 1778 the
Comte d'Artois,who
had just completed
the little chateau of
Bagatelle, secured the
services of Blaikie to
lay out the gardens.
The pavilion had
been planned upon
an oblong piece of
land bordering the
kitchen gardens of
the " Chateau de

Madrid" in the Bois de Boulogne, and remained until in 1777 the Count
made a wager with the Queen that he would erect another pavilion in
two months, a feat which he accomplished at enormous expense. In
later times Bagatelle came into the hands of Sir Richard Wallace, who
made the place famous for its wonderful flower display, and recently the
whole property has been bought by the City of Paris.

In 1808 Alexandre Laborde published his Description des nouveaux
Jardins de la France et de ses Chateaux. Laborde's work gives the best
account we have of the " English garden " in France, and having been written
at the beginning of the nineteenth century gives an accurate picture of

BAGATELLE.

3o8

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the absurd excesses into which the new system had fallen. In 1830 Boitard
published a more practical volume, V Art de composer et decorer les Jardins.
In Germany, quite as much as in France, the English School became the
fashion. The first "English garden" to start the fashion was that at Munich,
laid out in 1789 under the direction of Count Rumford by Louis Sckell, who
afterwards had a great reputation as a landscape gardener. At Sans Souci
Frederick William IV soon began to alter the designs of his ancestors and
to set up sham ruins, a mausoleum, Roman baths and even a Japanese house.
His example was followed at all the Royal Palaces in Germany, at Nymphen-
burg in Bavaria, Wilhelmshohe near Cassel, Laxenbourg and Ludenbourg in

THE FORECOURT AT MALMAISON.

Austria. All through the nineteenth century the landscape style has been fol-
lowed in Germany, resulting everywhere in gardens so uninteresting and appal-
ling as to make us long for the old court gardens of the seventeenth and eigh-
teenth centuries. Loudon, writing in the early nineteenth century, says that
" there are specimens of English gardening more or less extensive in or near
the capital towns of every state in Germany, but by far the greater number
are of very inferior description ; they have a distracting confusion arising from
too many buildings and walks, and are crowded with winding sanded paths
continually intersecting each other, little clumps, and useless seats or temples ;
the defects of the English style are copied more than the beauties."

THE ENGLISH LANDSCAPE SCHOOL

309

No important gardens were laid out in Russia before the time of Peter
the Great, whose first effort was made in 1714, when the garden of the summer
Palace on the banks of the Neva was laid out in the Dutch style, but, dis-
satisfied with this first palace, he soon after laid out Peterhof, which was
designed by Le Notre's pupil Le Blond. The garden of Tsarkoie Selo (Im-
perial spot) was laid out by Catherine II about 1768. Loudon says that
her own architect and gardener, being unable to satisfy her orders " to
follow Nature," she sent to England for a landscape gardener in the
person of John Bush of Hackney. In 1772 he begun his work at Pulkora
with winding shady walks and fine lawns. He was then transferred to
Tsarkoie Selo, where
he gave rein to all
the absurd fancies of
the period. One part
of the garden, writes
a contemporary, has
been laid out in the
regular lines of the
best traditions of Le
Notre, the other in
the style of the Eng-
lish school, where
every means has been
employed to impart
a picturesque air.

Although the soil is unfavourable, woods have been planted, traversed by
winding walks and rivulets, and the visitor will find all the usual concomit-
ants of the English garden. The writer concludes his catalogue of the tombs
and monuments by saying that the Olympians must indeed be hard to please
if they are dissatisfied with the attention accorded them here.

Near St. Petersburg were also the park of Oranienbaum and the palace
of Paulowsky. This was begun in 1780 from a design said to have been
furnished by " Capability " Brown. Prince Potemkin's extravagant excesses
in gardening were situated in different parts of Russia ; the largest were in the
Ukraine, but the most celebrated were those of the Palace of Taurida. He
employed an Englishman, Gould, who was one of Brown's most able pupils.

A GARDEN HOUSE FROM LABORDE.

310 GARDEN CRAFT IN EUROPE

Loudon relates a story that in one of the Prince's journeys to the Ukraine,
Gould travelled with him with several hundred assistants to lay out the
Prince's grounds at his Crimean residence, and that wherever the Prince
halted, if only for a day, a little garden was laid out round his travelling
pavilion in the English style, with trees and shrubs, and divided by winding
gravel walks ; the seats and statues were carried forward with the cavalcade.

"/ ur J„ fj^^,^/ 'r'f;,;?r. , ././. / /. . ^//y/// ./ . '/L/rr/r/Zr] . ///./.■ '////. / / . %^. / ./ flfl 'U'r/,ir.

CHINESE BRIDGE AT BAGATELLE NEAR PARIS.

The English landscape garden was introduced into Poland by the Princess
Czartoryska at Pultawa. This lady, highly accomplished, of great taste,
and much good sense, had been a considerable time in England. She carried
to Poland a gardener. Savage, and with his assistance and that of Vogel and
Frey, artists of Warsaw, she laid out Pultawa between 1780 and 1784, and pub-
lished a work in Polish on English gardening in 180 1. In Sweden, Gustavus
III laid out the garden at Haga in the English landscape style towards the
latter part of the eighteenth century from the plans of a certain Masretier.
At Drottingholm the garden was planned in the Anglo-Chinese manner, and

THE ENGLISH LANDSCAPE SCHOOL

311

the prevailing fashion was fostered in the gardens of the British merchants
of Gothenburg in Sweden, and Christiania and Trondhjem in Norway.

In Switzerland, where Nature has been prodigal in her gifts of
landscape beauty, the English style was in more appropriate surroundings.
*' Almost all the gardens," writes Hirschfeld, " are theatres of true beauty
without vain ornaments or artificial decorations." He mentions several
gardens near Geneva and Lausanne. Les Delices is chiefly remarkable
because it was inhabited by Voltaire, and La Grange and La Boissier were
other well-known gardens of the late eighteenth century.

Happily during the last quarter of a century a revival of the best tra-
ditions of the formal garden has taken place, and as throughout the
Renaissance period architects were invariably employed to plan the garden
settings of the houses they built, so it is gratifying to note that this practice
is once more becoming usual in England and America. There can be no
doubt that the work is quite within their province, and that a much more
pleasing and harmonious result is likely to be attained when the main lines
of a garden are set out by those who have designed the building and who,
owing to their training, should have a keen sense of proportion and beauty.

Library

XT r*

BIBLIOGRAPHY

OF THE PRINCIPAL WORKS TREATING OF EUROPEAN

GARDEN DESIGN AND ITS HISTORY, TOGETHER

WITH THE NAMES OF THE CHIEF ENGRAVERS OF

VIEWS OF GARDENS

GENERAL.

Andre, E. L'Art des Jardins. Paris, 1879.

Hazlitt, W. C. Gleanings in Old Garden Literature. London, 1887.

HiRSCHFELD, C. C. L. von. Theorie der Gartenkunst. 5 vols. Leipzig^

1779-85.
Theorie de I'art des Jardins. (French translation of above.) 5 vols.

Leipzig, 1779-85.
Jager, H. Gartenkunst und Garten sonst und jetzt. Berlin, 1888.
Mangin, a. Histoire des Jardins anciens et modernes. Tours, 1889.
RiAT, Georges. L'Art des Jardins. Paris, 1900.
SiEVEKiNG, A. Forbes. In Praise of Gardens. London, 1899.

CLASSIC GARDENS.

Arnold, B. De Graecis florum et arborum amantissimis. Gottingen, 1885.

BoTTiGER, C. A. Racemazionen zur Gartenkunst der Alten.

Bradley, R. A. Survey of the ancient husbandry and gardening collected

from Cato, Varro, etc. 1725.
Browne, Sir Thomas. The Garden of Cyrus. 1658.
Castell, Robert. The Villas of the Ancients, Illustrated. London, 1728.
Cato, M. P. De Re Rustica. e.g. 234-149.

CoHN. Die Garten in alter und neuerer Zeit, Deutsche Rundschau, 1879.
Columella. De Re Rustica. ist Century a.d.
Comes, Dr. Orazio. Illustrazione delle piante rappresentate nei dipinti

Pompeiani. Naples, 1879.
Falconer. Historical view of the Gardens of Antiquity. 1785.
Felibien, J. F. Les Plans et les Descriptions de deux des plus belles

maisons de Campagne de Pline le Consul. 1699.

BIBLIOGRAPHY 313:

JoRET. Les Jardins de I'ancienne Egypte. 1894.

Les plantes dans I'antiquite et au moyen age. 1897.

La rose dans I'antiquite et au moyen age. Paris, 1892.

NiccoLiNi. Le Case ed i monumenti di Pompei disegnati e descritti, Naples.

1854, etc.
Palladius, Rutilius. De Re Rustica. Fourth or fifth century a.d.
Pliny the Elder. Natural History. Translated by Philemon Holland,.

1551-1636.
Pliny the Younger. Letter to Apollinaris translated by William Melmoth.
SiMONis. Ueber die Gartenkunst der Romer. Blankenberg, 1865.
Stephanus, C. De re Hortensi Libellus. 1536.
Stengel. Hortorum Florum et Arborum Historia. 1650.
Temple, Sir William. Miscellanea : Upon the Garden of Epicurus.
Trinkhusii. Dissertatio de Hortis et Villis Ciceronis.
Varro, M. T. De Re Rustica. Last Century b.c.

Wustemann, C. F. Uber die Kunstgartnerei bei den alten Romernj.
Gotha, 1846.

MEDIAEVAL GARDENS.
Art et Decoration, vol. xvi, p. 95.

Bernard, A. Orchards and Gardens, Ancient and Modern.
British Museum. Harleian MSS,, Nos. 18852, 2666^, 4425, 5763, 35314.
De Garlande, Jean. Le Menagier de Paris, compose vers 1393 par un

bourgeois parisien.
Delisle, Leopold. Etudes sur la condition de I'agricole et I'etat de

I'agriculture en Normandie au moyen age. Evreux, 1851.
Gautier, Leon. La Chevalerie. Paris, 1895.

Joret, Charles. La Rose dans I'antiquite et au moyen age. Paris, 1892.
Kemp-Welch. Article on Mediaeval Gardens, Nineteenth Century.

June, 1905.
Romance of the Rose. Harleian MSS. 4425, British Museum.
Sauval, Henri. Histoire et recherches des antiquites de la Ville de Paris.

Paris, 1724.
Scribner^s Magazine, vol. xxxv, p. 131.

Turner, T. H. State of Horticulture in England. Archceol. Journal, vol. v.
VioLLET LE Due. Dictiounaire raisonne de I'Architecture frangaise du

XL au XVL siecle. Paris, 1868.
Walcott. Church and Conventual Arrangement. London, 1861.

314 BIBLIOGRAPHY

ITALIAN GARDENS.

BuRCKHARDT, Jacob. Dei Cicerone. Basel, 1855 and Leipzig, 1898.

■ Geschichte der Renaissance in Italien. Stuttgart, 1868 and 1904.

BussATO, M. Giardino di Agricoltura. Venice, 1592.

CoLONNA, Fra Francesco. Hypnerotomachia Poliphili. Venice, 1499.

Reprinted London, about 1906.
Costa, Gianfrancesco. Le Delizie del Fiume Brenta. 1750.
Crescenzi, Pietro. Opus Ruralium Commodorum. Bk. VIII, 1471.
Elgood, G. S. Italian Gardens after Drawings by, with Notes hy the

Artist. London, 1907.
Falda, G. B. Li Giardini di Roma con le loro piante alzate e Vedute in

prospectiva. Rome, 1670.

Le Fontane di Roma. Rome, 1675.

Ferrari, J. B. De Florum Cultura, Rome. 1633.

Gauthier, M. p. Les plus beaux Edifices de la Ville de Genes et de ses

Environs. Paris, 1832.
Kysell Melchior, Recueil des Jardins Italiens, Augsburg, 1682.
Latham, Charles. The Gardens of Italy. London, 1906.
Leblond, Mrs. Aubrey. The Old Gardens of Italy. How to visit them.

London, 1912.
Montaigne, Michel de. Journal du voyage en Itahe etc. en 1580 et 1581.

Rome et. Paris, 1774.
Percier. et Fontaine. Choix des plus celebres Maisons de Plaisance de

Rome et de ses environs. Paris, 1809.
Piranesi, G. B. Vedute di Roma. 1765.
Platt, C. a. Italian Gardens. 1894.
Politianus, Angelus. Rusticus. i486.

Re, a. dal. Maisons de Plaisance de I'Etat de Milan. Milan, 1743.
Ross, Janet. Florentine Villas. London, 1901.
Rubens, P. P. Palazzi di Genova. Antwerp, 1622.
SiLVESTRE, Israel de. Alcune vedute di Giardini e Fontane di Roma e di

Tivoli. Paris, 1646.
SiTWELL. An Essay on the making of Gardens. A Study of Old ItaHan

Gardens, etc. London, 1909.
Taine, H. Voyage en Italie. Paris, 1884.
Triggs, H. Inigo. The Art of Garden Design in Italy. London, 1906.

BIBLIOGRAPHY 315

TucKERMANN, W, C. Die Gaitcnkunst der italienischen Renaissance-

Zeit. 1884.
Vanvitelli, L. Disegni del Reale Palazzo di Caserta. 1756.
ViTRUVius, M. PoDio. Architectura.

Wharton, Edith. Italian Villas and their Gardens. London, 1904.
ZoccHi, Giuseppe. Vedute delle ViUe ed'altri luoghi della Toscana.

Florence, 1744.

FRENCH GARDENS.

Betin, Pierre. Le fidele Jardinier, ou differentes sortes de parterres tant
de plaine broderie que meslee de pieces a mettre fleurs pour servir
d'instruction a ceux qui se delectent en cest art. Paris, 1636.

Blondel, J. F. De la Distribution des Maisons de Plaisance. Paris,
1737-8.

Boyceau, Jacques. Traite du Jardinage selon les raisons de la nature et
de I'art. Paris, 1638.

Chatillon, Claude. Topographie Fran^aise, etc. Paris, 1648.

D'Argenville, a. J. D. La Theorie et la pratique du Jardinage. Paris,

1713-
De Serres, Olivier. Le Theatre d' Agriculture et mesnage des Champs.

Paris, 1603.

Du Cerceau, Androuet. Les plus excellents bastiments de France. 1576.
The original drawings are in the Print Room at the British Museum.
A re-engraved issue, edited by H. Destailleur. Paris, 1865. A
selection of the original drawings was published by W. H. Ward,
entitled, — French Chateaux and Gardens. London, 1908.

Estienne, Charles. La Maison Rustique. Paris, 1570. EngHsh editions,
1600 and 1616.

FouQuiER, Marcel. De I'art des jardins. Paris, 191 1.

Francois, Jean. L'Art des Fontaines. Rennes. 1665,

Galimard, fils. Architecture des Jardins. 1765.

Langlois, N. Parterres, 23 plans after Le Notre, Le Bouteux, etc.

Le Blond, A. J. B. Engravings of plans for Gardens. 1685.

Parterres de Broderie. 1688.

La Theorie et la Pratique du Jardinage.

Le Clerc, Sebastien. Le Labyrinthe de Versailles. 1679.

3i6 BIBLIOGRAPHY

Le Pautre, J. Nouveaux desseins dejardins, parterres et fassades, Jets d'eau

nouvellement graves par Le Pautre. Several series of Plates, n.d.
LiGER, Louis. Le Jardinier, Fleuriste, et Historiographe. Amsterdam,,

1703.
Mariette, J. Parterres de Broderie. c. 1730.
Marot, Jean. Architecture. Paris, n.d.
MiZAULD. Le Jardinage de Mizauld. Paris, 1578.
Mollet, Andre. Le Jardin de Plaisir. Stockholm, 1651.
NoLHAC, Pierre de, Histoire du chateau de Versailles. Paris, 191 1.
Palissy, Bernard. Recepte veritable, etc. . . . Rochelle, 1563.
Perelle, Adam. Divers Veues et Perspectives des Fontaines et Jardins

de Fontainebel-eau et autres lieux.
QuiNTiNYE, Jean de La. Instructions sur les Jardins fruitiers et potagers

avec un traite des Grangers. Paris, 1690.
RiGAUD, Jean. Recueil choisi des plus belles Vues de palais, chateaux,

maisons de plaisance, etc., de Paris, et de ses environs. Paris, 1752..
RouBO. L'Art du Treillageur. Paris, 1775.
ScHABOL, R. Dictionnaire du Jardinage, 1767.

La Theorie du Jardinage, 1785.

SiLVESTRE, Israel de. Jardins et Fontaines. Paris, 1661.

Vallet, Pierre. Le Jardin du Roy tres chrestien Henri IV. Paris, 1608.

DUTCH GARDENS.

Beudeker, Christoffel. Germania Inferior. A collection founded on Blaeu'^y

Views.
Cause, D. H. De Koninglycke hovenier. Amsterdam, 1676.
CoMMELYN, Jan. The Belgick or Netherlandish Hesperides. 1683.

EngHsh translation by G. V. N.
CoMMELYN,Gaspard. Horti Medici Amstelodamensis. Amsterdam, 1678.
Danckerts, J. Engraved views of Het Loo.
De Cantillon, PhiHppe. Dehces de Brabant et de ses Campagnes,

Amsterdam, 1757.
De Cloet, J. J. Chateaux et monuments des Pays-Bas. Brussels, 1826.
De Groot. Les Agrements de la Campagne. 1750-
De Hogue, Romeyn. Villa Angiana and engraved views of Het Loo.

BIBLIOGRAPHY 317

De Leth, Hendrik. Het zegepralent Kennemerlant. Amsterdam, 1730.

(Engraved views of Dutch Country Seats.)
De Passe, Crispin. Hortus Floridus. Arnhem, 1614. English edition, 1616.
Du ViviER. Le Jardin de Hollande. Amsterdam, 17 10.
GoRis, Gerard. Les delices de la Campagne a I'entour de la Ville de Leide.

Leyden, 1712.
Hartlib, Samuel. Discourse of Husbandrie used in Brabant and Flanders.

London, 1645.
HoLLANDSCHE Arkadia. A scrics of views engraved by A. Rademaker,

C. Pronk, H. de Winter, D. Stoopendaal.
MoucHERON, I. de. Engraved views of Honslaardijk.
NuMAN, H. 24 Vues des Maisons de Campagne situees en Hollande. 1797.
Post, Pierre. Les Ouvrages d' Architecture. Leyden, 171 5. Gives plans

of the Huts Hen Bosch, Szvanenburg, Ryxdorp, Vredenburg, etc.
Rademaker, A. Rhynland's Fraaiste Gezichsten. Amsterdam, 1732.
French Translation (Les plus agreables Vues de Rhynland). Amster-
dam, 1732.

Holland's Tempe vereherelijkt, etc. c. 1730.

L'Arcadie Hollandoise. Amsterdarri, 1730.

Ray, John. Observations on a Journey through the Low Countries. 1673.

Sandremius, Dr. A. Flandria Illustrata. 1641.

ScHENCK, Peter. Many engraved views of Dutch country houses, including

the Loo, Dieren, Zutphen, Duinrel,'Roosendaal.
Smallegange, I\L Cronyk van. Z^eland. 1696.

Springer, L. A. De Oud-Hollandsche Tuinkunst. Haarlem, 1889.
Stoopendaal, D. De Vechtstroom, 1790, and engraved views of Rijswijck.
Valck, G. Engraved views of the Huis-ten-Bosch, and many designs for

garden detail, as treillage, vases, etc.
Van der Groen, J. Le Jardinier des Pays-Bas. Brussels, 1672.

De Nederlmdischen Hovenier.

Van Oosten, H. The Dutch Gardener. London, 1710.

VisscHER, N. La triomphante Riviere de Vecht. Amsterdam, 1719.

• Engraved views of Clingendaal.

Vredeman de Vriese, J. Hortorum viridariorumque elegantes et multi-
plicis formae architectonicae, etc. Antwerp, 1583.

Wierix, Jean, Jerome, and Antoine, Theatrum vitae humanae ; engrav-
ings of gardens in perspective. 1577.

y

BIBLIOGRAPHY

ENGLISH GARDENS BEFORE THE LANDSCAPE SCHOOL.
Amherst, Hon. Alicia. A History of Gardening in England. London, 1896.
Bacon, Francis. Of Gardens (Essays).
Badeslade, T. Thirty-six different views of Noblemen and Gentlemen's

Seats in the County of Kent. London, n.d.
Beeverell, James. Les Delices de la Grand' Bretagne et de I'lrlande

Leyden, 1727.
Blomfield, R., and F. Inigo Thomas. The Formal Garden in

England. London, 1892.
BooRDE, Dr. Andrew. The boke for to Lerne a man to be wyse in buyldyng

of his howse. About 1540.
Campbell, WooLFE and Gandon. Vitruvius Britannicus. 1715-71.
De Caux, Isaac. " Le Jardin de Wilton." c. 161 5; reprinted by

Bernard Quaritch, 1895.

New and Rare Invention of Water-Works shewing the easiest waies

to raise Water higher than the Spring. London, 1659.
De Passe, Crispin. A Garden of Flowers, etc. Utrecht, 161 5.
Elgood, G. S. and Gertrude Jekyll. Some English Gardens. London, 1904.
EsTiENNE and Liebault-Surflet. Maison Rustique, or the Covntrie

Far me. 1600.
Gerarde, John. The Herbill, or generall Historic of Plantes. London, 1597.
Hill, Thomas. The profhtable Arte of Gardening. London, 1568.

See also Mountain.
A most briefe and pleasaunt treatyse teachynge howe to dress, sowe,

and set a garden. London, 1563.
Kip and Knyff. Britannia Illustrata. London, 1707, etc.
Langley, Batty. New Principles of Gardening, or the laying-out and

planting Parterres. London, 1728.
Lawson, William. A new Orchard and Garden. 161 8.
Le Blond. The Theory and Practice of Gardening. Translated from the

French of A. le Blond by John James. London, 1703.
LoGGAN, David. Oxonia Illustrata. Oxford, 1675.

- Cantabrigia Illustrata. Cambridge, 1690.

London and Wise. The Compleat Gard'ner (of J. de la Quintinye).
London, 1699.

The Retir'd Gardener. From the French of le Sieur Louis Liger

of Auxerre. London, 1706.

BIBLIOGRAPHY 319

Markham, Gervase. The Country Housewife's Garden. 161 7.

Maison Rustique ; or the Countrey Farme. London, 1616.

Mawson, T. H. The Art and Craft of Garden-making. London, 1912.
Meager, L. The English Gardener. London, 1670.

The new arte of Gardening. London, 1697.

Mountain, DiDYMUs (Thomas Hill). The Gardener's Labyrinth. London,

1577-

Parkinson, John. Paradisi in Sole Paradisus Terrestris, or a choice
Garden of all sortes of rarest Flowers. London, 1629. Reprinted
London, 1904.

Sedding, John D. Garden Craft, Old and New. London, 1895.

SwiTZER, Stephen. The Nobleman, Gentleman, and Gardener's Recrea-
tion, etc. London, 1715.

Short Instructions very profitable and necessary for all those that
delight in Gardening . . . From the French. London, 1592.

Triggs, H. Inigo. Formal Gardens in England and Scotland. London, 1902.

TussER, Thomas. A hundreth good pointes of husbanderie. London, 1557.

Williams, W. Oxonia Depicta, etc. London, 1733.

WoRLiDGE, John. Systema Horticulturae, or the Art of Gardening.
London, 1677.

GERMAN AND AUSTRIAN GARDENS.

Bocklern, G. A. Architectura curiosa nova. Nuremberg, 1673.
BoETTiCHER,C.G.W. Die Koniglichcn Schlosser und Garten zuPotsdam,i854.
Besler, B-sil. Hortus Eystettensis. 1613,
Caus, Salomon de. Les Raisons des Forces mouvantes. Frankfort, 161 5.

Hortus Palatinus a Frederico . , . Electore . . . Heidelbergae

exstructus. Frankfort, 1620.
Danreiter, F. a. Die Garten Prospect von Hellbriinn bei Salzburg. 1740.
Decker, Paulus. Fiirstlicher Baumeister ; oder, Architectura Civilis.

Augsburg, 1711-1716.
Diesel, Matthias. Erlustierende Augenweide in Vorstellung Herrlicher

Garten und Lustgebaude. 3 vols. Ausburg, 1725.
Elszholz, J. S. Vom Garten-baw. Cologne, 1666.
Grisebach, August. Der Garten : eine Geschichte seiner kiinstlerischen

Gestaltung. Leipzig, 1910.
Hesse, H. Neue Garten-Lust. Leipzig, 171 3.

320 BIBLIOGRAPHY

HoGHENBERG. Hortorum . . . formae. Cologne, 1665.

Jung and Schroder. Das Heidelberger Schloss und seine garten . .

und der schlossgarten zu Schwetzingen. Berlin, 1898.
Xleiner, Salomon. Vera et accurata delineatio omnium Templorum . . .

in urbe Vienna. Amsterdam, 1724-37.

Maisons de Plaisance Imperiales. Augsburg, 1724?

Laurenberg, Peter. Horticultura, Lib. II. Plans of gardens by Merian.

Frankfort, 163 1.
RoYER, Joliann. Beschreibung des gantzen Fiirstlichen Braunschweig-

ischen Gartens zu Hessen. Halberstadt, 1648.
VoLCKAMER, J. C. Niimbergische Hesperides. Nuremberg, 1708-14.
Wolff, J. Fortsetzung erlustierenden Augenweide in Vorstellung

herrlicher Garten und Lust-gebaude. n.d.

SPANISH GARDENS.

Banqueri, Josef Antonio. Libro de agricoltura. 1802.

Fanshawe, Lady Anne. Memoirs. 1766.

Gautier, T. Voyage en Espagne.

Gayangos, Pascuel de. Translations of works of Ahmed Ibn Mahommed

Al-Makkari.
GiRAULT DE Prangey. Souvenirs de Grenade et de I'Alhambra. Paris, 1837.
Herrera, Gabriel Alonso de. Libro di Agricultura. Folio. Toledo, 1546.
Jones, Owen. The Alhambra. London, 1842-5.
Junghandel. Die Baukunst Spaniens. Dresden, N.D. (r. 1894.)
Meusnier, Louis. Veue du Palais Jardins et Fontaine ; d'Arangouesse ;

Maison de Plaisance du Roy d'Espagne. Paris, 1665.
Rusinol, S. Jardins d'Espagne. Barcelona, 1903.
Theatrum Hispanl Amsterdam, 1660.

THE LANDSCAPE SCHOOL IN EUROPE.

Alphand, a. Les promenades de Paris. Paris, 1867-73.

Attiret, J. D. A particular account of the Emperor of China's

Gardens near Pekin. Translated from the French by Sir. H.

Beaumont. London, 1752.
Carmontelle, L. C. de. Jardin de Monceau, Paris, 1779.
'Chambers, Sir William. A dissertation on Oriental gardening. London, 1772.

BIBLIOGRAPHY 321

De Lille. On Gardening. Translated from the French of I'Abbede Lille.

Ermenonville-Malthus. An Essay on Landscape. From the French of

Ermenonville. 1783.
GiRARDiN, R. L. De la composition des paysages sur le terrain, et des

moyens d'embelhr les campagnes autour des habitations, etc.

Geneve, 1777.
Knight, R. P. The Landscape : a Didactic Poem. 1794.
Krafft, J. C. Plans des plus beaux Jardins pittoresques de France,

d'Angleterre, et d'Allemagne. 2 vols. 1809-10.
Laborde, Alexandre de. Descriptions des nouveaux Jardins de la France.

1808-21.
Le Rouge, G. L. Recueil des plus beaux Jardins de I'Europe. 1776-87.
Loudon, J. C. Observations on the formation of useful and ornamental

plantations. Edinburgh, 1804.

Hints on the formation of Gardens and Pleasure Grounds. 181 2.

The Encyclopedia of Gardening. London, 1822.

Mason, G. An Essay on Gardening design. 1768.

Merigot. Promenade ou Itineraire des Jardins d'Ermenonville. Paris, 1788.

Morel, N. Theorie des Jardins. 1776.

Milner, H. E. The Art and Practice of Landscape Gardening. London,

1890.
Repton, Humphrey. Sketches and Hints on Landscape Gardening.

London, 1795.

Observations on the Theory and Practice of Landscape Gardening,

etc. London, 1803.

The two above Reprinted. Edited by John Nolen. Boston, U.S.A., 1907.

■ Fragments on the Theory and Practice of Landscape Gardening.

London, 1817.
Rudder, Samuel. History of Gloucestershire. Cirencester, 1779.
Scott, Sir Walter. On Ornamental Plantations and Landscape Gardening.

{Quarterly Review.) 1828.
Walpole, Horace. Essay on Modern Gardening. 1785.
Watelet, Claude. Essai sur les Jardins. Paris, 1774.
Wheatley, Thomas. Observations on Modern Gardening. 1770.

INDEX TO TEXT AND ILLUSTRATIONS.

leferences in heavy type denote illustrations, and indicate the pages on which they occur. References thuSy
/. 202, are to the collotype plates.

-Abd-er-Rahman I, Sultan of Morocco, 265

Abd-er-Rahman III, Sultan of Morocco, 266, 267

Abu Concind, Moorish architect, 270

Abu-el-Thair, Moorish gardener, 266

Abu Xacer, Moorish gardener, 266

Abu Zacharias, Moorish gardener, 266

Acilius Glabius, his gardens on the Pincian Hill, 10

Addison, on the pleasures of a garden, 288

Aix-la-Chapelle, Charlemagne's Palace and Men-
agerie at, 13, 14

Al Shafrah, Moorish botanist, 285

Albani, Villa, Rome, 44

Alcazar, the, Cordova, 268

Alcazar, the, Seville, 280, 281, 282, 284

Alcinous, the garden of, 2, 3

Aldobrandini, Villa, Frascati 54, 55, 57, 149

Alen(;on, D', on Versailles, 297

Alexandria, gardens at, i

Algeciras, a modern patio at, 286

Alhambra, the, at Granada, 268, 269, 270, 274, 281

Alkmaar, bulb-growers of, 182, 183 ; gardens at, 187

Alices d'eau at Fontainebleau, 113 ; at St. Cloud,
f. 150 ; and see Canals

Alleys or Walks, 85, 172, 173, 210, 222, 223

Ambargalia, the, 13

Amboise, Chateau d', 70

Amboise, Cardinal Georges d', 71

Amelia of Solms, and the " House in the Wood,"
19s, 196

Amicis, De, his Holland, 200

Amphitheatres, see Theatres

Amsterdam, gardens at, 159, 177, 184, 187; botanic
garden at, 201, 202

Ancy-le-Franc, Chateau d', 70

Anet, Chateau d', 70, 74, 77, 121

Angle towers, 238, 241

Anglo-Saxon gardens, 25

Anne, Queen, and Hampton Court, 218

Antium, villas at, 7

Aqueducts, 8

Apuleius, the Herbal of, 12

Aranjuez, Palace of, 283

Arbours, see Summer-houses

Archery Greens, 215

Argenville, D', garden designer, 190

Aristotle, 2

Artois, Comte d', at Maisons, 150 ; at Bagatelle, 306,

307
Athens, Lyceum at, 2
Atkyns, engraver, 231
Atrium, the, 11, 286
Augustus, his gardens, 10
Aumale, Due d', and the Chateau d'Anet, jj
Austrian Gardens, 238 et seq

Avenues, 77-79, f. 150, 152, 174, 188, 218, 248, 274
Aviaries, 5, 11, 25, 81, 160, 245 ; at Villa Borghese,

42 ; at Westerhof, 181 ; an eighteenth centur)-,

182
Babylon, gardens of, 3

Bacon, Essay upon Gardening quoted, 76, 211, 213
Baden, Margrave of, Schloss at Carlsruhe, 258
Badeslade, engraver, 231 223, 224
Bagatelle, Chateau de, 306, f. 306, 307, 310
Bagnolet, Chateau de, 90 k., 121, 306
Baiae, Villas at, 7
Ballin, vase by, 115
Balustrades, 70, 76

Banqueting-houses, see Summer-houses.
Barcelona, botanic gardens at, 285, 386
Barry, Sir Charles, garden designs by, 296
Bathing pools, 8, 15, 16, 163, 213, 279, 282
Beaumont, M., garden designer, 221.
Beauregard, Chateau de, 72, 73
Beckford, Alderman, his Z)/i2/-v quoted, 167, 168, 192
Beckington, The Cedars, 226
Bedding out, 296

Bedford, Duke of, and the Hotel St. Paul, Paris, 22
Belling, Johann, gardener, 247
Beltini, Francesco, his combined English, French

and Chinese Garden, 303-305
Belton House, two ironwork gates, f. 288, sundial at,

230
Bentinck, Count, see Portland
Berlin, Palace of the Kurfurst, 241

INDEX

323

Besler, Basil, apothecary and botanist, 232 ; his

Hortus Eystettensis, 233
Beyer, sculptor, at Schonbrunn, 261
Blaikie, Richard, garden designer, 306, 307
Bleaching grounds, 162
Bois, Chateau de, 70, 72 ; plan, 71
Blondel, Francois, his Architecture a la Mode, 152
Boboli Gardens, Florence, 30, 31, 32, 33, 79
Boccacio, his Decameron, 28
Bocchi, quoted, 32
Boendermaker on the Vecht, 186
Bois-le-Vicomte, Chateau de, 134
Boitard, his L'Art de composer et de decorer les

Jardins, 308
Bologna, John of, sculptor, 32, 33
Boorde, Andrew, his The Boke, etc., 210
Borghese, Scipione, 42
Borghese, Villa, Rome, 42, 46
Borromeo, Count Carlo, at Isola Bella, 61
Bosch-en-Hoven, 183, 184
Boscobel, mount at, 205
Bosquets, Boschetti, or Boschi, 3, 41, 58, 62, 88, 136,

145, 146, 152, 171, 172, 188.
Bosse, Abraham, engraver, 83
Botanic gardens, in Italy, 1 5, 38 ; in France, 79, 1 5 1 ;

in Holland, 201, 202 5 in England, 212, 213 ; in

Germany, 232 ; in Austria, 261 ; in Spain,

285, 286
Bouteaux, Michel, or Le Bouteux, garden designer,

121, 219
Bowers, see Summer-houses

Bowling greens, 135, 142, 191, 215, 223, 225-228
Box edging and scroll work, 8, 51, 69, 99, 126, 165,

184, 218, 277, 279, 283
Boyceau, Jacques, his Trait e du Jardinage, 83, 84, 94 ;

remarks on water, 150
Bramante, architect, 39, 40
Bredby, Derbyshire, 227
Brickwall, Sussex, stewponds at, 213, 214
Bridgeman, garden designer, 224, 228, 289
Brock, gardens at, 200, 201
Brosses, Charles de, on Marly, 139
Brown, Lancelot, " Capability," landscape gardener,

290, 291, 309 ; portrait, 290
Brunswick, gardens of, 241
Bulbs, 3, 4, 182, 183
Buontalenti, architect, 30, 33
Burleigh, Lord, and Gerarde, 211
Burlington, Lord, his villa at Chiswick, 289, 306
Bush, John, landscape gardener, 309

Cabinets de Verdure, jj, 191, and see Summer-
houses
■Cadiz, gardens at, 285
•CafiFaggiuolo, fortress villa at, 30

Caligula, his gardens, 10

Call, Jaa van, Dutch garden designer, 175

Calypso, the garden of, 2

Canals, Egyptian, i ; at Chantilly, 91 ; at Ver-
sailles, 104, 139, 140; at Sceaux, 141 ; at St.
Cloud, 150 ; at Rambouillet, 150 ; at Maisons,
151; at Commercy, 156; Dutch, 166, 167,
177, 199, 200; at Hampton Court, 218; at
Westbury, 222, 223 ; at Nymphenburg, 255 ;
German, 257 ; Moorish, 274

Candid, Peter, garden designer, 242

Canons Ashby, f. 203

Cantillon, De, his V ermakelyhiden van Brabant, 170

Caprarola, Villa, 46, 46, 47, 49

Careggio, villa at, 29, 38

Carlotta, Villa, Cadenabbia, 61

Carlsruhe, gardens of, 258

Carlton House, gardens of, 289

Carmontelle, his Le Jardin de Monceau, 298, 306,

307
Cascades, at Villa Aldobrandini, 54, 55 ; at Villa

Torlonia, 59 ; at Chantilly, 91 ; at St. Cloud,

122, 146; at Marly, 137; Dutch, 192; at

Nymphenburg, 255 ; at La Granja, 284 ; at

Ermenonville, 301; at Bagatelle, 306
Caserta, Palace of, 61
Casinum, Verro's Villa at, 5
Casita, de Abaja, Madrid, 283
Cassel, gardens at, 259
Cassiobury House, 228
Castellazzo, Villa, 61
Castello, Villa, Florence, 33, 79, f. 34
Castle gardens, 17, 23, 25, 163, 164, 165, 171, 172,

204, 233, 234, 233, 239, 241, 245-247
Catherine de Medici, 79-81
Catherine H of Russia, 309
Cato on gardens, 4, 23
Caus, Salomon de, 233, 234, 237-239 ; design by,

235
Cecil, Lord Salisbury, and Hatfield, 207, 217
Chambers, Sir William, his Dissertation on Oriental

Gardening, 292, 295 ; his buildings at Kew,

etc., 295, 296.
Chambord, Chateau de, 65, 70.
Chantilly, Chateau de, 66, 70, 88, 89, 90, 9 1, 93,

121, 126, 299, 300 ; the Temple d' Amour at,

129
Charbonnier, father and son, garden designers, 248
Charites, the, 2
Charlemagne, his palaces, 14
Charles H of England, 121, 218, 221
Charles V of France, 21, 22, 73, 82
Charles HI of Spain, 283
Charles V of Spain, 269, 278-280
Charles XH of Sweden, 156
Charlottenberg, gardens of, 259

324

INDEX

Chartres, Due de, his gardens at Monceau, 300,

306
Chatelet, Marquise de, on Enghlen, 172
Chatsworth, gardens of, 227, 228
Chaulnes, Chateau de, 75
Cheere, lead modeller, 229
Chelsea botanic gardens at, 202
Chenonceaux, Chateau dc, 66, 70, 75
Chilson Manor House, 224
Chinese influence on landscape gardening, 292, 295,

296, 301, 303-305, 310
Chiswick House, 227, 230, 289, 306
Choisy, Chateau de, 134
Cicero, his Villa at Tusculum, 4
Cistern, Lead, v. Leadwork
Civita Vecchia, villas at, 7
Clagny, Chateau de, 121, 123, 135-I37
Clairvoye, The, 177, 205, 223
Claremont, gardens of, 289

Cleeve Prior Manor House, yew hedge, f. 205
Clifton Maubank, garden house at, 225
Clingendaal, gardens at, 175, 199
Clusius, translates Dodoens' History of Plants, 211
Cluyt, botanist, 201, 202
Cobham, Lord, 224, 288
Coke, Thomas, Vice-Chancellor, 222
Colbert, controller of the Royal Palaces, 129, at

Sceaux, 141
Colonnade hydraulique, 1 56
Colour in gardens, 70
Columella, on gardens 4, 23

Commelyn, Jan, botanist, 178, 202; Gaspard, 202
Commercy, Colonnade hydrauliquc at, 1 56
Commines, Chateau of, 23
Como, Lake, gardens on, 61
Conde, Prince de, and Chantilly, 89
Conservatories, 9, 189, 213, 296
Constantinople, Sultan's gardens at, 121
Cordova, gardens of, 265-268, 287 ; and see Alcazar
Cortavilla, Simon Tovar, botanist, 285
Cosimo I, of Tuscany, and Petraja, 34
Conrart, garden of, Paris, 79
Coustou, sculptor, 140
Cowper, quoted, 290

Coysevox, Antoine, sculptor, 93, 100, 140, 149
Creil, Chateau de, 70, 73
Crescenzi, Pietro, his Opiis Riiralmm Comniodonim,

23-25, 28
Crusades, influence of the, 15, 16
Czartoryska, Princess, introduces the English garden

into Poland, 310

Dachau, gardens of, 257

Dal Re, Alberto, his ViJlc di Delizia di Milan, 61-63
Damascus, Plants from, 16, 226; gardens of, 266;
the ghauttah of, 268

Dampierre, Chateau of, 70

Danby, Henry, Earl of, 212, 213

Dangeau, on the Trianon 130

Debucourt, engraving by, 124

Deleuze, quoted, 202

Delices, Voltaire's garden at, 311

Delille, his Des Jardins, 299

Delia Bella, engraving by, 32

Delia Porta, Giacomo, atrchitect, 53, 54, 62

De rOrme, Philibert, architect, 65, 66, 74, 134

Des Hours, Yves, designs the gardens oJF Luneville^

155
Deschamps, sculptor, 300
Desgots, Claude, garden designer, 90, 122
Demetrius, his mviseum at Athens, 2
Democritvis, on Greek gardening, 3
Diane de Poitiers, at Chenonceaux, 66 ; at Anet, 74
Dieren, Huis-te-, William Hi's house at the Hague,

175
Diesel, M., designs the gardens of Schloss Hellbrun,

252
Dionysus, temple dedicated to, 2
Dioscorides, Laguna's translation of, 285
Dodoeus, Rembert, botanist, 211
Domitian, his garden on the Palatine, 10
Dovecotes, 164, 245

Drelhock, de la Court's gardens at, 202
Dresden, Elector's Palace at, 258, 259
Du Cerceau, Jacques Androuet, his Les plus excel-
lents bastiments de France, 65-75, '^5 5 illustra-
tions from, 66, 70, 72, 73 ; gardens designed
by, 81, 90, 145
Duchesne, Andre, his description of Saint-Germain,

83
Dufreny, landscape gardener, 297
Dugdale, Sir William, his engravings, 231
Duperac, designs the gardens of Saint-Germain, 83
Duruse, architect at Clagny, 136
Diisseldorf, the orangery of, 247
Dutch gardening, 159-161, 162, 163-202 ; in Eng-
land, 221

Ecouen, Chateau d', 70, 75
Edward I, 26
Egyptian gardens, i

El-Avram, Ebu, his works on gardening, 266
El-Hadj of Granada, gardener, 266
Elizabeth, Queen, her love of flowers 204,
English gardens, 25-27, 203 et seq. ; and see Land-
scape
Enjhien, Castle of the Due d', 172, 173, 174
Erasmus, his Colloquies quoted, 159
Erlach, Fischer von, architect, 260
Ermenonvllle, Chateau d', 301, 302
Escurial, The, 61, 282, 283 ; courtyard garden, 285
Esher Place, 228, 289

INDEX

325

Este, Cardinal, Ippolito d', 40, 49, 50

Este, Villa d', at Tivoli, 49, 50, 53

Estienne, Charles, physician, 66, 160, 162 ; his

La Maison Rustique, 69, 215, 216
Evelyn, John, quoted, 53, 54, 57, 82 ; gardening

works, 221, 222

Faglietta, Uberto, quoted, on the Villa Pia, 50

Falconiere, Villa, Frascati, 58

Falda, his / Giardini di Roma, 41, 44, 45

Fanshawe, Lady, at Aranjuez, 283

Farnese, Cardinal Alessandro, 46

Farnese, Cardinal Odoardo, 49

Farnese, Villa, 40, 49

Ferdinand of Spain, 268

Ferrari, his De Floriim Cuhura quoted, 37, 38

Fish-ponds, and stewponds, 18, 24-26, 167, 177, 199,
205, 213, 214, 222

Fitzherbert, Sir Antony, his Boke of Hiisbaiidrie, 210

Florence, gardens of, 28-39

Flower beds, 3, 8, 21, 204, 205

Flower garden, the, 16

Flowers, in Greek and Roman gardens, 3-7 ; in
Medieval gardens, 16, 24 ; grown for ornament,
74, 130; for perfume, 130, 2095 in France,
136; in Holland, 159, 182, 202, in English
gardens, 204, 207, 208 ; in Spain 266

Fontainebleau, 65, 70, 134, 148, 145 ; plans of,

66, 67, 112-113, 144-5; '^^"'''1 3^ 145 ;

orangery, 144 ; parterres, 141

Fontana, Carlo, architect, 61

Fontana, Giovanni, architect, 54, 55

Fortifications, gardens on, 242

Fountains, Roman, 8, 1 1 ; Medieval, 17, 18, 19 ; at
Florence, 30, 31 ; by II Tribolo, 35 ; at Villa
Borghese, 42, 45 ; at Caprarola, 47, 49 ;
at Villa d'Este, 53 ; at Villa Torlonia, 59 ;
at Villa Carlotta, 61 ; at Verneuil, 69 ; at
Gaillon 70, 72 ; at the Luxembourg, 81, 82 ;
at Versailles, 94, 97, 100, 103, 104, 105, 1 07,
109, 1 10, 116, 117 ; at Trianon, 130, 133, 300 ;
at Meudon, 134, 135, 136 ; at Fontainebleau,
144, 141, 142; at St Cloud, 145, 149; at
Liancourt, 152; Dutch, 159, 164, 166, 172,
191, 192 ; English, 206, 209 ; German, 245,
251, 258, 261 ; Moorish, 265, 267, 269, 270,
275, 277, 279, 280, 281 ; Spanish, 282, 283,
284

Fouquct, his chateau of Vaux-le-Vicomtc, 87-89, 94,

Fragonard, his Fete de St Cloud, 146
Francini brothers, fontaniers, 65, 83, 94
Francis I, Emperor, and Schonbrunn, 261
Francois I of France, his encouragement of garden

design, 65, 66, 83, 145, 204
Frankfort, the Swindscher garden at, 243

Frascati, gardens near, 51-58
Frederick the Great, 259, 260
Frederick William IV, 308
French gardens, 20, 21, 65-156
Frey, artist, 310
Fruit gardens, see Orchards
Furniture, Garden, 18, 188

Furttenbach, Joseph, his Architectura Recreationis
et Privata, 234, 237, 238, 239

Gaillon, Chateau de, 70, 72, 81 ; plan, 71

Galleries, 21, 72, 74, 161, 163, 166, 167, 173, 205

Gambara, Cardinal, his gardens at Villa Lanti, 49

Gamberaia, Villa, 34

Garda, Lago di, 61

Garden houses, see Summer-houses.

Garlande, John de, his garden in Paris, 26

Garlands, 3, 4, 13

Gates, I

Gauthier, M. P., his Lcs plus beaux edifices de la ville
de Genes, 62

Gautier, 277 ; quoted, 287

Gazebo, see Summer-houses

Gemmingen, John de. Bishop of Eichstatt, his col-
lection of plants, 233

Genbach, gardens at, 262

Generaliffe, the, Granada, 273, 274-281 ; plan, 266,
272 ; Fountain in the garden, 267 ; Cypress
Avenue, 274 ; Garden of Zoraya, 275 ; Patio,
277 ; Head of the Water Garden, 278 ;
Cypress Arbour, 279

Geneva, gardens at, 311

Gennevilliers, landscape garden at, 306

Genoa, villas near, 62

Geoponica, The, 3

George, Prince of Wales, 289

Gerarde, John, portrait, 210; his Herbal, 211

Gerarden, or Gerardin, Marquis de, his La Com-
position des Pay sages, 298, 301, 302

German gardens, 232 et seq. ; 233, 238, 262

Gervais, Louis, garden designer, 155

Gessner, Salomon, his Idylls, 299

Giessen, botanic garden at, 232

Girardon, Francois, his fountains at Versailles, 104,
109

Giraud, Sieur, garden designer, 254, 257, 261

Gitard, Daniel, architect, 90

Gomboust, his Plan of Paris, 78, 79, 80

Goncourt, de, quoted, 45

Gori, Villa, Siena, 57, 58

Gothen, Castle of, tilt yard at, 245

Goujon, Jean, arachitect, 65

Gould, English gardener, 309, 310

Graces, The, 2

Grahme, Colonel James, of Levens Hall, 221

Granada, 268-278 ; and see Alhambra, Generaliffe

326

INDEX

Greek gardens, 2, 3

Greenhouses, see Conservatories

Greenwich Park, 121, 233

Grimani breviary, the, 18, 24, 25, 27

Grimsthorpe, bowling green at, 228

Groen, Jan van de, his Nederlandsche Hovenier, 175,

176
Groningen, botanic garden at, 202
Groombridge, Manor House at, 222
Grosbois, Chateau de, 134
Grosseteste, Bishop of Lincoln, 26
Grottoes, 34, 42, 46, 49, 54, 81, 83, 94, 146, 156, 192,

,234
Guisborough, bowling green at, 228
Gunterstein, gardens at, 176, 199
Gustavus III, his English garden at Haga, 311

Haarlem, 182, 184, 187, 189, 248; Gazebo near,

177 ; Country-house near, 179
Hadrian's Villa, 8, 9
Haga, English garden at, 311
Hague, The, gardens at or near, 175, 176, 184, 192,

196, 221
" Ha-ha," the, 205
Hameau, 299
Hampton Court, 121, 175, 183, 205,206,215,217;

its orange trees, 178, 191 ; terrace, 209 ; avenues

and canals, 218 ; parterre, 219 ; vine, 290
Hanging gardens, 21
Harrewyn, artist, 163

Harris, Dr. W., his discription of the Loo, 191
Hatfield House, 207, 217

Haudebourt, his restorations of Pliny's Villa, 5, 6
Hedges, 8, 24, 28, 234

Heidelberg, Castle of, 233, 234, 237, 246, 247
Hellbrunn, Schloss 252, 253
Henri H of France, 66, 134
Henri IV of France, 65, 66, 77, 83
Henriette d'Orleans, and St. Germain, 142
Henry III of England, and Woodstock, 26
Henry VIII of England, influence on garden design,

204-206
Henry, Prince of Wales, 233
Hentzner, quoted, 206
Herb, gardens, 23, 159, 160, 204, 245
Herbals, 12, 211
Herbularis, see Physic garden
Herculaneum, 11
Here, Emmanuel, architect, 156
Herrenhausen, 196, 248-252 ; orangerj-, 247 ;

Castle and gardens, 249
Hesse, Prince of, 259
Hessen, Castle of, 242, 245
Hill, Thomas, his Profitable Arte of Gardening, and

Gardener's Labyrinth, 210, 211
Hippodrome, The, 7

Hirschfeld, quoted, 232, 311
Hoghton Tower, leaden statue at, 229
Hollar, Wenceslaus, engraver, 163
Holyrood Palace, 230, 231
Homer, quoted, 2, 3
Honsholredyk, gardens at, 176
Honslaerdyk, gardens at, 192, 193, 221
Hooghe, Remain de, engraver, 172
Horace, 4

Hothouses, see Conservatories
Houel, Nicholas, botanist, 79
House-in-the-Wood, see Huis-'ten-Bosch
Huis-te-Dieren, 175

Huis-'ten-Bosch, the Hague, 176, 192, 194, 195, 196
Hydraulic organs, devices and surprises, see Water-
works

II Tribolo, see Tribolo

Impluvium, the, 11

Ingelheim, Charlemagne's Palace at, 13

Ironwork, 89

Irving, Washington, quoted, 270, 281

Island gardens, 165, 172, 173

Isola Bella, gardens of, 61, 63

Italian gardens, 28-63 ; in England, 296

James, I, 207, 212, 217

James II, 142

Japanese gardens, 199

jfeu de bague. The, 300

Joan the Mad of Spain, 279 ; Bath of, 282

John Frederick, Duke of Hanover, 248

John of Bologna, sculptor, 32, 34

Jones, Inigo, architect, 212

Joseph II, Emperor, 261

Julius IV, Pope, 40

Julius Caesar, 7, 10

Kaempfer, quoted, 199

Karl Ludwig, Prince of Pfalz, 247

Karl Theodore, Elector, 247

Kasteel van Tervueren, garden at, 170

Keller, Brothers, bronze casters, 100

Kennemerlant (district near Haarlem), The, 187

Kensington Gardens, 290

Kensington Palace, Parterre at, 220

Kent, William, architect and gardener, 218, 289-291,

298
Keulen, Albrecht van, writer, 17
Kew, 293, 295, 296, 306 ; Temple of ^olus

at, 297
Kielmannischer Garten, near Vienna, 238, 241
Kinross House, 227

Kip, views by, 218, 219, 223,227, 231
Kitchen gardens, see Herb gardens
Kleef, Lime Tree Arbour at, 200
Kleiner, Salomon, engravings by, 262

INDEX

327-

Knole Park, 228

Knots, 205, and see Parterres.

Koniglyck Hovenier. De, 176, 183

La Bossier, garden near Geneva, 311

La CailJe, Andre de, physician, 78

La Court, Pierre de, his gardens at Dreihock, 202

La Grange, near Geneva, 311

La Granja, palace of, 283-285

La Meutte, Chateau de, 152, 153

La Pointe, his plan of the parterre at Versailles, 99

La Quintinie, gardener, 90

Laborde, Alexander, his Description des nouveaux

jardins de la France et de ses Chateaux, 307, 308,

309
Labyrinths or Mazes, 8, 21, 141, 173, 191, 192, 199 ;

at the Tuileries, 81 ; at Versailles, 113, 114 ; at

Fontainebleau, 184; at Seville, 280
Laguna, Dr., quoted, 285
Lancelotti, Villa, Frascati, 51 ''
Landscape or English Gardening, 225, 246, 288 ; in

France, 297 et seq. ; in Germany, 308
Langier, his Essai sur V Architecture, 298
Langley, Batty, on formal gardens, 225
Lante, Villa, Viterbo, 49, f. 47 ; plan of, 47
Laurentine Villa, Pliny's, 5, 6
Lausanne, gardens near, 311
Lawson, William, his A Nezv Orchard and Garden

quoted, 205, 209, 216
Laxenbourg, English garden at, 308
Lazienski, palace of, 262, 263
Le Barbier, picture by, 120
Le Blond, remarks on water, 150; designs Peterhof,

309

Le Bouteux, see Bouteaux

Lc Brun, Charles, sculptor, 86 ; his work at Ver-
sailles, 104, 109 ; at Marly, 140 ; at Sceaux,
141 ; at St Cloud, 149

L'Ecluse, botanist, 201

Le Comte, sculptor, 113

Le Gros, sculptor, 113

Le Hongre, sculptor, 100 107

Le Manse, water engineer, 90

Le Notre, Andre, garden designer, 61, 75, 83, 124,
125, 140, 152, 155, 284; account of, 86-117;
portrait, frontispiece ; at Vaux-le-Vicomte, 87-
89 ; at Chantilly, 89 ; at Versailles, 89-104, 1 10-
113, 117; his style and influence, 121, 156,
170, 171, 174, 177, 187, 193, 218, 221, 232, 262 ;
his parterres, 125; at Meudon, 134-136; at
Sceaux, 141 ; at St. Germains, 142 ; at Fontaine-
bleau, 145 ; at the Tuileries, 145, 146; at St.
Cloud, 146; at Rambouillet, 151

Le Pautre, garden designer, 123, 149

Le Rouge, publisher, 303, 306

Le Sueur, artist, 86

Leadwork, 1 10, I15, 228, 229, 230, 246
Lechmere, Judge, his garden house at Severn End,-

227
Lees Court, Kent, 223
Leipzig, botanic garden at, 232
Leland, quoted, 205
Leminlus, Levimus, quoted, 209
Lescot, Pierre, architect, 65
Lespignola, sculptor, 100, 113
Leth, Hendrik de, his Het zegepralent Kennemerlanty-

187
Levens Hall, gardens at, 221
Leyden, flower culture at, 183; gardens at, 184;.

botanic garden of, 201, 202
Liancourt, Chateau de, 152
Liebault, Jean, his La Matson Rustique, 69, 216
Liechenstein, Prince, his garden at Vienna, 261
Liger, Sieur Louis, his Le Jardiner Solitaire, 222
Ligue, Prince, de, quoted, 302, 303
Ligorio, Pirro, architect and garden designer, 40, 41,,

. .5°'. 53, 62
Lilliputian gardens In Holland, 200
Linderhof, Castle of, 257
Lippe, Annibale, architect, 41, 62
Lisle, de, French garden designer, 259
Lobel, Matthias de, botanist, 217
Loggie, 7, II, 44, 46
London, George, landscape gardener, 218, 223^

288
London, medieval gardens of, 26-7
Long Acre, Parkinson's garden in, 212
Long Melford Hall, Garden-house in Moat, 226
Loo, Het, gardens of, 171, 173, 176, 177, 178, 191,-

221
Loppin, fontanier, 134
Lorraine, Cardinal Charles de, 134
Lotel, his Histoire des Plantcs, 182
Lothen, Schloss, 245, 253
Lotto, Lorenzo, picture by, 28, 29
Loudon, John, botanist, 173, 182, 202 ; quoted, 262^

308-310
Louis XIH, of France, "jj, 84
Louis XIV, 65, 84, 297 ; and Le Notre, 88, 89 93,

94; and the Trianon, 126, 130, 133; and.

Meudon, 134; and Clagny, 135; and Marly,

139 ; and St. Germain, 142 ; and St. Cloud, 146 ;.

at the Tuileries, 146
Louis XV, 133, 140
Louis XVI, 140, 150, 151
Louis Elizabeth, Madame, 155
Louvois, Marquis de, and Meudon, 134
Louvre, The, 70, 85, 93
Lucullus, his gardens, 4
Ludenbourg, palace of, 308
Luneville, Chateau de, 155, 156
Lusthelm, palace of, 257, 258

328

INDEX

Luststuck at Herrenhausen, 248
Luxembourg, The, 79, 80, 81, 82, 196
Lyceum, Athens, 2
Lycurgus, his plantations at Athens, 2

Machlavelli, Niccolo, 39

Madama, Villa, Rome, 40

Madrid, gardens at or near, 282, 283, 286

Madrid, Chateau de, 70, 75, 307

Maecenas, his Villa at Rome, 9

Maerland, Jacob van, his De Natiiren Bloenie, 17

Maggiore, Lago di, 61

Maintenon, Madame de, at Sceaux, 141

Maison de Dedale, a labyrinth, 21

Maisons, Chateau de, 150, 151

Mall, The, at Enjhien, 174, at Nymphenberg, 255

Malmaison, Chateau de, 306, 308

Mannepall, country-house at, 187

Mannheim, gardens at, 247, 248

Mansart, J. H., architect, at Versailles, no, 114, 124,

125, 129, 133 ; at Marly, 136, 140 ; at St Cloud,

145, 146, 149, 150 ; at Maisons, 150
Marcus Lucretius, his house at Pompeii, 10
Marie Antoinette, and Marly, 140 ; at Maisons, 150 ;

and the Trianon, 300, 301
Marie de Medici, and the Luxembourg, 79, 82, 196 ;

at the Tuileries, 86
Markham, Gervase, his The Country Housezcife's

Garden, 69, 216
Marlia, Villa, Water Garden, f. 34
Marly, Chateau de, 121, 134, 136, 137, 138, 139,

140, 232
Marnezia, his La Nature Champetre, 299
Marot, Daniel, garden designer, 174, 175, 177
Marquette, Chateau de, 188
Marsy, sculptor, no
Martial, quoted, 9
Mary II, Queen, 19a, 218, 221
Mascall, Leonard, writer on gardening, 210
Masretier, gardener, 311
Matarazzo, quoted, 39
Max Emmanuel, Elector, 254
Maximilian, Elector, 242
Maximilian 11, 260
Mayeline, fountain by, 1 33
Mazes, at Fontainebleau, 146 ; at Seville, 280 ;

and see Labyrinths
Medici, Coslmo di, 29, 30, ^4
Medici, Eleonora dl, 30
Medici, Lorenzo di, 38, 39
Medici, Pier Francesco di, 33
Medici, Villa, Rome, 40, 41
Melbourne Hall, leaden groups at, 222, 229
Menagcr de Paris, The, 21
Menageries, 14, 39, 81, 104, 192, 261
Merciire de France, The, 135

Mercure Galant, The, 136, 141
Merestein, moated house at, 188
Mereville, landscape garden at, 304, 305
Merian, Matthew^, his engravings, 81, 183, 240, 242,

Merovingian villas, 13

Meudon, Chateau de, 121, 134, 135, 136, 155

Metz, GuIUebert de, his description of Paris, 21

MichelozzI, MIchelozzo, architect of Careggio, 29

Middachten, gardens at, 199

Middle Ages, gardens of the, 13-27

Mignard, artist, 86

Mignaux, gardens at, 297

Milan, villas round, 61

Migue, arthltect, 300, 301

Mirabell, Schloss, 248, 251, 252

Mirador, The, Granada, 274

Mizauld, Andre, his works on gardening, 78

Moats, 23, 46, 152, 164 187, 188, 239, 241

Mollet, the elder, gardener, 74, 77

Mollet, Andre, gardener, son of Claude, 77,

248
Mollet, Claude, I ; garden designer; 77, 78, 81, 83
Mollett, Claude, 2; gardener, son of Claude, I, yj
Monasteries, gardening in, 12-15, ^Sj ^6, 203
Monceaux, Chateau of, yj, 300, 306, 307
Mondragone, Villa, 55, 58, 134
Montacute, gardens at, 206, 209
Montagu, Wortley, quoted, 184, 185
Montaigne, quoted, 53
Montargis, Chateau de, 70, 72, JT,, 74
Alonte Cassino, Monastery of, 15
Montespan, Madame de, and the Grand Trianon,

126;- and Clagny, 135
Montmorency, Anne de. Constable, and Chantlllv,

66, 89
Monuments, garden, 304, 311
Moor Park, Herts, garden of, 218
Moorish gardens in Spain, 264, et seq.
Moreau le jeune, pictures by, 139, 148, 151
Morel, J. B., his Theorie des Jardins, 301
Morfontaine, aviary at, 303
Mottoes on Gazebos, 178, 181
Moulin Joli, Le, Paris, 302, 303
Mount St Winibald Monastery, 233
Mounts, 41, 169, 172, 192, 204, 205, 245
Moxon, translates de Caus' work, 234
Munich, gardens at, 242, 245, 253, 30S ; and see

Nymphenburg
MutI, Villa, Frascati, 58
Myrtle, Hedges, 283

Naples, gardens of, 58

Nasr, King, 285

Neckham, Alexander, Abbot of Cirencester, 26

Nesle, gardens at, 75

INDEX

329

Netherlands, garden design in the, 159 et seq.
Nolhac, Pierre de, quoted, 109
Nonsuch Palace, 206, 217
Nost, van, lead modeller, 229
Nun Moncton, garden house at, 226
Nurseries, 160
Nyniphaeiim, The, 8

Nymphenburg Palace, Munich, 25^, 254, 255, 257,
261, 308

Olivieri, Orazio, engineer, 53, 54

Olympia, Temple to Dionysius at, 2

Ommeyades, The, 267

Orangeries, at Versailles, no, 1 12, 11^, 117; at

Meudon, 134-136; at Fontainebleau, 144 ;

at Liancourt, 152; Dutch, 173, 174, 176 178,

187, 188, 191, 199 ; English, 227, 228 ; German,

238, 247 ; at Cordova, 265
Oranienbaum, Park of, 309

Orbay, D', garden designer at Fontainebleau, 145
Orcellari, Orti, Florence, 39
Orchards, 14, 15, 23, 199, 245
Organs, Water, 53, 54, and see Waterworks
Orleans, Duchesse d', and La Chapellc, 306 ; and

see Henriette
Oxenhoath, Gazebo at, 225
Oxford, New College, 204 ; St. John's College, 207 ;

Botanic Garden, 212

Padilla, Maria di, her bathing pool at the Alcazar,
Seville, 279 ; her parterre, 281

Padua, botanic garden at, 201, 212

Pagodas, 225

Palais Royal, Paris, 124, 152

Palisades, i, 4, 89, 135, 136

Palissy, Bernard, 66, 78, 81, 183 ; portrait, 75 ; his
Recepte Veritable, 75~77

Pallavicini, Villa, Frascati, 58

Palmieri, Villa, Florence, 28

Pamphili Doria, Villa, 44, 45

Paradeisoi, The Persian royal gardens, 3

Paris, town gardens, 21, 78 ; Champs Elj'sees, 146,
202

Parkinson, John, 210-212, 217; portrait, 211

Parma, Margaret Duchess of, and the Villa Madama,
40

Parterres, different varieties defined, 125, a brodcrie,
77, 78, 79, 82, 84, 85, 90, 94, 123, 135, 141, 142,
145, 152; a Vanglaisc, 123; English, 190, 209,
219, 220; Dutch, 161, 162, 166, 169, 181,
183; German, 233, 245, 249, 251, 258

Parterres d'eau, see Water gardens

Passe, Crispin de, his //or/M^ f/orzV;«, 165, 166

Patios, 265, 268, 269, 277, 286, 287

Pattes d'oie, 90

Paulowsky, Palace, 309

Pavia, Certosa, 14

Pavilions, see Summer-houses

Pedro el Cruel, 279

Peeters, artist, 163

Penshurst, Place, fishponds at, 214

Percier, architect, 46

Perelle, engraver, 93, 99, 123, 145

Pergolas, 7, 12, 24, 28, 62

Peristyle, The, 11

Perrault, Claude, his Allee d'eau at Versailles 104;
at Sceaux, 141

Peruzzi, artist, 39

Peterhof, garden at, 309

Petersfield, leaden figure at, 229

Petraja, Villa, Florence, 33-35, 37

Pfalz, Counts of, 247

PhiHp II of Spain, 283, 285

Philip V of Spain, 284, 285

Physic gardens, 14, 42, 43, 7}, 1 59-1 61

Pigeon towers, see Dovecotes

Pindar, quoted, 4

Pinturicchio, painter, 28

Pitti Palace, Florence, 30, 79, 82

Pleaching, i, 29, 190, 191, 214, 215

Pliny, his villas, 4-7 ; his writings, 12 ; 26, 28, 41

Plutarch, on Lucullus' gardens, 4

Poggio a Cajano, Lorenzo di Medici's Villa at, 38

Poland, garden design in, 262

Pompadour, Madame de, and the Grand Trianon,
130

Pompeii, House of Sallust, 9, lO ; houses of Marcus
Lucretius, 10; Nymphaeum, II; Roof gar-
dens, II ; atrium, 286

Pope, Alexander, on formal gardening, 218, 288 ; his
Villa at Twickenham, 289

Portland, Duke of, his house at Sorgvliet, 192, 195

Post, Pierre, architect, 196

Potemkin, Prince, his gardening extravagances, 309,
310

Pots for plants, 18, 76, 5^^ also Vases

Potsdam, gardens at, 259

Poussin, Nicolas, sculptor, 89

Powis Castle, The Terrace, 208

Praeneste, its roses, 7

Pratolino, Villa, 79

Primaticcio, painter, 65

Pulhawa, landscape garden at, 310

Puhinus, The, 8

Pyrtaneum, The, 8

Quickset hedges, 159, 207
Quincunxes, 8, 146, 187
Quirini, garden designer, 248

Rademaker, his Maison de Plaisance, 187

330

INDEX

Rainaldl, architect, 42

Rambouillet, Chateau de, 150, 151

Raphael, his designs for gardens, 39, 40

Ratisbon, botanic gardens at, 232

Redelyk, Madame, her country-house of Tulpen-

burg, 189 190
Regnaudin, sculptor, 100

Regnard, his design for the Tuileries, 145, 146
Remier, Jacob de, engraver, 192
,Repton, Humphrey, landscape gardener, 291, 292 ;

portrait, 292
Reux, Chateau de, 75, 84

Riairio, Cardinal, his gardens at Trastevere, 40
Riat, Monsieur G., on Kent's theories, 298
Richard (father of Claude), English gardener at

Trianon, 300, 306
Richard, Claude, gardener at Trianon, 301, 306
Richmond, royal gardens at, 233, 306
Riviera, The Italian, 62
Rivieres d'eau, see Cascades
Robert, Hubert, painting by, 118
Rock shelters, 76
Rockingham, mount at, 205
Romaineville, landscape garden at, 306
Roman, Jacques, garden designer, 174, 175
Roman gardens, 4-12, 39-46
Romaunt de la Rose, fifteenth century MS., 17, 19,

21, 22
Rome, model of, 10, 53
Ronda, Patio at, 287
Roof gardens, 11
Rosarium, The, 8
Rose, John, 221
-Rosemary hedges, 8, 184
Rosendaal, gardens at, 199
Rosso, II, architect, 65
Roubillard, Claud, fontanier, 89
Roubo, his L'Art Du Tretllageur, 125
Rousham, Oxon, gardens designed by Kent, 289
Rousseau, J. J., his influence on gardening, 297, 298,

301
Rowlandson, drawing by, 289

Rubens, P. P., designs the Fontaine de Medicis, 8x
Rucellai, Bernardo, his Orti Orcellari, 39
Rueil, Chateau de, 87
Ruffini, Cardinal, his Villa Falconierl, 58
Ruines des plus beaux monuments de la Grece, Les, 298
Rumford, Count, introduces English gardening at

Munich, 308
Rupelmonde on the Vecht, 175
Russia, gardens in, 309
Ryswyck, gardens at, 176, 192, 196, 197
Ryxdorp, gardens at, 196

:St. Catherine's Court, bowling green, 214; terrace,
215

St. Cloud, Palace of, 134, 147; cascade at, 122,

145, 146; the Jet d'eau at, 149; the Allee

d'eau at, f. 1 50
St. Cyr, Chateau of, 153
St. Denis, Abbey of, 79
St. Gall, Abbey of, 14 ; plan, 15
St. Germain-en- Laye, 65, 70, 77, 82, 134, 142;

parterres, 78, 85, 144 ; plan, 83 ; terrace, 142
St. James' Park, 121, 221
St. Maur, Chateau de, 121, 134
St. Petersburg, gardens at and near, 309^
St. Pierre, B. de, his Etudes de la Nature, 298
Saint Simon, on Marly, 139 ; on Maisons, 150
St. Willibald, Monastery of, 233
Salisbury, Lord, see Cecil
Salvador, Jaime, botanist, 285
Salzburg, Mirabell Schloss at, 252, 253
Sampierdarena, villas and gardens at, 62
San Gallo, Giulio di, his designs for gardens, 38-40
San Juan d'Espe, botanic gardens at, 285 ,|

Sandremlus, A., his collections of engravings, 163
Sands, coloured, use of, 85, 166
Sans Souci, palace of, at Potsdam, 258-260, 308
Sarrazin, Jacques, sculptor, 104
Sauval, his description of gardens in Paris, 21
Savage, English gardener In Poland, 310
Saxony, Elector of, 232
Sceaux, Chateau of, 121, 134, 141, 143, 142
Schlaumwerth, topiary work at, 245
Schleissheim, Palace of, 257, 258
Schlosshof, Palace of, 260
Schonborn, Count of, his gardens, 262
Schonbrunn, Palace of, 155, 259, 260, 261
Schott, Van der, Dutch garden designer, 261
Schwartzenburg, Prince, his gardens at Vienna, 261
Schwetzingen, Castle, 264, 247
Schynvoet, Simon, garden designer, 174, 175 ;

portrait, 172
Sckell, Louis, landscape gardener, 308
Screens, 19, 234, 243
Scudery, Mile, de, her Clelie, 79
Sculpture, 10, 18, 34, 41, 46, 49, 66, 82, 99, lOI,

107, 109, 113, 117, 149, ^77
Seats, 18, 19, 21, 22, 188
Sedding, J. D., his Garden Craft, 211
Segur, Marquis de, his Chateau of Romaineville,

306
Selgnelay, Marquis de, and Sceaux, 141
Sergardi, Villa, Siena, 58
Serlio, Sebastian, architect, 65
Serres, Olivier de, horticulturist, 77, 183, 216
Severn End, The Judge's Study at, 227
Sevlgne, Mme. de, quoted, 136
Seville, gardens of, 265, 278, 279, 287
Shrublands, Barry's designs at, 296
Sicily, gardens In, 58

INDEX

33]

Sidonius ApoUinarlus, Bishop of Clermont, on
Gallo-Roman gardens, 13

Siena, villas at, 57, 58

Silver balls, use in Dutch gardens, 200

Silvestre, Israel, his engravings, 82, 94, 95, 135

Sittich, Archbishop Marcus, and Hellbrunn, 252

Skittle Swing, a, 254

Smith, Sir J. E., on the Botanic garden, Leyden, 202

Soetendaal on the \'echt, 189

Solaria, 1 1

Somerset House, gardens of, 233

Sorgvliet, Chateau of, 192, 195

Spanish gardens, 263 et seq.

Stanislaus I of Poland, 155, 262

Stanislaus Augustus of Poland, 262

Staunton Harold, bowling green at, 228

Steckhoven, Adrian, gardener, 261

Storks' nests, 166

Stowe, Lord Cobham's seat at, 224, 288, 289, 290

Strabo, on the early Britons, 25

Stuttgart, Castle Garden at, 239

jSubiaco or Sublaqueum, villas at, 7

Summer-houses, Arbours, Banqueting-houses, Gar-
den-houses, Gazebos, Pavilions or Triclina
formed of masonry, 9, 133, 169, 170, 177, 178.
206, 225, 226, 242 ; of wood or trellis, 11, 12
21, 24, 74, 81, 295, 296 ; in rocks, 76 ; Greek
and Roman, 9, 11, 12; medieval, 17, 21, 24
French, 69, 73, 74, 76, 81, 123, 152; Dutch
161, 162, 168, 169, 170, 177, 178, 187, 200
English, 206, 215, 225, 226; 295, 296
German, 242, 245 ; Moorish, 279

Sundials, 176, 230, 231

Surflet, Richard, his translation of La Maison
Rustique, 69, 215, 216

Sutton Place, Old Garden-house, f. 226

Swanenburg, gardens at, 196

Swanstead, orangery at, 228

.Sweden, gardens of, 156, 310, 311
Switzer, Stephen, his Ichnographia Rustica, 223, 224,
231, 288

Switzerland, gardens of, 311

Tarquinius Superbus, his garden, 4

Taurida Palace, 309, 310

Temple, Sir William, and the gardens at Aloor Park,

218
Temples, 2, 173, 188, 225, 289, 297, 298, 304, 305
Tents, 16

Terraces,' 11, 44, 46, 83, 169, 209, 215, 237
Theatres, garden, 31, 32, 55, 57, 58, 146, 155, 188,

189, 227, 248, 251, 253
'Theatres d'eau, 53, 54, 57, 58, 88, 102, 103, 145
Theobalds, its garden described, 207
Theophrastus, his Museum at Athens, 2
Thompson, his Seasons, 298

Tiltyards, 245

Tivoli, near Rome, 7

TivoH, near Paris, 299

Toledo, 265 ; water kiosk at, 267

Topiary work, 8, 17, 30, yj, 120, 133, 162, 173, 176,

183, 184, 191, 192, 199, 200, 207, 224, 245;

parterre of, 196
Torlonia, Villa, Frascati, 58, 59, 149
Tower of London, Royal garden at the, 26
Torus, The, 8

Town gardens, 10, 152, 200

Tradescant, John, gardener, 216; portrait, 217
Treillage, or Trellis-work, i, 12, 19,21,24,29,30,

81, 93, 117, 123, 124-126, 129, 141,184,189,

209, 245, 251
Trentham, its gardens designed by Barry, 296
Trianon, the Grand, 123, 126, 127, 129, 130, 131,

133, 134; Fountain at, f. 130, Basson de

Trianon, f. 134
Trianon, Petit, 126, 133, 299, 3065 Hamlet at,

299, 300, 301
Tribolo, II, designs the Boboll gardens, 30, 34, 35
Triclinia, 8, 9

Trumel, Antoine, gardener, 89
Tsarkoi-Selo, Palace of, 309
Tuby, sculptor, 99, 100, 109
Tuileries, The, 70, jj, 80, 81, 86, 145, 306; plan,

97 ; parterre, 85, 142
Tulpenberg, Chateau of, 190
Tunnels, 168, 169
Tusser, Thomas, his A hundreth good points of

husbandrie, 210, 211
Twickel, garden at, 199
Twickenham, Pope's Villa at, 288

Ulm, botanic garden at, 232 ; Furttenbach's garden
at, 239

Valencia, gardens in, 286

Valkenborch, painting by, 233

Vanbrugh, Sir John, his plan of Stowe, 289

Vansanzio, Giovanni, architect, 42

Vanweerden, artist, 163

Varese, villas near, 61

Varro, his De Re Rustica, 4, 5, 23, 38

Vasari quoted, 29, 30

Vases, 46, 62, 115, 149, 230, 237

\'atican gardens, 8, 38, 39, 40 ; Villa Pia, 37, 50

Vauquelin des Yveteaux, gardens of, 74

Vaux-le-Vicomte, Chateau of, 87, 88, f. 88, 89, 94,

121, 134
\'echt, villas on the, 175, 186
Vegetable gardens, see Herb gardens
Velasquez, his picture of Aranjuez, 283
Velsen, garden chair at, 188
Venne, A. de, his garden, 167

332

INDEX

Vergers, see Castle gardens

Vermakhoven or pleasure yards, 159

Verneull, Chateau de, 69, 70

Versailles, 85, 88-90, 94, 95, i;,o, 134, 140, 232;
fountains and waterworks, 97, 99, lOO, 102,
103-105, 107, 109, 113, 114, 115, 116, 117,
145 \ sculpture, 99, 100, lOI, 104, 107, 109,
110,113,115,117; plan, II2-II3 ; orangery,
112,113; colonnades, 114, 117 ; Salle du bal,
116, 117 ; in 1775, 118

Vicobello, Siena, 58

Vienna, gardens at or near, 240, 241, 261, 262

Vignola, Giacomo, architect, 46, 49, 65

Villa rustica, the, 6

Villa urbana, the, 7

Vincennes, Chateau de, 70, 134

Vineyards, 8, 204

Viniers, Chateau of, 23

Virgil, 4

Visscher, Nicholas, engraver, 192, 199

Vitruvius, on the xystos, 8

Vogel, artist, 310

Volieres, see Aviaries

Volkamen, J. C, his Nurnbergische Hesperides, 246

Voltaire, on Luneville, 155; at Enghien, 172;
at Sans Souci, 260; at Delices, 311

Voorst, the Count of Albemarle's garden at, 175

Vouet, Simon, painter, 86, 87

Vredeman de Vries, Jan, portrait, 1 58 ; garden
designs by, 160, 161, 162

Vrendenburg, garden at, 196

Vyvers, 167, 172, and see Fish-ponds

Wakefield Lodge, 290

Wallace, Sir Richard, and Bagatelle, 307

Walls, I, 4, 238, 241 ; painted, 159, 192

Walpole, Horace, quoted, 224, 298
^^atalet, C. H., his Essai sur les Jardins, 302
/^Water devices, jokes and surprises, 53, 76, 77, 81,
/ 83, 122, 205, 206, 213, 234, 237, 253, 267

I \jVater gardens, i, 18, 22, 33, 34, 47, 53, 54, 585 99,
\y loi, 107, 117, 188, 222, 223, 241, 253, 278,
280, 281

Waterland, water garden at, 188

Watervliet, avenue at, 188

Watteau, picture by, 125

Weimar, mount at the Castle of, 245

Weissenstein, garden at, 262

Well-head, 58

Westbury Court, water garden at, 222, 223

Westerhof, aviary at, 181

Westerwyk, garden theatre at, 188, 189

Westminster, royal gardens at, 26

Whitehall Palace, gardens of, 26 ; trick sundial at,
213

Wilhelmshohe, English gardens at, 308

WiUiam III, his gardens in Holland, 170, 175, igi,
192, 221 ; at Hampton Court, 218 ; statues
of, 299

William, Landgrave of Hesse, 232

Wilton, " Lady Pembroke's Boys" at, 299

Wimbledon, garden at, 217

Windsor, royal gardens at, 26 ; orangery at, 227

Wise, Henry, (with London), his The Retired Gar-
dener, 222, 223

Wolff, Jeremias, engraver, 259

Wolsey, Cardinal, and Hampton Court, 205

Woodstock, Palace of, 26

Wooton, garden designed by Evelyn at, 222

Wren, Sir Christopher, architect, 218

Wrest, leaden statue at, 299 ; sundial at, 231

Wurzburg, Bishop of, his gardens at Dresden, 259

Xenophon, his Temple to Dionysus,
Xystos, the, 5. 8

Yocteaux, Nicholas, d", his garden near Paris, 79

Zaandam, Lilliputian gardens at, 200

Zandyck, leaden figures at, 200

Zeiller, Castle, 241

Zeyst, pleached alley at, 190

Zouche, Lord, his garden at Hackney, 217

Zuylesteyn, gardens at, 199

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^ FEB 93