HIST, HORT, LA 450 Course Report · In the English Landscape - 2004 9 More on the Privy: Prior to...

In the English Landscape - 2004

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2004

In the English LandscapeHIST, HORT, LA 450

Course Report

Michael DanaHorticulture & Landscape Architecture

John LarsonHistory

Paul SicilianoHorticulture & Landscape Architecture


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We wish to express our Special Thanks to the following individuals andcompanies whose generosity has helped us build this course. Their

support has allowed many students to join in this international experiencewho otherwise would have been unable to afford to participate.

Dr. Gilbert & Mrs. Emily Daniels

Mr. Richard Ford

Mr. Mark Holeman

Mr. Frank Springer, Jr.

Mrs. Lisa Sutphin

Becker Landscape Co.

Rocco Fiore & Sons Landscape Co.

Mariani Landscape Co.

The Eli Lilly & Company Matching Gifts Program


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Lecture ScheduleMonday, May 17

9:00am - Medieval England:

Land People, Church, King,

Class

10:30 Break

10:45 Video

11:15 Agric. Change &

Social Dislocation (16th &

17th C.)

12:45 Lunch break - OYO

2:00 Landscape in Art &

Art into Landscape

2:45 Break

3:00 Whigs, Merchants &

Industrialists (18th & 19th

C.)

4:30 Video

5:00 Dinner break - OYO

7:00 At the Cinema

"Shakespeare in Love"

9:30 Adjourn

Tuesday, May 18

8:30am Venue Study Plans

9:00am Gardens I

10:00 Break

10:15 Stonehenge video

11:15 Glory of Empire

(19th C.)

12:15 Lunch break - OYO

1:30 Romantic Visions

and Social Critics

3:00 Break

3:15 Plant Introductions

in History / Glasshouses &

Plants we'll see - Part1

4:15 Gardens 2

5:15 Break

5:30 Picnic dinner

6:30 England Since

Victoria

8:00 Adjourn for final

packing

Wednesday, May 198:00am Gardens 3

9:00 Plants we'll see -

Part 2 &

London preview

10:15 Go get the luggage

11:30 Arrive Lynn Hall,

Harrison St.

12:00 pm.BUS DEPARTS

for ORD


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Itinerary

Date Schedule Historic / Garden /

Landscape Site Lodging

Monday 5 /17 /2004 117 HORT-Academic Time OYO

Tuesday 5 /18 /2004 117 HORT -Academic Time OYO

Wednesday 5 /19 /2004

117 HORT -Academic Time(am) 12:00 noon depart for ORD 5:30 p.m. depart ORD (BA296) for HTR

Flying over the Atlantic Ocean

Thursday 5 /20 /2004

7:30 a.m. arrive London HTR London Underground to hotel Walk to High Holborn, tour Tower of London, then OYO until you drop (at least 6:00pm)! Tower of London, HRP

Royal National Hotel (RNH) ,

London

Friday 5 /21 /2004

FREE DAY Optional: Romeo & Juliet at Shakespeare's Globe Theatre 7:30 pm.


London

Saturday 5 /22 /2004

9:00 a.m. depart RNH for walking lectures 10:00 - 11:30 a.m., 1:00 - 2:30 p.m., 3:30 - 5:00 p.m., Queens Theatre (Les Mis , 8 pm.)

1. London Landscape Evolution

2. National Gallery 3. London's Royal Parks


London

Sunday 5 /23 /2004

10:00a.m. depart via Tube (Picadilly Line: Leicester Sq. to Northern Line) to Waterloo Station - train to Hampton Court (open until 6:00 pm.)

Hampton Court Palace, HRP


London

Monday 5 /24 /2004

10:00 a.m. depart for Kent, 12:00 pm. Sissinghurst Castle Garden

Sissinghurst Castle Garden, NT


London

Tuesday 5 /25 /2004

8:00 am. depart for Manchester 11:00 am. Chatsworth 4:00 pm. drive through Peak District, arrive Manchester by 6:00 pm. Chatsworth

Britannia Hotel, Manchester

Wednesday 5 /26 /2004

am. Quarry Bank Mill, after lunch: Castlefields, later afternoon explore Manchester (Mus.Sci.Ind., urban open spaces, etc.)

Quarry Bank Mill, NT Castlefields

Britannia Hotel, Manchester


8:00 a.m. Phillips Park, then ASDA(Wal-Mart) & McDonalds, depart Manchester 12:30 pm. for Biddulph Grange (2:00-4:00), on to Corsham

Ashford Canal, Phillips Park,

Biddulph Grange, NTMethuen Arms Hotel, Corsham

Friday 5 /28 /2004

FREE DAY Optional: Chelsea Flower Show, London depart MA 7:30 am, return 6:30 pm

Chelsea, or Bath, or ???

Methuen Arms Hotel, Corsham


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9:00 - 10:30 am. Academic Time pm - footpath to Lacock & the Abbey

Corsham Court or Lacock &

Lacock Abbey, NTMethuen Arms Hotel, Corsham

Sunday 5 /30 /2004

(Optional: attend Anglican worship at St. Bartholomew's, Church Street, Corsham) noon: depart for Westbury Court 1:00 @ W. C., return to Corsham Westbury Court, NT


Monday 5 /31 /2004

8:30 a.m. depart for Stonehenge 10:30 a.m. move to Stourhead 5:00 p.m. depart for Corsham

Stonehenge, NT coop. Stourhead, NT


Tuesday 6 / 1 / 2 0 0 4 Academic Time


Wednesday 6 / 2 / 2 0 0 4

8:00 a.m. depart for Rousham 10:ish @ Rousham, to Oxford, depart Oxford by 8 p.m.

Rousham Oxford University

Oxford Botanic GardenMethuen Arms Hotel, Corsham

Thursday 6 / 3 / 2 0 0 4

8:00 am depart for East Lambrook depart for Tintinhull/Montacute by 2:00 pm. 1 hour each. 5:00ish, depart for Corsham

East Lambrook Manor, Tintinhull, NT

Montacute, NTMethuen Arms Hotel, Corsham

Friday 6 / 4 / 2 0 0 4

FREE DAY Methuen Arms Hotel, Corsham

Saturday 6 / 5 / 2 0 0 4

8:00 - 10:00 am. - Academic Time depart for Hidcote 10:30, eat box lunch on arrival, see garden depart for Corsham 5:00

Hidcote Manor Garden, NT


Sunday 6 / 6 / 2 0 0 4

9:00 depart for Stowe 11:30 - 5:00 @ Stowe

Stowe Landscape Garden, NT


Monday 6 / 7 / 2 0 0 4 Academic Time


Tuesday 6 / 8 / 2 0 0 4

8:00 a.m. depart, 1-4 @ Wisley, return to Corsham RHS Garden @Wisley


Wednesday 6 / 9 / 2 0 0 4

9:00 am. depart, 11:00 @ Hestercombe 3:00 pm. depart for Corsham Hestercombe



Academic Time in a.m.

Examination in p.m.Methuen Arms Hotel, Corsham

Friday 6 /11 /2004

FREE DAY Methuen Arms Hotel, Corsham


depart for LHR and return flight home (BA 297) depart LHR 1:05 pm, arrive ORD 3:30 pm.


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Landscape Site Worksheets

To guide the student experience at each landscape or garden site, worksheets weredeveloped. They asked each student to respond to a series of questions, or go through aseries of experiential events and then record their reactions. At the conclusion of thecourse, the students retained their worksheets to serve as the nucleus of or a supplementto their personal journal.

During the course itself, each student was required to write out complete responses foreach worksheet. The responses were evaluated for thoroughness, depth andcomprehension. The students then utilized their own worksheets, making additions andimprovements where appropriate, in small group and large group discussions. Thosesessions allowed all students to benefit from insights provided by the instructors and bytheir student peers.

The following pages are a sampling of the worksheets.


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Hampton Court

Hampton Court was one of the first great royal palaces and gardens created in England. It wasdeveloped under the reign of King Henry VIII beginning in the early 1500’s. Many other royalscalled Hampton home. Most made improvements to the gardens reflecting the changing tastes,inspiration, and design techniques popular to those periods. Hampton Court presents a uniqueopportunity for us to study the evolution of English Gardening style represented on one individualsite.

1. Henry VIII (Early 1500’s)Trace the development of the garden beginning in the western area with Henry VIII’s PondYard (now Pond Gardens) This was the first area of the garden to be developed. It was laidout as a series of organized spaces that reflect an early Renaissance approach to gardendesign. These spaces were typically more enclosed and proportioned to accommodate a more“human scale” These gardens tended to be more functional or utilitarian.

Explore the various gardens in this area and define their original use: Pond Yards, PrivyGarden, Privy Orchard, Tiltyard

The Palace in Henry VIII's time (only Tower & Great Hall survive)

Hampton Court is unique in that many different period styles are represented in the garden.Explore the subsequent “improvements” to the garden, particularly the contributions madeduring the reign of Charles I, Charles II, and William and Mary.

2. Charles I (r.1600-1649): Responsible for bringing water to the garden. How?

3. Charles II (r.1660-1685): Responsible for most of the French influence in the garden.Explain.**Consider this: Charles I was deposed and executed during the English Revolution. His son,

Charles II fled to France in a sort of exile to “save his head”. He returned toEngland in 1660.

What is French influence? Look for and document the following:


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Water as axisGrand avenues of treesRadiating avenues—“goosefoot"

A more controlled style of planting (formal)Fountains/still pools

4. William and Mary (r.1689-1702): William and Mary (from Holland) arrived at HamptonCourt and began to make changes to the gardens, beginning with the privy and then the EastGarden.

Privy Garden: What style seems to have influenced the style of this garden?

Consider: William’s gardener, George London had studied gardening in France.The French style of gardening was the most popular style across Europe during the 17th

century.

The current layout of the Privy Garden (restored in 1995) reflects the design of the gardenduring the reign of William and Mary.

Part of an early 18th C. plan for the Privy Garden, used as basis for restoration.

It included elegant parterres in the Gazon Coupé style.

This technique originated in France and was accomplished by cutting turf into patterns andfilling the surrounding area with colored gravel or sand. Box hedge borders surrounded theseturf patterns. Topiary yews and hollies were typically planted within these borders and thespaces between them were filled with spring bulbs and annual flowers.

Observe the Tijou screens at the southern end of the garden (towards the rivers edge) Do theyreflect a similar character in design?


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More on the Privy: Prior to the restoration, the Privy Garden had become badly overgrown asa result of the 18th century fashion for more natural looking plantings. A decision was madeto restore the garden as it appeared under the reign of William and Mary. Why do yousuppose that this period style was chosen. Do you think it was the best decision? Does itmatter? What is the garden’s purpose today? Could its current program have influenceddecisions?

c. 1703, A Bird's-eye View of Hampton Court, Knyff

Other new gardens/revisions made under William and Mary:

Broad WalkLong WalkThe MazeThe Wilderness

The Kitchen Garden (Old Tiltyard)Henry VIII’s MountBanqueting House

5. George III (r.1760-1820)18th Century “Improvements”Royal Gardener: Lancelot “Capability” Brown

Based on what you know of the style of Capability Brown, do you think that any of thisgarden reflects the Brownian style? Why or why not?Hint: You may want to re-visit this question later in the semester.

6. Victoria (r.1837-1901)Is there any sign of 19th century influence? (English Flower Garden/ Romantic period style).

Look for Herbaceous borders and more “wild looking” landscapes.


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Hidcote Manor Garden

Famous for its innovative garden "rooms," Hidcote Manor Garden was created by anAmerican (by parentage, but a Briton by upbringing who was born in France), MajorLawrence Johnston. The bachelor son of a wealthy, twice-widowed American motherwho had inherited her wealth from her two husbands, a Baltimore banker and a NewYork lawyer, the Major graduated from Cambridge in Classics, served in the Boer Warand was severely wounded in WW I. Thereafter he became a very private man focusedon garden building, painting and tennis.

Mother and 36 year-old son arrived at Hidcote in 1907. Starting from a virtually emptyagrarian landscape, garden development occurred in three phases, pre-1914 (gardens4,5,6,7,8,12,15,16, 17,25), 1914-20 (gardens 3,9,11,14), and 1920-30 (all other gardenareas, see overall map on back ). Major Johnston was an active plantsman, creatingunique planting combinations in his own garden and traveling to South Africa and Chinato find new and different plants for horticulture. Improved selections of numerous taxaresulted from Johnston's keen eye, the most well-known being Hypericum 'Hidcote.'


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1. It is said that Major Johnston integrated concepts and elements of garden styles fromthe Italian, French and the several English traditions. What parts of Hidcote might youthink are connected back to each of these traditions?

Hint: Topiary, plant arrangement & diversitySight lines, vistasGeometry, topography

2. Johnston's approach to the architectural definition space was not like Lutyens (ie.Hestercombe) or other architects. In what way(s) is Hidcote unique?

3. Color was a major component of design Hidcote. Observe and make note of as manycolor themes or combinations as you can in the many garden rooms. How do yourespond to each (psychologically, physically)?

4. How does the garden physically relate to the house? Think of this in comparison withother landscapes in England you have seen.

5. It is thought the Long Walk originally ended at the stream (where the turf bridge islocated). Try to imagine that situation and contrast it to the reality of the Long Walk.

6. Lawrence Johnston had a second residence in France on the Mediterranean (Serra de laMadone), where he eventually retired. Two garden rooms are particularly associatedwith his interest in the Riviera. Try to identify them and note what elements suggest thisassociation.

7. Hidcote is in the (relatively) cold Cotswold Hills. What decision did Johnston makevery early in his garden-making activity that reflects this reality?

8. The soil in this region is naturally alkaline. Major Johnston's interest in growingRhododendrons caused him to do major root-zone alteration in three areas of the garden.Can you find them?

9. Make a list of interesting plants (by description and garden location) for lateridentification.

Major Johnston


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Image Gallery

The following images taken by several class members are but a sample of the people,activities and places that were part of In the English Landscape - 2004 .

Intensive subject matter introduction at Purdue. On the bus heading for Chicago O’Hare Int’l.

Restored Privy Garden at Hampton Court. Strong "sight-lines" at Sissinghurst.


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"Brownian" landscape park - Chatsworth House. Michelle Retson & Elizabeth Kenrick sketching.

Lupines at the RHS Chelsea Flower Show. Who knew vegetables could look this beautiful?

Cotton mill, Manchester, c.1750 (a "sweatshop") Phillips Park, Manchester, the world's first

municipal park for general public use.


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Westbury Court, a Dutch water garden. Stourhead, spectacular as always!

Temple of Apollo, Stourhead. Niches in the Temple of Apollo, Stourhead,filled with human figures!

Head Gardener at the American Museum in Dinner at the AMB with our host, Richard Ford.Britain at Claverton Manor, Bath.


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Kent's "Arcadian" landscape at Rousham. The red borders at Hidcote.

Mikey Panich taking notes and sketching Impromptu class discussions at the Templeat Hidcote. of Ancient Virtue, Stowe.

Piet Oudolf Borders at RHS, Wisley. Victorian "bedding out" in progress atHestercombe.


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Gertrude Jekyll's lavender at Hestercombe. John Brookes and Rick Kennedy getting acquainted at East Lambrook.

Relaxation time at the Methuen Arms, Corsham. The stress of all that studying took its toll!

Free time footpath walkers to Bath, In the English Landscape, Class of 2004.

through the beautiful Cotswolds Hills.


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Sample Final Exam Essays

Worksheets and discussions comprised the majority of our organized "in-class" academictime. For evaluation purposes, the students spent one afternoon during the last week ofclass writing an essay as a final examination. The charge to the students for their two hourwriting period was:

Write a three page essay exhibiting your knowledge andunderstanding of your chosen landscape (from the approved list).The essay may emphasize historical context, landscape design,horticulture, or the autobiography of the garden maker(s) butmust include ideas from more than one of these areas.

Approved List

Biddulph GrangeHestercombeHidcote Manor GardenRoushamSissinghurst Castle GardenStourheadStowe

The following pages provide a sample of the student essays. The authors’ names havebeen removed for privacy protection.


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Example #1 - SissinghurstIn the 1930’s the world was dramatically changing. England was dramatically changing. World War I and the

Great Depression were major players in these changes. They changed people’s attitudes, people’s desires, and people’sliving styles. England’s empire was no longer a major powerhouse in the world and many were tired of their countrycaring more about other nations then their own people and struggles they were facing. The 19th century had seen the riseof industrialism with cities growing in number, in size, and in pollution and dirty living habits. This rise in industry drewattention and importance away from the large agricultural country estates that had once been so prevalent. People weregrowing increasingly tired of seeing factories and smokestacks line the horizon instead of pastoral rolling hills and wildgrazing meadows. The natural beauty by “Mother Nature” was being destroyed and controlled by industry.

Two of these people who were tired of the “Industry Monster” bulldozing through the English landscape wereVita Sackville West and her husband Harold Nicolson. Vita Sackville West had grown up appreciating gardens. She hadtaken the time to grow in her knowledge of different plants and flowers and spent time visiting and experiencing otherpeople’s gardens. Her profession was as a writer – a poet and a novelist and not only did she reveal her hopes, fears, andthoughts through writing but also through gardening. Her husband, Harold, had spent some time in writing as wellthrough journalism, but turned his attention to the building and developing of Sissinghurst when they bought theproperty in 1930. At the time of the purchase of Sissinghurst, the property was a wreck. The original buildings were interrible shape and the walls were almost in ruins. However, Vita and Harold didn’t want to tear down these beaten upstructures when most would have. They wanted to preserve the walls and the tower, perhaps to keep the historicalelement and originality of this garden. As the two set out to create their garden, they obviously wanted to create a veryintimate and personal retreat – not to show off to their friends but to enjoy themselves on a daily basis. Their goal wasaccomplished, in my opinion, through both landscape design and horticulture.

The overall scale and property size of Sissinghurst is relatively small (compared to many of the other gardenswe saw), but the garden is situated in a way that still allows for open vistas out into the countryside where rolling hillsseem to go out endlessly. The layout of this garden is highly geometric and has a formal aspect to it in this geometry andthe distinct separate rooms separated by the brick walls. These geometric rooms are laid out in a way that creates anintimate living space for Vita and Harold. Although there are these separate rooms, the glimpses of the countrysidesuggests they, perhaps, still wanted to see the beyond idealized landscape. The separate rooms are also laid out in a veryfunctional manner as each room serves a different purpose whether it be for romance (White Garden),welcoming/greeting area (Top Courtyard) or a hallway in which people have framed views of their choices of rooms oneach side (Lower Courtyard), etc. These functional rooms were connected however by long formal axes running fromone end of the garden to the other through framed openings in the brick walls. The brick walls served as good backdropsto many of the flowers and plants and were usually covered somewhat with plant material that nicely decorated the oldwalls. One axis line was from the lime walk, through the rondel in the rose garden, through the lower courtyard, and intothe White Garden. This good connection was aided by the openings into each room. These openings created good framedviews of the next room and drew the attention through the opening usually aided by sweeping vines curling througharched “doorways.” The walls and size of entryways helped visually focus my attention in each room. The layout of thegarden also implemented arcs and circles (Yew Rondel) which softened the fairly rectangular rooms. The open largeorchard served as a nice relaxing break from the smaller, more compact rooms. The lime walk and moat walk were alsogood connections between garden areas and their length helped diversify the rest of the more compact garden rooms. Thelocation, format, and connectivity of the garden rooms really came together to create the enjoyable living space that Vitaand Harold desired. The Tower was situated perfectly for Vita to have every view desired of her garden. Lastly, amongmany other good architectural features, the Yew Rondel added both a visual and functional component to this garden inthat it was nicely centered in the Rose Garden and is part of the axes running through, but it also was functional in that ithid the kitchen plants that didn’t look as nice.

Horticulturally, Vita implemented many wild, more natural looking plantings that softened the more formalgeometric layout. Overflowing, huge flowering plants spilled out into open spaces, the walkways, and into each other.She used strictly white flowers to create the romantic feel of the white Garden while she used an array of colors in boththe rose garden and the cottage garden. Wisteria was growing on entryways to soften the openings and lead the visitorinto the next room. The Moat Walk was very diverse in its plantings and colors while one side was overflowing withorange, yellow, red azaleas that were massive and the other side had smaller and shorter purple flowers with larger whiteflowering trees along the brick wall. The Orchard was given its natural untamed look by the tall wild grasses thatcovered the area with nice trees for places of shade spotted throughout the orchard. The plantings in the Top and Lowercourtyards were done very appropriately as they weren’t so overwhelming and bulky, but instead a good introduction tothe rest of the garden.

This idealized cottage garden with connecting views into the idealized countryside landscape was accomplishedthrough landscape design and Vita’s horticultural knowledge. Both adding their own touches (Harold’s Lime Walk and


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Vita’s White Garden) they were able to create a home in a garden with both formal and informal features, and relaxingand intimate rooms – a perfect place to retreat to and escape from the 20th century struggles, depression, and 19th centuryresults of the “Industry Monster”

Example #2 - HidcoteUnfortunately, since the calm and beautiful gardens at Tintinhull were not a choice for this essay, I must

comment, in these three brief pages, on Hidcote Manor Garden. Although not grand in design á la Stourhead,Chatsworth, or Stowe or professionally designed by the likes of Brown, Repton, Lutyens, or even, Jekyll, the gardens atHidcote are pleasing in ways unlike those of Sissinghurst or East Lanbrook. Although I can appreciate the designs of thegrander spaces (Stourhead, Chatsworth, Hampton, et al.), as an LHD major and generally plant – oriented person, I canidentify to greater depths with those smaller, plants persons’ gardens (dare I say English or cottage gardens?) likeSissinghurst, East Lanbrook, and of course, Hidcote.

From an historical or autobiographical perspective, one can see Mr. Johnston in his work. As a bachelor andmilitary man, Johnston expresses the obvious philosophy of control – surely, one must be regimented or controlled if oneis in the military and a bachelor. (Of course, if Mr. Johnston were gay, this fact might explain a lot, too.) One can see thiscontrol particularly in the use of color. The Red Borders are great studies in the use of a monochromatic color scheme.My personal favorite garden at Hidcote is the Round Garden. Here, lilac, iris, ceanothus, and other blues and purples,emphasized by the green of foliage, turf, and hedge, allow the visitor to experience an entire place/space calmly andsimply. Compare this to one of the gardens at Sissinghurst or East Lanbrook (White/silver gardens aside) when riotous,nearly clown-like color can be a distraction. It is probable that Johnston was influenced by Jekyll’s planting schemesalong these lines (blues at Hestercombe). Of course, Johnston was not beyond imagination; he (or his or the NTgardeners) use well-placed complimentary colors, e.g., the Welsh poppins in the Round Garden that highlights thethroats of the iris.

One can also see a bit of Johnston’s personal history in the Pillar Garden and in Mrs. Winthrop’s Garden.Johnston’s second garden, La Serre de la Madone, on the French Rivera led him to incorporate the clipped yews of thePillar Garden much like in Harold Peto’s Upper Garden on the Riviera and Mrs. Winthrop’s Garden contains a pavedterrace and potted exotics reminiscent of the Riviera. Of course, the other gardens contain bits and pieces of outsideinfluence, e.g., the pasture of the Fucshia Gardens and animal topiary (French) and long walks and borrowed views(Italian), since Johnston was well-traveled.

From a design perspective, Johnston was certainly a good plants person. Not that he was a poor designernecessarily, but Johnston was not professionally-trained nor was he financially free to hire someone to design all as awhole. He lived on the interest of his mother’s estate since the entirety was passed to cousins (Johnston was childless andunmarried). Thus, work on the gardens was piecemeal and “at speed,” according to Anna Pavord, the well-known gardenwriter and author of NT’s Hidcote Manor Garden. Still, it is possible to compare Johnston’s design philosophy with thatof Edwin Lutyens, the famous architect of the time. Where Lutyens used ornate or intricately paved paths, Johnston usedgravel or turf. Where Lutyens employed walls and structures of stone, Johnston grew hedges for a similar effect. Inaddition, one does not really meet with any sculptures in Johnston’s gardens, finally, the house and gardens at Hidcoteare disparate elements. At Lutyen’s Hestercombe, however, the formal gardens are an extension of the house – in styleand proportion. Whether these differences are a result of the manner in which the gardens at Hidcote were erected isunclear, but it seems as if it could be a plausible explanation – Lutyen’s / Jekyll’s plans at Hestercombe, for example,were initiated within two years, while Johnston’s gardens were works in progress for many years.

Finally, for this essay, it is important to note, once again, that Johnston was more horticulturally-minded thanarchitecturally-minded. The Old Garden, for example, is directly English, filled cottage-like as it is with several varietiesof Rosa. In this same garden and in the Stream Gardens, Johnston had the alkaline soil amended (acidified) in order togrow rhododendrons. Johnston’s gardens included other “exotics” from around the world, including various alpines,Asian species of trees like Japanese Maples and Chinese Birches (Wilderness Garden), and potted exotics like those inMrs. Winthrop’s Garden.

Further evidence of Johnston’s dedication to his plants can be found in his use of glass to protect emergingherbaceous perennials. Until 1954, gardeners erected and, in turn, took down the large glass plant house filled withexotics. In addition, the gardeners placed portable glass structures over raised beds and over the alpines. Whenconsidering the relative coldness of Hidcote in the Cotswolds, one must also consider, then, the architectural clippedhedges, Not only are these “plant structures” but they also protect the lower-growing plants within from cold, desiccatingwinds.

All in all, while not my favorite garden, I can certainly appreciate the history, design and plant use at Hidcote.


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Example #3 - StourheadThe garden at Stourhead contains a wealth of historical, design, and horticultural influences and inspirations.

Because of the intellectual depth and gorgeous scenery, Stourhead has been dubbed “the grandest storybook in England”as well as one of my personal favorites. My interest stems primarily from design themes, Hoare family influences, andhorticultural aspects of the garden at Stourhead.

The most apparent design themes influencing this eighteenth century landscape were classical in nature. Moreso than other time periods, the eighteenth century gentry, or noble class, were interested in reading and discussing theantiquities. Knowledge of these subjects was associated with education and aristocratic status. Naturally, the Hoares,Henry the Magnificent in particular, avidly studied and collected texts of classical nature. The Hoare library at the estateshows evidence of much Arcadian interest. Numbers of texts concerning Greek and Roman histories, philosophies,mythologies, and theologies are reflected in Stourhead’s landscape, continuing the “grand storybook” theme.

Stourhead made excellent use of staging scenes and framing views. Specifically, I liked the Pantheon scene themost. This was the first structure I noticed when entering the landscape and looking out over the lake past the PalladianBridge. The design of the landscape and intended trails contributed to building anticipation of the scene through the useof eye-catchers and brief, framed glimpses through the Fir Walk on the opposing side of the lake. The structure of thePantheon consistently blended with the surrounding landscape with tall, protruding classical columns complimenting thetall treeline and accented by the proportional sloping lawn in front. Once at the Pantheon, the view back across the lakewith an island in the foreground, the Palladian bridge in the immediate distance, and the Temple of Flora and the Templeof Apollo on opposing sides provided a scene just as picturesque as the one approaching the Pantheon.

The general landscape design and use of Arcadian structures can be directly attributed to Henry theMagnificent’s artistic interests and travels. Hoare admired the Italian artists Claude Lorrain, as well as Poussin. Theseartists painted picturesque, idealized sweeping landscapes and Hoare possessed quite a few copies and original prints ofthese artists. Specifically, I noticed images of the Palladian Bridge and variations of framed views of classical structuresin the distance upon viewing Hoare’s collections in the house. Henry the Magnificent was also directly inspired by theItalian landscape when he took his Grand Tour. As the literature and design styles of this area were popular at the time, itwas no wonder that Hoare wanted it showcased on his own estate.

Much of the Hoare’s family history can be related to the garden’s very creation and stature. Many of Henry theMagnificent’s predecessors were involved with banking. This was no ordinary banking as we know today, or, strangely,perhaps it is. The Hoare family’s initial wealth came from inflating the worth of vaulted gold by issuing bank receiptsand by shuffling money into the hands of the right aristocrats. All of this prompted a pat on the back from monarchy, andthis gave the Hoare family wealth and title. At this time, in the early eighteenth century, the best way to display one’snoble status and power was not pillaging and plundering, but creating spectacular landscapes and gardens. To create suchmarvels, the nobility turned to the Hoares for bank loans as this type of activity was not cheap. Coming into this newwealth, Henry the Good, predecessor of the Magnificent, purchases the estate size Stourton Manor to impress hisWalpolian Whig friends. So ensues the Hoare family’s mission to create the “grandest of the grand” landscape garden inEngland to display their own wealth and power. The garden at Stourhead was born.

The garden at Stourhead contains horticultural interests and diversity. Much of this influence to the garden canbe attributed to Sir Colt Hoare. His interests stemmed primarily from art, as opposed to the family legacy of business andbanking. As the late eighteenth century approached, the gentry of England had a pension for collecting new plants fromaround the world. This passion was made possible through new horticultural research and technical inventions like theWardian case, in essence a portable greenhouse. Sir Colt Hoare’s passion for exotics is evident through the many speciesof rhododendron on the property, R. ponticum and R. arboreum, for example. I noticed other Chinese exotics around thelake including several establish plantings of bamboo. I appreciated the naturalistic planting style prevalent on the estate.The abundance of rhododendron, tree plantings, and lawn combined to create a landscape that seemed unforced andflowing. This planting style was popular during this time period, characterized by the appreciation of natural beauty asopposed to the need to control and manipulate nature.

The garden at Stourhead is rich in design themes, family history, and horticulture. The intellectual currents ofthe time are manifested clearly and stylistically through the use of Arcadian sculptures and structures like the Pantheon.The historical references encouraged me to read further on the subjects, obviously used in the eighteenth century toprovoke witty thought and conversation. Another major contributor to the garden’s creation and stature stems from theHoare family history, specifically their trade, and the English nobility’s trend of garden creation to display their wealthand power. Horticultural influences are interesting at Stourhead as well with new passions and technologies influencingplant selection and diversity. All in all, this eighteenth century monster of a garden has, in my opinion, the total package.


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Promotional poster used Fall '03 in recruitment


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HIST, HORT, LA 450 Course Report · In the English Landscape - 2004 9 More on the Privy: Prior to...

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