Category Archives: garden history

Garden design and the history of art

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Developments in gardens parallel developments in the fine arts


The top pictures show a medieval statue, Michaelangelo’s David and Bernini’s David.
The lower pictures show a medieval garden, a renaissance garden and a baroque garden.
The pairs represent the devotional attitude of the middle ages, the static calm of the renaissance the drama of the baroque.
I think there are closer parallels between the histories of gardens and fine art than between the histories of gardens and dynasties, which makes me doubtful about the categorisation of British gardens as Tudor, Stuart, Georgian, Victorian, Edwardian etc. Nor do I think kings and queens have had a leading role in the development of garden design. So why are royal names so popular in Britain? Are garden historians flunkies? And how do the Irish manage without royal names for garden styles?

Are garden historians flunkies?

John Evelyn's garden at Sayes Court and the Convoys Wharf Urban Landscape Master Plan

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John Evelyn's garden superimposed on plans of the Convoys Wharf site in the seventeenth century, the nineteenth century and, one hopes not, the twentyfirst century

Steen Eiler Rasmussen concluded the second edition of his brilliant book London: the Unique City with these prophetic words: ‘Thus the foolish mistakes of other countries are imported everywhere, and at the end of a few years all cities will be equally ugly and equally devoid of individuality. This is the bitter END’. So what would he think of the Hutchison Whampoa Master Plan for Convoys Wharf? He would detest it, utterly. The architects are Aedas, who claim that ‘ We provide international expertise with innate knowledge and understanding of local cultures’. Evidently, this expertise does not extend to the local culture of Deptford – unless they think it is the same as the culture of London/England/Europe or the World. The planning consultants, let it be recorded, is by bptw . Their website promises ‘responsible architecture executed with imagination’. Maybe the firm can do this. Maybe the client’s brief made it impossible at Convoys Wharf. Or maybe what the project required was a firm of Urban Landscape Designers, rather than a firm which sees its main business as architecture. The architecture makes one yearn for the imaginative approach one sees in Dubai. The spatial pattern resembles that of the Ferrier Estate in Kidbrooke, the planting design is what Chris Baines calls ‘a green desert with lollipops’. I am not an admirer of the scheme – and I much regret that John Evelyn’s design for Sayes Court has been cast into what Leon Trotsky called ‘the dustbin of history’. It is a quotation which gives us a lead into the origins of the Convoys Wharf design. In days gone by it might have graced a Parisian banlieue (like Sarcelles), a suburb of East Berlin – or even Moscow itself. With specific regard to the Sayes Court Garden, we should remember that (1) Evelyn, beyond doubt, was the greatest English garden theorist of the seventeenth century (2) Evelyn played a key role in introducing Baroque ideas on garden design to London (3) the Convoys Wharf site would never have come into public ownership were it not for the generosity of John Evelyn (4) Sayes Court was very nearly the first property to be saved by the National Trust.
THEREFORE the Convoys Wharf site demands a context-sensitive urban landscape design.
Wikipamia shows the present condition of the Convoys Wharf site and the Sayes Court Estate. Also see the Convoys Wharf Planning Application Documents.

This drawing purports to show 'Landscape, Townscape and Visual Amenity' . Phooey

La Primavera, Plato, Alchemy, Love, Flora and Venus in a garden grove with a flowery mead

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La Primavera (‘Spring’) was painted by Sandro Botticelli c1482 and is one of the world’s most popular paintings. It shows a playful group of young maidens, two males and one putti. They are in a garden grove of orange trees with a flowery mead beneath their feet. The charming scene is interpreted as an allegory of Neoplatonic and Alchemical love, according to the philosophy of Marsilio Ficino. Venus is the central figure, as she is in many garden scenes. The Zephyr on the on the right tries to rape Chloris but then transforms her into Flora (the goddess of flowers). Alchemists believed one must go through difficult times in the progress of the soul towards perfection, as base metals must go through fire to become gold. The garden represents the physical world and the painting was partly inspired by Ovid’s description of the arrival of Spring

The Claremont Amphitheatre as a problem in historic garden restoration

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The amphitheatre in Claremont Landscape Garden

The historic amphitheatre in Claremont Landscape Garden


Clockwise, the images of the Claremont Amphitheatre show (1) Charles Bridgeman’s design, as illustrated in Stephen Switzer’s Hydrostatiks (2) John Rocque’s drawing shows the garden as modified by William Kent after 1734 (3) a drawing by an unknown artist with the water as a circular pool (4) a recent photo of the amphitheatre as a feature in what is now called Claremont Landscape Garden. Claremont is a pleasant and popular place – so why not leave it as it is? The amphitheatre was almost lost at one point and then restored by the National Trust. I am sure they were right to restore the amphitheatre but I do not think they went far enough. Stephen Switzer (in his Introduction to a general system of hydrostaticks and hydraulicks 1729) wrote that: ‘The upper part of the work may very easily be seen to be a sketch of the fine Amphitheatre at Claremont, (belonging to his Grace the Duke of Newcastle) the design of the very ingenious Mr. [Charles] Bridgeman; and the lower part, where the water spouts out, is an addition of my own, from a work of that kind that I have done for the Right Honourable the Earl of Orrery , at Marson in Somersetshire. In this composition, which I humbly conceive to be the noblest of any in Europe, may be seen a very magnificent taste and way of thinking, and in which I can’t help observing, that had the ingenious designer had more room at Claremont, he would certainly have made his water much larger than that little circular basin, which is seen therein, and which is very much eclipsed by the prodgious grandeur of that Amphitheatre. And this I note for the advantage of those who have more room for such a purpose: as for the rest the plan speaks for itself.’
Bridgeman and Switzer and are significant figures in the history of garden design and far too little of their work survives. More of Kent’s work survives. The problem with Claremont is that it lacks the high quality one would expect from such a distinguished cast, though Vanbrugh’s avenue, bowling green and Belvedere Tower are very good. My suggestion is to restore more of the design shown on Switzer’s drawing. I would like to see Switzer’s ‘water spouts’ and the first metre of the baroque canal (it could be done with jetties if there is insufficient land). Restoration of the ‘wilderness’ in which it is set would also be welcome (ie the woodland with straight rides and twisting paths). This would give Claremont a clear separation between (1) the Kentian landscape garden (2) the late baroque features designed by John Vanbrugh, Switzer and Bridgeman. If some way of arranging it could be found, a way of viewing the house and setting which Lancelot Brown designed for Lord Clive would also be highly desireable. The aim should be to make Claremont into first class garden it should be: it is in danger of becoming a public park for the middle classes.

A new-to-become ancient tree was planted in Greenwich Park in 2011

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New ancient chestunt tree in Greenwich Park

There used to be a Horse Chestnut tree planted here. It died and was left as a 750mm stump for a few years, in which time it was much used by children and by those parents who liked to see their offspring acting as statues. When the heartwood began to rot they dug up the stump and planted a Sweet Chestnut last month. Yesterday they placed the circular seat around the tree. I see this as a clear indication that the park managers are avid followers of this blog and are hoping the new tree will have a long life. The tree against which it is seen has been there for 350 years. They hope to keep a full copy of the internet on Archive.org – so I hope someone will be able to find this blog post in 3011 and take a photograph of whatever is then growing on this spot. I would also like to know how long the seat will survive (<30 years, I guess) and how long the dog litter bin survives (>100 years, I guess). Dogs used to drop their litter everywhere when I first visited Greenwich (about 30 years ago). Then some good ladies and gentlemen held a Dog Day. One of them stood by each entrance to the park for a day and very politely handed out polythene bags and asked dog owners to collect any droppings from the dogs. The idea caught on and the Royal Parks commissioned these iron dog litter bins. It has been a great success and the park is almost free of dog dirt. As Roland Barthes observed, the droppings of wild animals are inoffensive but those of domesticated pets, and humans, are offensive. Interesting.

Roland Barthes' diagram deals with the wild:domestic binary pair and applies to trees as well as animals

Love and care for the ancient trees in Greenwich Park

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This is the right way to look after England's ancient trees

In 1661, Louis XIV was King of France, Charles II was King of England, Australia had been ‘discovered’ but not colonised, the Qing Dynasty and Harvard University were new – and this Castanea sativa was planted. The ugly 20th century bitmac path cut across its roots has been troubling me for years. So please join me in toasting the Royal Parks for re-routing the path to respect the tree. Better still if they had ripped up the beastly bitmac and replaced it with flint gravel, but one can’t have all one’s dreams come true in one week. They will just have to move the path again in a ?200 years time. See the Woodland Trust’s Ancient Tree Forum and the Guardian’s photos of Ancient Trees.