DOI Artikel:
Artykuły i komunikaty
DOI Artikel:Whelan, Agnieszka: Różne oblicza ogrodu regularnego w Anglii w XVII i XVIII wieku
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49351#0357
The Regular Garden in England in the 17th and 18th Centuries
349
(regardless of whether it was Charles II, James II or
William and Mary’s court). The most outstanding
gardens, such as those at Longleat, Burghley, Woburn
Abbey or Chatsworth, involved symmetrical quarters
along the central axis, with a gradual loosening of
geometrical composition. Close to the residence were
parterres de compartiment, parterres de broderie or
parterre a 1’anglaise, bowling greens, fountain
parterres, and in the summer parterres d’orangerie.
Further on were boskets and ornamental orchards,
while wilderness extended the composition towards
the horizon. Pavilions, sculptures, fountains or
cascades helped to make it an exclusive and potent
symbol of influence. For half a century the grandest
of designs were the work of George Eondon and John
Wise, partners in the gardening firm based at
Brompton. They worked with equal ease in the French
and Dutch idioms on a prodigious number of
commissions. Thanks to their famous nursery, they
were able to stock the whole country with evergreen
shrubs.
The undoubted predominance of the French style
had an alternative in the Italian style, not necessarily
requiring financial mightand social standing. Italian
gardens offered a presentation and implementation
of a different style of living, of various intellectual
and cultural concerns and a new sense of decorum.
As a rule, they were laid out after their owners had
completed some kind of tour of the Continent. They
reflected a wealth of combined impressions carried
from visits to Renaissance gardens and from ancient
descriptions of Roman estates. Italianate gardens
conveyed a sense of continuity through the ages; a
fabled gardening on the same rootstock, they referred
to the productive landscape around as a component
of garden aesthetics. Ultimately, they invoked an ideał
of rural retirement as part of the seiwice to the nation
after an active involvement in battles. Separate,
symmetrically laid out spaces along the main axis
invited various functions according to the principle
of variety. They included, to mention but a few, a
gallery of sculptures, a botanical collection, a theatre,
an experimental crop, or a place for solitude.
Productive groves laid out further away encouraged
a play of imagination with illusory props, or could
be a place for a secret encounter, a delightful intrigue
or an unexpected pleasure. As these gardens reflected
their owners’ i ndi vidual i ty and intellectual concerns,
they were designed with great freedom in their
composition. The first Italian garden in England
belonged to John Danvers, which included a bowling
green with an amphitheatre of cypresses, a sunken
grotto, statuary and a banqueting pavilion. The most
splendid was the garden at Wilton madę be Issac de
Caus in the 1630s, which incorporated large
symmetrical parterres laid out before the pałace, and,
beyond them, wild groves watered by a winding
stream and ornamented by statues of Bacchus and
Flora. Further away, there was a Roman circus with
a statuę of a gladiator in close proximity to a grotto
cut into high, terraced ground, this being planted with
trees and adorned by an equestrian statuę of Marcus
Aurelius. The appearance on a large scalę of tree
plantations and the popularity of groves have been a
consequence of much promotion by an influential
humanist and yirtuoso, John Evelyn. He recognised
the economic need for planting, conferring on it the
‘virtue’ of patriotic duty. Based on the awareness that
luxury had been the downfall of Romę, his own
creations at Sayles Court and Wotton were modest.
Here, he invoked the idea of eternal paradise through
the use of evergreen trees and shrubs, and encouraged
a landscape of classically informed agricultural
activity. The enlightened owners would be interested
in the ancient origins of their own locality, so the
mediaeval ruins, geological formations or old
settlements would be included in the optical
extensions of the garden. As such, the Italian garden
had the possibility to yield to all political formations.
By referring to an ancient source, it could claim
ideological superiority over the French style. The
Republican bias could be detected in the closing years
of the 17th century, when the virtues of Romę under
the republic were equated with governing principles
of England. The varied and divergent parts of the
Italian garden could be a parał lei for the system of
checks and balances of a parliamentary monarchy.
Close dynastie ties betweenEngland and Holland
allowed for frequent travel and a widespread
knowledge of Dutch gardens. These gardens were
invested by the English with a perceived ideał of a
republican, industrious and successful society,
confidently guided by its true protestant faith. In
England, Dutch gardens would have favoured an
ordered display of horticultural and arbouricultural
accomplishments in walled or hedged spaces. In
overall design, rather than following an axial layout,
the quarters would be added to each other. One of
the most impressive designs, which employed another
characteristic feature of water canals was Westbury
Court. Dutch gardens were particularly well suited
for smali gardens, but where the grand scalę was
involved, they could easily be associated with the
French style, as was the case with those at Moor Park,
Dyrham, or Chatsworth. The last example in
particular, with its grandest of layouts, should be seen
in the context of the role that the Duke of Devonshire
played in bringing to the throne the Dutch rulers,
William III and Mary II in 1688.
William and Mary were both passionate
gardeners. Mary excelled at botany, she collected
plants and also sponsored botanical explorations. The
349
(regardless of whether it was Charles II, James II or
William and Mary’s court). The most outstanding
gardens, such as those at Longleat, Burghley, Woburn
Abbey or Chatsworth, involved symmetrical quarters
along the central axis, with a gradual loosening of
geometrical composition. Close to the residence were
parterres de compartiment, parterres de broderie or
parterre a 1’anglaise, bowling greens, fountain
parterres, and in the summer parterres d’orangerie.
Further on were boskets and ornamental orchards,
while wilderness extended the composition towards
the horizon. Pavilions, sculptures, fountains or
cascades helped to make it an exclusive and potent
symbol of influence. For half a century the grandest
of designs were the work of George Eondon and John
Wise, partners in the gardening firm based at
Brompton. They worked with equal ease in the French
and Dutch idioms on a prodigious number of
commissions. Thanks to their famous nursery, they
were able to stock the whole country with evergreen
shrubs.
The undoubted predominance of the French style
had an alternative in the Italian style, not necessarily
requiring financial mightand social standing. Italian
gardens offered a presentation and implementation
of a different style of living, of various intellectual
and cultural concerns and a new sense of decorum.
As a rule, they were laid out after their owners had
completed some kind of tour of the Continent. They
reflected a wealth of combined impressions carried
from visits to Renaissance gardens and from ancient
descriptions of Roman estates. Italianate gardens
conveyed a sense of continuity through the ages; a
fabled gardening on the same rootstock, they referred
to the productive landscape around as a component
of garden aesthetics. Ultimately, they invoked an ideał
of rural retirement as part of the seiwice to the nation
after an active involvement in battles. Separate,
symmetrically laid out spaces along the main axis
invited various functions according to the principle
of variety. They included, to mention but a few, a
gallery of sculptures, a botanical collection, a theatre,
an experimental crop, or a place for solitude.
Productive groves laid out further away encouraged
a play of imagination with illusory props, or could
be a place for a secret encounter, a delightful intrigue
or an unexpected pleasure. As these gardens reflected
their owners’ i ndi vidual i ty and intellectual concerns,
they were designed with great freedom in their
composition. The first Italian garden in England
belonged to John Danvers, which included a bowling
green with an amphitheatre of cypresses, a sunken
grotto, statuary and a banqueting pavilion. The most
splendid was the garden at Wilton madę be Issac de
Caus in the 1630s, which incorporated large
symmetrical parterres laid out before the pałace, and,
beyond them, wild groves watered by a winding
stream and ornamented by statues of Bacchus and
Flora. Further away, there was a Roman circus with
a statuę of a gladiator in close proximity to a grotto
cut into high, terraced ground, this being planted with
trees and adorned by an equestrian statuę of Marcus
Aurelius. The appearance on a large scalę of tree
plantations and the popularity of groves have been a
consequence of much promotion by an influential
humanist and yirtuoso, John Evelyn. He recognised
the economic need for planting, conferring on it the
‘virtue’ of patriotic duty. Based on the awareness that
luxury had been the downfall of Romę, his own
creations at Sayles Court and Wotton were modest.
Here, he invoked the idea of eternal paradise through
the use of evergreen trees and shrubs, and encouraged
a landscape of classically informed agricultural
activity. The enlightened owners would be interested
in the ancient origins of their own locality, so the
mediaeval ruins, geological formations or old
settlements would be included in the optical
extensions of the garden. As such, the Italian garden
had the possibility to yield to all political formations.
By referring to an ancient source, it could claim
ideological superiority over the French style. The
Republican bias could be detected in the closing years
of the 17th century, when the virtues of Romę under
the republic were equated with governing principles
of England. The varied and divergent parts of the
Italian garden could be a parał lei for the system of
checks and balances of a parliamentary monarchy.
Close dynastie ties betweenEngland and Holland
allowed for frequent travel and a widespread
knowledge of Dutch gardens. These gardens were
invested by the English with a perceived ideał of a
republican, industrious and successful society,
confidently guided by its true protestant faith. In
England, Dutch gardens would have favoured an
ordered display of horticultural and arbouricultural
accomplishments in walled or hedged spaces. In
overall design, rather than following an axial layout,
the quarters would be added to each other. One of
the most impressive designs, which employed another
characteristic feature of water canals was Westbury
Court. Dutch gardens were particularly well suited
for smali gardens, but where the grand scalę was
involved, they could easily be associated with the
French style, as was the case with those at Moor Park,
Dyrham, or Chatsworth. The last example in
particular, with its grandest of layouts, should be seen
in the context of the role that the Duke of Devonshire
played in bringing to the throne the Dutch rulers,
William III and Mary II in 1688.
William and Mary were both passionate
gardeners. Mary excelled at botany, she collected
plants and also sponsored botanical explorations. The