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#0358
350
Agnieszka Whelan
pair admired French gardening and practised it in
Honselaarsdijk and Het Loo during their time in the
Netherlands. When in England, William tried
unsuccessfully to bring Le Nótre over. He sent George
London and a Dutch connoisseur, Hans Willem
Bentinck, Earl of Portland, to France to learn from the
master and see the gardens. In the event, Le Nótre
madę some designs for the Maestricht garden at
Windsor and plans for Greenwich. He sent his nephew,
Claude Desgotz, to follow the works. Nonę of the
designs by Desgotz or by Le Nótre were ever
implemented. Nevertheless, Hampton Court was a
scene of French splendour, with quadruple avenues of
patte d’oie connecting visually distant spires with the
Queen’s Windows. The proximity of the pałace was
laid out into a semicircular/?arferre a /’anglaise with
numerous fountains and a long canal on the axis. Large
numbers of statuary, clipped evergreens and Tijou’s
iron repousse railings were intended for long lasting
glory. Unfortunately, the scheme was erased by Queen
Annę, who decided to put the royal finances in order
after coming to the throne in 1701. Ali evergreens at
Hampton Court and Kensington pałace gardens were
removed, fountains and statuary disposed off. While
this grand gesture led the way to new gardening in a
practical manner, garden writers like Switzer or
Langley promoted their theory calling for a simpler,
morę natural way of gardening. This involved less of
the contrived art of clipping, forcing and concentration
on detail, and morę of using indigenous, natural
materials like grass and native, unbound planting
according to ‘the grand and noble’ French archetype.
The most extensive laying out of gardens in the
regular style took place in the first decades of the
18th century. On provincial estates there was a
traditional concentration on the economical and
practical aspects of gardening, with a preference for
closed walled spaces placed haphazardly around the
house. As the symmetrical preferences began to
manifest themselves in the design of residences, it
became desirable to follow the house axis with a
central avenue leading into the cultivated countryside.
The practice of enclosures concentrated fields into
indivisible and productive large areas where planted
trees were no longer exposed to damage by peasants
or cattle. The age of trees came to symbolise long
term affluence. Similarly, the scarcity and desirability
of woodlands reflected a growing aesthetic
appreciation of parks and their inclusion into the
concept of a garden.
Within the essential economic demands of a self-
sufficient estate, Dutch, Italian and French ideologies
could be easily accommodated. If a Dutch context
was reąuired, it could be expressed through
rectangular mirrors of fishponds, or resplendent fruit
trees trained on the walls of the gardens. If Italian
associations were desired, statuary and closeness of
orchards and fields invoked images of personal
happiness, faithfulness to land and ancient virtues of
satisfaction in fulfilment of patriotic duties. French
influence would show itself in symmetrical, open and
ordered arrangements of gardens and avenues, while
the presence of vernacular features domesticated all
ideologies into an expression of Englishness.
Translated by the Author
Agnieszka Whelan
pair admired French gardening and practised it in
Honselaarsdijk and Het Loo during their time in the
Netherlands. When in England, William tried
unsuccessfully to bring Le Nótre over. He sent George
London and a Dutch connoisseur, Hans Willem
Bentinck, Earl of Portland, to France to learn from the
master and see the gardens. In the event, Le Nótre
madę some designs for the Maestricht garden at
Windsor and plans for Greenwich. He sent his nephew,
Claude Desgotz, to follow the works. Nonę of the
designs by Desgotz or by Le Nótre were ever
implemented. Nevertheless, Hampton Court was a
scene of French splendour, with quadruple avenues of
patte d’oie connecting visually distant spires with the
Queen’s Windows. The proximity of the pałace was
laid out into a semicircular/?arferre a /’anglaise with
numerous fountains and a long canal on the axis. Large
numbers of statuary, clipped evergreens and Tijou’s
iron repousse railings were intended for long lasting
glory. Unfortunately, the scheme was erased by Queen
Annę, who decided to put the royal finances in order
after coming to the throne in 1701. Ali evergreens at
Hampton Court and Kensington pałace gardens were
removed, fountains and statuary disposed off. While
this grand gesture led the way to new gardening in a
practical manner, garden writers like Switzer or
Langley promoted their theory calling for a simpler,
morę natural way of gardening. This involved less of
the contrived art of clipping, forcing and concentration
on detail, and morę of using indigenous, natural
materials like grass and native, unbound planting
according to ‘the grand and noble’ French archetype.
The most extensive laying out of gardens in the
regular style took place in the first decades of the
18th century. On provincial estates there was a
traditional concentration on the economical and
practical aspects of gardening, with a preference for
closed walled spaces placed haphazardly around the
house. As the symmetrical preferences began to
manifest themselves in the design of residences, it
became desirable to follow the house axis with a
central avenue leading into the cultivated countryside.
The practice of enclosures concentrated fields into
indivisible and productive large areas where planted
trees were no longer exposed to damage by peasants
or cattle. The age of trees came to symbolise long
term affluence. Similarly, the scarcity and desirability
of woodlands reflected a growing aesthetic
appreciation of parks and their inclusion into the
concept of a garden.
Within the essential economic demands of a self-
sufficient estate, Dutch, Italian and French ideologies
could be easily accommodated. If a Dutch context
was reąuired, it could be expressed through
rectangular mirrors of fishponds, or resplendent fruit
trees trained on the walls of the gardens. If Italian
associations were desired, statuary and closeness of
orchards and fields invoked images of personal
happiness, faithfulness to land and ancient virtues of
satisfaction in fulfilment of patriotic duties. French
influence would show itself in symmetrical, open and
ordered arrangements of gardens and avenues, while
the presence of vernacular features domesticated all
ideologies into an expression of Englishness.
Translated by the Author