DOI Page / Citation link:
https://doi.org/10.11588/diglit.16633#0170
150
History of Garden Art
succeeded in combining the most delicate products of modern feeling with the older
character of the house. The fundamental plan of the garden shows a sentiment of the
Renaissance, that union of the ornamental and useful which the age of Louis XIV. per-
sistently challenged and rejected. After a fine parterre de broderie with a Triton fountain,
there comes a place that again points to the Elector's preference for cross-roads, and
perhaps also shows direct Italian influence: a plantation on the right is laid out as a round
botanical garden for foreign plants, and answering to this on the other side there is a
sunken round basin, with parterre beds and a high hedge round it, and across the end a
FIG. 471. GAIBACH CASTLE—VIEW FROM THE ORANGERY
grotto hill, ornamental waters, and a little house, which perhaps was a relic of the former
garden. The next things we find are two large plots of greensward planted with fruit-trees,
some tall, some dwarf. One of the two has a pergola on it like a great cross. From this
part of the ground two gently sloping terraces rise, with a semicircular orangery and
grand hall on the top (Fig. 472). To right and left we have berceaux and pavilions, and
in front of the orangery there are parterres. All these separate parts might easily belong
to a Renaissance garden; but in the place taken as a whole there is a severe regularity
of plan; and the placing of the main and side avenues, the marking of the middle axis
by fountains, all show the style of the eighteenth century.
A fourth castle that Lothar Franz inherited he altered in 1711 after Favorite was
finished. This was Pommersfelden at Bamberg (Fig. 473). The peculiarity of the fine
terrace gardens is that they end in two great ponds, which in most modern gardens would
History of Garden Art
succeeded in combining the most delicate products of modern feeling with the older
character of the house. The fundamental plan of the garden shows a sentiment of the
Renaissance, that union of the ornamental and useful which the age of Louis XIV. per-
sistently challenged and rejected. After a fine parterre de broderie with a Triton fountain,
there comes a place that again points to the Elector's preference for cross-roads, and
perhaps also shows direct Italian influence: a plantation on the right is laid out as a round
botanical garden for foreign plants, and answering to this on the other side there is a
sunken round basin, with parterre beds and a high hedge round it, and across the end a
FIG. 471. GAIBACH CASTLE—VIEW FROM THE ORANGERY
grotto hill, ornamental waters, and a little house, which perhaps was a relic of the former
garden. The next things we find are two large plots of greensward planted with fruit-trees,
some tall, some dwarf. One of the two has a pergola on it like a great cross. From this
part of the ground two gently sloping terraces rise, with a semicircular orangery and
grand hall on the top (Fig. 472). To right and left we have berceaux and pavilions, and
in front of the orangery there are parterres. All these separate parts might easily belong
to a Renaissance garden; but in the place taken as a whole there is a severe regularity
of plan; and the placing of the main and side avenues, the marking of the middle axis
by fountains, all show the style of the eighteenth century.
A fourth castle that Lothar Franz inherited he altered in 1711 after Favorite was
finished. This was Pommersfelden at Bamberg (Fig. 473). The peculiarity of the fine
terrace gardens is that they end in two great ponds, which in most modern gardens would