DOI Page / Citation link:
https://doi.org/10.11588/diglit.16633#0348
328
History of Garden Art
necessary to plants, especially trees and shrubs, and were proud to think that "every
tree and every plant had been assigned the place which Nature had intended for it, some
on the mountain tops, some in the valleys, some in the shade, some in the sunny meadows,
and others on the borders of the forest."
It was thus that the tree standing alone came to occupy the centre of the picture, as
we saw so clearly in the grounds laid out by Piickler at Branits (Fig. 606). Later on arose
a delight in planting a pinetum or plantation of conifers, and fortunately a great many
new conifers were to be had. In England especially the pinetum became a thing of great
beauty, for people learned that they must control thickness of planting, which at first
was excessive. At the beginning it was thought that the soil of England could not supply
nourishment enough for the cone-bearing giants when they had reached their full stature, as
they were tropical trees. The first pinetum was established in Kew Gardens in 1843. Planta-
tions of this kind were in a sense the sign of a new influence which hailed from Italy, but
these plantings were very unlike those of the Italian Renaissance, when dark pines
stood in even rows, like pillars with a green roof. Italy herself had, however, changed; the
new pinetum with its picturesque groups at the Villa Doria Pamfili was planted near the
gates of the gymnasium, the old park itself being made as far as possible like the English.
Although botanical interest was so strong and active, it was inevitable that English
parks, with their exclusive care for trees and shrubs, should become in the long run
uniform and dull. The means of expression were limited. The cry for variety which had
kept artists and owners on the move for hundreds of years was subsiding more and more.
Fortunately, however, the plants brought over by explorers in foreign countries were
not limited to trees and shrubs; on the contrary, there were many different kinds of flowers.
Only a few of these could endure northern winters, and the first result was the erection
of new forcing-houses. The orangeries of the old style had fallen into the background since
the picturesque fashion came in, and new ones were not made. Thus the number of
hot-houses in private gardens increased at the expense of orangeries.
In 1833 the Englishman Ward invented an air-proof glass case, on the principle of
the circulation of water through earth and air at an even temperature, and the trans-
portation of tender plants to Europe with comparatively little trouble was thus possible.
People who cultivated flowers grew more and more skilful in hybridising the original
plants that were brought over. We ought to remember, for example, that innumerable kinds
of roses were raised in the nineteenth century. And very soon there arose great trading
firms, which sent out their own explorers to every part of the world in search of new
plants; indeed some firms, such as Veitch of Chelsea, Bull of Chelsea, and later Sander
of St. Albans, and Vilmorin of Paris, had collectors scattered about in every country.
It was natural that people who had nursed tender plants through the winter and spring
should want to enjoy them in summer in their own gardens. The most imposing effect
was produced when they were planted in great masses, but in the North such an effect was
unnatural, and it was not easy to produce. The method first hit upon was neither systematic
nor artistic. Carpet-gardening, introduced into Europe by Piickler (Fig. 605), must be
regarded as the first stage of a new alliance between flower-growing and the picturesque
garden. The beds were filled with different flowers according to the time of year, and
were mixed with plants that had various-coloured leaves. Unfortunately this ugly and
stupid style is to be found in certain public gardens even in our own day.
History of Garden Art
necessary to plants, especially trees and shrubs, and were proud to think that "every
tree and every plant had been assigned the place which Nature had intended for it, some
on the mountain tops, some in the valleys, some in the shade, some in the sunny meadows,
and others on the borders of the forest."
It was thus that the tree standing alone came to occupy the centre of the picture, as
we saw so clearly in the grounds laid out by Piickler at Branits (Fig. 606). Later on arose
a delight in planting a pinetum or plantation of conifers, and fortunately a great many
new conifers were to be had. In England especially the pinetum became a thing of great
beauty, for people learned that they must control thickness of planting, which at first
was excessive. At the beginning it was thought that the soil of England could not supply
nourishment enough for the cone-bearing giants when they had reached their full stature, as
they were tropical trees. The first pinetum was established in Kew Gardens in 1843. Planta-
tions of this kind were in a sense the sign of a new influence which hailed from Italy, but
these plantings were very unlike those of the Italian Renaissance, when dark pines
stood in even rows, like pillars with a green roof. Italy herself had, however, changed; the
new pinetum with its picturesque groups at the Villa Doria Pamfili was planted near the
gates of the gymnasium, the old park itself being made as far as possible like the English.
Although botanical interest was so strong and active, it was inevitable that English
parks, with their exclusive care for trees and shrubs, should become in the long run
uniform and dull. The means of expression were limited. The cry for variety which had
kept artists and owners on the move for hundreds of years was subsiding more and more.
Fortunately, however, the plants brought over by explorers in foreign countries were
not limited to trees and shrubs; on the contrary, there were many different kinds of flowers.
Only a few of these could endure northern winters, and the first result was the erection
of new forcing-houses. The orangeries of the old style had fallen into the background since
the picturesque fashion came in, and new ones were not made. Thus the number of
hot-houses in private gardens increased at the expense of orangeries.
In 1833 the Englishman Ward invented an air-proof glass case, on the principle of
the circulation of water through earth and air at an even temperature, and the trans-
portation of tender plants to Europe with comparatively little trouble was thus possible.
People who cultivated flowers grew more and more skilful in hybridising the original
plants that were brought over. We ought to remember, for example, that innumerable kinds
of roses were raised in the nineteenth century. And very soon there arose great trading
firms, which sent out their own explorers to every part of the world in search of new
plants; indeed some firms, such as Veitch of Chelsea, Bull of Chelsea, and later Sander
of St. Albans, and Vilmorin of Paris, had collectors scattered about in every country.
It was natural that people who had nursed tender plants through the winter and spring
should want to enjoy them in summer in their own gardens. The most imposing effect
was produced when they were planted in great masses, but in the North such an effect was
unnatural, and it was not easy to produce. The method first hit upon was neither systematic
nor artistic. Carpet-gardening, introduced into Europe by Piickler (Fig. 605), must be
regarded as the first stage of a new alliance between flower-growing and the picturesque
garden. The beds were filled with different flowers according to the time of year, and
were mixed with plants that had various-coloured leaves. Unfortunately this ugly and
stupid style is to be found in certain public gardens even in our own day.