DOI Page / Citation link:
https://doi.org/10.11588/diglit.66025#0185
GARDEN ORNAMENT
167
LOGGIAS
IN the great houses of the English Renaissance the most frequent treatment of
the main terrace on the garden front was that it was stopped at the two ends
by a wall or balustrade, and that a ssight of steps in the middle of the length
descended to the garden level ; the steps being in immediate connection with an
entrance to the house. There is a beautiful example at Cranborne Manor where
an open, pillared porch, recalling the loggias of Italy, forms a delightsul outdoor sitting
room. At Bramshill there is another such place. The terrace, here forming a narrow
bowling green between paved paths, is stopped by a projecting wing of the house,
treated as a loggia on the terrace level. In recent years we have profited by such
examples and have widened their scope of usefulness, for architects are now often
desired to plan open air dining rooms for summer use, resulting in many ingenious
adaptations of the loggia. The example shown at Rotherfield Hall, where an angle of
the building on the bedroom ssoor is formed into a roomy open space, recalls the
summer comfort of the better class of houses built on the Swiss Chalet plan, where
such open air adjuncts to bedrooms are of untold value to all, and especially to invalids.
The loggia feeling of Italy was also strongly expressed in the great covered bridges
of classical design, built under the inssuence of Inigo Jones, such as those at Wilton
and Stowe ; for not only are they examples of palatial ornament in the landscape,
but they are all the more impressive when seen close at hand, from their dignified
architectural expression and their admirable connection with the near lines of the
garden design.
Among the most successful of the modern open air rooms are the beautiful
examples by Mr. Harold Peto in the houses recently built to his design on the
Riviera.
167
LOGGIAS
IN the great houses of the English Renaissance the most frequent treatment of
the main terrace on the garden front was that it was stopped at the two ends
by a wall or balustrade, and that a ssight of steps in the middle of the length
descended to the garden level ; the steps being in immediate connection with an
entrance to the house. There is a beautiful example at Cranborne Manor where
an open, pillared porch, recalling the loggias of Italy, forms a delightsul outdoor sitting
room. At Bramshill there is another such place. The terrace, here forming a narrow
bowling green between paved paths, is stopped by a projecting wing of the house,
treated as a loggia on the terrace level. In recent years we have profited by such
examples and have widened their scope of usefulness, for architects are now often
desired to plan open air dining rooms for summer use, resulting in many ingenious
adaptations of the loggia. The example shown at Rotherfield Hall, where an angle of
the building on the bedroom ssoor is formed into a roomy open space, recalls the
summer comfort of the better class of houses built on the Swiss Chalet plan, where
such open air adjuncts to bedrooms are of untold value to all, and especially to invalids.
The loggia feeling of Italy was also strongly expressed in the great covered bridges
of classical design, built under the inssuence of Inigo Jones, such as those at Wilton
and Stowe ; for not only are they examples of palatial ornament in the landscape,
but they are all the more impressive when seen close at hand, from their dignified
architectural expression and their admirable connection with the near lines of the
garden design.
Among the most successful of the modern open air rooms are the beautiful
examples by Mr. Harold Peto in the houses recently built to his design on the
Riviera.