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American Gardens and Their European Precedents Oz Volume 8 Article 6 1-1-1986 American Gardens and their European Precedents Joanna Lombard Follow this and additional works at: https://newprairiepress.org/oz Part of the Architecture Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Lombard, Joanna (1986) "American Gardens and their European Precedents," Oz: Vol. 8. https://doi.org/ 10.4148/2378-5853.1114 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Oz by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. American Gardens and their European Precedents: Tradition and Strategy Joanna Lombard ·villa D'este, Perspective view, Villa D'este; Villa Lante. Plan, Villa Lante. Introduction of the garden is dynamic and contrast, the picturesque plan appears The Epic Tradition cumulative. dynamic but the spatial sequence is in The study of American gardens and fact static. Villa D'Este their European precedents has yielded The artifact tradition is most easily seen two essential ideas. One is a way of in the picturesque English garden where Examples of the epic and artifact tradi­ Villa D'Este, garden of Ippolito II d'Este, categorizing garden form , the other an objects are arranged compositionally. tion precede an analysis of American Cardinal of Ferarra, follows a specific elaboration of the parts of American The object holds particular symbolic gardens in order to illuminate both iconographical program designed by gardens that seem distinct and shared. meaning and associate power without precedent and subsequent transforma­ Pirro Ligorio and Marc Antoine Muret, the spatial delineation of sequence. The tion of the American garden. Two Italian to honor the Cardinal. 2 David Coffin, in The garden history significant to quality of the visual experience gardens express the epic tradition The Villa in tbe Life of Renaissance Rome, American gardens can be classified in­ supersedes both sensorial movement clearly, Villa d'Este at Tivoli and Villa describes three inter-related themes ex­ to two traditions, that of the epic, and through space and the literary narrative. Lante at Bagnaia. Palladia's Villa pressed in the cross axial organization that of the artifact. The epic tradition Barbaro at Maser further describes the of the garden. presents a spatial sequence evocative of American gardens borrow from these evolution of the type into a precursor of the literary epic journey. The gardens of traditions, one dynamic and fully sen­ American · gardens. Stourhead in The first two axes, terminated by the Renaissance Italy most clearly illustrate sorial, the other static and primarily pic­ England illustrates the characteristics of fountains of Nature and the Sea on one this notion in their execution of a literal, torial. It is important here to distinguish the artifact garden. Finally, five level, and the Ovato and the Rometta iconographic narrative.1 Distinct spaces between garden tradition and garden American gardens exemplify American fountain at the next level express the denote arrival, sequence and departure. plan. While the gridded plan of the strategy. An analysis of these American relationship of nature to art. The Participation in the unfolding journey is Renaissance garden is static, the total­ gardens focuses on the distinction of the geographical theme of Tivoli V. Rome 20 essential and the complete experience ity of spatial sequence is dynamic. In genre. is expressed in the second level foun- Plan, Villa Barbaro. Plan, Stourhead. Stourhead. tain. Finally, the moral dilemma of allergorical associations in this villa and The Artifact Tradition Hercules is depicted in the central foun­ garden. Villa Barbaro Stourbead tain of the Dragons, a point where the cross axial and diagonal paths meet. The Villa Lante recalls Ovid's Golden Age Palladio is of interest here because his Stourhead, garden of Henry Hoare, association of Hercules with the through the park, which immediately Venetian clients took a more pragmatic dates from the 1740's and is located in Cardinal, and the Garden of the surrounds the villa. Moving through the view of the villa. Venetian escape was Stourton, England. 6 As in the Italian Hesperides with that of Tivoli is implicit. park to the top of the hill, the story of limited to the world of the painting' and gardens of the Renaissance, antiquity re­ The journey through the garden, the Deluge is expressed through water, the landscape of the villa was pro­ mains the ideal referential resource. characterized by decisions and choices, sculpture, landscape, and built pieces. ductive.5 Therefore, the sequence of the Unlike the Italian examples, Stourhead's is a dynamic and cumulative journey The houses of the Muses assert the epic narrative is expressed compactly. spatial sequence is less significant than that links the participant, through the potential unity of art and nature. The the character of particular objects which Cardinal, to the larger mythic choices Dolphin fountain leads to the waterstair The farmlands surround the villa, which individually evoke classical associations. of Hercules. and the fountain of Giants. A dining is organized along a central axis. The table suggests the benefits of nature, formal parterre garden forms the first The visual phenomena of an object set Villa Lante while continued progression to the layer of the villa. The villa itself is the in the landscape (encountered as an parterre reveals nature in the service of center. The axis terminates in the nym­ event on a circuit walk or as an aspect Villa Lante, garden of Cardinal Gambara art. The narrative is linear and can be phaeum which recalls the grotto, an of a distant vista) supersedes the impor­ in Bagnaia, is said to be designed by approached from either direction. Once aspect of Renaissance gardens evocative tance of cumulative, spatial perception. Vignola. The period is the 1570's - again, the actual movement through the of the Ovato of Villa D'Este and the The value of the architecture is in its shortly after the Villa D'Este. David garden recalls a mythic joumey.3 fountain of the Deluge of Villa Lante. symbolic potential, an experience that Coffin offers further explication of the requires the detachment of an observer. 21 Plan, Middleton Place. Plan, Mount Vernon. American Strategy objects describe immediate relationships very character of a space describes both naturalized edges of the outer garden to the larger landscape. The larger land­ its distance from the villa, and its relative rooms, finally reaching the cypress Like Palladia's Venetian clients, the scape is the Golden Age made real, and position within the larger landscape. swamp and the river itself. American client is expansive, optimistic the participant is firmly placed within and entrepreneurial. However, the it . These two traditions and the Middleton Place Mount Vernon mythic journey of literature is American passion for land can be seen manifested in the actual journey to the in three particular characteristics of Henry Middleton started Middleton in George Washington planned the New World. The evocation of antiquity American gardens. the 1740's oufside of Charleston, South gardens of Mount Vernon, Virginia, in is supplanted by the evocation of Carolina.7 The central axis organizes the 1770's. 9 Although his inspiration Europe. Garden spaces and objects First, a central axis links major (from west to east) the wood, lawn, may have been Batty Langley's pattern 8 10 recall Italy, France, or England, rather geographic features, unifying the axis of house, "butterfly" lakes, central walk, book , Mount Vernon shares the than that of Hesperides. the house with the axis of place. The and the Ashely River. The primary strong, central west-east axis linking the plantation is linked to the forest, the elements of river and wood are linked forested countryside, central drive, green The epic tradition yields the notion of forest to the river, horizon to horizon, by the central axis. house, lawn, and the Potomac River. spatial sequence, the participatory (generally, east to west). Then, a secon­ elaboration of theme, and perception as dary axis, perpendicular to the central Kitchen gardens terminate the southern The secondary axis defines the organiza­ the result of cumulative experience. The axis, organizes the cultivated landscape end of the secondary axis, while formal tion of the kitchen and flower gardens artifact tradition permits a liberal usage linking kitchen and formal garden gardens organize to the north. Concen­ which are spatially distinct. The edges of objects for associative power, spaces. And finally, the edges of the tric demarcation begins to occur as the of the garden are architectural, when generally situated to mark centers, tran­ garden alter in a pattern of concentric gardens move away from the house, close to the house and eventually merge, sitions and edges. Rather than alluding demarcation that eventually unites the changing from the clipped edges of the through the use of the ' 'ha-ha,'' with to the classical past, American garden garden with the native landscape. The tea garden and rose garden to the the park. 22 !u;.~_,_._l.;_._·.~---~. ·_,_:,_)_:.':__ ~j -- - -· !;I.:~;.?~~ .1.~ Middleton Place Mount Vernon Rosedown Biltmore Vizcaya Secondary cultivation axes. Middleton Place. Mount Vernon. Rosedown rooms of Middleton and Mount Vernon. the house, entry court, mount, and architectural pieces encompass the Like other American gardens, the oppor­ lawn, which all respectively extend to estate. Roads and paths continue the se­ The Turnbulls developed Rosedown in tunity to survey the garden from within the mountains in the west and the new quence of movement that links the St. Francisville, Louisiana, during the the house offers the only possibility of forest to the east. The secondary axis of garden to the forest and wilderness.
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