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The Golden Age of the English

By DR. ALEXANDER M. SAUNDERS Associate Professor of English

During THE latter half of the eighteenth admit any distant prospect or object of pic- into a profession (landscape ) . century the torial interest . The inner edge of the belt Between 1783 and 1814 he provided his achieved its highest peak of artistic develop- is irregular . . . and softened by outlying patrons with garden layouts more pictur- ment. In the estimate of a contemporary, clumps or individual trees which hide . . . esque than Brown's Arcadian it had reached such perfection as to be "en- the line of the belt's containing fence."' after the manner of Claude Lorraine . Fur- titled to a place of considerable rank among The woodland walk around the belt of trees ther, he prompted the choice of his own the liberal arts . It is superior to landskip provided views of the whole estate or select style over that of Brown by supplying his painting, as a reality to a representation : it views of its parts. Artificial streams or wealthy patrons with "Red Books," re- is an exertion of fancy; a subject for taste; lakes helped to enliven the views . Brown ports bound in red morocco leather and il- and . . . the most beautiful, the most sim- frequently eliminated the sunken fence lustrated with watercolor views (he called ple, the most noble scenes of are (ha-ha) and brought the grass of the them "slips" or "slides") of houses and all within its ." It was the achieve- up to the very house itself, and he uprooted grounds as they were and as they would ment of professional as well as amateur old avenues of trees and put clumps of look after his prospective improvements. , whose business it was "to select hardwoods in their place. They showed "the broadened lake, the and apply whatever is great, elegant, or His contemporary reputation was dubi- clumped , the varied forms of the characteristic . . .; to discover and to skew ous : to some he was a brilliant innovator, to plantations of trees, the longer sweeps of all the advantages of the place upon which others a vandal and a destroyer. He is said park achieved by the removal of fences and he is employed ; to supply its defects, to cor- to have declined an invitation to visit Ire- . Less drastic than Brown, he had rect its faults, and to improve its beauties."' land on the pretext that he had not yet fin- acquired . . . something of the taste for And it became the passionate hobby of no- ished with , and one man of taste the ; plantations were no longer bility and until the eclectic tastes of hoped that he might see the heavenly gar- in uniform shape and contained a mixture the Victorians delivered it into the hands dens before Brown had a chance to improve of trees. Rough grounds of I trees broke of the Philistines . them . After his modifications of the river the expanses of turf, and sheets of The supreme creator of the pictorial gar- views at Blenheim, he is alleged to have re- had the accidental banks of a lake rather den was Lancelot ("Capability") Brown marked, "Thames, Thames, you will never than the smooth sides of a broad river." (1715-83), who earned his nickname be- forgive me!" On the other hand, some Repton's objective was a happy mean be- cause he examined estates with an eye critics had only good things to say of his tween the old-fashioned and toward their capability of improvement. work ; and his reputation extended down the new landscape garden : the grandeur of He served his apprenticeship (1740-48) un- into Regency days. In The Beauties of Le Notre's seventeenth-century at der at Stowe; and on the England and Wales (London, 1813), Versailles and the grace of Brown's gardens death of his patron, Lord Cobham, in 1749 X11, ii, 270, J. N. Brewer praised him to "call forth the charms of natural land- he became a practising landscape gardener. unqualifiedly for his work at Nuneham- scape," which "he certainly endeavoured to In 1764 George III set the official seal of ap- Courtenay, a 12,000-acre estate in Oxford- carry out in his first big work, begun in proval on his work by appointing him chief shire, which "evinces, in every division, 1790, at Cobham in Kent, and he congratu- gardener at Hampton Court. Brown's pop- great richness of natural circumstances, lated himself warmly on having retained a ularity and commissions were enormous, improved by the hand of reverential, straight terrace as being more in keeping and for thirty years he profoundly affected rather than of presumptuous, art. Perhaps with the style of the house than the 'fre- the development of the art of gardening. the talent of Brown . . . was never displayed quently repeated waving line of beauty.' "' His genius lay in the creation of beautiful to greater advantage. Each artifice to Repton despised anything in the landscape rather than picturesque scenes. "With heighten pictorial effect is so judiciously that suggested "convenience and comfort" Brown, avenues merely gave way to clumps concealed, that the whole seems graceful and sought to make it ornamental . "Arable and belts, canals to serpentines, straight in the simplicity of nature." land and utilitarian buildings must be put paths to winding walks, terrace The death of Brown in 1783 opened the out of sight. Mown grass or pasturage was and labyrinth to tree-dotted that car- way for new ideas in gardening. His suc- to stretch and undulate from the doorstep ried their undulations up to the drawing- cessor, (1752-1818), in to the distance, and where such undula- room windows.`2 His "typical park land- turn merchant, country gentleman, and tions, natural or artificial, were too little scape resolves itself into a few obvious ele- private secretary to the Lord-Lieutenant of pronounced and too little relieved by trees ments. The park is bounded by an encir- Ireland before his retirement to a cottage in and water, herds of deer and cattle were cling belt of woodland . . . interrupted to Sussex, converted his hobby (gardening) freely scattered over his drawings to give

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the desired diversity. Like Brown, he was ture of the picturesque in the writings of in(, with certain emotions evolving about a great expositor and creator of the . . . the two friends, Richard Payne Knight pictorial and sentimental-literary conven- gentle falls and risings that breed cheerful- and Uvedale Price. Price had found the tions. In accordance with pictorial ideas ness . All was to be suave, rounded, neat. terms beautiful and sublime, popularized were laid out as a series of landscape They I Brown and Repton] smoothed a by Burke's essay On the Sublime and Beau- views in the style of admired painters and thousand-acre park in almost the same tiful (1756), insufficient to characterize the governed by the principles of the beauti- spirit as the formalists had clipped their "numberless objects which give great de- ful, the sublime, and the picturesque. As yew hedges." light to the eye, and yet differ as widely in his Essay on Modern from the beautiful as from the sublime."' Gardening (1770) says, "Every journey is ORE of an architect than a gardener, This intermediate term was the pictur- made through a succession . of pictures." MSir William Chambers (1723-96) esque, which had come into popular use Concentration on the sentimental led to stimulated, perhaps unwittingly, the grow years before among such "picturesque" the development of the garden of mood, ing interest in exoticisms, especially Chi- travelers as Gilpin, Warner, and Ireland. designed to arouse feelings reminiscent of nese, during the latter part of the century. Burke had identified the beautiful with those stimulated by poetry in much the Born in Sweden of Scots parentage and ed- qualities of smoothness and regularity and same sense that historical associations lead ucated in England, Chambers made three the sublime with qualities that excited feel- us today to speak of the spirit of places. voyages to the East as a young man and ings ranging from awe to terror. The pic- The most famed of the old-fashioned afterwards studied architecture in Paris and turesque, on the other hand, stressed in- gardens to conform to the new taste was Rome. In 1755 he became tutor in archi- tricacy and variety, roughness, age, and Stowe, Lord Cobham's 400-acre estate in tecture to the future George III and later decay, and above all "a sudden deviation" . It has been happily published three books on architecture . He from the regularity of the beautiful." The characterized by a modern critic as a pa- laid out for Princess Augusta chief distinction between the ideas of Price limpsest, because, like a sheet of old monk- and embellished them with classical and and Knight was that the latter made beauti- ish parchment, one landscape gardener oriental and temples, among them ful and picturesque synonymous, and the after another has erased the work of his a Chinese pagoda. In his Dissertation on former considered the picturesque to be a predecessor and substituted in its place his Oriental Gardening (1772), which he char- separate and distinct critical term inter- own modifications. The original gardens acterized with tongue in cheek as "a piece inediate between the beautiful and the had been laid out by Vanbrugh and Bridge- of nonsense of my own about gardening" sublime. Limitations of space make it im- man like a fortress with long, fathered "upon the Chinese who I thought possible to discuss more fully here a matter straight avenues radiating from the house lived far enough off to be out of the reach that occupied so much of the aesthetic and terminating in retaining walls with of Critical abuse," Chambers attacked the thinking of the eighteenth-century man of bastions at the angles . Later Kent added "natural" style of Brown. Despite Cham- taste. Suffice it to say that both Knight and meandering streams and a serpentine lake, bers' significant revelation of his lack of Price stressed the importance of "a build- and Brown eliminated avenues of old trees first-hand knowledge of - ing's pictorial unity with its setting, I and and planted grass over the site of the old ing, his book has a profound influence on led them to recognize the necessity of some formal parterre and (see the taste for , especially in architectural setting for country houses, Figure 1) . France, where it was mistakenly assumed which Brown's aesthetic had as strenuously Despite frequent criticisms of its parts, to be the main ingredient of the English denied .1'7 Stowe was much admired by men of taste. garden (Le Jardin Anglais) . In England it Contemporary descriptions and guidebooks further helped to reinforce the current rage IROUGIIOUT the latter half of the eigh- were written about its beauties, and owners for sensibility and led to the full-blown gar- teenth century both old and new gar- of smaller estates unabashedly copied its den of emotion in contradistinction to the densT were formed to submit to the chang- scenes and ornamental buildings. pictorial garden of Brown. Chambers ing taste ("nature methodiz'd") in keep- One of the earliest descriptions of Stowe stressed the Chinese aversion to straight lines and their desire to appeal primarily to the emotions by imitating nature's "beautiful irregularities" in the garden and by preserving regularity near buildings. The Chinese sought to please, to surprise, to terrify the spectator with "scenes of ter- ror in gloomy woods, or dark caverns where everything had been blighted or devastated ." Groves were frequented by birds of prey ; by voracious, half-starved anima's ; and by "gibbets, crosses, wheels, and every instrument of torture." The essay of Chambers was "answered" by William Mason in An Heroic Epistle to Sir William Chambers (1773), a burlesque satire in the manner of Pope's Dunciad. Be- sides being an attack on Brown's methods of destroying old gardens and on Cham- bers' oriental innovations, the Epistle helped to anticipate and in soine respects to precipitate the controversy over the na- FIGURE 1

JANUARY, 1956 PACE 2 1

(1724) is contained in a letter from Lord all the objects and scenes from different down small cascades . . . taught to murmur Percival to his brother-in-law : "the house vantage points, chiefly from the numerous very agreeably." It is a "very soft and pen- . . . commands a fine prospect" of twenty-six "protempore benches" and seats, many of sive scene." From a natural terrace above miles. The garden "consists of a great num- them inscribed with Latin and English a concave valley he whimsically observes her of walks, terminated by summer houses, verses and placed in appropriate places to that "if a boon companion could enlarge and heathen Temples of different structure, serve as "hints to spectators" not to miss his idea of a punch-bowl, ornamented with- and adorned with statues cast from the the views. Since a "tour" of the whole es- in with all the romantic scenery the Chinese Anticks I sic . . The cross walks end in vis- tate with Dodsley with be impracticable, let ever yet devised, it would . . . afford him the tos, arches and statues, and the private ones us note only a few of the scenes that espe- highest idea . . . of earthly happiness : he cut thro' groves are delightful. You think cially impressed him. Near "a kind of would certainly wish to swim in it." He twenty times you have no more to see, and ruinated wall" he enters a winding path finds "a remarkable clump of trees called of a sudden find yourself in some new gar- shaded by trees and sees a "cool, gloomy, Frankly Beeches" and "a beautiful gloomy den or walk. Nothing is more irregular solemn, and sequestered" scene in contrast scene, called Virgil's Grove," which "is in the whole, nothing more regular in the with the preceding "lively scene." The po- opaque and gloomy ." Through a visto he parts. What adds to the bewty of this gar- etic sentiments on the Root House suggest sees "one o£ the most beautiful cascades den is, that it is not bounded by walls, but "the ideas we form of the abode of Fairies, imaginable." It falls "down a precipice by a Ha-hah, which leaves you the sight and, appearing in this romantic valley, serve overarched with trees, and strikes us with of a bewtifull woody country, and makes to keep alive . . . enthusiastic images." He surprise. It is impossible to express the you ignorant how far the planted walks admires a "semicircular lake" and "a pleas- pleasure which one feels on this occasion; ."s extend ing serpentine walk." From a seat beneath for though surprise alone is not excellence, In 1731 Alexander Pope praised its gar- dens obliquely in the Epistle to Burlington : Still follow sense, of ev'ry art the soul, Parts answ'ring parts shall slide into a whole, Spontaneous beauties all around advance, Start ev'n from difficulty, strike from chance : Nature shall join )on, tune shall make it grow A work to wonder at-perhaps a STOW . For the generation of the tnid-century Walpole noted" that "the various pictures that present themselves as we shift our sit- uation, occasion both surprise and pleasure; sometimes recalling Albano's landscapes to our mind ; and oftener to our fancy, the idolatrous and luxurious vales of Daphne and Tempe." In the closing years of the century it appeared to another visitor "like a vast grove, interspersed with columns, obelisks, and towers." Its grounds were "diversified with a great number of distinct scenes; each distinguished with taste and fancy, and FIGURE 2 each having a complete character of its own. The whole is enclosed with a sunk fence, a mighty oak he enjoys "a beautiful home it may serve to quicken the effect of what or Ha! Ha! which extends nearly four scene ; a small . . . encompassed with is beautiful." In another place "the scene miles in circumference, and is accompanied hills and . . . oaks, and embellished with a . . . is that of water stealing along through by a broad gravel walk, skirted with rows cast of . . . piping Fauns ." From the Root a rude sequestered vale, the ground on each of lofty elms . This path leads to many of House "the eye is presented with a fairy side covered with and field flowers, the buildings, and to several interesting vision . . . of an irregular and romantic as that before is kept clean shaven. Further scenes, admitting occarsionhl peeps into fall of water. I A] more wild and romantic on we lose all sight of water, and only hear the surrounding park, and views of the dis- appearance of water, and . . . strictly nat- the noise . . . : a kind of effect which the tant country."t° ural, is what I never saw in any place what- Chinese are fond of producing in what ever." This scene combines "the idea of they call their Scenes of enchantment." NE OF THE EARLIEST Of the gardens of magnificence [and] beauty." Beyond is Shenstone's ideas were extremely perva- mood was the poet Shenstone's orna- the Forest Ground, "a confused mixture of sive in their influence on other men of taste. mentedO farm, the Leasowes, in Shropshire. savage and cultivated ground, held up to In 1771 Arthur Young enjoyed scenes at It was embellished with urns, trophies, the eye, and forming a landscape fit for the Halswell in Somerset reminiscent of the weeping-willows, inscriptions, dragons and pencil of Salvator Rosa." The pathway, moods invoked by Milton's minor poems, serpents in hideous attitudes, and other "serpentizing through I an I open grove," as he was expected to by the owner and de- symbols in harmony with the grand, sav- forms "a perfect dome or circular temple of signer of the gardens: gloom, cheerfulness, age, melancholy, horrid, or beautiful char- magnificent beeches." From the Lover's and contemplation.l2 From the Druid's acter of the landscape." Many poems and Walk he sees "agreeably shaped" water, Temple of bark "the view I is] quite prose descriptions of The Leasowes praised whose terminations are "well concealed." gloomy and confined ; then it opens on "a the taste of its owner. The earliest of these, The walk "ascend[s] beneath a depth of more chearful ground" of river and open A Description of the Leasowes, by R . Dods- shade, by the side of which is a smaller lawns and fields and thinly scattered trees. ley (c. 1754), described all the walks and bubbling rill, rolling over pebbles, or falling Again "the character of the ground . . .

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changes most happily; the woods open I on I upon "a creation of fairy gaiety l : ] A gaudy not the sublime and the picturesque. The both sides of the water ; waving lawns of the flower garden, with its wreathing and fra- imitation of scenes in the garden reminis- lively verdure-trees thinly scattered- grant plats bordered by shaven turf, with a cent of the style of painters in the grand brighter streams-touches of distant pros- smooth gravel walk carried round, is style furnished with an even pect-and elegant buildings-all unite to dropped, like an ornamental gem, among more cogent reason for rejecting flowers. raise the most chearful ideas." From the wild and towering rocks, in the very heart The color palettes of such admired paint- Ionic Portico the scenery is enchanting . of boundless woods. Nothing can be more ers as Claude Lorraine, Nicholas Poussin, The lawn is gently waved, and spotted with enveloped in solitude, nothing more beau- and Salvator Rosa favored the somber, sub- trees and in the happiest taste. The tiful and genial . It] contains about two dued colors rather than the light pastel water seems to wind naturally through a acers swelling gently to meet the sun- shades that came into fashion in the latter falling vale; and a swelling hill, crowned by beams, and teeming with every variety of part of the eighteenth century. As a recent the rotunda, forms a complete picture. The or flower ." In the midst of a thicket historian of art"' has pointed out, the mas- whole scene is really elegant, every part on a natural platform atop a hill he finds ters of Claude, Brill and Tassi, "had im- riant, and bears the stamp of pleasure." The another flower garden "so carefully shel- planted and developed in Rome the style of path along the bank of the river "under tered and judiciously disposed, as to real- Late Mannerist landscape, with its artificial the gloomy shade of numerous trees, is a fit ize a paradise in the wilderness ." It is not disposition of dark-brown foreground, residence for Contemplation to dwell in. "so studiously ornamental as that of the lighter-green middle distance, and blue The awful shade-the solemn stillness of garden below : it aims at a coincidence with hills on the horizon, each stage being the scene, broken by nothing but the fall the peculiarities of its situation." marked by wings as in a theatre, starting of distant ; . . . impress upon the from a dark tree in the foreground ." As mind a melancholy scarcely effaced by the t WILL Br: OBSERVED that after more than early as 1767 the Reverend William Mason chearful view of a rich vale." century Milton's ideas of a garden in in his lengthy poem The English Garden A garden that summarized many of the Paradise Lost have come full circle. The had advised the gardener to observe in the implicit romantic tendencies of the last half flower garden, which had been almost ig- landscape the proper coloring : of the eighteenth century and anticipated nored throughout the eighteenth century, Where to the eye three well-mark'd distances the Victorian garden was Hafod ("the has once more made its timid reappearance Spread their peculiar colouring. Vivid green, Welsh Strawberry Hill"") in Cardigan- in the landscape garden of the Regency. Warm brown, and black opake the foreground shire, the seat of Thomas Johnes, M.P., The disappearance of the flowers coin- hears philanthropist, and learned editor of Frois- cided with shifting tastes in eighteenth- Conspicuous ; sober olive coldly marks The second distance ; thence the third declines sart's Chronicles . About 1795 Turner made century poetry and gardening. Whereas In softer blue, or, less'ning still, is lost a watercolor of the original Gothic house, the Elizabethan, Jacobean, and Romantic In faintest purple. which burned in 1807 (see Figure 2) . Cole- poets wrote subjectively about flowers, poets ridge, who also visited it, is said to have of the Augustan period deliberately avoided Another modern critic"' has this significant had it in mind when he composed his the emotional in favor of the didactic and statement to make concerning the absence opium vision of Kubla Khan. It was laid the moralistic in order to teach something of flowers in the Augustan garden and out between 1783 and 1801 in a "wilder- useful or to satirize the defects in the men their reappearance in the nineteenth-cen- ness" near Mount Plinlimmon. During that and manners of their age. It is a common- tury garden. "The chief reason for the lack period Johnes spent thousands of pounds place of literary criticism that, except for of colour . . . I was I the influence of paint- in planting 2,065,000 trees, 400,000 of them a few "," the sonnet as an art form ing. The painters of the day . . . were con- being larches. disappeared in the eighteenth century. It cerned principally with surfaces, pictur- A tourist'} who visited Hafod in 1803 ceased to flourish in the poetic garden be- esque roughness, or with problems of light. described it in detail . Art had been con- tween -the time of Milton and that of Until Constable introduced his revolution- sulted only "to render nature accessible. In- Wordsworth . Flowers were also associated ary ideas, Claudian golds and browns were deed, nature has in this country so obstinate with the despised formal garden, against the only proper colours for a picturesque a will of her own, that she would scarcely which the "natural" gardeners had re- painter to use, since darkness was asso- suffer a reverse] taste . . . to interfere belled. Flowers and the formal gardens of ciated with sublimity. It was when the in- with her vagaries." From one elevated spot Louis XIV at Versailles, it was contended fluence of painting on gardening became the visitor saw "an assemblage of beauty by the Palladians, had helped to regiment less at the end of the century and in early and grandeur . . . as few spots on this island the French countryside (nature) and to and mid-Victorian times that colour re- can equal for surprise and singularity," jeopardize the liberties of the French turned to the garden. When it did so, it which caused him to start "as at the with- people . was unrestrained until French impression- drawing of a curtain from before a picture." It is paradoxical that flowers were ban- ism exerted its influence on Miss Jekyll and From the pathway along the River Ystwyth ned because of their emotional connota- her followers ." he sees a "tremendous cataract," and "a tions and that at the same time the garden In conclusion, it should be pointed out rustic footbridge, which composes well in of mood stressed a variety of emotions. This that "in the nineteenth century, as the nat- the picture." An artificial tunnel cut paradox can be resolved, however, if we ural passion for flowers revived, formal through a hill allows him to view the lar- note the stress in both poetry and painting gardens were again designed, usually in the gest of the waterfalls in the middle of its upon the term sublime. In the garden of Italian style, "17 and that the art of garden- descent. The darkness and the sound of snood landscape scenes were modeled after ing, the exclusive hobby of the male in the falling water gives him "a sort of pictur- the sublime qualities of such poets as Mil- eighteenth century, became the exclusive esque feeling" and a mood of "poetical ton ; the moods of poets suggesting images property of the Victorian "female" and de- gloom." Emerging, he enjoys "a full view other than the sublime were ignored. Gayly generated into a hodge-podge of styles of the beautiful and sublime . . . combined" : colored flowers could evoke only the light- without any sort of dominant philosophic valley, river, mountain torrent, and culti- er emotions associated with the merely do- protector. vated fields. Then he comes unexpectedly mestic, the cheerful, or the mildly beautiful, Continued Inside Back Cover

JANUARY, 1956 PACE 23 peace." And that is where heaven is. It is 9 Essay an Modern Gardening ( 1770) . The Golden Age .- - . to always over there, beyond all the hilltops . Britton and Brayley, The Beauties of Engla:::! Continued from page 23 and Wales London 1801), V, i, 288. is in our very going over those hilltops It 11 Rose Standish Nichols, English Pleasure Go in a search and in a quest. Even Faust, as (New York, 19(12), 207. IOGRAPHY BIBL dens the curtain falls, is not seated in a golden 12 The Farmer's Tour Through the East of Et;,,- homas T Whately chair in paradise ; rather he is following the Observations on Modern land (London, 1771), IV, 18-21 . Gardening (London, 17711) . 1a Tudur Edwards (London "woman soul which leadeth us upward and The Face of Wales H . Avray 'I ipping, Gardens (London, 1950), 55 . Faust, or Everyrnan, or you I-as English on." or 1925), xlvill . 14 Benjamin Heath Malkin, The Scenery, Goethe believes-in a state of paradise is a Christopher I ussey, "Introduction" to Dorothy Antique-ties, andBiography ofSouthWales (Londci, reaching out in that eternal quest that is Stroud's (London, 1950). 807 11, 54-89. never done, reaching out and reaching up 4 Ralph Dutton The English Garden (London, 15 Anthony Blount, Art and Architecture in France 1915), 94-95. The Pelican . London and reaching on. "' Tipping, ihid., lix . 1953), 196. 6 Price, Essay on thePicturesque 1 "F . H . Clark, The English Landscape Gard, "r ' Hussey, ihid. (London 1948), 31 . 8 Quoted by Alicia Amherst History of Garden- 17 1. 11 . G. Lebon, The Evolution of the Countryside London 1952), 47. ing in England (London, I N96), 25(1-52.

"Saturday's no fun anymore"

It sure used to be, thoough Up early even Ibefore orc the sun hit the window\ sill. Then tip-toe into Dud's room to wake him up . Sometimes it isn't easy . A New He's up now. Careful not to wake Mom. Now you're dressed and in the kitchen where you and Dad whip ill) ;i swell breakfast together . Doesn't the colfee smell good', And the bacon Excellence' trying . . . the hot rolls . A real man's breakfast.

"What'll it be today, Tommy =" Dad asks . "Want to toss a ball around' How about a ride out to) Blue Lake' Bet the trout are In Milk jumping. You call the shots, son. Its your day."

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