Forestry Studies | Metsanduslikud Uurimused, Vol. 72, Pages 75–90

Research paper

The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century

Sulev Nurme

Nurme, S. 2020. The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century. – Forestry Studies | Metsanduslikud Uurimused 72, 75–90, ISSN 1406-9954. Journal homepage: http://mi.emu.ee/forestry.studies

Abstract. Not much is known about the 17th-century Estonian and Livonian landscape archi- tecture. Most of the information is based on the descriptions found in historical archival and literary sources and on some of the well-known engravings. According to these, a common idea of that era’s landscape architecture is that it was humble in scale and design, and was similar to the practice of late-medieval times when there was no space or ambition to grow woody plants in small gardens of castles. But when diving into the Swedish manor plans dating back to the last decades of the 17th century, it can be noted that the layouts of manorial hearts are inherent to the spatial design of early baroque, which is characterized by a land- scape that has strongly been redesigned and includes a decorative garden, kitchen garden and a park. This article focuses on the spatial composition of Estonian and Livonian manor parks of the second half of the 17th century and observes the role of trees and their use in these landscapes. This article is based on the results of a study about the planning of baroque manor hearts Understanding the Role of 18th Century Estonian Manor Ensembles in Contemporary Planning and Conservation (Eesti 18. sajandi mõisaansamblid 21. sajandi maastikuplaneerimis- es: avastamine, mõistmine, tõlgendamine) which was carried out by the author of this article. The map analysis results deal with the spatial structure of manor ensembles and the observa- tions made during the analysis. The article examines the possible ways of using woody plants in 17th-century Estonian manors while looking at the manor ensemble as an architectonic of early baroque. Based on the research results it can be said that by the last decades of the 17th century the wealthiest manors had already built manor hearts with a modest but a clearly baroque style layout which is characterized by a regular and symmetrical ensemble core, a garden axially connected to the main building and avenues heading into the landscape. This type of approach enables to broaden the common conception of the era’s garden and park architecture in the manor hearts of and . Based on what is highlighted in the article it can be said that the tradition and practice of garden art that has shaped the image of Estonian landscape had already been developed by the end of the 17th century.

Keywords: manor parks, research and conservation of historic parks, trees of historic parks.

Author’s address: [email protected]

Introduction gardens. The conception of the garden art of this era is mostly based on descriptions Not much is known about the 17th-century from historical resources and single graph- Estonian and Livonian manor parks and ic images (Nurme, 2019). There are no

DOI: 10.2478/fsmu-2020-0007

© 2020 by the authors. Licensee Estonian University of Life Sciences, , Estonia. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/ by/4.0/). 75 S. Nurme materials from the 17th century with such to the provinces behind the sea, Estonia level of detail that have been preserved of and Livonia (Nurme, 2019). Thus, the villa , or manorial hearts rustica way of thinking started to develop from the first half or middle of the 18th cen- which was mostly expressed in the build- tury. At the same time, the plans from the ing of new or rebuilding of older wealthier 18th century help to decipher the situation manor hearts to match the new baroque at the end of the 17th century, taking into spatial programme (Turner, 2011). Un- consideration the trends that had spread in fortunately, the Great Northern War that Europe and especially in . Among started in the beginning of the 18th centu- Estonian manors today the most detailed ry disrupted the development of manorial design of gardens and parks can be seen hearts in Estonia for more than a couple of on the 1753 plan of Palmse manorial heart decades, especially the restoration of man- (EAA 1690.1.34 Sheet 1). Another less or hearts, which is why the land destroyed known but still a very remarkable sketch in the war started to show first signs of re- is the 1749 design of Sagadi manor park covery in the 1730s. Based on the above, (EAA 1324.1.141 Sheet 8.). A little bit more the second half of the 17th century can be is known about Livonian manors, which considered as the earliest period of manor are located nowadays in the territory of park development and it can conditionally , thanks to the drawings from the be considered to have spanned from 1670 end of the 18th century by Johann Chris- to 1700. Unfortunately, the architectural toph Brotze and Johann Wilhelm Krause. legacy of most of the 17th-century man- For example, detailed sketches of garden ors, not to mention the gardens and parks, designs are preserved of Linde manor (Jan- was destroyed in the Great Northern War elis, 2010). and in the subsequent rebuilding and res- The 16th century and the first half of the torations of manorial hearts (Hein, 1998). 17th century was troubled and destructive However, this period is significant for the in Estonia and Livonia as most of the local development of local garden art because manors and fortresses were demolished this was the time when the specific com- and looted during wars (Praust, 2005). pact baroque ensemble developed accord- Even though there are notes about the con- ing to local conditions and woody plants struction activities in manor hearts even had a very important role in its character- from the end of the in the istic architectonics (Nurme, 2014). , it was mostly limited to necessary repairs (Hein, 1998). The somewhat more peaceful period was greeted in 1629 when Swedish context the whole mainland of Estonia became part of Sweden with the Truce of Altmark Many very influential architects and gar- which was signed by Sweden and Poland. deners of 17th-century Europe were from This ended warfare for some time and the Kingdom of Sweden. Some of the most gave an opportunity to fix and improve the well-known of them are Jean de la Vallee manorial hearts. and his architect son Simon de la Vallee, While the planning of manorial hearts Nicodemus Tessin the Elder and his son in the first half of the 17th century was Nicodemus Tessin the Younger, Johan humble and similar to the medieval for- Hårleman, Christian Horleman and many tress-type style due to economic and se- more. All of them had travelled to, stud- curity reasons, a paradigmatic change ied or worked in France, which is why occurred probably in the 1660s when the the newest trends in garden art practice baroque style that had spread through Eu- reached the Swedish noblemen’s residenc- rope rooted in Sweden and then expanded es very quickly (De Jong, 2005). The moder-

76 The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century nity of Swedish garden art is characterized tect of the 17th century working in Estonia well by the fact that in 1651 Andre Mollet’s (Hein, 2005). Le Jardin de Plaisir was published in Stock- In the de la Gardie made grand holm and became one of the most influen- plans in Põltsamaa, and Kures- tial theoretical approaches of garden art saare. For example, in 1651 he ordered a in the baroque era in France, the Nether- complete rebuilding project for the Kures- lands and Sweden (De Jong, 2000). Mollet saare Castle from Nicodemus Tessin the published his handbook based on his own Elder, according to which the medieval abundant experience as the gardener in fortress would be turned into a palace with the royal gardens of the and beautiful gardens (Maiste, 2007). The re- Sweden. The theory presented in the book building designs of Haapsalu fortress by had already successfully been tested in Matthias Holt turned the fortress into one the gardens of Swedish noblemen, which of the noblest residences in Sweden (Hein, is why when Andre Mollet left 2005). Swedish noblemen who had many in 1653, his practice was continued by Jean territories in Estonia and Livonia, which de Vallee and Nicodemus Tessin the Elder were given to them for their service in war, (Olausson, 2005). The parterres of the roy- made lavish plans for building castles also al gardens in Stockholm by Mollet became in other places but due to the restless po- the role model for Nicodemus Tessin who litical and economic events of that centu- designed the gardens of Drottningholm ry they remained fancy sketches and were Palace in 1661 (Kluckert, 2007)1. realized only in a humble form or in larg- Thanks to the connection with Sweden, er country manors, such as , Malla, contemporary construction art reached Es- , or Matsalu (Hein, 2005). tonia in a broader sense already in the sec- Similarly to the contemporary Europe- ond half of the 17th century. The highest an villa culture in construction (Aben & de level of architecture in the provinces of the Wit, 1999), the 17th-century Baltic-German Kingdom was mediated by the Governor manor architecture can be characterized by of Swedish Estonia and Governor-Gener- the growing importance of the volume of al of Livonia Jacob de la Gardie and after the unfortified main building in the mano- his death by his son Magnus de la Gar- rial heart (Pirang, 1926); the enclosed main die. Magnus de la Gardie was very well building as a fortress (chateau fort) was re- informed with the works of Mollet and placed by the open chateau plaisance (Hein, with many other contemporary theoreti- 2005). Due to the increase in the use of fire- cal works of architecture and garden art, arms, fortified manorial hearts lost their and he often drew his own sketches for his importance, which is why many of them garden design projects (Lindahl, 2004; De were never rebuilt after the Livonian War Jong, 2005). The modern architectural the- (Maiste, 2005). The ruins were replaced ory also reached the provinces behind the by new buildings, such as Vana-Antsla or sea through local practitioners. Therefore, Kasti manor (Tuulse, 1942), or a new man- in the 1660s there were probably many or heart was built next to the old one, for books by Philibert de l’Orme, Vignola, example in , Suure-Rõngu or Lihu- Scamozzi and also the two most popular la (Tuulse 1942), or it was built in a com- works of that era Le Jardin de Plaisir by An- pletely new location, which was chosen dre Mollet and Le Theatre des Plans et Jar- on the one hand based on the location of dinages by Claude Mollet, in the library of fertile arable lands (Tarkiainen, 2009), and Jacob Stael von Holstein who was the most on the other hand according to the physical well-known military engineer and archi- traits of the location – it would have to sup- 1 The regular park of Drottningholm in its current volume port the spatial logic necessary for achiev- was designed by Nicodemus Tessin the Young in 1681, also ing a representative baroque ensemble. see Olausson, 2005: 191–194

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Figure 1. Views of Porkuni (above) (TÜR KAF 37591) and Lihula Manorial core in 1683 (TÜR KAF 39024) drawn by Samuel Waxelberg.

Figure 2. On the left: Manorial core of Vana-Antsla in 1688 (EAA 308.2.186 Sheet 1). The position of the manor core is set by the moat and artificial lakes. On the right is a plan of Koluvere manorial core (EAA 854.4.469 Sheet 32): the position of the manorial core is set by the fortified residence and fortifications connected to it (moat, entrenchment), also by the access to the fortified residence and river that was flooded for the purpose of protection.

For example, the manor in has a adapted but it was experimented with and Palladio-like architectural style which took conformed according to the local condi- into account the surrounding picturesque tions taking into consideration the Baltic landscape and Kuremaa lake. Construc- German cultural context, economic means tion started already in 1684 and was based and local climate (as Swedish climate is on the project by Jacob Stael von Holstein very different from French climate). There- (Hein, 1998). At the same time, the Europe- fore, before the Great Northern War even an or Swedish experience was not directly the most successful manorial hearts re-

78 The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century mained significantly humbler than the vil- manorial heart and inside its kitchen gar- las of the motherland, the Swedish King- den. The latter originating from medieval dom (Spārītis, 2009). times also fulfilled the function of a dec- orative garden (Ränk, 1971). Based on the above, it can be said that in the mid-17th Layout of the manorial heart in the century there was no knowledge about the changing 17th century baroque ideas spreading in Europe or op- portunities for implementing them in ma- The 17th-century manorial hearts, in gen- norial hearts (Nurme, 2019). eral, remained modest (Hein, 2005; Ränk, The basic principal change can be noted 1971). The buildings and layout of mano- in the 1670s and 1680s. Therein, a signifi- rial hearts stayed down-to-earth and prac- cant event was the construction of tical, buildings and fences were as a rule manorial heart in the 1660s designed by made of wood (Maiste, 2005). Until the Jacob Stael von Holstein, which strongly beginning of the second half of the 17th differed with its Palladio-like architectural century the manorial hearts were built style from the residences of Swedish noble- and restored in the spirit of the tradition- men in Malla, Kolga or Varangu built in the al so-called Frankish fortress-type style mid-17th century (Hein, 1996). On the 1692 that dates back to the early medieval times plan of Maardu manor (EAA 1.2.C-III-11 in the old German culture and it is char- Sheet 1) the baroque ensemble space is acterized by a compact, enclosed court- not clearly visible but when observing the yard which is surrounded by buildings 1690 plan of Raasiku manor plan (EAA on the perimeter (Pirang, 1926). The most 1.2.C-III-37 Sheet 1) or the 1691 plan of Kan- important building – the dwelling house gla manor (EAA 1.2.C-III-41 Sheet 1) it is – was usually located in the southeast or clear that the spatial programme is clearly southwest, although the most prominent in the baroque style, having a characteristic building was the manor – the nobleman’s spatial structure connected to the central dwelling house, which was surrounded by axis, its core formed by the main building, numerous outbuildings for management an open courtyard in front of it and a deco- and a garden (Ränk, 1971). They had a rative garden behind it (Nurme, 2019). The functional layout and were poorly or not at previously mentioned spatial structure, all connected to each other as an ensemble similar to Raasiku manorial heart, can also (Nurme, 2014). This type of layout can be be seen on the 1692 and 1693 plans of noted on many of the earlier plans of Li- manor (EAA 1.2.C-III-50; EAA 1.2.C-IV- vonian manor hearts of that era (Janelis, 37 Sheet 1), on the 1701 plan of Matsalu 2010; Nurme, 2014; Mašnovskis, 2018). For (EAA 1.2.C-IV-196 Sheet 1) and elsewhere. example, on the 1648 Lokuta manor plan When analysing the manor plans of that (Hein, 2005: 210–211), a manorial heart era the endeavour to highlight the central with a central open square surrounded by axis is often visible. This was executed buildings, two fenced gardens and another in the landscape with a straight road ap- fence can be distinguished. This can also be proaching the main building on the central seen on the well-known engraving of Kun- axis and in order to achieve that the local da manor heart by Adam Olearius made in roads needed to be redesigned to a great- 1647 (TÜR KAF 4714). Based on historical er or lesser extent. It was also characteris- views and plans of that era, it can be as- tic to try to assemble the outbuildings and sumed that vegetation from the point of manor house around the frontcourt as a view of the ensemble as the architectonics U-shaped group, which can be noticed on was not important and was limited mostly the layout as an endeavour to be corps de lo- to naturally grown vegetation around the gis. It is also characteristic of the ensembles

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Figure 3. Raasiku Manor in 1690 shows a typical Estonian early baroque villa concept: A – main building with cour d’honneur; B – gardens; C – paddock for horses with its location directly near the ensemble is quite typical of Estonian manor planning in the 1680–90s; D – main road with alley. The main axis is clearly highlighted with the alley which is designed in this place for aesthetic reasons (EAA 1.2.C-III-37 Sheet 1).

Figure 4. Manor core in 1783 by Carl Otto von Gyllenschmidt (AM 4646:21 G 6930). that the decorative garden behind the main medieval manor heart had been located or building takes into consideration the di- nearby, then the fortifi cations defi ned the mensions of the main building, which var- architectonics of the new manor heart and ied greatly in different manors. The plan- its character: mostly the locations of build- ning of manor hearts greatly depended on ings and different parts of the garden, their the topography and on the manor owner’s axial orientation, views, the order of spac- fi nancial means to reshape the landscape es in the ensemble, hierarchy, etc.. Most of keeping in mind the ambitions of the ba- the time the surroundings of the fortifi ed roque ensemble. When the manorial heart building failed to enable building a whole- was restored at the same place where the some baroque ensemble due to lack of

80 The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century space, which is why parts of the ensemble Trees in the service of the baroque were planned in regions where the nec- spatial programme essary space existed and therefore it was often not possible, for example, to axially In the spatial setting of the baroque villa connect the garden with the main building ensemble in the landscape the plants, pri- as is inherent to the baroque style. Manorial marily trees, have quite a significant role. ensembles that had preserved the volume From the standpoint of the ensemble as a of their medieval fortified manorial heart meaningful wholesome space, tree plant- after the Great Northern War, for example ings marked the centre of the manorial Vana-Põltsamaa (EAA 308.2.213 Sheet 1), ensemble – the building complex and park (EAA 2072.3.41a Sheet 4, folio III) – with the borders marking the main axis or Koluvere (EAA 854.4.469 Sheet 32) were in the landscape and side-axes connect- planned pursuing the spatial hierarchy as ing to it (Nurme, 2019) and defining the close to the era as possible by forcing the spatial structure of the park. Based on the different parts of the ensemble view-wise 17th-century manor plans it can be said to one continuous direction but due to the that the primary spatial design function peculiarities of the existing buildings and of planted trees was to mark the park area fortifications the axisymmetric structure of and the main axis and divide the park into the ensemble was not achieved (Nurme, different sub-areas. It should be taken into 2019). consideration that most likely there were There were no topographic limitations not enough financial means and the reduc- in the new manorial hearts of Maardu, tion of 1682–1700 (Vahtre & Laur, 2003)2 Kuremaa, Raasiku, Palmse and others, made the interest of large scale develop- which is why their layout prior to the ments and reshaping of the terrain subside Great Northern War principally reminds a and the local topographic situation defined classical baroque spatial model of balti villa the borders and look of the park. rustica that had developed by the mid-18th The park was built on the arable land, century (Nurme, 2019). What a manorial meadow or pasture surrounding the main heart of that era could look like can be seen building or quite often was redesigned in the engravings of Espelunda manor by from neighbouring forests (Tarkiainen, Erik Dahlberg (Dahlberg 1698–1715: Book 2009). Although these gardens in their II, 52) and in the watercolour painting of size and expressiveness were not compa- Vasula manor in 1783 by Carl Otto von rable to the grand parks of French, Dutch Gyllenschmidt (AM 4646:21 G 6930). On or Swedish manors, the decorative garden the forefront of the view a court of honour with orchards, shrubs, kitchen gardens and and the main building can be seen behind flower-beds that followed the composition the buildings on the side, whereas on the dictated by the main building became a left side of the view between the trees, standard part of the ensemble (Maiste, there is thought to be a garden pavilion 2005; Sinijärv, 2009). The garden of that era with a circular-shape (Pirang, 1926). On the probably remained a mixture of a function- 19th-century plan (EAA 2072.5.483 Sheet al and decorative garden. On the one hand 1) the regular part of the park behind the this was due to the geopolitical situation main building cannot distinctly be seen on mentioned above, but on the other hand the watercolour painting and the massive due to practical calculations and the Bal- greenery next to the bridge leading to the tic German cultural tradition according to frontcourt is most likely the natural vege- which a garden needs to be both beautiful tation on the opposite shore. and useful. Herein, it is important to men- tion two local handbooks about gardening

2 Also see Von Transehe-Roseneck, 1890.

81 S. Nurme printed in the 1680s in (Hein, 2007), (Ränk, 1971). Therefore, typical gardens in which the author Gregorius Franciscus of the 17th century were the gardens of Holyk references the above-stated prin- manor hearts and monasteries preserved ciple (Holyk, 1709) and which portrays as fortresses (for example Porkuni, Lihula, the wider interest in gardening. The first Põltsamaa, ). The gardens located publication was Lieff- und Außländischer next to monasteries and fortresses were not Garten-Bau (1684) and as can be read from axially connected to the buildings but in the first chapter of the book (Holyk, 16913) general were divided into square-shaped does not deal with “quinquinx4, squares and quarters pursuing a symmetrical struc- other shapes that trees should be planted as” ture (Nurme, 2014). Functional gardens but deals with the agricultural engineer- dominated (orchards, gardens for medic- ing of fruit trees. The second book is called inal plants and herbs, vegetables, Humu- Versprochenes Bluhmen- und Küchen-Garten- lus and bleaching fabrics) and probably Büchlein/Worinnen Kürtzlich/doch gründlich avenues or rows of fruit trees were used die Handgriffe gezeiget werden (1687)5 and (, 2016). Roses, carnations, tulips it focuses on the agricultural engineering and narcissi were grown in decorative gar- of flower and vegetable gardens, but also dens and pavilions, and gazebos and small gives advice on planting schemes (Holyk, mowed grass areas could be found (Ränk, 1709). 1971). A guideline on how to build an or- As can be seen on the manor plans orig- chard, flower, Humulus or grape garden inating from the 17th century the space can also be found in the previously high- of the ensemble was split into two by the lighted handbook by Gregorius Franciscus cross axis of the main building of which Holyk (Holyk, 1709). According to the 1686 1/3 to half was formed by the frontcourt inventory of manor, the garden was and the rest by gardens and the park. Ac- divided into 12 quarters where vegetables, cording to the common practice of that fruit trees and flowers were grown, and era the park was divided into two vol- roads were bordered by currant bushes ume-wise contrasting parts: an open back- (Tarkiainen, 2009). Unfortunately, on the court and an enclosed park area with trees 1689 plan (EAA 1.2.C-II-35 Sheet 1) the planted in such manner that it looks en- division into quarters is not visible, but it closed. The park’s position and structure gives an idea of the general volume of the were generally based on the longitudinal garden and of the fish pond mentioned in and cross axes of the main building and/ two inventories which were located in the or the diagonals connected to the intersec- northern part of the garden and symmetri- tions of axes (Nurme, 2019). At the end of cally to the longitudinal axis of the garden. the 17th century, it seems that the Estonian Only some of the manorial hearts with pre- and Livonian practice saw the enclosed served buildings at the end of the 17th cen- part of the park often humble or missing, tury, such as Vana-Pääla, Suure-Rõude, or as is evident on the plan of Anija manor Välgita, had small-scale garden parks that (EAA 1.2.C-III-50 Sheet 1). were located behind or to the side of the The garden art tradition was carried main building. For example, on the 1687 on, similarly to Europe, in Estonia also by plan of Vana-Kasti manor the orchard is Cistercian monasteries which is why many clearly distinguishable as a separate struc- earlier gardens in the North and South ture (EAA 1.2.C-IV-240 Sheet 1). A similar of Estonia were located in their vicinity orchard or decorative garden is depicted 3 Herein, the quote originates from the book printed in Ham- on a 1695 plan of Rosbekis Manor which is burg in 1691 currently located in Latvia (Janelis, 2010). 4 quinquinx – planting scheme with five points, mostly used for fruit trees, known already from the medieval times Supposedly, fruit trees and decorative 5 Herein, the reference originates from the book printed in trees were used for planting in rows and Frankfurt and Leipzig in 1709

82 The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century

Figure 5. Kasti Manor core in 1687. On the map is shown the location of an old fortress and the new main building, also a small rectangular garden in the upper part of the manor core. (EAA 1.2.C-IV-240 Sheet 1). in avenues (Hein, 2007). Tilia cordata Mill. betulus L., Taxus baccata L., Fagus sylvatica is one of the few native species that can L., Cupressus sp. and many others (Wim- be cut into shapes without complications mer, 2001) are not frost resistant in Estonia. in the northern climate and thus, the use Therefore, they were replaced by fruit trees of Tilia in manor garden design as rows of and shrubs and other cold bearing native trees became widespread in Sweden (ini- species such as Caragana arborescens Lam., tially Tilia cordata and starting at the end Berberis vulgaris L., Picea abies (L.) H. Karst., of the 17th century the imported Tilia x and even Vaccinium vitis-idaea L. (Hein, europaea L.) (Bengtsson, 2005). From Swe- 2007). Thus, the local topiary art remained den the use of Tilia probably spread to the humble in the 17th century and later on provinces overseas. Based on the dendro- (Nurme, 2019). logical research of historical parks it can Usually, the roads leading up to the be said that the most common species in manor were designed as avenues. The Estonian manor parks is also Tilia cordata perimeter of the manor ensemble and pri- (Nutt, 2017) but probably due to the lack marily the park were designed with rows of materials other available plants were not of trees. The park space was also divided rejected and according to the common the- into 4 or more quarters with rows of trees ory other suitable native deciduous trees and as a result, the park with an avenue were used, which included Ulmus glabra on the border perimeter was established Huds. and Quercus robur L. (Couch, 1992). with intersecting avenues forming rect- However, based on the preserved older av- angular shapes (Nurme, 2019). Only few enues Acer platanoides L. and Fraxinus excel- illustrative map materials have preserved sior L. were also not rejected. At the same from the 17th century garden and park time, the local climate did not allow using architecture, but some of the older plans the many tree and shrub species popular preserved from the first half of the 18th during the baroque era in the garden art century give an idea about manor parks at of central and western Europe. Species the end of 17th century, for example Ori- such as Buxus sempervirens L., Carpinus na (EAA 46.2.234 Sheet 1) or Uhtna (EAA

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Figure 6. Garden detail from Birini Manor (Livonia) in the 1780s, reconstruction according to a sketch by Johann Wilhelm Krause. Upper section plantings were planned as a quin- cunx-ornament; the lower section displays different types of ornamental plantings (Nurme, 2019).

Figure 7. Examples of garden design elements. On the right is a plan of Koigi Manor Park bosquettes in 1800 (EAA 2072.5.49 Sheet 1). On the left is a plan of Kangruselja Manor Park parterres in 1790 (EAA 2072.3.426e Sheet 30).

46.2.200 Sheet 1) manor. A good overview the parks. Based on the garden art theory of different planting schemes of deciduous of that era and single subsequent examples trees is given by several Livonian manor of the 18th century it can be assumed that plans drawn in the 1780s by Johann Wil- wealthier places used a broderie motif for helm Krause (Janelis, 2010; Nurme, 2019). patterns inherent to the baroque style, and It is impossible to say which plants were they were created as low hedges and topi- used in the parterres or flower gardens be- aries (Nurme, 2019). In general, the design cause there is no map material preserved of flowerbeds remained simple and down- about them from the 17th century, and to-earth as can be seen on the view of today their traces have disappeared from Skottorp manor in 1680 by Erik Dahlberg

84 The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century

Figure 8. Reconstruction of the general layout of Cesis Castle gardens. The reconstruction above is based on a partially damaged map from the 1690s (see also Janelis, 2010).

(Dahlberg, 1698–1715: III, 108) and on the the Swedish-Russian and Swedish-Polish Kangruselja manor plan which is nearly a military conflicts occurred in the 1650s. century older (EAA 2072.3.426e Sheet 30; This created insecurities in the Swedish 2072.3.426e Sheet 32). noblemen about the unstable conditions Obviously Estonian and Livonian man- on the eastern border (Hein, 1998) and the or hearts were much simpler than what reduction of the last decades of the century was recommended in the garden art theo- lowered the interest in developing manor ry of that era but in single cases, such as is hearts. However, by the end of the 17th shown on the 1690 plan of the garden com- century, approximately a hundred manors plex next to the Cēsis fortress, complicated had their main building built from stone parterres and bosquettes were created in (Hein, 1998). Ideas discussed in the article the spirit of the era (Janelis, 2010). give reason to assume that next to repre- sentative manor hearts, parks and gardens were built that were designed in the spirit Traces of the 17th-century garden art of the era, and their design, architectural language and practice became the basis Latvian art historian Ojārs Spārītis has for the 18th-century manor parks. During highlighted that even though the local this short period, the baroque spatial pro- manor culture in Livonia somewhat de- gramme was tested in local landscapes and creased the influence of the Swedish cul- it took into consideration the local condi- ture, then at the end of 17th century many tions. In the manor hearts of , Triigi, Swedish examples were used as role-mod- Maardu, Palmse, Pilguse and many others els (Spārītis, 2009). Therefore, the architec- that had been brought to life in the spirit of tural language in wealthier manors before villa rustica before the Great Northern War the Great Northern War might have been a compact baroque ensemble type, which very true to the era despite the context of used clear spatial forms and relatively the era and the status of the borderlands. small areas and was influenced by Nordic The reason why such lavish manor com- baroque, was created. This type charac- plexes that were built in Sweden, which terizes Estonia and Northern Latvia. The can be seen on Erik Dahlberg’s Suecia An- parks built next to manorial hearts were tiqua et Hodierna, were never built in Esto- characterized by a simple, geometric plant- nia can be explained by the fact that the ing scheme and rational use of suitable intensity of construction decreased after plants that adapt well in the local climate

85 S. Nurme conditions – all of this pleases the eye even Hein, A. 2007. Garden and time. Outlines from Estonian today in many of the significant and old- garden art history. (Aed ja aeg. Piirjooni Eesti aiakunsti vanemast ajaloost). – Lutsepp, E. (ed.). er Estonian manor parks. In conclusion, it Estonian Parks 1. (Eesti pargid 1). Tallinn, Ministry can be said that the second half of the 17th of the Environment / National Heritage Board / century became pioneering in the manorial Varrak, 17–87. (In Estonian with English summary). Holyk, G.F. 1691. Domestic and foreign garden garden art despite the fickle background. design. (Lieff- und Außländischer Garten- Bau /.../ Hamburg). [WWW document]. URL – http://resolver.sub.uni-goettingen.de/ References purl?PPN626677254. [Accessed 14. March 2019]. (In German). Holyk, G.F. 1709. Flower and kitchen garden booklet, Publications in which the guidelines are shown quickly but Aben, R., de Wit, S. 1999. The Enclosed Garden: thoroughly (Versprochenes Bluhmen- und History and Development of the Hortus Küchen-Garten-Büchlein, Worinnen Kürtzlich, Conclusus and Its Reintroduction into the doch gründlich die Handgriffe gezeiget werden. Present–day Urban Landscape. Rotterdam, /.../. Ritschel Buchhl). [WWW document]. URL 010 Publishers. 256 pp. – http:// https://books.google.ee/books?id=__ Bengtsson, R. 2005. Variation in common lime E6AAAAcAAJ&dq=Holyk. [Accessed 14. March (Tilia x europaea L.) in Swedish Gardens of 2019]. (In German). the 17th and 18th centuries. – Doctoral thesis. Janelis, I. 2010. Manor Gardens and Parks of Latvia. Alnarp, Swedish University of Agricultural Riga, Neptuns. 304pp. Sciences, Acta Universitatis Agriculturae Kluckert, E. 2007. European Garden Design: From Sueciae, 64. 42 pp. Classical Antiquity to the Present Day. Köln, Couch, S.M. 1992. The practice of avenue planting Könemann. 496 pp. in the seventeenth and eighteenth centuries. – Lindahl, G. 2004. The Swedish pleasure garden Garden History, 20 (2), 173–200. (1650–1700): Ventures between classical re- Dahlberg, E. 1698–1715. Suecia Antiqua et creation and a protestant work ethic. – Garden Hodierna. Book II. National Library of History, 32 (2), 167–187. Sweden. [WWW document]. – URL https:// Maiste, J. 2005. Manorial Architecture in Estonia. suecia.kb.se/. [Accessed 30 November 2019]. Tallinn, Tallinna Raamatutrükikoda. 454 pp. Dahlberg, E. 1698–1715. Suecia Antiqua et (In Estonian with English summary). Hodierna. Book III. National Library of Maiste, J. 2007. Estonian Art History. (Eesti kunsti Sweden. [WWW document]. – URL https:// lugu). Tallinn, Varrak. 519 pp. (In Estonian). suecia.kb.se/. [Accessed 30 November 2019]. Mašnovskis, V. 2018. Latvian Manors. History, De Jong, E. 2000. Nature and Art: Duch Garden and Architecture, Art. I. (Muižas Latvija. Vesture, Landscape Architecture 1650–1740. Philadelphia, arhitektura, maksla. I). DUE dizains. 311 pp. University of Pennsylvania Press. 264 pp. (In Latvian). De Jong, E. 2005. Of plants and gardeners, prints Nurme, S. 2014. Estonian baroque manor and books: Reception and exchange in Northern gardens today: Discovering, understanding, European garden culture, 1648–1725. – Conan, conservation. – Valk, M. (ed.). Proceedings of M. (ed.). Baroque Garden Cultures: Emulation, the International conference “Kadriorg 295 – Sublimation, Subversion. Washington DC, a baroque park nowadays”. Tallinn, Asutus Dumbarton Oaks, 37–84. Kadrioru Park, 142–158. (In Estonian with Hein, A. 1996. Palmse. Tallinn, Hattorpe / Eesti English summary). Entsüklopeediakirjastus. 239 pp. (In Estonian). Nurme, S. 2019. Understanding the role of Hein, A. 1998. Manor architecture in Estonia during 18th century Estonian manor ensembles in the Swedish era: evaluations and re-evaluations. contemporary planning and conservation. (Rootsiaegne mõisaarhitektuur Eestis: hinnangud – Doctoral thesis, 32/2019. Tallinn, Tallinn ja ümberhinnangud). – Studies on Art and University of Technology. 246 pp. Architecture / Kunstiteaduslikke Uurimusi, 9, 98– Nutt, N. 2017. The restoration of nationally 141. (In Estonian with English summary). protected Estonian manor parks in the light Hein, A. 2005. Manor architecture during Swedish of the florence charter. – Thesis on Civil times, Jacob Stael von Holstein and Palladionism Engineering F64. Tartu, Tallinn University in Estonian architecture, manor architecture in of Technology (School of Engineering, Tartu the early and mid-18th century. (Mõisaarhitektuur College). 160 pp. Rootsi ajal, Jacob Stael von Holstein ja palladionism Olausson, M. 2005. The aesthetic and social Eesti arhitektuuris, Mõisaarhitektuur 18. sajandi reception and development of the baroque algul ja keskpaigas). – Kodres, K. (ed.). History of garden in Sweden. – Conan, M. (ed.) Baroque Estonian Art. 2, 1570–1770. (Eesti kunsti ajalugu. 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Pirang, H. 1926. Baltic Manor House I. The EAA 1690.1.34 Sheet 1. Pahlen, G.F. 1753. Plan Oldest Time until around 1750. (Das Baltische der Hoflage von dem Guthe Palms. (Palmse Herrenhaus I. Die älteste Zeit bis um 1750). Manor). Estonian National Archives. Riga, Jonck & Poliewsky. 80 pp. (In German). EAA 1.2.C-II-35 Sheet 1. Holmberg, J. 1689. Wiems Praust, V. 2005. Manors of . GenerL: GouverTZ: i Estland Tafelgodz. (Harjumaa mõisad). Tallinn, Tänapäev. 191 (Viimsi Manor). Estonian National Archives. pp. (In Estonian). EAA 1.2.C-III-11 Sheet 1. Holmberg, J. 1692. Mardt Ränk, G. 1971. The older Baltic Manors in Estonia. Hoff I Jegelecht Sochn. (Maardu Manor). (Die Älteren Baltischen Herrenhöfe in Estland. Estonian National Archives. Eine bauhistorische Studie). Uppsala, AB EAA 1.2.C-III-37 Sheet 1. Holmberg, J. 1690. Lundequistska Bokhandeln. 211 pp. (In Rasich Hoff i Johannis Sochn beläget. (Raasiku German). Manor). Estonian National Archives. Sinijärv, U. 2009. Time and space: in Estonian EAA 1.2.C-III-41 Sheet 1. Holmberg, J. 1691. manor parks. – Randla, A. (ed.). Time and Kangla sampt en deel aff Arrokyls Hoffz i Space: Towards a New Heritage Conservation. Jürgen Sochn. (Aruküla Manor). Estonian Tallinn, Estonian Academy of Arts, National Archives. proceedings no 19, 56–66. (In Estonian with EAA 1.2.C-III-50 Sheet 1. Gedhardt, J. 1692. English summary). Haneioggi Hoff och Någre Desz ill Höörige Spārītis, O. 2009. Some aspects of cultural Byar i Johannis Sochn. (Anija Manor). Estonian interaction between Sweden and Latvian part National Archives. of Livonia in the 17. century. – Baltic Journal of EAA 1.2.C-IV-37 Sheet 1. Gedhardt, J. 1693. Karta Art History, 79–104. över godset Hanejoggi och des gränsar. (Anija Tallinn, T. 2016. Of Estonians gardens and Manor). Estonian National Archives. landscapes in 17 Century. (Rootsi aja EAA 1.2.C-IV-196 Sheet 1. Gedhardt, J. 1701. maastikest ja aiakunstist). – Tammet, T. [Matzall Hoff åkerlotter] (Matsalu Manor). (ed.). Almanac of Estonian Parks no 4. (Eesti Estonian National Archives. parkide almanahh 4). Tallinn, Ministry of the EAA 1.2.C-IV-240 Sheet 1. Waxelberg, S. 1687. Environment, National Heritage Board, 40–43. Casti Hoff i Merjama Sochn. (Kasti Manor). Tarkiainen, Ü. 2009. Manors in Estonian Estonian National Archives. Settlement: A Historical View. (Mõis Eesti EAA 1324.1.141 Sheet 8. Wirtschaftliches asustuspildis XVII sajandil). – Külvik M., Notizbuch. Estonian National Archives. Maiste J. (eds.). Park is Pardise in Art and EAA 46.2.234. Sheet 1. 1769. Grenzkarte der Güter Nature. (Park on paradiis looduses ja kunstis). Orgena, Metztacken und Kardina. (Orina Tartu, University of Life Sciences, 84–93. (In Manor). Estonian National Archives. Estonian). EAA 46.2.200 Sheet 1. Dankwart, J.H. 1730. Turner. T. 2011. European Gardens: History, Geometrische Charte von dehnen Laendereien Philosophy and Design. London, Routledge. Hoff-Lahge, und Söltung des Guttes Uchten, 411 pp. welches in die ... an den Herr Baron v. Wrangele Tuulse, A. 1942. The Castles in Estonia and Latvia. und H. Major v. Ungern geteilet worden. (Die Burgen in Estland und Lettland). Tartu, (Uhtna Manor). Estonian National Archives. Dorpater Estnischer Verlag / Õpetatud Eesti EAA 308.2.213 Sheet 1. Swedman, I., Böök, J. Selts. 427 pp. (In German). 1688. Öfwerpahlens Stätt och Gebiet. (Uhtna Vahtre, S., Laur, M. 2003. Estonian History IV. Manor). Estonian National Archives (Vana- (Eesti ajalugu IV). Tartu, Ilmamaa. 311 pp. (In Põltsamaa). Estonian). EAA 308.2.186 Sheet 1. Reuter, E. 1688. Gambla Von Transehe-Roseneck, A. 1890. Landlords Antzen uthi Rappins Gebit och Urbs Kyrckspil. and Peasants in Livonia in the 17th and 18th (Vana-Antsla Manor). Estonian National Centuries. (Gutsherr und Bauer in Livland im Archives. 17. und 18. Jahrhundert). Strassburg, Trübner. EAA 854.4.469 Sheet 32. Löwis of Menar von, 266 pp. (In German). K., Waxelberg, S. 1683/mid-19th century. Wimmer, C.A. 2001. Trees and Bushes in Historic Lode. (Koluvere Manor). Estonian National Gardens: Woodland Use in History and Archives. Monument Care. (Bäume und Sträucher in EAA 2072.3.41a Sheet 4 foolio III. Ellram, D., historischen Gärten: Gehölzverwendung in Rosenpflanzer, D. 1851. Charte des im Geschichte und Denkmalspflege). Dresten, Livländischen Gouvernement, Dörptschen Verlag der Kunst. 256 pp. (In German). Kreise und Laisschen Kirchspiele publiquen Gutes Schloss Lais. (Laiuse Manor). Archive sources EAA 2072.3.426e Sheet 30. 1790. Plan von dem AM 4646:21 G 6930. Gyllenschmidt von, C.O. Gut Kangern. (Kangruselja Manor). Estonian 1783. Vasula mõis. Estonian History Museum. National Archives. [WWW document]. URL – http://www.muis. EAA.2072.3.426e Sheet 32. 1790. Plan von dem ee/en_GB/museaalview/3182852/. [Accessed Gut Kangern. (Kangruselja Manor). Estonian 30. November 2019]. National Archives.

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EAA 2072.5.483 Sheet 1. Anders, C. 1808–1809. TÜR KAF 39024. Waxelberg, S. 1683. Historical Specielle Geom. Charte von dem priv. Guthe Art Collection of Photos of University of Wassula. (Vasula Manor). Estonian Tartu Library. Lihula. (Lihula linnuse vaated National Archives. Stockholmi Sõjaarhiivist. Kolm joonist: 1. linn EAA 2072.5.49 Sheet 1. Henning, F. 1800. Charte ja linnus O-st, 2. linnus O-st, 3. linnus N-st). von den Hofs Feldern des Gutes Koik. Estonian [WWW document]. – URL https://dspace. National Archives. ut.ee/handle/10062/39024. [Accessed 30 TÜR KAF 37591. Waxelberg, S. 1680–1690. November 2019]. Historical Art Collection of Photos of TÜR KAF 4714. Olearius, A. 1647. Historical Art University of Tartu Library. Porkuni. Collection of Photos of University of Tartu (Porkuni linnuse vaated (joonis Stockholmi Library, no 4714. Kunda. (Kunda Manor). Sõjaarhiivist)). [WWW document]. – URL [WWW document]. – URL https://hdl.handle. http://dspace.ut.ee/handle/10062/37591/. net/10062/39218. [Accessed 30 November [Accessed 30 November 2019]. 2019].

88 The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century

Puittaimede kasutamisest 17. sajandi II poole Eesti- ja Liivimaa mõisaansamblites

Sulev Nurme

Kokkuvõte

17. sajandi Eesti- ja Liivimaa pargikunstist ei peahoone (härrastemaja) esteetilisest dik- ole palju teada ega ole sellest palju säilinud. taadist lähtuv jõuliselt ümber kujundatud Enamik teadaolevast infost põhineb ajaloo- maastik. Seda iseloomustab ansambli telg- liste arhiivi- ja kirjandusallikate kirjeldustel sümmeetriline ruumiline ülesehitus ning ning mõnedel teada-tuntud gravüüridel. eelkõige peahoone kesktelje pikendusel Kirjandusallikate baasil tollast aiakuns- maastikku suunduvad alleed. Sageli on ti käsitlevates artiklites ja monograafiates kaartidel loetav baroksele mõisaansambli- on levinud arusaamaks kujunenud, et 17. le iseloomulik ruumiline ülesehitus, mille sajandi aiakunst Eesti mõisates, võrreldes kohaselt ansambel jaotub kaheks omavahel Lääne- ja Kesk-Euroopa maadega, kus sa- seotud ruumiüksuseks. Neist ansambli esin- jandi teisel poolel võidutses barokkaed, oli duslikuma osa moodustab peahoone ning üsna tagasihoidlik nii mastaapides kui ka sellega seotud kõrvalhoonete poolt definee- kujunduskeeles, jäädes lähedaseks pigem ritud avar väljak peahoone ees ning intiim- hiliskeskaegsele praktikale. Seetõttu oli 17. sem tagaväljak peahoone taga, mille mahust sajandi turbulentses poliitilises ja majan- enamiku moodustab ilu- ning tarbeaed. duslikus situatsioonis vaja keskenduda pi- Artikkel keskendub 17. sajandi II poo- gem mõisasüdamete kindlustamisele, mille le Eesti- ja Liivimaa mõisaparkide ruu- juures puittaimede kasvatamiseks ahtal milisele kompositsioonile, vaadeldes kit- kindluselamu õuel ei olnud ruumi ning ilu- samalt puude kasutamist ja rolli selles. aedade rajamiseks puudusid võimalused Siinne artikkel põhineb autori tehtud ba- ja ka ambitsioon. Süüvides ent 17. sajandi roksete mõisasüdamete planeeringut kä- lõpukümnenditest pärinevatesse rootsiaeg- sitleva uuringu „Understanding the Role of setesse mõisaplaanidesse, on põhjust arva- 18th Century Estonian Manor Ensembles in ta, et barokne aiakunst jõudis ka Rootsi me- Contemporary Planning and Conservation“ retagusesse provintsi ning mõjutas Eesti- ja (Eesti 18. sajandi mõisaansamblid 21. sa- Liivimaa jõukamate mõisasüdamete kuju- jandi maastikuplaneerimises: avastamine, nemist olulisel määral 17. sajandi viimas- mõistmine, tõlgendamine) raames tehtud tel kümnenditel enne Põhjasõda. Viiteid mõisaansamblite ruumilise struktuuri kä- üsnagi tähelepanuväärsetes mastaapides sitlevate kaardianalüüside tulemustele ja rajatud iluaedadele leiab paljudelt rootsi- tähelepanekutele. Artikkel vaatleb puittai- aegsetelt mõisakaartidelt. Tõsi, reduktsioo- mede võimalikke kasutamisviise 17. sajan- niga seoses 1681. aastast kuni Põhjasõjani di viimastel kümnenditel Eesti mõisates, mõõdistatud kaardid ei anna infot detailse- lähtudes mõisaansamblist kui varabarok- te plaani­lahenduste kohta, kuid neilt saab sest arhitektoonist. sageli välja lugeda mõisasüdame üldise Võib öelda, et 17. sajandi viimastel ruumikavatise ning suhted maastikuga. kümnenditel olid jõukamad mõisad jõud- Kaardianalüüsile toetudes võib öelda, nud välja ehitada tagasihoidliku, kuid sel- 17. sajandi Eesti- ja Liivimaa mõisasüda- gelt barokse ruumiplaneeringuga mõisa­ mete planeeringutes avaldub selgelt vara­ südamed, mida iseloomustab regulaarse baroksetele mõisaansamblitele omane ruumilise planeeringuga ansamblituumik, ruumilahendus, mida iseloomustab mõisa peahoonega teljeliselt seotud aed ning

89 S. Nurme maastikku suunduvad alleed. Puittaimi südameid oli rohkem. Kahjuks enamik 17. kasutati loomulikult alleeistutustes, kuid sajandi aiakunstipärandist hävis Põhjasõjas nendega formuleeriti ka iluaedade piirid või ehitati 18. –19. sajandil ümber. ning ruumistruktuur. Seejuures nii taime- Selline käsitlus võimaldab mõnevõr- kasutus esteetiliselt kui ka liigiliselt lähtus ra laiendada harjumuspärast arusaama eeldatavasti toonase Euroopa kaasaegsest tollasest aia- ja pargikunstist Eesti- ning praktikast vahendatuna Rootsist. Toetudes Liivimaa mõisasüdametes. Seetõttu võib Ants Heina käsitlusele 17. sajandi mõisaar- artiklis väljatoodu põhjal öelda, et praegu- hitektuurist (Hein 1998), võib öelda, et suu- se Eesti maastikupildi vorminud barokne re tõenäosusega oli moodne iluaed ehitatud pargikunsti traditsioon ja praktika, sh puit- vähemalt sajakonna barokses võtmes uue taimede kasutamispõhimõtted mõisapar- hoonestuse saanud mõisasüdame juurde, kide ansambliruumi liigendamisel kujune- kuid tõenäoline on, et iluaedadega mõisa- sid sisuliselt välja juba 17. sajandi lõpuks.

Received December 01, 2019, revised June 20, 2020, accepted June 22, 2020

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