History of Early American Landscape Design - User contributions [en]

File:0258.jpg

2021-09-07T18:32:50Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Basin
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Walk
}}
|Creator=William Clarke
|Creation Present=No
|Creation Date=1793
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Mrs. Levin Winder'' (Mary Stoughton Sloss)
|Medium=oil on canvas
|Dimensions=37 7/8 x 32 13/16 in. (96.2 x 83.4 cm.)
|Image Title=William Clarke, ''Mrs. Levin Winder'' (Mary Stoughton Sloss), 1793
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
William Clarke, ''Mrs. Levin Winder'' (Mary Stoughton Sloss), 1793, oil on canvas, 37 7/8 x 32 13/16 in. (96.2 x 83.4 cm.). The Baltimore Museum of Art: Purchase with exchange funds from Mrs. C. Oliver Iselin Fund; and Dorothy McIlvain Scott Fund. Image courtesy of Maryland State Archives.

File:0227.jpg

2021-09-07T18:30:40Z

A-whitlock:

{{Image
|People=Charles Fraser
|Creator=Charles Fraser
|Creation Present=No
|Creation Date=1810
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Woodville, The Seat of R. Beresford, Esq.''
|Inscription=Woodville, The Seat of R. Beresford, Esq.
|Image Title=Charles Fraser, ''Woodville, The Seat of R. Beresford, Esq.'', c. 1810
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Charles Fraser, ''Woodville, The Seat of R. Beresford, Esq.'', c. 1810. South Carolina Historical Society, Charleston.

File:0227.jpg

2021-09-07T18:30:23Z

A-whitlock:

{{Image
|People=Charles Fraser
|Creator=Charles Fraser
|Creation Present=No
|Creation Date=1810
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Woodville, The Seat of R. Beresford, Esq.''
|Image Title=Charles Fraser, ''Woodville, The Seat of R. Beresford, Esq.'', c. 1810
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Charles Fraser, ''Woodville, The Seat of R. Beresford, Esq.'', c. 1810. South Carolina Historical Society, Charleston.

File:2067.jpg

2021-09-07T18:28:45Z

A-whitlock:

{{Image
|Place=Harmony Grove
|Creator=Edward Yeager after J. S. Bowen
|Creation Present=No
|Creation Date=1847
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Map of Chester County, Pennsylvania''
|Inscription=Map of/ Chester County, /Pensylvania./ From Original Surveys,/ By/ S. M. Painter & J. S. Bowen/ West Chester./ 1847/ Projection & Drawing by J. S. Bowen/ Engraved by Edwd. Yeager, Philada.
|Medium=hand colored engraving
|Dimensions=37 2/5 x 44 1/10 in. (95 x 112 cm)
|Image Title=Edward Yeager after J. S. Bowen, ''Map of Chester County, Pennsylvania'', 1847
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Edward Yeager after J. S. Bowen, ''Map of Chester County, Pennsylvania'', 1847, hand colored engraving, 37 2/5 x 44 1/10 in. (95 x 112 cm). Geography and Map Division, Library of Congress, Washington, DC.

Inscribed: Map of/ Chester County, /Pensylvania./ From Original Surveys,/ By/ S. M. Painter & J. S. Bowen/ West Chester./ 1847/ Projection & Drawing by J. S. Bowen/ Engraved by Edwd. Yeager, Philada.

File:2037.jpg

2021-09-07T18:27:03Z

A-whitlock:

{{Image
|Place=Hyde Park (on the Hudson River, NY)
|People=David Hosack
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Grove
}}
|Creator=Thomas Kelah Wharton
|Creation Present=No
|Creation Date=1832
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=“Grove of Poplars with a Memorial Bust, David Hosack Estate, Hyde Park, New York” in the ''Hosack Album''
|Medium=black ink (or watercolor) applied with pen and brush and sgraffito on off-white wove paper
|Dimensions=5 1/8 x 7 7/16 in. (13 x 18.9 cm)
|Image Title=Thomas Kelah Wharton, “Grove of Poplars with a Memorial Bust, David Hosack Estate, Hyde Park, New York” in the ''Hosack Album'', c. 1832
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Thomas Kelah Wharton, “Grove of Poplars with a Memorial Bust, David Hosack Estate, Hyde Park, New York” in the ''Hosack Album'', c. 1832, black ink (or watercolor) applied with pen and brush and sgraffito on off-white wove paper, 5 1/8 x 7 7/16 in. (13 x 18.9 cm). Purchase, Mrs. Louis Marx Gift, 1994. The Metropolitan Museum of Art.

File:2024.jpg

2021-09-07T18:17:04Z

A-whitlock:

{{Image
|People=Benjamin Henry Latrobe
|Creator=Benjamin Henry Latrobe
|Creation Present=No
|Creation Date=1807
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=Yes
|Creation Present End=No
|Creation Date End=1808
|Creation Circa End=No
|Creation Concurrence End=Exact
|Creation Questionable End=No
|Title=House, Richmond, Virginia. Perspective rendering of house and landscape, 1807-08,
|Medium=ink and graphite on paper
|Image Title=Benjamin Henry Latrobe, House, Richmond, Virginia. Perspective rendering of house and landscape, 1807-08
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Benjamin Henry Latrobe, House, Richmond, Virginia. Perspective rendering of house and landscape, 1807-08, ink and graphite on paper. Prints and Photographs Division, Library of Congress, Washington, D.C.

File:2001 detail.jpg

2021-09-07T18:14:32Z

A-whitlock:

{{Image
|Place=Bethesda Orphan House
|Creator=Archibald Campbell
|Creation Present=No
|Creation Date=1780
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Sketch of the Northern Frontiers of Georgia, extending from the mouth of the River Savannah to the town of Augusta''
|Image Title=Archibald Campbell, ''Sketch of the Northern Frontiers of Georgia, extending from the mouth of the River Savannah to the town of Augusta'', 1780
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>
Archibald Campbell, ''Sketch of the Northern Frontiers of Georgia, extending from the mouth of the River Savannah to the town of Augusta'', 1780. Library of Congress, Washington, D.C.

File:1372.jpg

2021-09-07T18:12:55Z

A-whitlock:

{{Image
|People=J. C. (John Claudius) Loudon
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Drive
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Ferme ornée/Ornamental farm
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Hedge
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Walk
}}
|Creator=J. C. Loudon
|Creation Present=No
|Creation Date=1826
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Plan of a ferme ornée with wild and irregular hedges
|Image Title=J. C. Loudon, Plan of a ferme ornée with wild and irregular hedges, in ''An encyclopædia of gardening; comprising the theory and practice of horticulture, floriculture, arboriculture, and landscape-gardening, including all the latest improvements; a general history of gardening in all countries; and a statistical view of its present state with suggestions for its future progress, in the British Isles. By J.C. Loudon. . . Illustrated with many hundred engravings on wood by Branston'' (1826)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1826
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''An encyclopædia of gardening; comprising the theory and practice of horticulture, floriculture, arboriculture, and landscape-gardening, including all the latest improvements; a general history of gardening in all countries; and a statistical view of its present state with suggestions for its future progress, in the British Isles. By J.C. Loudon. . . Illustrated with many hundred engravings on wood by Branston''
|Page number=1023
|Figure=722
|Repository=Library of Congress
|Reference ID=KNKTCA4W
}}
<br>
J. C. Loudon, Plan of a ferme ornée with wild and irregular hedges, in ''An encyclopædia of gardening; comprising the theory and practice of horticulture, floriculture, arboriculture, and landscape-gardening, including all the latest improvements; a general history of gardening in all countries; and a statistical view of its present state with suggestions for its future progress, in the British Isles. By J.C. Loudon. . . Illustrated with many hundred engravings on wood by Branston'' (1826), 1023, fig. 722. Library of Congress, Washington, D.C.

File:1372.jpg

2021-09-07T18:11:28Z

A-whitlock:

{{Image
|People=J. C. (John Claudius) Loudon
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Drive
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Ferme ornée/Ornamental farm
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Hedge
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Walk
}}
|Creator=J. C. Loudon
|Creation Present=No
|Creation Date=1826
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Plan of a ferme ornée with wild and irregular hedges
|Image Title=J. C. Loudon, Plan of a ferme ornée with wild and irregular hedges, in ''An encyclopædia of gardening; comprising the theory and practice of horticulture, floriculture, arboriculture, and landscape-gardening, including all the latest improvements; a general history of gardening in all countries; and a statistical view of its present state with suggestions for its future progress, in the British Isles. By J.C. Loudon. . . Illustrated with many hundred engravings on wood by Branston'' (1826)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1826
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''An encyclopædia of gardening; comprising the theory and practice of horticulture, floriculture, arboriculture, and landscape-gardening, including all the latest improvements; a general history of gardening in all countries; and a statistical view of its present state with suggestions for its future progress, in the British Isles. By J.C. Loudon. . . Illustrated with many hundred engravings on wood by Branston''
|Page number=1023
|Figure=722
|Repository=Library of Congress
}}
<br>
J. C. Loudon, Plan of a ferme ornée with wild and irregular hedges, in ''An encyclopædia of gardening; comprising the theory and practice of horticulture, floriculture, arboriculture, and landscape-gardening, including all the latest improvements; a general history of gardening in all countries; and a statistical view of its present state with suggestions for its future progress, in the British Isles. By J.C. Loudon. . . Illustrated with many hundred engravings on wood by Branston'' (1826), 1023, fig. 722. Library of Congress, Washington, D.C.

File:0603.jpg

2021-09-07T18:08:50Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Canal
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Square
}}
|Creator=Anonymous
|Creation Present=No
|Creation Date=1720
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Plan de la Nouvelle Orleans'
|Medium=pen and ink
|Image Title=Anonymous, ''Plan de la Nouvelle Orleans'', 1720
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Anonymous, ''Plan de la Nouvelle Orleans'', 1720, pen and ink. Geography and Map Division, Library of Congress, Washington, D.C.

File:0576.jpg

2021-09-07T17:50:41Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Fountain
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Statue
}}
|Creator=Lewis Miller
|Creation Present=No
|Creation Date=1849
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="In beauteous Order Terminate the Scene. . . .,"
|Medium=watercolor and ink on paper
|Image Title=Lewis Miller, "In beauteous Order Terminate the Scene. . . .," in ''Orbis Pictus'' (c. 1849)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1849
|Publication Circa=Yes
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Orbis Pictus''
|Page number=46
|Repository=Colonial Williamsburg Foundation
|Reference ID=XNQR79ST
}}
Lewis Miller, "In beauteous Order Terminate the Scene. . . .," in ''Orbis Pictus'' (c. 1849), p. 46, watercolor and ink on paper. Gift of Mr. and Mrs. William H. Kain in memory of George Hay Kain. Colonial Williamsburg Foundation, Williamsburg, Va.

File:1597.jpg

2021-09-07T17:46:48Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Jet
}}
|Creator=Anonymous
|Creation Present=No
|Creation Date=November 1850
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="Natural Jet D'Eau"
|Image Title=Anonymous, "Natural Jet D'Eau," ''Horticulturist,'' Vol. 5, No. 5 (November 1850)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=November 1850
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Horticulturist''
|Volume=5
|Edition=5
|Page number=208
|Figure=55
|Repository=Private Collection
|Reference ID=RF8S8ZNF
}}
{{break}}
Anonymous, "Natural Jet D'Eau," ''Horticulturist,'' Vol. 5, No. 5 (November 1850), p. 208, fig. 55. Private Collection.

File:1597.jpg

2021-09-07T17:45:45Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Jet
}}
|Creator=Anonymous
|Creation Present=No
|Creation Date=November 1850
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="Natural Jet D'Eau"
|Image Title=Anonymous, "Natural Jet D'Eau," ''Horticulturist,'' Vol. 5, No. 5 (November 1850)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=November 1850
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Horticulturist''
|Volume=5
|Edition=5
|Page number=208
|Figure=55
|Repository=Private Collection
}}
{{break}}
Anonymous, "Natural Jet D'Eau," ''Horticulturist,'' Vol. 5, No. 5 (November 1850), p. 208, fig. 55. Private Collection.

File:1052.jpg

2021-09-07T17:43:22Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Belvedere/Prospect tower/Observatory
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Grove
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Lake
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Lawn
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Picturesque
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=View/Vista
}}
|Creator=Daniel Wadsworth
|Creation Present=No
|Creation Date=1824
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="Monte-Video"
|Image Title=Daniel Wadsworth, "Monte-Video," in Benjamin Silliman, ''Remarks Made on a Short Tour between Hartford and Quebec, in the Autumn of 1819'' (1824)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1824
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Remarks Made on a Short Tour between Hartford and Quebec, in the Autumn of 1819''
|Figure=frontispiece
|Repository=Library of Congress
|Reference ID=B5VWTWM5
}}
Daniel Wadsworth, "Monte-Video," in Benjamin Silliman, ''Remarks Made on a Short Tour between Hartford and Quebec, in the Autumn of 1819'' (1824), frontispiece. Library of Congress, Washington, D.C.

File:1052.jpg

2021-09-07T17:42:45Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Belvedere/Prospect tower/Observatory
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Grove
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Lake
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Lawn
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Picturesque
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=View/Vista
}}
|Creator=Daniel Wadsworth
|Creation Present=No
|Creation Date=1824
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="Monte-Video"
|Image Title=Daniel Wadsworth, "Monte-Video," in Benjamin Silliman, ''Remarks Made on a Short Tour between Hartford and Quebec, in the Autumn of 1819'' (1824)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1824
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Remarks Made on a Short Tour between Hartford and Quebec, in the Autumn of 1819''
|Figure=frontispiece
|Repository=Library of Congress
}}
Daniel Wadsworth, "Monte-Video," in Benjamin Silliman, ''Remarks Made on a Short Tour between Hartford and Quebec, in the Autumn of 1819'' (1824), frontispiece. Library of Congress, Washington, D.C.

File:0846.jpg

2021-09-07T17:37:34Z

A-whitlock:

{{Image
|Place=Montgomery Place
|People=Alexander Jackson Davis
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=View/Vista
}}
|Creator=Alexander Jackson Davis
|Creation Present=No
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''From Montgomery Pl. looking up river''
|Image Title=Alexander Jackson Davis, ''From Montgomery Pl. looking up river'', n.d.
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Alexander Jackson Davis, ''From Montgomery Pl. looking up river'', n.d. Avery Architectural & Fine Arts Library, Columbia University.

File:2305.jpg

2021-09-03T18:22:16Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Drive
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Fence
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Pavilion
}}
|Creator=After Edward Beyer
|Creation Present=No
|Creation Date=1857
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Salt Sulphur Spring, 1857''
|Inscription=Salt Sulphur Spring, 1857. Monroe County VA
|Medium=color lithograph on wove paper
|Dimensions=45.09 × 63.34 cm (17 3/4 × 24 15/16 in.)
|Image Title=After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857, color lithograph on wove paper, 45.09 × 63.34 cm (17 3/4 × 24 15/16 in.). Corcoran Collection, [https://www.nga.gov/collection/art-object-page.212728.html National Gallery of Art, Washington, D.C.]

File:2286.jpg

2021-09-03T18:21:42Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Drive
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Pavilion
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Wood/Woods
}}
|Creator=Edward Beyer
|Creation Present=No
|Creation Date=1857
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Blue Sulphur Spring, Greenbrier County, VA''
|Inscription=Blue Sulphur Spring. Greenbrier County VA
|Image Title=Edward Beyer, ''Blue Sulphur Spring, Greenbrier County, VA'', 1857
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
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<br>
Edward Beyer, ''Blue Sulphur Spring, Greenbrier County, VA'', 1857. Merritt T. Cooke Memorial Virginia Print Collection, 1857-1907, Accession#9408, University of Virginia Library, Charlottesville, Va.

Drive

2021-09-03T18:18:31Z

A-whitlock:

See also: [[Avenue]]

==History==

[[File:0098_detail1.jpg|thumb|left|Fig. 1, Miller & Co., Map of the residence & [[park]] grounds, near Bordentown, New Jersey: of the late Joseph Napoleon Bonaparte, ex-king of Spain [detail], 1847.]]
[[File:0332.jpg|thumb|Fig. 2, Alexander Jackson Davis, ''[[Mount Vernon]]'', c. 1831]]
Approaches, roads, [[avenue]]s, and other circulation routes have always been an important component of American landscape design, but the term drive as a designation for a carriage road (as opposed to [[walk]]s and paths for pedestrians and horseback riders) did not come into common usage in America until the second quarter of the 19th century. Even then it appears to have been used only by treatise writers. Although earlier sites, such as [[Monticello]] and [[Mount Vernon]], included similar serpentine ways leading to the house, these routes usually were designated as [[avenue]]s or roads.

[[File:1152.jpg|thumb|Fig. 3, Anonymous, ''The Lilacs'', Residence of Thomas Kidder [perspective rendering, front], c. 1810.]]
[[File:1793.jpg|thumb|left|Fig. 4, Thomas S. Sinclair, ''Ashland, The Home of Henry Clay'', 1852]]
[[A. J. Downing]] distinguished a drive from an approach, placing emphasis on the location of the roadways within an estate. In his lexicon, an approach, whether straight in the manner of the “[[ancient style]]” or serpentine following the “[[modern style]],” led the traveler from the public road to the house. The drive, in contrast, began where the approach terminated and carried the visitor through the estate, as with the several miles of graveled drives that he praised at Beaverwyck, near Albany, or the circuitous drives of Anthony Bleeker’s 1847 plan for Point Breeze [Fig. 1] in Bordentown, New Jersey. Other treatise writers, such as James E. Teschemacher in 1835, used the term “drive” more broadly to include curvilinear drives to the house, those that [[A. J. Downing|Downing]] would have called “approaches.” The majority of descriptions of drives, with their sweeping curves (which allowed one to experience the changing scenery of the landscape), relate to the large estates of America’s wealthiest families. Only by the mid-19th century did the term’s meaning shift, when George Jaques in 1852 applied the term to circulation routes at residential dwellings of modest scale. As such, the meaning began to approximate the contemporary term driveway.

[[File:0753.jpg|thumb|225px|Fig. 5, John Notman, “Plan of Grounds, Fieldwood, near Princeton,” October 19, 1846.]]

As the term itself implies, a drive was part of the processional experience of the natural or [[picturesque]] landscape.<ref>Much of Stephen Daniels’s discussion of the relation of Humphry Repton’s landscape design to road transportation in England is relevant to American landscape practice in the second quarter of the 19th century, although Repton himself does not appear to have used the term “drive” to refer to a road. See Daniels, “On the Road with Humphry Repton,” ''Journal of Garden History'' 16, no. 3 (autumn 1996): 170–91, [https://www.zotero.org/groups/54737/items/itemKey/3GKTB645 view on Zotero]. The Oxford English Dictionary also cites 1816 as the ﬁrst instance that “drive” was applied to a carriage road, especially a private road leading to a house.</ref> It offered the carriage traveler varied scenery, [[view]]s of distant [[prospect]]s, and glimpses of the main house [Figs. 2–4]. Views of the house that became evident as one approached from an oblique angle, [[A. J. Downing|Downing]] noted, were beneﬁcial for “displaying not only the beauty of the architectural façade but also one of the end elevations.” Thus, the [[view]]s gave “a more complete idea of the size, character, or elegance of the building.” Where possible, these modern drives took advantage of the natural scenery, as in [[Andrew Jackson Downing|Downing's]] design for [[Montgomery place|Montgomery Place]] on the Hudson, where he followed his own advice that a road “should ''never curve without some reason'', either real or apparent [his italics].” The intricacy of the circulation routes and their incorporation of [[view]]s are further exempliﬁed in John Notman’s plan of 1846 for Woodlawn in Princeton, New Jersey [Fig. 5].

[[File:1142.jpg|thumb|left|Fig. 6, John Caspar Wild, ''Laurel Hill Cemetery, Philadelphia'', 1838.]]

The feature of the drive in public space offered a more affordable venue for pedestrians and horseback riders to enjoy the natural and artiﬁcially constructed beauty of the [[Schuylkill River]] and Fairmount Waterworks, Gray’s Ferry, and Laurel Hill Cemetery in Philadelphia [Fig. 6]. [[A. J. Downing|Downing's]] plan for Washington, DC, incorporated several miles of drives for carriages (as opposed to walks for pedestrians) to enable visitors to circulate through the national park. In this case, the drive was also a means to an end, allowing visitors to beneﬁt from the didactic purposes of the “sylvan museum.”

The attention given in American landscape designs of the 1840s to circulation routes suitable for carriages in both public and residential space may partly reﬂect the technological innovations in vehicle suspension systems that had developed in England. These improvements and the simultaneous efforts to develop roadways allowed faster travel that, in turn, was instrumental in the growing practice of touring British country estates.<ref>Daniels 1996, 170–73, [https://www.zotero.org/groups/54737/items/itemKey/3GKTB645 view on Zotero].</ref> While touring was not as highly developed in America, landscape designs often incorporated the same aesthetic principles of opening [[view]]s and creating a varied experience for the visitor driving through the landscape.<ref>For an overview of the history of carriage design in America, see Merri McIntyre Ferrell, “A Harmony of Parts: The Aesthetics of Carriages in Nineteenth-Century America,” in ''Nineteenth Century American Carriages: Their Manufacture, Decoration and Use'' (Stony Brook, NY: The Museums at Stony Brook, 1987), 34–65, [https://www.zotero.org/groups/54737/items/itemKey/ZW3XS5VB view on Zotero].</ref> [[Andrew Jackson Downing|Downing]] cautioned that “the curves should never be so great, or lead over surfaces so unequal, as to make it disagreeable to drive upon them.”

—''Elizabeth Kryder-Reid''

<hr>

==Texts==
===Usage===

*[[Andrew Jackson Downing|Downing, Andrew Jackson]], October 1847, describing [[Montgomery place|Montgomery Place]], country home of Mrs. Edward (Louise) Livingston, Dutchess County, NY (quoted in Haley 1988: 45)<ref>Jacquetta M. Haley, ed., ''Pleasure Grounds: Andrew Jackson Downing and Montgomery Place'' (Tarrytown, NY: Sleepy Hollow Press, 1988), [https://www.zotero.org/groups/54737/items/itemKey/SSZXJFSC view on Zotero].</ref>

:“On the south [natural boundary of the estate] is a rich oak wood, in the centre of which is a private '''drive'''.”

*[[Andrew Jackson Downing|Downing, Andrew Jackson]], 1849, describing [[Montgomery place|Montgomery Place]], country home of Mrs. Edward (Louise) Livingston, Dutchess County, NY (1849; repr. 1991: 49)<ref name="Downing 1849">A. J. [Andrew Jackson] Downing, ''A Treatise on the Theory and Practice of Landscape Gardening, Adapted to North America'', 4th ed. (1849; repr., Washington, DC: Dumbarton Oaks Research Library and Collection, 1991), [https://www.zotero.org/groups/54737/items/itemKey/K7BRCDC5 view on Zotero].</ref>

:“A large [[conservatory]], an exotic garden, an [[arboretum]], etc., are among the features of interest in this admirable residence. Including a '''''drive''''' through a ﬁne bit of natural wood, south of the mansion, there are ﬁve miles of highly varied and picturesque private roads and [[walk]]s, through the [[pleasure-ground]]s of [[Montgomery place|Montgomery Place]].”

[[File:0361.jpg|thumb|Fig. 7, Anonymous, “Beaverwyck, the [[Seat]] of Wm. P. Van Rensselaer, Esq.,” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849), pl. opp. 51, fig. 7.]]
*[[Andrew Jackson Downing|Downing, Andrew Jackson]], 1849, describing Beaverwyck, the seat of William P. Van Rensselaer, near Albany, NY (1849; repr. 1991: 51)<ref name="Downing 1849"></ref>

:“The whole estate is ten or twelve miles square. . . The home residence embraces several hundred acres, with a large level [[lawn]], bordered by highly varied surface of hill and dale. . . The grounds are yet newly laid out, but with much judgement; and ''six or seven miles'' of winding gravelled roads and [[walk]]s have been formed—their boundaries now leading over level [[meadow]]s, and now winding through woody dells. The '''drives''' thus afforded, are almost unrivalled in extent and variety, and give the stranger or guest, an opportunity of seeing the near and distant [[view]]s to the best advantage.” [Fig. 7]

[[File:0023.jpg|thumb|Fig. 8, [[A. J. Downing]], ''Plan Showing Proposed Method of Laying Out the [[Public_garden/Public_ground|Public Grounds]] at Washington'', 1851. Manuscript copy by Nathaniel Michler, 1867.]]
*[[Andrew Jackson Downing|Downing, Andrew Jackson]], December 1851, “The State and Prospects of Horticulture” (''Horticulturist'' 6: 540–41)<ref>Andrew Jackson Downing, “The State and Prospects of Horticulture,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 6, no. 12 (December 1851): 537–41, [https://www.zotero.org/groups/54737/items/itemKey/XR68IJEG view on Zotero].</ref>

:“The plan [for a [[public ground]] in Washington] embraces four or ﬁve miles of carriage-'''drive'''—[[walk]]s for pedestrians—[[pond]]s of water, [[fountain]]s and [[statue]]s—[[picturesque]] groupings of trees and [[shrub]]s, and a complete collection of all the trees that belong to North America. It will, if carried out as it has been undertaken, undoubtedly give a great impetus to the popular taste in [[landscape-gardening]] and the culture of ornamental trees; and as the climate of Washington is one peculiarly adapted to this purpose—this national park may be made a sylvan museum such as it would be difﬁcult to equal in beauty and variety in any part of the world.” [Fig. 8]

===Citations===

*[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1826, ''An Encyclopaedia of Gardening'' (1826: 1021)<ref>J. C. (John Claudius) Loudon, ''An Encyclopaedia of Gardening; Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening'', 4th ed. (London: Longman et al., 1826), [https://www.zotero.org/groups/54737/items/itemKey/KNKTCA4W view on Zotero].</ref>

:“''7267. The riding'', or '''drive''', is a road indicated rather than formed, which passes through the most interesting and distant parts of a residence not seen in detail from the [[walk]]s, and as far into the adjoining lands of wildness or cultivation, as the property of the owner extends. It is also frequently conducted as much farther as the disposition of adjoining proprietors permits, or the general face of the country renders desirable.”

*Teschemacher, James E. (James Englebert), November 1, 1835, “On Horticultural Architecture” (''Horticultural Register'' 1: 411)<ref>James E. Teschemacher, “On Horticultural Architecture,” ''Horticultural Register, and Gardener’s Magazine'' 1 (November 1, 1835): 409–12, [https://www.zotero.org/groups/54737/items/itemKey/ZA92W46U view on Zotero].</ref>

:“The approach to the house should be by a broad semi-circular '''drive''' intersecting the [[lawn]]s, and leading by branches to the stables and out buildings, as well as to the ﬂower and [[kitchen garden]]s; this last, if near the house, must be completely concealed, either by [[wall]]s covered with fruit trees, or by [[shrubberies]], and may be preferably laid out in a series of parallelograms.”

*[[Andrew Jackson Downing|Downing, Andrew Jackson]], 1849, ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849; repr., 1991: 337, 341–42)<ref name="Downing 1849"></ref>

:“There are two guiding principles which have been laid down for the formation of Approach roads. The ﬁrst, that the curves should never be so great, or lead over surfaces so unequal, as to make it disagreeable to '''drive''' upon them; and the second, that the road should ''never curve without some reason'', either real or apparent.
:“The '''''Drive''''' is a variety of road rarely seen among us, yet which may be made a very agreeable feature in some of our country residences, at a small expense. It is intended for exercise more secluded than that upon the public road, and to show the interesting portions of the place from the carriage, or on horseback. Of course it can only be formed upon places of considerable extent; but it enhances the enjoyment of such places very highly, in the estimation of those who are fond of equestrian exercises. It generally commences where the approach terminates, viz. near the house: and from thence, proceeds in the same easy curvilinear manner through various parts of the grounds, farm, or estate. Sometimes it sweeps through the [[pleasure ground]]s, and returns along the very beach of the river, beneath the ﬁne over-hanging foliage of its projecting bank; sometimes it proceeds towards some favorite point of [[view]], or interesting spot on the landscape; or at others it leaves the [[lawn]] and traverses the farm, giving the proprietor an opportunity to examine his crops, or exhibit his agricultural resources to his friends.”

*Jaques, George, January 1852, “Landscape Gardening in New-England” (''Horticulturist'' 7: 35)<ref>George Jaques, “Landscape Gardening in New-England,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 7, no. 1 (January 1852): 33–36, [https://www.zotero.org/groups/54737/items/itemKey/WMEDJ9XX view on Zotero].</ref>

:“A gracefully curved '''drive''' or [[walk]], (from the public street to the buildings,) entering through an irregular group of trees, and forced into its curvature by another little group, will of itself impart to a rural home charms far more pleasing than ten times their cost could infuse into the stiff, old straight-lined primness of the [[ancient style]].”

<hr>

==Images==
===Inscribed===

<gallery widths="170px" heights="170px" perrow="7">

Image:1372.jpg|[[J. C. Loudon]], Plan of a [[ferme ornée]] with wild and irregular [[hedge]]s, in ''An Encyclopædia of Gardening'' (1826), 1023, fig. 722. "Hedges. . . are bordered on each side by a board green '''drive'''. . .”

</gallery>

===Associated===

<gallery widths="170px" heights="170px" perrow="7">

Image:0938.jpg|James E. Teschemacher, “The approach to the house should be by a broad semi-circular '''drive'''. . . ” in ''Horticultural Register, and Gardener’s Magazine'' 1 (May 1, 1835): opp. 157.

Image:0361.jpg|Anonymous, “Beaverwyck, the [[Seat]] of Wm. P. Van Rensselaer, Esq.,” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849), pl. opp. 51, fig. 7.

Image:1967.jpg|[[A. J. Downing]], ''Plan Showing Proposed Method of Laying Out the [[Public_garden/Public_ground|Public Grounds]] at Washington'', 1851.

Image:0023.jpg|[[A. J. Downing]], ''Plan Showing Proposed Method of Laying Out the [[Public_garden/Public_ground|Public Grounds]] at Washington'', 1851. Manuscript copy by Nathaniel Michler, 1867.
</gallery>

===Attributed===

<gallery widths="170px" heights="170px" perrow="7">

Image:0240.jpg|Andreas Anton Lawatsch, “[[Prospect]] of Bethabara,” Salem, NC, c. 1759. The drive is the tree-lined avenue.

Image:0048.jpg|John Nancarrow, "Plan of the [[Seat]] of John Penn jun’r: Esqr: in Blockley Township and County of Philadelphia", c. 1785. A '''drive''' runs from point "f" to point "b".

Image:0225.jpg|Charles Fraser, ''Mepkin, No. 1'', May 1805.

Image:1152.jpg|Anonymous, ''The Lilacs'', Residence of Thomas Kidder [perspective rendering, front], c. 1810.

Image:1454.jpg|Anonymous, ''The Vale'', 1820–30.

Image:0157.jpg|[[Anne-Marguerite Hyde de Neuville]], ''Washington City'', 1821.

Image:2027.jpg|Alexander Jackson Davis, ''Residence of Dr. [[David Hosack]], [[Hyde Park]], New York'', c. 1830.

Image:0332.jpg|Alexander Jackson Davis, ''[[Mount Vernon]]'', c. 1831

Image:0040.jpg|W. H. Bartlett, “Washington from the President’s House,” in Nathaniel Parker Willis, ''American Scenery'' (1840), vol. 2, pl. 26.

Image:1142.jpg|John Caspar Wild, ''Laurel Hill Cemetery, Philadelphia'', 1838. A '''drive''' leads to the entrance of the cemetery.

Image:0753.jpg|John Notman, “Plan of Grounds, Fieldwood, near Princeton,” October 19, 1846.

Image:0098.jpg|Miller & Co., Map of the residence & [[park]] grounds, near Bordentown, New Jersey: of the late Joseph Napoleon Bonaparte, ex-king of Spain, 1847.

Image:0360.jpg|Anonymous, “Kenwood, Residence of J. Rathbone, Esq. near Albany, N.Y.,” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849), pl. opp. 50, fig. 9.

Image:1466.jpg|Anonymous, “Villa of Theodore Lyman, Esq., near Boston,” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849), 387, fig. 48.

Image:1232.jpg|Orsamus Turner, Life Cycle of a Pioneer Woodsman (“Third Sketch of the Pioneer”), in ''Pioneer History of the Holland Purchase'' (1850), opp. 565.

Image:1793.jpg|Thomas S. Sinclair, ''Ashland, The Home of Henry Clay'', 1852.

Image: 2286.jpg|Edward Beyer, ''Blue Sulphur Spring, Greenbrier County, VA'', 1857.

File:2305.jpg|After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857.
</gallery>

<hr>

==Notes==

<references></references>

[[Category: Keywords]]
[[Category: Drive]]
[[Category: Circulation]]

Pavilion

2021-09-03T18:17:58Z

A-whitlock:

(Pavillion) {{break}}
See also: [[Belvedere/Prospect_tower/Observatory|Belvedere]], [[Summerhouse]], [[Temple]]

==History==
[[File:1721.jpg|thumb|left|Fig. 1, [[James Gibbs]], Four of “Eight [[Square]] Pavillions for my Lord Cobham and others,” in ''A Book of Architecture'' (1728), pl. 77.]]
[[File:0956.jpg|thumb|Fig. 2, [[Alexander Jackson Davis]], Canopied pavilion at [[Blithewood]], 1836.]]
Pavilion was a term that appeared throughout the Eastern colonies and, later, the states from New England to the Deep South. Advertisements for garden services in the 18th and 19th centuries included the pavilion in lists of structures for sale. [[Ephraim Chambers|Ephraim Chambers's]] 1741—43 definition of a pavilion noted three standard meanings of the term as it was used during the colonial and early Republic periods. First, it referred to a tent-like or domed building under a single roof [Fig. 1]; second, it denoted a projecting piece in front of or on the corner of a building; and third, it described a garden building also known as a [[summerhouse]], [[temple]], or pleasure house. All three denotations have relevance in the history of the designed landscape.

Samuel Johnson's 1755 definition suggested that a pavilion could be a moveable or temporary structure. This type of pavilion was also described in an early 19th-century account of structures built to accommodate socializing and dancing at Custis-Lee Mansion (Arlington House) in Arlington, Virginia. [[Alexander Jackson Davis]] in 1836 sketched a canopied pavilion for Blithewood [Fig. 2]. Its delicate appearance suggests that it might have been temporary. Pavilions, however, were more frequently permanent structures that were part of an architectural or landscape design.

[[File:0169.jpg|thumb|450 px|left|Fig. 3, [[Thomas Jefferson]], Bird’s-eye view of the University of Virginia, c. 1820. This view depicts the 16 campus pavilions, which were positioned at intervals on the lawn and back gardens.]]
In his design for the University of Virginia, [[Thomas Jefferson]] placed along the main [[lawn]] two rows of individual professor’s houses, which he identified as pavilions. These [[temple]]-like buildings, each ornamented with a different classical order, were linked by covered walkways or [[piazza|piazzas]] and backed by enclosed gardens. In this instance, the choice of the term with its garden overtones suggests that [[Thomas Jefferson|Jefferson]] conceived of the whole composition based on the interrelationship of architecture and landscape [Fig. 3]. At [[Monticello]], [[Thomas Jefferson|Jefferson]] again planned [[temple]]-like structures that he called pavilions, which stood at the end of each of two symmetrical walkways that extended from the main house into the garden. A letter of 1808 from Jefferson indicates that he planned to use at least one of these new pavilions as a library.

[[File:0843.jpg|thumb|Fig. 4, [[Alexander Jackson Davis]], ''[[Montgomery Place]]'', n.d.]]
The application of the term “pavilion” to a structure that was attached to a house as a [[porch]]-like space seems to have gained popularity with the advent of house pattern books in the 1840s. “More than a [[veranda]],” [[Andrew Jackson Downing|Downing]] wrote, the pavilion was “a room in the open air.” For the frontispiece of an issue of the ''Horticulturist'', he used a drawing by [[Alexander Jackson Davis|Davis]] depicting the pavilion at [[Montgomery place|Montgomery Place]] in Dutchess County, New York, through which the surrounding landscape was seen. In another [[view]] of the same estate, [[Alexander Jackson Davis|Davis]] depicted what was described in the accompanying article as two types of pavilions: an attached structure and a separate [[temple]]-like building in the garden [Fig. 4].

[[File:0028.jpg|thumb|left|Fig. 5, Anonymous, Plan of the garden pavilion at Economy, PA, c. 1830.]]
The garden pavilion was illustrated in [[Andrew Jackson Downing|Downing’s]] publications as a wooden structure made in a variety of light framework types. It had a single roof and generally provided shelter for a garden seat. Some pavilions were simple and [[Rustic_style|rustic]] in appearance, with climbing plants and curved branches adding to their character, while others offered a more finished treatment, such as circular or pedimental [[temple]]s designed in the classical style [Fig. 5]. [[Andrew Jackson Downing|Downing's]] advocacy of a “unity of expression” and his concern for the appropriateness of style is illustrated by his choice of a pavilion that corresponded in style to the garden and its architectural or topographical features.

[[File:0104.jpg|thumb|Fig. 6, Joseph Jacques Ramée, Estate plan for Calverton, (Baltimore, MD) [detail], c. 1816, in ''Parcs & jardins'' (c. 1836), pl. 1. The notation at “7,” in the center of the [[lawn]] at the end of the path, indicates a “pavilion [[Rustic_style|rustique]].”]]
Pavilions were often located at the terminus of a [[walk]], the summit of a hill, or the edge of a garden to provide resting and viewing places. The plan for Calverton, near Baltimore [Fig. 6], is an example of a [[pleasure ground]] design that uses such criteria to determine the placement of pavilions within the landscape.

The term “pavilion” was often used interchangeably with “[[summerhouse]]” and “[[temple]].” A regional preference is not discernable in the textual evidence for any of these terms. Only [[Noah Webster]], in the later edition of ''An American Dictionary of the English Language'' (1848), suggested that the word “pavilion” was not appropriate for describing a [[summerhouse]] in a garden, without explanation. More commonly, pavilion was used broadly to encompass a variety of garden building types. Within one passage, [[Andrew Jackson Downing|Downing]] described one pavilion that formed the north wing of the house at [[Montgomery place|Montgomery Place]], and another separate garden temple as a “little [[Rustic_style|rustic]] pavilion” located at the water’s edge. In either case, the function of the pavilion was to offer an open-air structure with a sheltering roof that was linked visually and spatially with the landscape. [[Andrew Jackson Downing|Downing]] (1850) used this particular feature to illustrate the “story of a desideratum growing out of our climate,” and the American adaptation in design to both northern and southern conditions.

—''Therese O’Malley''

<hr>

==Texts==
===Usage===
*Anonymous, n.d., advertisement for design and construction services for parks and gardens (quoted in Chase 1973: 37–39)<ref>David B. Chase, “The Beginnings of the Landscape Tradition in America,” ''Historic Preservation'' 25 (1973): 34–41, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJMNEZBX view on Zotero].</ref>
:“[A surveyor by the name of Theophilus Hardenbrook] ‘Designs all sorts of Buildings, well suited to both town and country, '''Pavilions''', Summer-Rooms, [[Seat]]s for Gardens. . . also Water-houses for Parks. . . Eye Traps to represent a Building terminating a [[walk]], or to hide some disagreeable Object, Rotundas, Colonades, [[Arcade]]s, Studies in [[Park]]s or Gardens, [[Green House]]s for the Preservation of Herbs.’”

*Raspberry, Thomas, 1758, describing yardage of mosquito netting for a pavilion in Savannah, GA (Colonial Williamsburg Foundation)
:“. . . netted lawn for '''Pavillions''' or [M]usqito Netts—10 Yards each ps at 10d per Yd.”

*Carroll, Charles (of Annapolis), 1777, describing Carroll Garden, Annapolis, MD (Maryland Historical Society, A. E. Carroll Papers)
:“I like my '''pavillions''': they are rather small.”

*[[William Bartram|Bartram, William]], 1791, describing Indian village south of Charlotia (1928: 250–51)<ref>William Bartram, ''Travels through North and South Carolina, Georgia, East and West Florida'', ed. Mark Van Doren (New York: Dover, 1928), [https://www.zotero.org/groups/54737/items/itemKey/88NA3B2P view on Zotero].</ref>
:“We were received and entertained friendlily [''sic''] by the Indians, the chief of the village conducting us to a grand, airy '''pavilion''' in the center of the village. It was four [[square]]; a range of [[pillar]]s or posts on each side supporting a canopy composed of Palmetto leaves, woven or thatched together, which shaded a level platform in the center, that was ascended to from each side by two steps or flights, each about twelve inches high, and seven or eight feet in breadth, all covered with carpets or mats, curiously woven, of split canes dyed of various colours. Here being seated or reclining ourselves, after smoaking tobacco, baskets of the choicest fruits were brought and set before us.”

*[[Benjamin Henry Latrobe|Latrobe, Benjamin Henry]], May 11, 1805, in a letter to [[Thomas Jefferson]], describing the White House, Washington, DC (Colonial Williamsburg Foundation)
:“The upper floor of the Middle '''pavilions''', level with the surface of the ground on the North side, and opening on it, must ultimately be destined for coachhouses.”

*[[Thomas Jefferson|Jefferson, Thomas]], February 23, 1808, in a letter to Hugh Chisolm, describing [[Monticello]], [[plantation]] of [[Thomas Jefferson]], Charlottesville, VA (Colonial Williamsburg Foundation)
:“I shall be anxious that the south '''pavilion''' be in readiness when I come home in April, because I have as many trunks of books now arrived in [[Monticello]].”

*Caldwell, John Edwards, 1808, describing [[Monticello]], [[plantation]] of [[Thomas Jefferson]], Charlottesville, VA (1951: 38)<ref>John Edwards Caldwell, ''A Tour through Part of Virginia, in the Summer of 1808; Also, Some Account of the Islands of the Azores'', ed. William M. E. Rachal (Richmond, VA: Dietz, 1951), [https://www.zotero.org/groups/54737/items/itemKey/8F26GMXG view on Zotero].</ref>
:“Through the antes of the house, from N. to S. on the cellar floor, is a passage of 300 feet long, leading to two wings or ranges of building of one story, that stand equi-distant from each end of the house, and extend 120 feet eastwardly from the passages, terminated by a '''pavillion''' of two stories at the end of each.”

*Dennie, Joseph, December 1809, describing [[The Woodlands]], seat of [[William Hamilton]], near Philadelphia, PA (''The Portfolio'' 2: 505)
:“The building is of stone, and in the Doric order; the north front is ornamented, in the centre, by six Ionic pilasters, and on each side with a '''pavilion'''; the south front by a magnificent [[portico]], twenty-four feet in height, supported by six stately Tuscan [[column]]s.”

*Paulding, James Kirke, 1816, describing Berkeley Springs, VA (later WV) (1817: 2:235)<ref>James Kirke Paulding, ''Letters from the South'', 2 vols. (New York: James Eastburn, 1817), [https://www.zotero.org/groups/54737/items/itemKey/H5XVF9WE/ view on Zotero].</ref>
:“There is a '''pavilion''' built over the spring, which is used for drinking, and two bath-houses —one for either sex. The spring which supplies the ladies’ bath is one of the finest I have ever seen. It bursts from a fissure in the rock in the form of a cone, much larger than the crown of a hat, and, together with the others, forms a fine stream, in some places six or eight yards wide.”

*[[Thomas Jefferson|Jefferson, Thomas]], September 9, 1819, describing Poplar Forest, property of [[Thomas Jefferson]], Bedford County, VA (Colonial Williamsburg Foundation)
:“I wish you therefore to come with the three carpenters under you, as soon as they have done what I directed, that is to say. . . to put in the sleepers of the north '''pavilion''' and secure all the plank and stuff belonging to it.”

*[[Thomas Jefferson|Jefferson, Thomas]], June 22, 1822, describing the University of Virginia, Charlottesville, VA (Colonial Williamsburg Foundation)
:“I am suspicious of some mistake in the ornaments for the '''Pavilion''' No. 1 which must have happened through looking at the same order in the [[portico]] at [[Monticello]] that a note tells me of 30 (mettle?) heads but no ox skulls. Should there be any sculls [''sic''] in the same frieze with human heads. If there ought to I am sorry having cast in (?) 12 human heads for that '''pavillion''' 1. In the example by Nicholson from the Baths of Diocletian no ox skull is shown or can I find it so in any other work that I have looked at. In fact this mistake of mine if it is one would extend to every frieze of that order and example, and therefore I see the (validity) of your opinion.”

*Eppes, Francis, June 23, 1826, describing the University of Virginia, Charlottesville, VA (Colonial Williamsburg Foundation)
:“Knowing that all your '''pavilions''' at the University have tin coverings, I write to learn whether they have ever leaked, and if so what method or prevention has been used.” [See Fig. 3]

*Smith, Margaret Bayard, August 2, 1828, describing the University of Virginia, Charlottesville, VA (1906: 225–56)<ref>Margaret Bayard Smith, ''The First Forty Years of Washington Society'', ed. Gaillard Hunt (New York: Charles Scribner’s, 1906), [https://www.zotero.org/groups/54737/items/itemKey/FTDFHRFH view on Zotero].</ref>
:“. . . on two other sides running from north to south are the '''Pavillions''', or Professor’s houses, at about 60 or 70 feet apart, connected by [[terrace]]s, beneath which are the dormitories, or lodging sleeping rooms of the students. The [[terrace]] projects about 8 feet beyond the rooms and is supported on brick [[arch]]es, forming beneath the [[arch]]es a paved [[walk]], sheltered from the heat of summer and the storms of winter. A vast wide [[lawn]] separates the two rows of '''pavillions''' and dormitories. . . There are 12 '''Pavillions''', each one exhibiting the different orders of architecture and built after classic models, generally Grecian.”

*Thacher, James, December 3, 1830, “An Excursion on the Hudson,” describing [[Hyde Park]], seat of [[David Hosack]], on the Hudson River, NY (''New England Farmer'' 9: 156)<ref>James Thacher, “An Excursion on the Hudson. Letter II,” ''New England Farmer, and Horticultural Journal'' 9, no. 20 (December 3, 1830): 156–57, [https://www.zotero.org/groups/54737/items/itemKey/283TSTEV view on Zotero].</ref>
:“At the termination of these romantic [[walk]]s fanciful '''pavilions''' are erected, where visitors may contemplate a captivating display of nature’s magnificence in these regions of wonder.”

*Martineau, Harriet, 1834, describing [[Hyde Park]], [[seat]] of [[David Hosack]], on the Hudson River, NY (1838: 1:55)<ref>Harriet Martineau, ''Retrospect of Western Travel,'' 2 vols. (London: Saunders and Otley, 1838), [https://www.zotero.org/groups/54737/items/itemKey/H2BW5FRU view on Zotero].</ref>
:“Then crossing the road, after paying our respects to his dairy of fine cows, we drove through the [[orchard]], and round Cape Horn, and refreshed ourselves with the sweet river [[view]]s on our way home. There we sat in the '''pavilion''', and he told me much of De Witt Clinton, and showed me his own Life of Clinton, a copy of which he said should await me on my return to New-York.”

[[File:0844.jpg|thumb|Fig. 7, [[Alexander Jackson Davis]], [[Montgomery Place]]—Shore Seat, c. 1847.]]
*[[Andrew Jackson Downing|Downing, Andrew Jackson]], October 1847, describing [[Montgomery place|Montgomery Place]], country home of Mrs. Edward (Louise) Livingston, Dutchess County, NY (quoted in Haley 1988: 46, 47, 52)<ref>Jacquetta M. Haley, ed., ''Pleasure Grounds: Andrew Jackson Downing and Montgomery Place'' (Tarrytown, NY: Sleepy Hollow Press, 1988), [https://www.zotero.org/groups/54737/items/itemKey/SSZXJFSC view on Zotero].</ref>
:“Without going into any details of the interior, we may call attention to the unique effect of the '''''pavilion''''', thirty feet wide, which forms the north wing of this house. It opens from the library and drawing-room by low windows. Its ribbed roof is supported by a tasteful series of [[column]]s and [[arch]]es, in the style of an Italian [[arcade]]. As it is on the north side of the dwelling, its position is always cool in summer; and this coolness is still farther increased by the abundant shade of tall old trees, whose heads cast a pleasant gloom, while their tall trunks allow the eye to feast on the rich landscape spread around it. [Fig. 7]
:“At the distance of some hundred yards, we find ourselves on the river shore, and on a pretty jutting point of land stands a little ''rustic '''pavilion''''', from which a much lower and wider [[view]] of the landscape is again enjoyed. . .
:“Passing under neat and tasteful [[arch]]ways of wirework, covered with rare climbers, we enter what is properly
:“THE [[FLOWER GARDEN]].
:“In the centre of the garden stands a large [[vase]] of the Warwick pattern; others occupy the centres of [[parterre]]s in the midst of its two main divisions, and at either end is a fanciful light [[summer-house]], or '''pavilion''', of Moresque character.”

*[[Andrew Jackson Downing|Downing, Andrew Jackson]], 1850, describing a design for a country house (1850: 357)<ref> A. J. [Andrew Jackson] Downing, ''Landscape Gardening and Rural Architecture'' (New York and London: Wiley and Putnam, 1850), [https://www.zotero.org/groups/54737/items/itemKey/D73MUJ5B view on Zotero].</ref>
[[File:1739.jpg|thumb|Fig. 8, Anonymous, “Principal Floor” of a Southern Villa—Romanesque Style, in [[A. J. Downing]], ''The Architecture of Country Houses'' (1850), 353, fig. 169.]]
:“[Referring to Design XXXII] On the right of this hall is a noble [[veranda]], which, for want of a better name, we call the '''''pavilion'''''. To a Southern house, this would be the greatest necessity, besides adding much to the architectural beauty of the house—for, in fact, such a '''pavilion''' would be the lounging place, ''conversazione'', and often dining-room itself, since it would be the coolest, airiest, and most agreeable part of the house during a certain part of the day. In summer, this '''pavilion''', or its shadow, would give a softened light to the dining hall, while the large windows, thrown open to the floor, between the two, would make the dining-room fresh and pleasant in the most sultry days. To vary the uses of the '''pavilion''', we will only suggest that the dinner being over, the dessert might be served there, and the dessert being concluded, gentlemen addicted to the soothing indulgence of a fragrant ‘Havana,’ would find the '''pavilion''' the best of smoking apartments, after the ladies had retired to the drawing-room.

:“Even in the Middle states, the enjoyment of a large '''pavilion''' of this kind is very great during four months of the year. The only example that we have seen of such an appendage to the house is at [[Montgomery place|Montgomery Place]]—one of the finest seat on the Hudson, where it is placed on the drawing-room side of the house, and at once impresses every visitor by its combination of beauty, dignity and utility. In short, although this feature may be omitted, without materially diminishing the beauty or convenience of this design, its adoption would give a completeness and significance to a first-rate country-house like this; completeness, since it affords something more than a [[veranda]], viz. a room in the open air, the greatest luxury in a warm summer; significance, since it tells the story of a desideratum growing out of our climate, architecturally and fittingly supplied.” [Fig. 8]

*Vedder, Sarah E., 1830–51, describing Custis-Lee Mansion (Arlington House), Arlington, VA (Junior League of Washington 1977: 77)<ref>Junior League of Washington, ''The City of Washington: An Illustrated History'' (New York: Alfred A. Knopf, 1977), [https://www.zotero.org/groups/54737/items/itemKey/GWCH2GXJ/ view on Zotero].</ref>
:“Arlington. . . was daily visited by strangers, and many were the picnic parties enjoyed there in the lovely [[wood]]s surrounding the mansion. . . Mr. Custis had two or three '''pavillions''' built to accommodate the parties, either to set the tables or to dance. Frequently he would come down to the grounds and participate in their amusements.”

===Citations===
*Dezallier d’Argenville, Antoine-Joseph, 1712, ''The Theory and Practice of Gardening'' (1712: 76–77)<ref> A.-J. (Antoine Joseph) Dézallier d’Argenville, ''The Theory and Practice of Gardening; Wherein Is Fully Handled All That Relates to Fine Gardens, . . . Containing Divers Plans, and General Dispositions of Gardens'', trans. John James (London: Geo. James, 1712), [https://www.zotero.org/groups/54737/items/itemKey/RNT8ZVZ8 view on Zotero].</ref>
:“The Ends and Extremities of a Park are beautified with '''Pavilions''' of Masonry, which the ''French'' call ''[[Belvedere]]s'', or '''Pavilions''' of ''Aurora'', which are as pleasant to rest ones self in, after a long [[Walk]], as they are to the Eye, for the handsome [[Prospect]] they yield; they serve also to retire into for Shelter when it rains. The word ''[[Belvedere]]'' is ''Italian'', and signifies a beauteous '''[[Prospect]]''', which is properly given to these '''Pavilions'''.”

*[[Ephraim Chambers|Chambers, Ephraim]], 1743, ''Cyclopaedia'' (1743: 2:n.p.)<ref>Ephraim Chambers, ''Cyclopaedia, or An Universal Dictionary of Arts and Sciences . . . '', 5th ed., 2 vols. (London: D. Midwinter et al., 1741–43), [https://www.zotero.org/groups/54737/items/itemKey/PTXK378N view on Zotero].</ref>
:“'''PAVILLION''',*in architecture, signifies a kind of turret, or building usually insulated, and contained under a single roof; sometimes square, and sometimes in form of a dome: thus called from the resemblance of its roof to a tent.
:“*The word comes from the Italian ''padiglione'', tent, and that from the Latin ''papilio''.
:“'''''Pavillions''''' are sometimes also projecting pieces, in the front of a building, marking the middle thereof. . .
:“There are '''''pavillions''''' built in gardens, popularly called ''[[summer-house]]s'', pleasure-houses, &c.—Some castles or forts consist only of a single '''pavillion'''.”

*Johnson, Samuel, 1755, ''A Dictionary of the English Language'' (1755: 2:n.p.)<ref>Samuel Johnson, ''A Dictionary of the English Language: In Which the Words Are Deduced from the Originals and Illustrated in the Different Significations by Examples from the Best Writers'', 2 vols. (London: W. Strahan for J. and P. Knapton, 1755), [https://www.zotero.org/groups/54737/items/itemKey/GE2JPJR3 view on Zotero].</ref>
:“'''PAVI’LION'''. ''n.s''. [''pavillion'', French.] A tent; a temporary or moveable house.”

*Repton, Humphry, 1803, ''Observations on the Theory and Practice of Landscape Gardening'' (1803: 153)<ref>Humphry Repton, ''Observations on the Theory and Practice of Landscape Gardening'' (London: Printed by T. Bensley for J. Taylor, 1803), [https://www.zotero.org/groups/54737/items/itemKey/VVQPC3BI view on Zotero].</ref>
:“Yet the summit of a naked brow, commanding [[view]]s in every direction, may require a covered [[seat]] or '''pavilion'''; for such a situation, where an architectural building is proper, a circular [[temple]] with a dome, such as the [[temple]] of the Sybils, or that of Tivoli, is best calculated.”

*[[Noah Webster|Webster, Noah]], 1828, ''An American Dictionary of the English Language'' (1828: 2:n.p.)<ref>Noah Webster, ''An American Dictionary of the English Language'', 2 vols. (New York: S. Converse, 1828), [https://www.zotero.org/groups/54737/items/itemKey/N7BSU467 view on Zotero].</ref>
:“'''PAVILION''', ''n. pavil’yun'' [Fr. ''pavillon''; Sp. ''pabellon''; Port. ''pavilham''; Arm. ''pavihon''; W. ''pabell''; It. ''paviglione'' and ''padiglione''; L. ''papilio''; a butterfly, and a '''pavilion'''. According to Owen, the Welsh ''pabell'' signifies a moving habitation.]
:“1. A tent; a temporary movable habitation.
:“2. In ''architecture'', a kind of turret or building, usually insulated and contained under a single roof; sometimes [[square]] and sometimes in the form of a dome. Sometimes a '''pavilion''' is a projecting part in the front of a building; sometimes it flanks a corner. ''Encyc''.”

*[[Noah Webster|Webster, Noah]], 1848, ''An American Dictionary of the English Language'' (1848: 806)<ref>Noah Webster, ''An American Dictionary of the English Language. . . Revised and Enlarged by Chauncey A. Goodrich'' (Springfield, MA: George and Charles Merriam, 1848), [https://www.zotero.org/groups/54737/items/itemKey/EBZ5Z7ET view on Zotero].</ref>
:“1. A tent. . .
:“2. In ''architecture'', a kind of turret. . . ''Gwilt''.
:“The name is sometimes, though improperly, given to a [[summer-house]] in a garden. ''Brande''.”

[[File:0396.jpg|thumb|Fig. 9, Anonymous, “A circular pavilion,” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'', 4th ed. (1849), 456, fig. 81.]]
*[[Andrew Jackson Downing|Downing, Andrew Jackson]], 1849, ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849; repr. 1991: 456, 473)<ref>A. J. [Andrew Jackson] Downing, ''A Treatise on the Theory and Practice of Landscape Gardening, Adapted to North America'', 4th ed. (1849; repr., Washington, DC: Dumbarton Oaks Research Library and Collection, 1991), [https://www.zotero.org/groups/54737/items/itemKey/K7BRCDC5 view on Zotero].</ref>
:“The [[temple]] and the '''pavilion''' are highly finished forms of covered [[seat]]s, which are occasionally introduced in splendid places, where classic architecture prevails. There is a circular '''pavilion''' of this kind at the termination of one of the [[walk]]s at Mr. Langdon’s residence, Hyde Park. . . [Fig. 9]
:“''Unity of expression'' is the maxim and guide in this department of the art, as in every other. . .
:“With regard to '''pavilions''', [[summer-house]]s, [[Rustic_style|rustic]] [[seat]]s, and garden edifices of like character, they should, if possible, in all cases be introduced where they are manifestly appropriate or in harmony with the scene. Thus. . . a classic [[temple]] or '''pavilion''' may crown a beautiful and prominent knoll.”

<hr>

==Images==
===Inscribed===
<gallery widths="170px" heights="170px" perrow="7">

File:1716.jpg|[[James Gibbs]], “Two other '''Pavilions''' propos’d for the same place [Bowling-Green at Down Hall in Essex],” in ''A Book of Architecture'' (1728), pl. 69.

File:1717.jpg|[[James Gibbs]], “A '''Pavilion''' design’d for Sir John Curzon for his seat near Derby,” in ''A Book of Architecture'' (1728), pl. 70.

File:1992.jpg|[[James Gibbs]], “Two Uprights of another '''Pavillion''' built at Hackwood,” in ''A Book of Architecture'' (1728), pl. 73.

File:1719.jpg|[[James Gibbs]], “The Plan, Upright and Section of a '''Pavillion''' [sic] for the Right Honorable the Lord Viscount Cobham in his Garden at Stowe in Buckinghamshire,” in ''A Book of Architecture'' (1728), pl. 75.

File:1720.jpg|[[James Gibbs]], “Another Design for two '''Pavillions''' at Stowe,” in ''A Book of Architecture'' (1728), pl. 76.

File:1721.jpg|[[James Gibbs]], Four of “Eight [[Square]] '''Pavillions''' for my Lord Cobham and others,” in ''A Book of Architecture'' (1728), pl. 77.

File:0968.jpg|[[Thomas Jefferson]], Plan of [[Monticello]] with oval and round flower [[bed]]s [detail], 1807.

File:0104.jpg|Joseph Jacques Ramée, Estate plan for Calverton, (Baltimore, MD) [detail], c. 1816, in ''Parcs & jardins'' (c. 1836), pl. 1. The notation at “7” in the center of the [[lawn]] at the end of the path indicates a “'''pavilion''' [[Rustic_style|rustique]].”

File:0506.jpg|[[Thomas Jefferson]], Early study for '''pavilion''' VII, University of Virginia, 1817.

File:1810.jpg|Anonymous, “An octagonal [[Rustic_style|Rustic]] '''Pavilion''' for an [[eminence]],” one of four “Designs for Rustic Buildings,” ''Horticulturist'' 2, no. 8 (February 1848): pl. opp. 345, fig. 2.

File:0377.jpg|Anonymous, “Plan of a Mansion Residence, laid out in the [[Natural_style|natural style]],” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'', 4th ed. (1849), 115, fig. 25. “A [[prospect]] tower, or [[Rustic_style|rustic]] '''pavilion''', on a little [[eminence]] overlooking the whole estate is shown at ''j''.”

File:1739.jpg|Anonymous, “Principal Floor” of a Southern Villa—Romanesque Style, in [[A. J. Downing]], ''The Architecture of Country Houses'' (1850), 353, fig. 169.
</gallery>

===Associated===
<gallery widths="170px" heights="170px" perrow="7">

File:0587.jpg|Anonymous, ''Plan of the Harbour and City of Annapolis'', 1781.

File:0826.jpg|James Peller Malcolm, ''Woodlands, the Seat of W. Hamilton Esquire, from the Bridge at Gray’s Ferry, Philadelphia'', c. 1792–94.

File:1746.jpg|[[William Bartram]], Plan of a “plantation” (or “villa”) of a Creek Indian chief, in “Observations on the Creek and Cherokee Indians” (1789), from ''Transactions of the American Ethnological Society'' 3, part 1 (1853): 38, fig. 1.

File:1748.jpg|[[William Bartram]], Plan of a Cherokee Private “Habitation,” in “Observations on the Creek and Cherokee Indians” (1789), from ''Transactions of the American Ethnological Society'' 3, part 1 (1853): 56, fig. 5.

File:2044.jpg|Joshua Rowley Watson, ''From the [[Piazza]] looking towards the Pavilion 21st May 1817'', 1817.

File:0169.jpg|[[Thomas Jefferson]], Bird’s-eye view of the University of Virginia, c. 1820. This view depicts the 16 campus pavilions, which were positioned at intervals on the lawn and back gardens.

File:0079.jpg|Jane Braddick Peticolas, ''[[View]] of the West Front of [[Monticello]] and Garden'', 1825. Jefferson’s pavilions frame this depiction of the main house.

File:0505.jpg|Anonymous (artist), Benjamin Tanner (engraver), ''University of Virginia'', 1826.

File:0028.jpg|Anonymous, Plan of the garden pavilion at Economy, PA, c. 1830.

File:0956.jpg|[[Alexander Jackson Davis]], Canopied pavilion at [[Blithewood]], 1836.<ref>Alexander Jackson Davis, ''Blithewood Estate, Barrytown, N.Y.'', 1830-1870, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/IAAPPWEZ view on Zotero].</ref>

File:0844.jpg|[[Alexander Jackson Davis]], [[Montgomery Place]]—Shore Seat, c. 1847.

File:0357.jpg|[[Alexander Jackson Davis]], “[[Montgomery Place]],” in [[A. J. Downing]], ed., ''Horticulturist'' 2, no. 4 (October 1847): pl. opp. 153.

File:0842.jpg|[[Alexander Jackson Davis]], ''View from [[Montgomery Place]]'', October 1847.

File:1007.jpg|Anonymous, “A [[Rustic_style|Rustic]] [[Alcove]],” in [[A. J. Downing]], ed. ''Horticulturist'' 2, no. 8 (February 1848): pl. opp. 345, fig. 4.

File:0355.jpg|Anonymous, “View in the Grounds at [[Hyde Park]],” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'', 4th ed. (1849), pl. opp. 45, fig. 1.

File:0843.jpg|[[Alexander Jackson Davis]], ''[[Montgomery Place]]'', n.d.

File:0396.jpg|Anonymous, “A circular pavilion,” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'', 4th ed. (1849), 456, fig. 81.
</gallery>

===Attributed===
<gallery widths="170px" heights="170px" perrow="7">

File:0008.jpg|William Dering, attr., ''Portrait of Anne Byrd Carter (later, Mrs. Charles Carter)'', c. 1742—46. A pavilion is depicted in the background on the left.

File:0076.jpg|[[Thomas Jefferson]], Design for a decorative outchamber at [[Monticello]], c. 1778.

File:2280.jpg|[[Pierre Pharoux]], Frontal [[view]] of two pavilions on the water for the city of Speranza, 1795.

File:2281.jpg|[[Pierre Pharoux]], Aerial [[view]] of two pavilions on the water for the city of Speranza, 1795.

File:0274.jpg|Ralph Earl, ''Houses Fronting New Milford Green'', 1796.

File:0195.jpg|Francis Guy, ''Bolton, view from the South'', c. 1805.

File:0302.jpg|William Russell Birch, “[[Fountain]] Green Pennsylv.<sup>a</sup> the Seat of Mrs. Meeker,” ''The Country Seats of the United States'' (1808), pl. 8.

File:0473.jpg|Anonymous, “Columbia Garden, No. 307 Broadway,” in ''New York Evening Post'' (July 2, 1812).

File:0990.jpg|Thomas Birch, ''Southeast [[View]] of “Sedgeley [[Park]],” the Country [[Seat]] of James Cowles Fisher, Esq.'', c. 1819.

File:0300.jpg|Thomas Birch, Fairmount Water Works, 1821. The Pavilion is in the center of the image, atop the pier.

File:0609.jpg|Anonymous, Floor Plan and Façade of Garden Pavilion, Economy, PA, c. 1830.

File:0437.jpg|Robert Street, ''George Washington Deal'', 1834.

File:1099.jpg|Anonymous, Garden and Library, Friends’ Asylum for the Insane, 1838, in ''Friends’ Asylum for the Insane, 1813—1913'' (1913), pl. opp. 70.

File:2038.jpg|Thomas Kelah Wharton, ''Crystal Cove, [[Hyde Park]]. New York'', September 11, 1839.

File:2144.jpg|William Southgate Porter, ''Panorama of Fairmount'', May 22, 1848.

File:0853.jpg|[[Alexander Jackson Davis]], ''Octagonal Garden Structure for [[Montgomery Place]]'', c. 1850

File: 2286.jpg|Edward Beyer, ''Blue Sulphur Spring, Greenbrier County, VA'', 1857.

File: 2286_detail.jpg|Edward Beyer, ''Blue Sulphur Spring, Greenbrier County, VA'' [detail], 1857.

File: 2287.jpg|Ernest Crehen, ''Blue Sulphur-Greenbrier, VA'', in John J. Moorman, ''The Virginia Springs of the South and West'', 1859: facing 217.

File:2305.jpg|After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857.

</gallery>

<hr>

==Notes==

<references></references>

[[Category: Keywords]]
[[Category: Transition Between House and Garden]]
[[Category: Architecture]]

Fence

2021-09-03T18:17:42Z

A-whitlock:

See also: [[Espalier]], [[Gate]], [[Ha-Ha/Sunk fence|Ha-Ha]], [[Hedge]], [[Wall]]

==History==

[[File:1467.jpg|thumb|left|Fig. 1, John Lewis Krimmel, Tree and rocks near a split-rail fence, c. 1813.]]
[[File:0234.jpg|thumb|Fig. 2, Lewis Miller, “Jesse Hines. Black Smith, menden his pale fence,” 1813, in Lewis Miller, ''Sketches and Chronicles: The Reflections of a Nineteenth-Century Pennsylvania German Folk Artist'' (1966), 86.]]

Humphry Repton wrote in 1803 in reference to England that “every county has its peculiar mode of fencing, both in the construction of [[hedge]]s and ditches, which belong rather to the farmer than the landscape gardener.”<ref>Humphry Repton, ''Observations on the Theory and Practice of Landscape Gardening'' (London: Printed by T. Bensley for J. Taylor, 1803), 84, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/VVQPC3BI/q/repton view on Zotero].</ref> In America, where the tasks of partitioning, cultivating, and embellishing the landscape were considered inseparable, the distinction between farmer and gardener was less easily made. Frequent references to the fence in both the written and visual record place it among the most fundamental elements of the designed landscape in America. A fence, as dictionary definitions agree, enclosed areas such as gardens, cornfields, [[park]]s, [[woods]], or groups of trees. As <span id="Gregory_cite"></span>[[G. (George) Gregory|G. Gregory]] (1816) noted, the feature could be formed by a [[hedge]], [[wall]], ditch, or bank ([[#Gregory|view text]]). Terms for different fence types abound in American landscape design vocabulary: blind, board, close, cradle, cross, double, foss, hurdle, invisible, live, open board, pale/paling, palisade, picket, post-and-plank, post-and-rail, snake, sunk, [[trellis]], Virginia, wattle, wire, worm, and zigzag.<ref>For a more detailed discussion of fence types, see Vanessa Patrick, “Partitioning the Landscape,” ''Colonial Williamsburg Research Report'' (Williamsburg, VA: Williamsburg Foundation, 1983), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KK726D7T/q/partitioning%20the%20landscape view on Zotero]; Elizabeth Wilkinson and Marjorie Henderson, eds., ''Decorating Eden: A Comprehensive Sourcebook of Classic Garden Details'' (San Francisco: Chronicle Books, 1992), 42–69, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/5TNM2M83/q/Decorating%20Eden%3A%20A%20Comprehensive%20Sourcebook%20of%20Classic%20Garden%20Details view on Zotero]; Wilbur Zelinsky, “Walls and Fences,” in ''Changing Rural Landscapes'', ed. Ervin H. and Margaret J. Zube (Amherst: University of Massachusetts Press, 1977), 53–63, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/X8FV99J7/q/Changing%20rural%20landscapes view on Zotero].</ref>

[[File:0197.jpg|thumb|left|Fig. 3, Francis Guy, ''Rose Hill'', 1798. The home of William Gibson in Baltimore, MD, which is depicted in this detail from a John and Hugh Finley armchair, illustrates the use of a fence to frame the [[view]] of the façade.]]
[[File:1701.jpg|thumb|Fig. 4, [[J. C. Loudon]], Diagram of worm fence, in ''An Encyclopaedia of Gardening'' (1834), 412, fig. 276.]]
The choice of fence type was dictated by the materials available, local custom, and the need at hand. For instance, worm fences (also called zigzag, snake, split rail, or Virginia fences) did not require posts or post holes and therefore were easily moved to accommodate changing field use and avoided the problem of posts rotting in soil. They were also useful in areas where rocky soil made it difficult to dig post holes or in wooded areas where trees made straight fence lines impractical, as seen in the watercolor sketch by John Lewis Krimmel [Fig. 1]. Paled fences offered a more solid line of defense against deer and rabbits, but had less flexibility and required more labor and finished lumber [Fig. 2]. Such high fences were effective barriers for animals as well as humans, as attested by <span id="Waln_cite"></span>Robert Waln Jr.’s 1825 description of the board fence at the Friends Asylum for the Insane in Pennsylvania ([[#Waln|view text]]).

[[File:0476.jpg|thumb|left|Fig. 5, James Smillie (artist), Sarony & Major (printers), ''[[View]] of Union [[Park]], New York, from the Head of Broadway,'' 1848. The ironwork fence, at 14th Street, encircles what was known as Union [[Square]] [[Park]].]]
[[File:0424.jpg|thumb|Fig. 6, [[Alexander Jackson Davis]], Ithiel Town, and James Dakin, ''New York University, Washington [[Square]]'', 1833.]]
Paling fences created visual barriers and were sometimes erected to screen unpleasant views or to provide privacy, particularly in urban settings. For instance, in 1857 <span id="Watson_cite"></span>John Fanning Watson complained that “in the usual selfish style of Philadelphia improved grounds” at William Bingham’s Philadelphia residence, “the whole was surrounded and hid from the public gaze by a high fence” ([[#Watson|view text]]). Fences were also used to direct the gaze, whether toward a house, as in Francis Guy’s chairback painting of Rose Hill in Baltimore [Fig. 3], or other focal point. In other cases, fences such as sunken types (later replaced by wire fences) were desired for their inconspicuous presence in the landscape. Numerous descriptions and horticultural advice columns praised the effect of unobstructed views created by enclosures that kept animals or human traffic at bay with minimal visibility (see [[Ha-ha]]).

[[File:1086.jpg|thumb|left|Fig. 7, James Smillie (artist), O. J. Hanks (engraver), “The Tour—Oaken Bluff,” in Nehemiah Cleaveland, ''Green-Wood Illustrated'' (1847), pl. opp. 40.]]
[[File:1078.jpg|thumb|Fig. 8, George W. Stilwell, Patterns of railings at Green-Wood [[Cemetery/Burying ground/Burial ground|Cemetery]], in Nehemiah Cleaveland, ''Green-Wood Illustrated'' (1847), pl. after 94. This book includes a description of a “neat iron paling surrounds the hill, marking it as the appropriate final home of a large family.”]]
Fences were constructed from a variety of materials. In the Tidewater’s sedimentary soils where stone was scarce, wood was the most common material and was used mainly in paled, post-and-rail or board, and worm fences. Although types of wood that could be used were varied, a typical paling fence utilized different types of wood. For example, hard wood, such as locust, cedar, or oak, was often used for posts; wood with tensile strength, such as oak, poplar, or pine, was used for rails; and lightweight wood, such as pine, could be employed for the pales.<ref>Patrick 1983, 2, 16, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KK726D7T/q/partitioning%20the%20landscape view on Zotero].</ref> Although worm fences [Fig. 4] have been documented in Delaware, New York, and as far north as Canada, they were so common in the Tidewater area that they were often identified as Virginia fences. <span id="Anburey_cite"></span>Thomas Anburey even reported that New Englanders described a drunken man’s impaired movements as “making Virginia fences” ([[#Anburey|view text]]). In southern New England’s glacier-formed topography, abundant fieldstone was used for stone [[wall]]s, which sometimes were referred to as stone fences.<ref>While treatise and dictionary definitions of “fence” list stone and brick as building materials, it was common practice in America to refer to stone and brick barriers as walls. In 1871, the first year for which statistics were kept, a study of fence types in New England revealed that stone fences ranged from 32 percent in Vermont and 33 percent in Connecticut to 67 percent in Maine and 79 percent in Rhode Island; see Zelinsky 1977, 59, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/X8FV99J7/q/Changing%20rural%20landscapes view on Zotero].</ref> Fences could also be created from live plants, predominantly thorn (hawthorn and buckthorn), although writers including Edward James Hooper (1842) and Charles Wyllys Elliott (1848) recommended osage orange, cedar, Chinese arbor vitae, privet, holly, honey and black locust, beech, willow, and hemlock. The advantages of live fences were a matter of great debate, particularly in early nineteenth-century publications that advocated the “new agriculture.” These writings included those by the New York and Massachusetts Agricultural Societies, and later, in periodical form, the ''Horticulturist''. In addition to their durability and long-term cost savings, it was argued that live fences harmonized better with the surrounding landscape (see [[Hedge]]). A similar effect could also be achieved with other fences, as suggested by <span id="Sayers_cite"></span>Edward Sayers (1838), by training “vines and creepers” to conceal old and unsightly fences ([[#Sayers|view text]]).

[[File:1677.jpg|thumb|left|Fig. 9, W. R. Hamilton, ''Landscape [[View]] of a House and Garden'' [detail], 1836.]]
[[File:1752.jpg|thumb|Fig. 10, William Halfpenny, “A [[Chinese manner|Chinese]] Acute angular Paleing” and “A [[Chinese manner|Chinese]] Obtuse & Diamond Paleing,” in ''Rural Architecture in the [[Chinese manner|Chinese]] Taste'' (1755), pl. 3.]]
Iron [[gate]]s were used in the 18th century at such sites as Westover, on the James River, Virginia, and the Governor’s Palace in Williamsburg, and iron fences were employed for the fronts of elite dwellings and notable institutions.<ref>At Westover, research has revealed that the iron-gate was originally painted white (Carl Lounsbury, personal communication).</ref> It was not, however, until the second quarter of the 19th century when the expansion of America’s domestic iron industry and advances in cast iron made iron fences affordable for those of more modest means. This availability is reflected in the more than one hundred fence patents that were registered between 1801 and 1857.<ref>See Gregory K. Dreicer, “Wired! The Fence Industry and the Invention of Chain Link,” in ''Between Fences'', ed. Gregory K. Dreicer (Washington, DC: National Building Museum; New York: Princeton Architectural Press, 1996), 71, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/6MWKQ3AI/q/wired view on Zotero].</ref> Treatises, such as those by [[Andrew Jackson Downing|A. J. Downing]] (1849) and William H. Ranlett (1851), provided examples of fashionable designs to be installed in front of suburban [[yard]]s. Elaborate iron-work fences were particularly popular as enclosures for urban [[park]]s [Fig. 5], educational institutions [Fig. 6], and family burial [[plot]]s [Fig. 7]. These [[plot]]s, with their elaborate fences, were favorite subjects in illustrated books of the new rural [[cemetery|cemeteries]] [Fig. 8].

[[File:0184.jpg|thumb|left|Fig. 11, Caroline Betts, ''A [[view]] of Col. Lincoln’s [[Seat]], Casnovia [sic]'', c. 1821.]]
[[File:0754.jpg|thumb|Fig. 12, Samuel Barnard, ''[[View]] Along the East Battery, Charleston'', 1831.]]
Despite the variety of materials and designs, fences shared many common functions. Garden fences, like [[wall]]s, created micro-climates for plants: southern façades were ideal for promoting early harvests of fruit trees trained on [[espalier]]s or protecting tender [[nursery]] plants, while northern sides provided sheltered, shady spots in long dry summers. <span id="Cobbett_cite"></span>William Cobbett (1819) emphasized the value of fences as shelters in America, given its extremes of heat and cold in contrast to the more temperate English climate ([[#Cobbett|view text]]).

[[File:1130.jpg|thumb|left|Fig. 13, Marie L. Pilsbury, ''Louisiana [[Plantation]] Scene'', 1820.]]
[[File:0203_detail.jpg|thumb|Fig. 14, Francis Guy, ''Perry Hall from the northwest'' [detail], c. 1805.]]
Fences were the primary boundary markers that defined property lines and distinguished “improved” from “unimproved” land, and early legislation frequently required the fencing of landholdings. Fences also marked divisions within a property owner’s estate, such as those between field, [[meadow]], pasture, [[orchard]], and [[yard]]; and, within the garden itself, fences separated areas such as the [[flower garden]], [[kitchen garden]], and [[nursery]] [Fig. 9]. The form of the fence often reflected its position or function. For example, post-and-rail fences would mark the boundaries and the divisions of the fields, while a palisaded brick [[wall]] served as a retaining [[wall]] along a [[slope]], and a picket fence delineated the [[geometric style|geometrically]] regular garden adjacent to the house. Not surprisingly, the public [[view]] of the property was often framed by more ornamented fence types, and aspiring owners could draw from pattern books, such as that by William and John Halfpenny (1755), for inspiration [Fig. 10]. Numerous images, including Caroline Betts’s painting of Lorenzo on Lake Cazenovia [Fig. 11], show a more elaborate treatment given to the fences in front of houses in contrast to the pale or post-and-rail fences that lined roads and enclosed [[meadow]]s. <span id="Cobbett_cite"></span>William Cobbett (1819), in this vein, described a hierarchy of fences from the “rudest barriers” to the “grandest” and “noblest,” along with “every degree of gradation” in between ([[#Cobbett|view text]]), and <span id="Benjamin_cite"></span>Asher Benjamin (1830) recommended that the size of front fences be suited to the scale of the house ([[#Benjamin|view text]]).

[[File:0003-detail.jpg|thumb|left|Fig. 15, William Dering, attr., ''Portrait of George Booth'' [detail], 1748–50.]]
[[File:0515.jpg|thumb|Fig. 16, Eunice Pinney, attr., ''Mother and Child in Mountain Landscape'', 1805–25.]]
Distinctions in the fence in the landscape were also made by painting sections or the sides of fences. In several New England examples, including the Dennie overmantel, utilitarian fences were painted red, while more formal fence sections near the house were painted white. In still other instances, such as the painting ''View Along the East Battery'' [Fig. 12], parts of the fence furthest from the house were left unpainted in contrast to the painted fence in front of the house. [[View]]s, such as Marie L. Pilsbury’s Louisiana [[plantation]] scene [Fig 13], are especially striking since the white [[gate]] of the [[drive]] stands out in sharp contrast to the unpainted brown post-and-rail fence. While the selective use of white served to highlight portions of the fence, it also conserved white paint, which was more costly.<ref>Robert Emlen, ''Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century'' (Hanover, NH, and London: University Press of New England, 1987), 8, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/CNV6HPEC/q/shaker%20village%20views view on Zotero].</ref>

[[File:0020.jpg|thumb|left|Fig. 17, Janika de Fériet, ''The Hermitage'', c.1820. This sketch depicts a fence demarcating the boundary between the house’s [[yard]] and the landscape beyond.]]
Fences were critical for keeping livestock in and garden pests contained. During the early years of settlement when livestock (such as pigs) were not restrained, colonists fenced their garden [[plot]]s, while animals wreaked havoc on the open fields of Native Americans.<ref> William Cronon, ''Changes in the Land: Indians, Colonists, and the Ecology of New England'' (New York: Hill and Wang, 1983), 130–31, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/PAVPD9HR/q/changes%20in%20the%20land view on Zotero].</ref> In large estates, above-ground fences or [[ha ha|sunken fences]] around the house were used to separate animals grazing in the open land of larger, more naturalistic landscape [[park]]s from more densely planted areas immediately surrounding the house, as depicted in Francis Guy’s 1805 painting of Perry Hall in Baltimore [Fig. 14]. Urban gardens faced their share of potential intruders as well, both animal and human, and fences were an important element in defining urban public spaces such as [[common]]s, [[square]]s, roads, and [[park]]s.

Fences were symbolic, as well as practical, boundaries.<ref>The functions, both symbolic and practical, of fences have been explored in an exhibition organized by Gregory K. Dreicer with an accompanying catalogue, ''Between Fences'', cited above.</ref> Churchyards were often fenced, in part to protect them from wandering animals, and in part to demarcate the sacred space within. The similarity of [[yard]]-like enclosures created around family burials suggests an expression of the eternal domestic unit represented within. In both images and actual landscapes, fences around residences signified the division between personal property and the world beyond. This boundary made the presence and treatment of openings, such as [[gate]]s, particularly important as they marked the passage between these realms of the public and the private. Residential fences were also a visual statement of their owners’ resources and abilities. For example, in William Dering’s portrait of George Booth, the fence in the background divides the near and middle grounds [Fig. 15]. Dering extended the [[view]] into the distant, irregular landscape, but signaled the proprietor’s control over the space within the confines of his fence with the regular plantings and trimmed path. Countless representations of houses offer a similar demarcation, usually from the reverse perspective, showing the area surrounding the dwelling separated from the larger landscape by a fence. This division of domestic space is seen in modest gardens from Eunice Pinney’s ''Mother and Child in Mountain Landscape'' [Fig. 16] to more elaborate estates such as Janika de Fériet’s ''The Hermitage'' [Fig. 17].

Descriptions by travelers, such as Timothy Dwight, also demonstrate the significance of fences as an indication of the prosperity or decline of an area. <span id="Bigelow_cite"></span>Timothy Bigelow (1805) described the Shaker Village of Hancock, New York, as “much better fenced than any other in [the] vicinity” ([[#Bigelow|view text]]). With some pride, a writer in the <span id="Register_1836_cite"></span>''Horticultural Register'' in 1836 found Maine wanting in comparison to Massachusetts since there was “not that attention paid to the appearance of fences about the dwellings, door [[yard]]s, &c. as with us” ([[#Register_1836|view text]]). In something of an horticultural parable the <span id="Register_1837_cite"></span>''Horticultural Register'' (1837) described the proprietor who spent all his money on his house leaving it to stand “dreary and alone. . . an unsightly broken fence to enclose it” while, with more foresight, “a more finished appearance is presented; the house is neatly painted. . . and a picket fence encircles it” ([[#Register_1837|view text]]).

—''Elizabeth Kryder-Reid''

<hr>

==Texts==
===Usage===

*Rex, Charles, August 1641, instructions to Sir William Berkeley (quoted in Billings 1975: 56)<ref>Warren M. Billings, ed. ''The Old Dominion in the Seventeenth Century: A Documentary History of Virginia, 1606-1689'' (Williamsburg, VA: Institute of Early American History and Culture at Williamsburg, Virginia, 1975), [https://www.zotero.org/groups/54737/items/itemKey/S2TZJIN9 view on Zotero].</ref>
:“25. That they apply themselves to the Impaling of [[orchard]]s and gardens for Roots and fruits, which that Country is so proper for and that every Planter be compelled for every 200 Acres Granted unto him to inclose and sufficiently '''Fence''', either with Pales or Quick sett, and ditch, and so from time to time to preserve inclosed and '''Fenced''' a Quarter of an Acre of Ground in the most Convenient place near his dwelling house for [[Orchard]]s and Gardens.”

*Fitzhugh, William, April 1686, in a letter to Dr. Ralph Smith, describing Greensprings, VA (quoted in Lockwood 1934: 2:46)<ref>Alice B. Lockwood, ed., ''Gardens of Colony and State: Gardens and Gardeners of the American Colonies and of the Republic before 1840'', 2 vols. (New York: Charles Scribner’s for the Garden Club of America, 1931–34), [https://www.zotero.org/groups/54737/items/itemKey/JNB7BI9T view on Zotero].</ref>
:“. . . the [[Plantation]] where I now live contains a thousand acres, grounds and '''fencing'''. . . a large [[orchard]] of about 2500 Apple trees most grafted, well '''fenced''' with a locust '''fence''', which is as durable as most brick [[wall]]s, a Garden, a hundred foot square, well pailed in, a [[yard|Yeard]] wherein is most of the aforesaid necessary houses, pallizad’d in with locust Punchens which is as good as if it were walled in and more lasting than any of our bricks.”

*Penn, William, c. 1687, in a letter to James Harrison, inquiring about Pennsbury Manor, country estate of William Penn, near Philadelphia (quoted in Thomforde 1986: 1)<ref>Charles Thomforde, “William Penn’s Estate at Pennsbury and the Plants of Its Kitchen Garden” (MS thesis, University of Delaware, 1986), [https://www.zotero.org/groups/54737/items/itemKey/MSV2MR5T view on Zotero].</ref>
:“I should be glad to see a draugh of Pennsberry w<sup>ch</sup> an Artist would quickly take, w<sup>th</sup> y<sup>e</sup> land scip of y<sup>e</sup> hous, out houses, [[orchard]]s, also w<sup>t</sup> grounds you have cleered w<sup>t</sup> improvem<sup>t</sup>s made. an account how the peach & apple [[orchard]]s grow; Bear. if any [[walk]]s be made, & steps at ye water & how yt garden next y<sup>e</sup> water towards ye house, is layd out & thrives, how farr you advance. . . w<sup>t</sup> '''fence''' about ye yards gardens & [[orchard]]s.”

*Virginia General Assembly, October 23, 1705, describing a legislative ruling in Virginia (Colonial Williamsburg Foundation)
:“(I) Be it enacted. . . that if any horses, mares, cattle, hogs, sheep, or goats, shall break into any grounds, being inclosed with a strong and sound '''fence''', four foot and half high, and so close that the beasts or kine breaking into the same, could not creep through; or with an [[hedge]] two foot high, upon a ditch of three foot deep, and three foot broad, or instead of such [[hedge]], a rail '''fence''' of two foot and half high, the [[hedge]] or '''fence''' being so close that none of the creatures aforesaid can creep through, (which shall be accounted a lawful '''fence''',) the owner. . . shall for the first trespass by any of them committed, make reparation to the party injured.”

*Anonymous, 4 August 1733, describing in the ''South Carolina Gazette'' a cemetery in Berkeley County, SC (Colonial Williamsburg Foundation)
:“The new [[cemetery|Burying Ground]] '''Fence''' to be done in the same manner it formerly was, the posts of both to be of the best light wood, Chinquepin or Cedar.”

*Ball, Joseph, February 1734, describing a property in Virginia (Library of Congress, Joseph Ball Letter Book)
:“The apple [[Nursery]] '''Fence''' must be kept upright good & strong, but set upon blocks, so that small hogs may go in, to keep down the weeds.”

*Kalm, Pehr, September 21, 1748, and January 22, 1749, describing fences in Pennsylvania, New Jersey, and New York (1770; repr., 1937: 1:47, 238–39)<ref>Pehr Kalm, ''The America of 1750: Peter Kalm’s Travels in North America. The English Version of 1770'', 2 vols. (1770; repr., New York: Wilson-Erickson, 1937), [https://www.zotero.org/groups/54737/items/itemKey/94EZM2V4 view on Zotero].</ref>
:“The '''fences''' and pales are generally made here of wooden planks and posts. But a few good economists, having already thought of sparing the [[woods]] for future times, have begun to plant quick [[hedge]]s round their fields; and for this purpose they take the above-mentioned privet, which they plant in a little bank that is thrown up for it.”
:“'''''Fences'''''. The '''fences''' built in Pennsylvania and New Jersey, but especially in New York, are those which on account of their serpentine form resembling worms are called ‘worm '''fences'''’*in English. The rails which compose this '''fence''' are taken from different trees, but they are not all of equal duration. . . In order to make rails the people do not cut down the young trees. . . but they fell here and there large trees, cut them in several places, leaving the pieces as long as it is necessary, and split them into rails of the desired thickness; a single tree affords a multitude of rails. . . Thus the worm '''fence''' is one of the most useful sorts of inclosures, especially as they cannot get any posts made of the wood of this county to last above six or eight years in the ground without rotting. . . the worm '''fences''' are easily put up again, when they are forced down. . . Considering how much more wood the worm-'''fences''' require (since they zigzag) than other '''fences''' which go in straight lines, and that they are so soon useless, one may imagine how the forests will be consumed, and what sort of an appearance the country will have forty or fifty years hence.
:“*The well-known zigzag '''fence''' of rails crossing at the ends. It is also called ‘snake '''fence'''’ or ‘Virginia rail '''fence'''.’

*Alexiowitz, Iwan, 1769, in a letter describing [[Bartram Botanic Garden and Nursery]], vicinity of Philadelphia, PA (quoted in Darlington 1849: 50)<ref>Williams Darlington, ''Memorials of John Bartram and Humphry Marshall: With Notices of Their Botanical Contemporaries'' (Philadelphia: Lindsay & Blakiston, 1849), [https://www.zotero.org/groups/54737/items/itemKey/TKNVQG76 view on Zotero].</ref>
:“Thence we rambled through his fields, where the rightangular '''fences''', the heaps of pitched stones, the flourishing clover, announced the best husbandry, as well as the most assiduous attention.”

*<div id="Anburey"></div>Anburey, Thomas, January 20, 1779, describing Jones’s [[Plantation]], near Charlottesville, VA (1789; repr., 1969: 2:323–24)<ref>Thomas Anburey, ''Travels through the Interior Parts of America'' 2 vols. (1789; repr. New York: New York Times and Arno Pres, 1969), [https://www.zotero.org/groups/54737/items/itemKey/R77SENEZ view on Zotero].</ref>
:“The '''fences''' and enclosures in this province are different from others, for those to the northward are made either of stone or rails let into posts, about a foot asunder; here they are composed of what is termed '''''fence''''' ''rails'', which are made out of trees cut or sawed into lengths of about twelve feet, that are mauld or split into rails from four to six inches diameter.
:“When they form an inclosure, these rails are laid so, that they cross each other obliquely at each end, and are laid zig zag to the amount of ten or eleven rails in height, then stakes are put against each corner, double across, with the lower ends drove a little into the ground, and above these stakes is placed a rail of double the size of the others, which is termed the rider, which, in a manner, locks up the whole, and keeps the '''fence''' firm and steady.
:“These enclosures are generally seven or eight feet high, they are not very strong but convenient, as they can be removed to any other place, where they may be more necessary; from a mode of constructing these enclosures in a zig zag form, the New-Englanders have a saying, when a man is in liquor, ''he is making Virginia'' '''''fences'''''.” [[#Anburey_cite|back up to History]]

*Washington, George, 1785, diary entries (Jackson and Twohig, eds., 1978: 4: 199)<ref name="Jackson-Twohig_1978">Donald Jackson and Dorothy Twohig, eds., ''The Diaries of George Washington'', 6 vols. (Charlottesville: University Press of Virginia, 1978), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/9ZIIR3FT view on Zotero].</ref>
:[March 11] “Planted. . . 13 Yellow Willow trees alternately along the Post and Rail '''fence''' from the Kitchen to the South [[Ha-Ha/Sunk fence|ha-haw]] and from the Servants’ Hall to the Smith’s Shop. . .

*[[Manasseh Cutler|Cutler, Manasseh]], July 13, 1787, describing the [[State House Yard]], Philadelphia, PA (1987: 1:263)<ref>Manasseh Cutler, ''Life, Journals, and Correspondence of Rev. Manasseh Cutler'', ed. William Parker Cutler and Julia Perkin Cutler, 2 vols. (Athens: Ohio University Press, 1987), [https://www.zotero.org/groups/54737/items/itemKey/ASAS6SD5 view on Zotero].</ref>
:“The [[Mall]] is at present nearly surrounded with buildings, which stand near to the board '''fence''' that incloses it, and the parts now vacant will, in a short time, be filled up.”

*Brissot de Warville, J. P., August 9, 1788, describing the journey from Boston to New York, NY (1792: 127–28)<ref>J.-P. (Jacques-Pierre) Brissot de Warville, ''New Travels in the United States Performed in 1788'' (New York: T. & J. Swords, 1792), [https://www.zotero.org/groups/54737/items/itemKey/TKXB2WAU view on Zotero].</ref>
:“But the uncleared lands are all located, and the proprietors have inclosed them with '''fences''' of different sorts. These several kinds of '''fences''' are composed of different materials, which announce the different degrees of culture in the country. Some are composed of the light branches of trees; others, of the trunks of trees laid one upon the other; a third sort is made of long pieces of wood, supporting each other by making angles at the end; a fourth kind is made of long pieces of hewn timber, supported at the ends by passing into holes made in an upright post; a fifth is like the garden '''fences''' in England; the last kind is made of stones thrown together to the height of three feet. This last is most durable, and is common in Massachusetts.”

*Bentley, William, October 22, 1790, describing Elias Hasket Derby Farm, Peabody, MA (1962: 1:180)<ref>William Bentley, ''The Diary of William Bentley, D.D., Pastor of the East Church, Salem, Massachusetts'', 4 vols. (Gloucester, MA: Peter Smith, 1962), [https://www.zotero.org/groups/54737/items/itemKey/B63ABACF view on Zotero].</ref>
:“[231] 22. . . The Principal Garden is in three parts divided by an open slat '''fence''' painted white, & the '''fence''' white washed. It includes 7/8 of an Acre. . . The House is [lined?] with a superb '''fence''', but is itself a mere country House, one story higher than common with a rich owner.”

*Moreau de Saint-Méry, M. L. E., May 25, 1794, describing the fences of houses in America (Roberts and Roberts, eds., 1947: 121–22)<ref>Kenneth Roberts and Anna M. Roberts, eds., ''Moreau de St. Méry’s American Journey, [1793–1798]'' (Garden City, NY: Doubleday, 1947), [https://www.zotero.org/groups/54737/items/itemKey/5TDSZ2UB view on Zotero].</ref>
:“In America almost everything is sacrificed to the outside [[view]]. To accomplish this the '''fences''' of the houses are sometimes varied by these six combinations: 1. Planks are laid vertically and close together. 2. Planks are laid the same way, with a space between them. 3. Little narrow boards are laid across without joining. 4. Vertically placed laths are joined. 5. Vertically placed laths are not joined. 6. Laths are placed vertically, but passing alternately on the outside and the inside of cross members. Further elegance is obtained by using different shades of paint on lattices and partitions.”

*Rochefoucauld Liancourt, François-Alexandre-Frédéric, duc de la, 1795–97, describing Norristown, PA (1800: 1:18)<ref>François-Alexandre-Frédéric, duc de la Rochefoucauld Liancourt, ''Travels through the United States of North America, the Country of the Iroquois, and Upper Canada, in the Years 1795, 1796, and 1797'', ed. Brisson Dupont and Charles Ponges, trans. H. Newman, 2nd ed., 4 vols. (London: R. Philips, 1800), [https://www.zotero.org/groups/54737/items/itemKey/SRMDWJ2M view on Zotero].</ref>
:“Yet the uninterrupted and high '''fences''' of dry wood greatly disfigure the landscape, and produce a tedious sameness. These might be easily replaced by trees which endure the frost, as thorns are supposed here (I think without any just ground) to be unsuitable to the climate. Some of the fields along the road are bordered with ''traga'' or cedar, but these experiments are rare; and, in general, the land is inclosed with double '''fences''' of wood.”

*[[Timothy Dwight|Dwight, Timothy]], 1796, describing New Haven Green, New Haven, CT (1821: 1:184)<ref>Timothy Dwight, ''Travels in New England and New York'', 4 vols. (New Haven, CT: Timothy Dwight, 1821–22), [https://www.zotero.org/groups/54737/items/itemKey/KHT2AUCG view on Zotero].</ref>
:“'''Fences''', and out-houses are also in the same style [neat and tidy]: and being almost universally painted white, make a delightful appearance to the eye; and appearance, not a little enhanced, by the great multitude of shade-trees: a species of ornament, in which this town is unrivalled.”

*Anonymous, April 18, 1800, describing in the ''Federal Gazette'' Willow Brook, seat of John Donnell, Baltimore, MD (quoted in Sarudy 1989: 137)<ref> Barbara Wells Sarudy, “Eighteenth-Century Gardens of the Chesapeake,” ''Journal of Garden History'' 9, no.3 (July–September 1989): 104–59, [https://www.zotero.org/groups/54737/items/itemKey/PGSNXHMJ view on Zotero].</ref>
:“That beautiful, healthy and highly improved [[seat]], within one mile of the city of Baltimore, called Willow Brook, containing about 26 acres of land, the whole of which is under a good post and rail '''fence''', divided and laid off into grass lots, [[orchard]]s, garden.”

*<div id="Bigelow"></div>Bigelow, Timothy, 1805, describing visit to Hancock Shaker Village, NY (quoted in Hammond 1982: 201)<ref>Charles Arthur Hammond, “‘Where the Arts and the Virtues Unite’: Country Life Near Boston, 1637–1864” (PhD diss., Boston University, 1982), [https://www.zotero.org/groups/54737/items/itemKey/VVFZVIKT view on Zotero].</ref>
:“[The] lands (are) easily ascertained by the most transient observer; for they are more highly cultivated, laid out with more taste and regularity, and much better '''fenced''' than any other in their vicinity.” [[#Bigelow_cite|back up to History]]

*Drayton, Charles, November 2, 1806, describing [[The Woodlands]], seat of [[William Hamilton]], near Philadelphia, PA (1806: 54—55)<ref>Charles Drayton, “The Diary of Charles Drayton I, 1806,” Drayton Papers, MS 0152, Drayton Hall, SC, [https://www.zotero.org/groups/54737/items/itemKey/HAARCGXN view on Zotero].</ref>
:“The '''Fences''' separating the [[Park]]-[[lawn]] from the Garden on one hand, & the office [[yard]] on the other, are 4 ft. 6 high. The former are made with posts & lathes—the latter with posts, rails & boards. They are concealed with evergreeens [[hedge]]—of juniper I think. A common post & rail '''fence''', [not in sight from the house,] winds from the public road [[gate]], & joins to the garden '''fence''', which is a double sloped ditch, with a low '''fence''' of posts & 3 rails. They seemed insufficient—at least for turbulent horses or even Sheep. The [[park]] [[lawn]] is not in good order, for lack of being fed upon. Its '''fences''' where it is not visible from the house, is of common posts & rails.”

*Stebbins, William, February 6, 1810, describing the White House, Washington, DC (1968: 37)<ref>William Stebbins, ''The Journal of William Stebbins'' ed. Pierce W. Gaines (Hartford, CT: Acorn Club, 1968), [https://www.zotero.org/groups/54737/items/itemKey/2TA7CCFU view on Zotero].</ref>
:“Extended my walk alone to the President’s House:—a handsome edifice, tho’ like the capitol of free stone: the south [[yard]] principally made ground, bank’d up by a common stone [[wall]]: a plain picket '''fence''' on each side, the passage way to the house on the north: —some of the pickets lying on the ground.”

[[File:0116.jpg|thumb|Fig. 18, [[Charles Willson Peale]], Sketches of [[Belfield]] [detail], 1810.]]
*[[Charles Willson Peale|Peale, Charles Willson]], July 29, 1810, in letter to his son, Rembrandt Peale, describing [[Belfield]], estate of [[Charles Willson Peale]], Germantown, PA (Miller et al., eds., 1991: 3:55)<ref>Lillian B. Miller et al., eds., ''The Selected Papers of Charles Willson Peale and His Family'', 5 vols. (New Haven, CT: Yale University Press, 1983–2000), [https://www.zotero.org/groups/54737/items/itemKey/IZAKPCBG view on Zotero].</ref>
:“This [[View]] is taken at a point [from] the Tennants house a small distance, by which you see the Roof of the Mantion over the Garden '''fence''' which are of boards on a Stone [[Wall]].” [Fig. 18]

*Lambert, John, 1816, describing Skenesborough, NY, and the Northern and Mid-Atlantic states (1816: 2:28–29, 231–32)<ref>John Lambert, ''Travels through Canada, and the United States of North America in the Years 1806, 1807, and 1808'', 2 vols. (London: Baldwin, Cradock, and Joy, 1816), [https://www.zotero.org/groups/54737/items/itemKey/T9KUEDWH view on Zotero].</ref>
:“The other parts of the farms were covered with the stumps of trees, and enclosed by worm '''fences''', which gave to these settlements a very rough appearance.”
:“A contrary practice is adopted in the northern and middle states, where a succession of farms, [[meadow]]s, gardens, and habitations, continually meet the eye of the traveller; and if [[hedge]]s were substituted for rail '''fences''', those States would very much resemble some of the English counties.”

*Hulme, Thomas, June 28, 1818, describing the settlement of Morris Birkbeck, New Harmony, IN (quoted in Cobbett 1819: 475)<ref>William Cobbett, ''A Year’s Residence in the United States of America'' (London: Sherwood, Neely and Jones, 1819), [https://www.zotero.org/groups/54737/items/itemKey/HA3Q8TX8 view on Zotero].</ref>
:“910. I very much admire Mr. Birkbeck’s mode of '''''fencing'''''. He makes a ditch 4 feet wide at top, sloping to 1 foot wide at bottom, and 4 feet deep. With the earth that comes out of the ditch he makes a bank on one side, which is turfed towards the ditch. Then a long pole is put up from the bottom of the ditch to 2 feet above the bank; this is crossed by a short pole from the other side, and then a rail is laid along between the forks. The banks were growing beautifully, and looked altogether very neat as well as formidable; though a live [[hedge]] (which he intends to have) instead of dead poles and rails, upon top, would make the '''fence''' far more effectual as well as handsomer.”

*Green, Samuel, May 13, 1820, receipt for Hermitage, estate of Andrew Jackson, Nashville, TN (Hermitage Collections, Andrew Jackson Papers: DLC 9967)
:“To putting up one hundred & twenty one pannel of post and rail cedar '''fence''' at half a dollar pr pannel, $60.50”

*Hening, William Waller, 1823, describing a legislative action by the Virginia General Assembly (quoted in Lounsbury 1994: 138)<ref>Carl R. Lounsbury, ed. ''An Illustrated Glossary of Early Southern Architecture and Landscape'' (New York: Oxford University Press, 1994), [https://www.zotero.org/groups/54737/items/itemKey/UK5TCUQQ view on Zotero].</ref>
:“. . . every freeman shall '''fence''' in a quarter of an acre of ground before Whitsuntide next to make a garden.”

*<div id="Waln"></div>Waln, Robert, Jr., 1825, describing the Friends Asylum for the Insane, near Frankford, PA (1825: 231)<ref>Robert Waln Jr., “An Account of the Asylum for the Insane, Established by the Society of Friends, near Frankford, in the Vicinity of Philadelphia,” ''Philadelphia Journal of the Medical and Physical Sciences'' 1, no. 2 (1825): 225–51, [https://www.zotero.org/groups/54737/items/itemKey/D39BHTPH view on Zotero].</ref>
:“In the rear of the wings are situated the [[yard]]s or airing grounds, for the use of the male and female patients, separated by the space in the rear of the centre building, and each containing about five-ninths of an acre of ground, in grass, surrounded by [[walk]]s. These are enclosed by board '''fences''', ten feet in height, on the top of which is a simple, but effectual, apparatus for preventing escape of the patients. Boards about eight feet long and eight inches broad, and apparently forming part of the stationary '''fence''', but detached from it, are placed around the whole circuit of the enclosure: these are connected to the '''fence''' beneath by hinges. Blocks of wood, about two feet long, are attached to these boards on the outside, at the lower part of which, are rings through which a strong wire is conducted: at the extremities of these wires alarum bells are attached. When the patient, in attempting to escape, seizes one of these moveable boards, it turns inwards on its hinges, the adventurer falls back into the [[yard]], and the appendant blocks of wood, protruding, stretch the wire, and sound the alarm, which is distinctly heard through the building.” [[#Waln_cite|back up to History]]

*Committee of the Pennsylvania Horticultural Society, 1830, describing Sweet Briar, seat of Samuel Breck, vicinity of Philadelphia, PA (quoted in Boyd 1929: 425)<ref name="Boyd_1929">James Boyd, ''A History of the Pennsylvania Horticultural Society, 1827–1927'' (Philadelphia: Pennsylvania Horticultural Society, 1929), [https://www.zotero.org/groups/54737/items/itemKey/UN9TRH8T view on Zotero].</ref>
:“Mr. Breck has taken considerable pains with a [[hedge]] of white hawthorn (Crataegus), which he planted in 1810, and caused to be plashed, stalked, and dressed last Spring by two Englishmen, who understood the business well. Yet he apprehends the whole of the plants will gradually decay, and oblige him to substitute a post and rail '''fence'''. Almost every attempt to cultivate a live '''fence''' in the neighborhood of Philadelphia seems to have failed. The foliage disappears in August, and the plant itself is short lived in our climate.”

*Committee of the Pennsylvania Horticultural Society, 1830, describing Eaglesfield, country residence of John J. Borie, vicinity of Philadelphia, PA (quoted in Boyd 1929: 441)<ref name="Boyd_1929"></ref>
:“The [[lawn]] is extensive, and divided from the house by a handsome chain '''fence''', supported by posts painted green and very neatly turned. We notice this triple chained barrier, so light and beautiful, because we were informed that its price is as cheap as wood; to which, its graceful curve, and light appearance, render it every way superior.”

*Mason, General John, c. 1830, describing Gunston Hall, seat of George Mason, Mason Neck, VA (quoted in Rowland 1964: 1:100)<ref>Kate Mason Rowland, ''The Life of George Mason: 1725–1792'', 2 vols. (New York: Russell and Russell, 1964), [https://www.zotero.org/groups/54737/items/itemKey/HTZXK292 view on Zotero].</ref>
:“The isthmus on the northern boundary is narrow and the whole estate was kept completely enclosed, by a '''fence''' on that side of about one mile in length running from the head of Holt’s to the margin of Pohick Creek. This '''fence''' was maintained with great care and in good repair in my father’s time, in order to secure his own stock the exclusive range within it, and made of uncommon height, to keep in the native deer which had been preserved there in abundance from the first settlement of the country, and indeed are yet there in considerable numbers.”

*Ingraham, Joseph Holt, 1835, describing the villas and gardens along the Mississippi River (1835: 1:230)<ref>Joseph Holt Ingraham, ''The South-West'', 2 vols. (New York: Harper, 1835), [https://www.zotero.org/groups/54737/items/itemKey/DTFA8CCM view on Zotero].</ref>
:“An hour’s drive, after clearing the suburbs, past a succession of isolated villas, encircled by slender [[column]]s and airy galleries, and surrounded by richly foliaged gardens, whose '''fences''' were bursting with the luxuriance which they could scarcely confine, brought us in front of a charming residence.”

*<div id="Register_1836"></div>B., J., October 1, 1836, “Horticulture in Maine” (''Horticultural Register'' 2: 385)<ref> J. B. “Horticulture in Maine,” ''Horticultural Register, and Gardener’s Magazine'' 2 (October 1, 1836): 380–86, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/HDTD7A9V/q/horticulture%20in%20maine view on Zotero].</ref>
:“Through the whole country, the substantials of life seem to be more attended to than ornament or the luxuries of horticulture.—There is not that attention paid to the appearance of '''fences''' about the dwellings, door [[yard]]s, &c. as with us.” [[#Register_1836_cite|back up to History]]

*Adams, Nehemiah, 1842, describing [[Boston Common]], Boston, MA (1842: 42–43)<ref>Nehemiah Adams, ''Boston Common'' (Boston: William D. Ticknor and H. B. Williams, 1842), [https://www.zotero.org/groups/54737/items/itemKey/VXTWGJ58 view on Zotero].</ref>
:“The iron '''fence''' and brick side-walk which surround the [[Common]] are noble monuments of public enterprise and of the energy of American mechanics. The [[burial ground|burial-ground]] formerly reached to the southern line of the [[Common]]. It was resolved to continue the [[mall]] through the [[burial ground|burial-ground]], but it was foreseen that, in doing it, public accomodation would interfere with the private and sacred attachment of individuals to their ancestral tombs. . . [After the burials were moved] The [[mall]] was continued through the [[burial ground|burial-ground]] to make the entire circuit of the [[Common]]. A slight and graceful iron '''fence''' was thrown around the tombs, and a rich and durable '''fence''' of the same material, with a brick [[wall]] outside, surrounding the whole [[Common]], a circumference of five thousand eight hundred and sixty-seven feet, was begun and completed within six months.”

[[File:1047.jpg|thumb|Fig. 19, Alexander W. Longfellow, Sketch of the grounds of the Vassall-Craigie-Longfellow House, 1844.]]
*Longfellow, Samuel, September 3, 1845, describing the Vassall-Craigie-Longfellow House, Cambridge, MA (quoted in Evans 1993: 1:40)<ref>Catherine Evans, ''Cultural Landscape Report for Longfellow National Historic Site, History and Existing Conditions'', 2 vols. (Boston: National Park Service, North Atlantic Region, 1993), [https://www.zotero.org/groups/54737/items/itemKey/9TI9GUQN view on Zotero].</ref>
:“A buckthorn [[hedge]] has been made between us & Mr. Hastings, and Mr. Worcester not satisfied with the rustic open '''fence''' which separates between us demands a [[hedge]] there also which will cover up entirely the glimpse that I get from my western window and which I do not at all like to loose [''sic''].” [Fig. 19]

*Cleaveland, Nehemiah, 1847, describing Mount Auburn Cemetery, Cambridge, MA (quoted in Walter 1847: 20)<ref>Cornelia W. Walter, ''Mount Auburn Illustrated'' (New York: Martin and Johnson, 1847), [https://www.zotero.org/groups/54737/items/itemKey/CN79BMN8 view on Zotero].</ref>
:“In 1844, the increasing funds of the corporation justified a new expenditure for the plain but massy iron '''fence''' which encloses the front of the [[Cemetery]]. This '''fence''' is ten feet in height, and supported on granite posts extending four feet into the ground. It measures half a mile in length, and will, when completed, effectually preserve the [[Cemetery]] inviolate from any rude intrusion. The cost of the gateway was about $10,000—the '''fence''', $15,000.
:“A continuation of the iron '''fence''' on the easterly side is now under contract, and a strong wooden palisade is, as we learn, to be erected on the remaining boundary during the present year.”

*Notman, John, 1848, describing his designs for the Hollywood Cemetery, Richmond, VA (quoted in Greiff 1979: 145)<ref>Constance Greiff, ''John Notman, Architect, 1810–1865'' (Philadelphia: Athenaeum of Philadelphia, 1979), [https://www.zotero.org/groups/54737/items/itemKey/SXT2RI6Z view on Zotero].</ref>
:“The east hill should be planted densely, the plants may be of any kinds—better it should be overgrown with the common pine than remain in its present state; anything growing on that side would make the [[Cemetery]] seem more private, which is very desirable, as all who feel must know—and indeed it may be laid down as a rule, that all the exterior '''fences''' of a rural [[cemetery]] ought to be enveloped in shade of trees or young plantings of trees, else why do we '''fence''' our lots, or shut out the world’s otherwise, if not in grief—therefore, all along the east and west '''fences''' should be thickly planted, occasionally spreading out wide as I have marked upon the plan on these two lines.”

*Kirkbride, Thomas S., April 1848, describing [[pleasure ground]]s and farm of the [[Pennsylvania Hospital for the Insane]], Philadelphia, PA (''American Journal of Insanity'' 4: 347, 349)<ref>Thomas S. Kirkbride, “Description of the Pleasure Grounds and Farm of the Pennsylvania Hospital for the Insane, With Remarks,” ''American Journal of Insanity'' 4, no. 4 (April 1848): 347–54, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/9RWM2FH8/q/kirkbride view on Zotero].</ref>
:“The [[pleasure ground]]s of the two sexes are very effectually separated on the eastern side, by the [[deer park|deer-park]], surrounded by a high palisade '''fence''', but the [[Park]] itself is so low that it is completely overlooked from both sides; and the different animals in it are in full view from the adjoining grounds used by the patients of both sexes. . .
:“Between the north lodge and the [[deer park|deer-park]], separated from the latter by a sunk palisade '''fence''', is a neat [[flower garden]]. . .
:“The '''fences''' that have been put up, were rendered necessary by the uses to which the different parts of the grounds were appropriated. A large part of the palisade '''fences''', like those enclosing the [[deer park|deer-park]] and drying-[[yard]], were to effect the separation of the sexes, and the close '''fences''' have been made, almost invariably, for the sole purpose of protecting the patients from observation, and giving them the proper degree of privacy.”

*Tuthill, Louisa C. (Louisa Caroline), 1848, describing New Haven Burying Ground, New Haven, CT (1848: 337)<ref>Louisa Tuthill, ''History of Architecture, from the Earliest Times; Its Present Condition in Europe and the United States; with a Biography of Eminent Architects, and a Glossary of Architectural Terms'' (Philadelphia: Lindsay and Blakiston, 1848), [https://www.zotero.org/groups/54737/items/itemKey/4ACTS7DK view on Zotero].</ref>
:“The ‘[[cemetery|burying-ground]]’ at New Haven, Connecticut, has long been celebrated for its beauty. It has recently been enclosed with a massive [[wall]] on three sides, and a bronzed iron '''fence''' in front. The entrance is of free-stone, in the Egyptian style. . . H. Austin architect.”

*<div id="Watson"></div>Watson, John Fanning, 1857, describing the house of Israel Pemberton, [[Washington Square (Philadelphia)|Washington Square]], and the house of William Bingham, Philadelphia, (1:375, 405, 414)<ref>John Fanning Watson, ''Annals of Philadelphia and Pennsylvania in the Olden Time; Being a Collection of Memoirs, Anecdotes, and Incidents of the City and Its Inhabitants. . . '', 2 vols. (Philadelphia: E. Thomas, 1857), [https://www.zotero.org/groups/54737/items/itemKey/5PTKBUW2 view on Zotero].</ref>
:“The low '''fence''' along the garden on the line of Third street, gave a full expose of the garden [[walk]]s and [[shrubbery]], and never failed to arrest the attention of those who passed that way.”
:“THIS beautiful [[square]], now so much the resort of citizens and strangers, as a [[promenade]], was, only twenty-five years ago, a ‘Potter’s Field.’ . . . It was long enclosed in a post and rail '''fence''', and always produced much grass.”
:“The grounds generally he had laid out in beautiful style, and filled the whole with curious and rare [[clump]]s and shades of trees; but in the usual selfish style of Philadelphia improved grounds, the whole was surrounded and hid from the public gaze by a high '''fence'''.” [[#Watson_cite|back up to History]]

===Citations===

*Worlidge, John, 1669, ''Systema Agriculturae'' (1669: 85–86)<ref>John Worlidge, ''Systema Agriculturae, The Mystery of Husbandry Discovered'' (London: T. Johnson. 1669), [https://www.zotero.org/groups/54737/items/itemKey/GP82B2GE view on Zotero].</ref>
:“Seeing that '''Fencing''', and Enclosing of Land is most evident to be a piece of the highest Improvement of Lands, and that all our [[Plantation]]s of Woods, Fruits, and other Tillage, are thereby secured from external Injuries, which otherwise would lie open to the Cattel. . . And also subject to the lusts of vile persons. . .

:“For which reason we are obliged to maintain a good '''Fence''', if we expect an answerable success to our Labors.”

*Marshall, Charles, 1799, ''An Introduction to the Knowledge and Practice of Gardening'' (1799: 1:114–15, 124)<ref>Charles Marshall, ''An Introduction to the Knowledge and Practice of Gardening'', 1st American ed., 2 vols. (Boston: Samuel Etheridge, 1799), [https://www.zotero.org/groups/54737/items/itemKey/DVB7T4I2 view on Zotero].</ref>
:“For ''[[hedge]]s'' about a garden, (i.e. for the ''divisions'' of it) the ''laurel'', ''yew'', and ''holly'' are the principal ''evergreens'': the former as a lofty and open '''fence''', the second as close and moderate in height, and to be cut to any thing, the last as trainable by judicious pruning to an impregnable and beautiful '''fence'''. . .
:“Here [about the house] should be also a good portion of grass [[plat]], or ''[[lawn]]''which so delights the eye when neatly kept, also [[border]]s of shewy ''flowers'', which, if backed by any kind of '''fence''', it should be hid with evergreens, or at least with deciduous [[shrub]]s, that the scene may be as much as possible vivacious.”

*Marshall, William, 1803, ''On Planting and Rural Ornament'' (1803: 1:258–59)<ref>Williams Marshall, ''On Planting and Rural Ornament: A Practical Treatise. . .'', 2 vols. (London: G. and W. Nicol; G. and J. Robinson; T. Cadell, and W. Davies, 1803), [https://www.zotero.org/groups/54737/items/itemKey/K48D75JJ view on Zotero].</ref>
:“THE '''FENCE''', where the place is large, becomes necessary: yet the eye dislikes constraint. Our ideas of liberty carry us beyond our species: the imagination feels a dislike in seeing even the brute creation in a state of confinement. Beside, a tall '''fence''' frequently hides, from the sight, objects the most pleasing; not only the flocks and herds, but the surface they graze upon. These considerations have brought the ''unseen'' '''''fence''''' into general use.”

*Repton, Humphry, 1803, ''Observations on the Theory and Practice of Landscape Gardening'' (1803: 80, 84)<ref>Humphry Repton, ''Observations on the Theory and Practice of Landscape Gardening'' (London: printed by T. Bensley for J. Taylor, 1803), [https://www.zotero.org/groups/54737/items/itemKey/VVQPC3BI view on Zotero].</ref>
:“That the boundary '''fence''' of a place should be concealed from the house, is among the few general principles admitted in modern gardening; but even in this instance, want of precision has led to error; the necessary distinction is seldom made between the '''fence''' which incloses a [[park]], and those '''fences''' which are adapted to separate and protect the subdivisions within such inclosure. . .
:“To describe the various sorts of '''fences''' suitable to various purposes, would exceed the limits and intentions of this work: every county has its peculiar mode of '''fencing''', both in the construction of [[hedge]]s and ditches, which belong rather to the farmer than the landscape gardener; and in the different forms and materials of pales, rails, hurdles, [[gate]]s, &c.”

*[[M’Mahon, Bernard]], 1806, ''The American Gardener’s Calendar'' (1806: 57, 65)<ref>Bernard M’Mahon, ''The American Gardener’s Calendar: Adapted to the Climates and Seasons of the United States. Containing a Complete Account of All the Work Necessary to Be Done. . . for Every Month of the Year. . .'' (Philadelphia: printed by B. Graves for the author, 1806), [https://www.zotero.org/groups/54737/items/itemKey/HU4JIS9C view on Zotero].</ref>
:“The [[pleasure ground|[pleasure] ground]] should be previously '''fenced''', which may be occasionally a [[hedge]], paling or [[wall]], &c. as most convenient. . .
:“It being absolutely necessary to have the whole of the [[pleasure ground]] surrounded with a good '''fence''' of some kind, as a defence against cattle, &c. a foss being a kind of concealed '''fence''', will answer that purpose where it can conveniently be made, without interrupting the [[view]] of such neighbouring parts as are beautified by art or nature, and at the same time affect an appearance that these are only a continuation of the [[pleasure ground|pleasure-ground]]. Over the foss in various parts may be made [[Chinese_manner|Chinese]] and other curious and fanciful [[bridge]]s, which will have a romantic and pleasing effect.”

*Main, Thomas, September 28, 1807, ''Directions for the Transplantation and Management of Young Thorn or Other Hedge Plants'' (1807: 37–38)<ref>Thomas Main, ''Directions for the Transplantation and Management of Young Thorn or Other Hedge Plants, Preparative to Their Being Set in Hedges, with Some Practical Observations on the Method of Plain Hedging'' (Washington, DC: A. G. and Way, 1807), [https://www.zotero.org/groups/54737/items/itemKey/UEDDDN6J/q/main view on Zotero].</ref>
:“A promiscuous assemblage of several different kinds of plants in a [[hedge]] cannot be recommended; such a heterogeneous composition will neither make a good '''fence''' nor look handsome.
:“It may, however, be allowable for me to say, that this mode of '''fencing''', whenever it is practised in the United States, will contribute its share to give an orderly and systematic turn to our plans of rural policy, conducive to a permanent neatness and regularity among arrangements that are commonly in a continual state of confusion and change.”

*<div id="Gregory"></div>[[G. (George) Gregory|Gregory, G. (George)]], 1816, ''A New and Complete Dictionary of Arts and Sciences'' (1816: 2:n.p.)<ref>George Gregory, ''A New and Complete Dictionary of Arts and Sciences'', 3 vols, (Philadelphia: Isaac Peirce, 1816), [https://www.zotero.org/groups/54737/items/itemKey/2H8KAZ5E view on Zotero].</ref>
:“'''FENCE''', in country affairs, a [[hedge]], [[wall]], ditch, bank, or other inclosure, made around gardens, [[woods]], cornfields, &c. See HUSBANDRY. . .
:“GARDENING. . .
:“The situation of a garden should be dry, but rather low than high, and as sheltered as can be from the north and east winds. These points of the compass should be guarded against by high and good '''fences'''; by a [[wall]] of at least ten feet high; lower [[wall]]s do not answer so well for fruit-trees, though one of eight may do. A garden should be so situated, to be as much warmer as possible than the general temper of the air is without, or ought to be made warmer by the ring and subdivision '''fences'''. This advantage is essential to the expectation we have from a garden locally considered.” [[#Gregory_cite|back up to History]]

*Abercrombie, John, with James Mean, 1817, ''Abercrombie’s Practical Gardener'' (1817: 3, 339, 461–63)<ref>John Abercrombie, ''Abercrombie’s Practical Gardener Or, Improved System of Modern Horticulture'' (London: T. Cadell and W. Davies, 1817), [https://www.zotero.org/groups/54737/items/itemKey/TH54TADZ view on Zotero].</ref>
:“Competent '''fences''' are also serviceable in sheltering tender seedlings, and in forming warm [[border]]s for early crops and winter-standing plants; while, in another direction, some part of the line of '''fence''' will afford a shady [[border]] in summer, which is required by the peculiar constitutions of many small annual plants. . .
:“'''''Fences'''''.—The [[Flower Garden]], which is not an appendage to ornamented grounds, will require a '''fence''', wherever the domestic buildings do not serve as a boundary. For the inclosure, a [[wall]] or close paling is on two accounts to be preferred on the north side; both to serve as a screen, and to afford a warm internal face for training fruit-trees. When one of those is not adopted, recourse may be had to a good hedge-'''fence''', planted on a bank, and defended by an outward ditch. The best outer hedge-'''fence''' is formed of white-thorn and holly. The [[ha-ha]], or sunk-''fence'' in a fosse, is a happy contrivance for preserving a distant [[prospect]]: but this is seldom adopted when the adjoining land belongs to another occupier. . .
:“''External'' '''''Fences'''''.—'''Fences''' of all kinds are rather necessary and useful, as instruments of shelter and security, than to be chosen as materials of ornament. Whether the [[view]] terminates on the '''fence''', or is directed beyond it, the effect on the scene at best is negative: thus a '''fence''' is sometimes made higher than its proper use requires, merely to shut out something more unsightly; and, in judiciously employing that capital invention, the sunk '''fence''' or ''[[ha-ha]]'', the advantage, though great, is purely negative—some [[prospect]] worth retaining at considerable cost is not obstructed. . .
:“''Internal'' '''''Fences'''''.—These must be lighter and more elegant: but the materials will equally vary with the local position and purpose. What has been said of [[shrub]]s for internal '''fences''' under ''[[Flower Garden]]'', is applicable to the most extensive ornamented grounds; except that regularity is less requisite, if not out of place; and primness ought to be avoided. Posts, with a single chain, or a rope well pitched, are sometimes enough to keep cattle from a [[walk]]. When a stronger barrier is wanted against animals grazing the pasture near the house, so as not to intercept a distant [[view]], one of the best devices is what is termed the ''invisible'' '''fence'''; which is composed of lines of elastic wire passed through upright iron stancheons, the whole painted green. . .
:“Instead of the ''ha-ha'', or the ''invisible'' '''''fence''''', the landscape-gardener sometimes forms a [[terrace]] three feet high; at the verge of this, an iron rail, or a double rail, run along two feet high, is a sufficient '''fence'''. . . ''Raised'' '''''fences''''', in straight lines, and meeting so as to form angles, are totally at variance with all ideas of picturesque beauty: but a perfectly straight ''fence'', drawn across a valley, appears to the eye as though serpentine; and therefore, without controverting any assumed principle, '''fences''' may run in the shortest direction over unequal surfaces; a few trees or bushes may be planted where the straightness, in a coincident line of view from the garden, would be most visible.”

*<div id="Cobbett"></div>Cobbett, William, 1819, ''The American Gardener'' (1819: 19–21, 28–29, 106, 355, 957)<ref>William Cobbett, ''The American Gardener'', 1st ed. (Claremont, NH: Manufacturing Company, 1819), [https://www.zotero.org/groups/54737/items/itemKey/9CBPIU6H view on Zotero].</ref>

:“31. The '''''fence''''' of a garden is an important matter; for, we have to view it not only as giving ''protection'' against intruders, two-legged as well as four-legged, but as affording ''shelter'' in cold weather and ''shade'' in hot, in both which respects a '''fence''' may be made of great utility in an American Garden, where cold and heat are experienced in an extreme degree. . .
:“33. In America a '''fence''' is not wanted for this purpose [raising fruit]; but it is very necessary for ''protection''; for ''shelter''; and for ''shade''. . .
:“34. With regard to the second point; the ''shelter''; this is of great consequence; for, it is very well known, that, on the south side of a good high '''fence''', you can have peas, lettuces, radish, and many other things, full ten days earlier in the spring, than you can have them in the unsheltered ground. . . .
:“49. And why should America not possess this most beautiful and useful plant [the Haw-Thorn]? She has English gew-gaws, English Play-Actors, English Cards and English Dice and Billiards; English fooleries and English vices enough in all conscience; and why not English ''[[hedge|Hedges]]'', instead of post-and-rail and board '''fences'''? If, instead of these steril-looking and cheerless enclosures the gardens and [[meadow]]s and fields, in the neighbourhood of New York and other cities and towns, were divided by quick-set [[hedge]]s, what a difference would the alteration make in the look, and in the real ''value'' too, of those gardens, [[meadow]]s and fields! . . .
:“486. ''Forest trees''. . . From the Transactions of the Society of Agriculture of New York, we learn, that hawthorn [[hedge]]s and other live '''fences''' are generally adopted in the cultivated districts; but the time is not yet arrived for forming timber-[[plantation]]s. . .
:“1803. ''Rails or'' '''''fences''''', for [[park]]s and garden-scenery, are, as to lines, similarly characterized as [[gate]]s; and, like [[gate]]s, '''fences''' are of many species, from the rudest barriers without nails or iron work. . . to the numerous sorts of iron and wire barriers. . .
:“1804. ''[[Wall]]s'' are unquestionably the grandest '''fences''' for [[park]]s; and arched portals, the noblest entrances; between these and the [[hedge]] or pale, and [[rustic style|rustic]] [[gate]], designs in every degree of gradation, both for lodges, [[gate]]s, and '''fences''', will be found in the works of Wright, Gandy, Robertson, Aikin, Pocock, and other architects who have published on the rural department of their art. The pattern books of manufacturers of iron [[gate]]s and hurdles, and of wire workers, may also be advantageously consulted. . .
:“6874. '''''Fences'''''. Masses, in the [[ancient style]] of planting, were generally surrounded by [[wall]]s or other durable '''fences'''. Here the barrier was considered as an object or permanent part of the scene, and for that reason was executed substantially, and even ornamentally. They were generally [[wall]]s substantially coped, and furnished with handsome [[gate]]s and piers. The rows of [[avenue]]s and small [[clump]]s, or platoons intended to be finally thrown open, were enclosed by the most convenient temporary '''fence'''.” [[#Cobbett_cite|back up to History]]

*Parmentier, André, 1828, ''The Art of Landscape Gardening'' (1828: 186)<ref>André Parmentier, “The Art of Landscape Gardening,” in ''The New American Gardener'', ed. Thomas Fessenden (Boston: J. B. Russell, 1828), [https://www.zotero.org/groups/54737/items/itemKey/3C29XRTH view on Zotero].</ref>
:“The most should be made of the agreeable and interesting [[view]]s which may be had in the neighbouring landscape. They may be made useful to the general plan by being represented as the property of the proprietor.

:“For this reason, I highly approve of blind '''fences''', and live [[hedge]]s. But '''fences''', necessary as enclosures, should be concealed so as not to appear as boundaries to the establishment, and present to the eye a disagreeable interruption in the [[prospect]].”

[[File:1294.jpg|thumb|Fig. 20, Asher Benjamin, “Front Fences,” in ''The Practical House Carpenter'' (1830; repr., 1972), pl. 33.]]
*<div id="Benjamin"></div>Benjamin, Asher, 1830, “Front Fences” (1830; repr., 1972: 68–69)<ref> Asher Benjamin, ''The Practical House Carpenter'' (1830; repr. New York: Da Capo, 1972), [https://www.zotero.org/groups/54737/items/itemKey/B9AW7F95 view on Zotero].</ref>
:“PLATE XXXIII. On this plate are three designs for '''fences''', suitable for the enclosure of a country residence, which may be made of wood, when iron is not to be obtained, or when expense is to be avoided. . .
:“It is not supposed that the size of these examples will suit all situations. There are many situations which require the size of front '''fences''' to be varied; as for instance, when the house is very large and located on an elevated piece of ground, and at a considerable distance from the road: in this case the '''fence''' should be of the largest dimensions. But if the house be small, and so situated as to have the '''fence''' near it, the '''fence''' ought then to be small and low, so that it may not appear as a principal in the structure.” [Fig. 20] [[#Benjamin_cite|back up to History]]

*Bridgeman, Thomas, 1832, ''The Young Gardener’s Assistant'' (1832: 110, 134, 170)<ref>Thomas Bridgeman, ''The Young Gardener’s Assistant'', 3rd ed. (New York: Geo. Robertson, 1832), [https://www.zotero.org/groups/54737/items/itemKey/9FU4SNZK view on Zotero].</ref>
:“A [[Flower Garden]] should be protected from cold cutting winds by close '''fences''', or [[plantation]]s of [[shrub]]s, forming a close and compact [[hedge]], which should be neatly trimmed every year. . .
:“When [[Shrub]]s, Creepers, or Climbers are planted against [[wall]]s or [[trellis|trellises]], either on account of their rarity, delicacy, or to conceal a rough '''fence''' or other unsightly object, they require different modes of training. . .
:“The following observations on Fruit Gardens are taken from the third volume of the New-York Farmer and Horticultural Reposity [''sic'']. Article 190, page 225, communicated by an ''Old Man'':
:“‘A ''fruit garden'' in this ''free'' country ought to be protected by nothing less formidable than a pale or picket '''fence'''. It is in vain to think of having good fruit in small quantities, unless the proprietor can control every thumb and finger within his grounds, so that his stone-fruit, more especially, may be fully ripe before it be removed from the tree. . .
:“‘A pale or picket '''fence''' is a great protection to a ''fruit garden''; for though some desperadoes may break through a few times in a season, it will effectually prevent the inroads of the small fry; and it has another important advantage: there are men and grown boys whose ''business'' frequently leads them across lots, through Peach [[orchard]]s, and directly under Pear trees, that stand in a common enclosure, but who are too cautious to scale a garden '''fence''', because they have no excuse for appearing on the inside; and these constitute a majority of the prowlers.
:“‘Further, ''those who shoot into a garden at night, generally take aim in the day time''. Prevent their observations, (this '''fence''' will in many cases prevent it,) and the temptation and danger will greatly be lessened.’”

*Teschemacher, James E., November 1, 1835, “On Horticultural Architecture” (''Horticultural Register'' 1: 409)<ref>James E. Teschemacher, “On Horticultural Architecture,” ''Horticultural Register, and Gardener’s Magazine'' 1 (November 1, 1835): 409–12, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/EF5F6N9Z/q/teschemacher view on Zotero].</ref>
:“Suppose the area or garden space to be small, one great object would be to shut out by [[shrubbery]] the boundaries, so that the small extent might not appear, to fill every angle and corner with the Lilac or other large and spreading plant, and to take every advantage of the adjoining land. Thus imagine the neighboring piece to be grass; by means of a very open or of a sunk '''fence''' and a grass [[plat]] the grass on both lands would appear to combine and present an extensive expanse of green, or if [[wood]] adjoins, then by judicious transplantation an uninterrupted line of copse would be formed, on which the eye would rest with pleasure. The invisible '''fences''' commonly used in England, might here be of great service, they are made of thick iron wire, about four feet high, with thin iron posts at distances of eight or ten feet, painted black, so that they form no impediment to such combinations of [[prospect]] with contiguous properties. The same may be done where a rivulet or a piece of water exists near, observing always that such innocent appropriations of our neighbor’s property is much better enjoyed when only caught at glimpses and between intervals of [[shrubbery]]. . .”

*<div id="Register_1837"></div>Anonymous, April 1, 1837, “Landscape Gardening” (''Horticultural Register'' 3: 121–23)<ref>Anonymous, “Landscape Gardening,” ''Horticultural Register, and Gardener’s Magazine'' 3 (April 1, 1837): 121–31, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/TBFISAR7/q/landscape%20gardening view on Zotero].</ref>
:“The first thing, when a spot is fixed on for a house, if it be in a new country especially, is to cut down all the native trees and [[shrub]]s within several rods of it. The proprietor then sets to work and applies his whole resources to build as large a house as possible. When the work is completed his funds are exhausted; he can make no further improvements about his house; it is left standing, dreary and alone, perhaps unpainted, an unsightly broken '''fence''' to enclose it, and the nakedness of the [[yard]] only relieved by an old barrel, a pile of wood, and broken hoops and boards. Sometimes indeed a more finished appearance is presented; the house is neatly painted, a handsome grass [[plat]] extends before it, and a picket '''fence''' encircles it.” [[#Register_1837_cite|back up to History]]

*<div id="Sayers"></div>Sayers, Edward, 1838, ''The American Flower Garden Companion'' (1838: 18, 129)<ref>Edward Sayers, ''The American Flower Garden Companion, Adapted to the Northern States'' (Boston: Joseph Breck, 1838), [https://www.zotero.org/groups/54737/items/itemKey/GHTFN8B2 view on Zotero].</ref>

:“Ivy and Virginian creepers [are most proper] for [[wall]]s, tall [[shrub]]s for concealing old boarded '''fences''', and unsightly objects. . .
:“The ''[[trellis|trellises]], [[arbor]]s, [[wall]]s'', '''''fences''''', and so on, should be covered with ''vines'' and ''creepers'', so that the whole may have a corresponding appearance.” [[#Sayers_cite|back up to History]]

*[[Andrew Jackson Downing|Downing, Andrew Jackson]], February 1838, “On the Cultivation of Hedges in the United States” (''Magazine of Horticulture'' 4: 6, 43)<ref>A. J. Downing, “On the Cultivation of Hedges in the United States,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 4, no. 2 (February 1838): 41–44, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/W2IAAB7S/q/downing view on Zotero].</ref>
:“In many sections of the Union, where timber is becoming scarce, and stone for '''fencing''' does not abound, a substitute is anxiously sought after, and must be found in some species of plant, capable of making a close and impenetrable [[hedge]]. The advantages of live '''fences''' are great durability, imperviousness to man and beast, a trifling expense in keeping in order, and the great beauty and elegance of their appearance. Harmonizing in color with the pleasant green of the [[lawn]] and fields, they may, without (like board '''fences''') being offensive to the eye, be brought, in many places, quite near to the dwelling-house. . .
:“The [[wall]] of masonry, the iron paling, or the wooden '''fence''', may be well suited to the vicinity of houses or crowded towns; but for harmony of color, freshness of foliage, durability, and, in short, all that is most desirable for beauty and protection, the ''verdant [[hedge]]'' is without an equal.”

*Kenrick, William, April 1838, “Live Hedges” (''Magazine of Horticulture'' 4: 121)<ref> William Kenrick, “Live Hedges,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 4, no. 4 (April 1838): 121–23, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/DE94DN27 view on Zotero].</ref>
:“Live [[hedge]]s constitute the most durable and effectual, as well as the most beautiful '''fences''' known, when properly managed and well trained. A perfect [[hedge]] should form a barrier, close and compact to the surface of the earth.”

*Gentle, Andrew, 1841, ''Every Man His Own Gardener'' (1841: 93)<ref> Andrew Gentle, ''Every Man His Own Gardener; Or, a Plain Treatise on the Cultivation of Every Requisite Vegetable in the Kitchen Garden, Alphabetically Arranged. With Directions for the Green & Hothouse, Vineyard, Nursery, &c. Being the Result of Thirty-Five Years’ Practical Experience in This Climate. Intended Principally for the Inexperienced Horticulturist'' (New York: the author, 1841), iii–iv, [https://www.zotero.org/groups/54737/items/itemKey/X7253QTQ view on Zotero].</ref>
:“I would prefer a [[kitchen garden]] near the house, but not fully in sight, partly surrounded with trees, ornamental as well as fruit, or grape vines, sloping a little to the south, and facing the sun at 11 o’clock, with a variety of soils, all of good depth, and free from stones or gravel, or rain water standing on it. It may be either square or oblong, but is most convenient to work when the sides are straight, with a [[fence]] of moderate height. In laying out, I would prefer a [[border]] all round the width of the [[fence]], the [[walk]] half the width of the [[border]], the main cross [[walk]]s four feet wide, to plant currants, gooseberry, and raspberry bushes, four feet apart, or strawberry plants near the farmyard, and convenient for water. <p></p>
:“For a market garden the same sort of ground, with a good [[fence]] all round. . .”

*Hooper, Edward James, 1842, ''The Practical Farmer, Gardener and Housewife'' (1842: 99–100, 155)<ref>Edward James Hooper, ''The Practical Farmer, Gardener and Housewife, or Dictionary of Agriculture, Horticulture, and Domestic Economy'' (Cincinnati, OH: George Conclin, 1842), [https://www.zotero.org/groups/54737/items/itemKey/2T83BDXR view on Zotero].</ref>
:“'''FENCES'''. This subject is of great importance to the farmer. There is no tax upon his purse and labor so great, as that which demands the continual making and repairing of his '''fences'''. . . According to the present system, hundreds of half starved animals of all kinds are continually breaking into, or jumping over, or knocking down, the best kind of worm '''fences'''. It would be much to the ultimate advantage of the proprietors of land, if they would, wherever it is practicable, resort to the making of stone '''fences'''. . . With respect to live '''fences''', they are found, in England, to be the best sort under general circumstances, excepting where there is abundance of stone at hand. . . In making '''fences''' of this kind, we should of course try our native plants and trees, before resorting to foreign kinds, on account of the uncertainties of climate. . . The plants in America which are at all suitable for [[hedge]]s, are the American thorn, the cedar, the holly, the crab, the honey locust, the beech, the willow, the hemlock and the black locust. . .
:“[[hedge|HEDGES]]. These are becoming, and in some situations have become, highly desirable. Where there is plenty of rail timber, it will naturally be used for '''fences''' before any live enclosures. Where there is plenty of rocks also, these are the best and in the end the most economical materials for '''fences''' that can be used. But where no rocks are found, and no rail timber, it will be useful to substitute live [[hedge]]s. In different sections of the country different kinds of plants proper for live '''fences''' will naturally exist. The locust for this purpose is one of the most valuable trees in the south. The Buckthorn in New England. . . The European hawthorn. . . in the west.”

*Anonymous, July 28, 1842, “Words of a Solomon and Sacred Roll. . .” (Western Reserve Historical Society Library, Shaker Manuscript Collection, reel 67VIIA43)
:“I do require that ye '''fence''' your meeting ground after the following order, as soon as ye consistently can, after you have ascertained the sacred spot which I have chosen. Build ye a smooth board '''fence''' and paint it white. **Make it 4 1/2 feet high, with a board flatwise on top.”

*[[Jane Loudon|Loudon, Jane]], 1845, ''Gardening for Ladies'' (1845: 205–6)<ref>Jane Loudon, ''Gardening for Ladies; and Companion to the Flower-Garden'', ed. A. J. Downing (New York: Wiley & Putnam, 1845), [https://www.zotero.org/groups/54737/items/itemKey/3Q5GCH4I view on Zotero].</ref>
:“'''FENCES''' for [[flower garden|flower-gardens]] and [[shrubbery|shrubberies]], are either such as are intended to be invisible, or, more properly, not acknowledged,—such as barriers of wire, or, light iron rods, and sunk '''fences'''; or such as are intended to be acknowledged, and to form part of the landscape,—such as architectural parapets and [[hedge]]s. . .
:“Architectural '''fences''' are used in small gardens, close to the house; and they should generally be low [[wall]]s, of open work, in the style of the architecture of the building; and these [[wall]]s may have piers at regular distances, terminating in [[vase]]s, or other architectural ornaments, provided these are in harmony with the house. These [[wall]]s, and indeed all other architectural '''fences''', should be varied with [[shrub]]by plants planted against them, so as to harmonize them with the plants in the [[bed]]s and [[border]]s within.”

*Johnson, George William, 1847, ''A Dictionary of Modern Gardening'' (1847: 221–22)<ref>George William Johnson, ''A Dictionary of Modern Gardening'', ed. David Landreth (Philadelphia: Lea and Blanchard, 1847), [https://www.zotero.org/groups/54737/items/itemKey/D6PQSNAN view on Zotero].</ref>
:“'''FENCES''' are employed to mark the boundary of property, to exclude trespassers, either human or quadrupedal, and to afford shelter. They are either live '''fences''', and are then known as ''[[hedge|hedges]]'', or dead, and are then either ''banks, ditches, palings'', or ''[[wall|walls]]''; or they are a union of those two, to which titles the reader is referred.
:“The following is the English law on the subject:—
:“In the eye of the law a [[hedge]], '''fence''', ditch, or other inclosure of land, is for its better manuring and improvement; and various remedies are therefore provided for their preservation. . .
:“Stealing metal garden-'''fencing''' is a felony. In America each State has its own peculiar laws on this as on other subjects. In Pennsylvania, by an Act of 1700, entitled ''‘An act for the regulating and maintaining of '''Fences''',’'' it was provided that ‘all cornfields and grounds kept for inclosures within the said province and counties annexed, shall be well '''fenced''' with '''fence''' at least five feet high, and close at the bottom, &c.’ By an Act of 1729, it was provided that ‘to prevent disputes about the sufficiency of '''fences''', all '''fences''' shall be esteemed lawful and sufficient, though they be not close at the bottom, so that the distance from the ground to the bottom thereof, exceed not nine inches; and that they be four feet and a half high, and not under.’ Both acts are operative in certain counties only.—See ''Purdon’s Digest''.
:“Ornamental '''fences''' for enclosing gardens, [[yard]]s, &c., are almost as diversified as the ideas of beauty in the human mind. ‘The impression, on viewing grounds laid out with some pretension to taste, is governed in a degree, by the style and character of the surrounding '''fence'''. It is a great mistake to suppose the most elaborate (and of course costly) are the most pleasing; yet acting on this supposition, we see exhibited '''fences''' which appear to have been planned as if to show the amount of money which could be thus expended, and after all, they rather disgust than please.
:“‘The figures 42, 43, 44, illustrate three simple designs, formed by straight slats or pales, and therefore of the least expense; they are readily executed, and agreeable from their simplicity. The colour which should be used, is of course a matter of taste; white is generally preferred, though dark shades, even jet black, are the most pleasing to many; for ourselves, we should choose the latter, though it be not the best, so far as the preservation of the wood is concerned.’—''Rural Reg''.”

*Elliott, Charles Wyllys, October 1848, “Reviews: ''Cottages and Cottage Life''” (''Horticulturist'' 3: 181)<ref> Charles Wyllys Elliott, “Reviews: ''Cottages and Cottage Life'',” ''Horticulturist and Journal of Rural Art and Rural Taste'' 3, no. 4 (October 1848): 179–82, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/3IU3P9QS/q/cottages%20and%20cottage%20life view on Zotero].</ref>
:“As far as practicable, make divisions which are ''necessary'' about the house of the [[ha-ha]] or blind '''fence''', or of [[hedge]]s, for which purpose the Maclura or Osage Orange is believed to be one of the most desirable plants.”

*Elder, Walter, 1849, ''The Cottage Garden of America'' (1849: 218)<ref>Walter Elder, ''The Cottage Garden of America'' (Philadelphia: Moss, 1849), [https://www.zotero.org/groups/54737/items/itemKey/NNC7BTFT view on Zotero].</ref>
:“A. What a fine place you have got! that is a neat, well painted front '''fence'''; the flower [[plat]] between it and the house, with the evergreen in the centre is beautiful, and that [[veranda|verandah]] over the door, covered with flowering vines, looks well.”

*[[Andrew Jackson Downing|Downing, Andrew Johnson]], 1849, ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849: 343–44)<ref>A. J. [Andrew Jackson] Downing, ''A Treatise on the Theory and Practice of Landscape Gardening, Adapted to North America. . . '', 4th ed. (New York: G. P. Putnam, 1849), [https://www.zotero.org/groups/54737/items/itemKey/5M4S2D64 view on Zotero].</ref>
:“'''''Fences''''' are often among the most unsightly and offensive objects in our country [[seat]]s. Some persons appear to have a passion for subdividing their grounds into a great number of fields; a process which is scarcely ever advisable even in common farms, but for which there can be no apology in elegant residences. The close proximity of '''fences''' to the house gives the whole place a confined and mean character. . . It is frequently the case that, on that side of the house nearest the outbuildings, '''fences''' are, for convenience, brought in its close neighborhood, and here they are easily concealed by [[plantation]]s; but on the other sides, open and unobstructed views should be preserved, by removing all barriers not absolutely necessary.
:“An old stone [[wall]] covered with creepers and climbing plants, may become a [[picturesque]] barrier a thousand times superior to such a '''fence'''. But there is never one instance in a thousand where any barrier is necessary.”

*Sargent, Henry Winthrop, November 1849, “Invisible Iron Fences” (''Horticulturist'' 4: 212–13)<ref> Henry Winthrop Sargent, “Invisible Iron Fences,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 4, no. 5 (November 1849): 211–14, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/UMNRR9NP view on Zotero].</ref>
:“Too much has been already said and written upon the subject of wire '''fences''', to require any remarks from me upon their beauty and economy. Even upon farms, they are cheaper and more durable, and vastly more economical, than anything else, since no ground is lost on either side; and the plough and the scythe can be used immediately up to and under them. Upon ornamental places, especially of any size, I consider them almost indispensable to high keeping.
:“The great fault of our places in America, is the want of a proper termination to the ornamental grounds; or, rather, some intelligible division between the ornamental and practical. . .
:“The wire '''fence''', therefore, forms an agreeable termination or setting to our ornamental grounds; or, if needs be, a division between the dressed and undressed portions of the estate. By its adoption, we might materially diminish the amount of [[lawn]] now kept under the scythe,—producing similar effects by substituting cattle—especially sheep—and increasing very much the charm of the landscape by the introduction of animated nature.
:“I doubt if the keenest eye can detect my '''fence''' at 30 or 40 yards distance. Consequently, our finest places even do not require a [[lawn]] larger than twice this breadth in diameter, provided the grass on the other side is kept equally short by sheep.”

*Jeffreys [pseud.], January 1850, “Critique on November Horticulturist” (''Horticulturist'' 4: 313)<ref>Jeffreys [pseud.], “Critique on November Horticulturist,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 4, no. 7 (January 1850): 310–15, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/9A7JZZ9T view on Zotero].</ref>
:“''Invisible Wire'' '''''Fences'''''.—Yes, and visible ones too, I trust, will soon begin to appear in this rail-'''fence''' and stone-[[wall]] distracted country of ours. Why it is that in the grounds of our wealthy country residents, they have not long ago been adopted, is passing strange. In all the long catalogue of farm, [[park]], [[lawn]] and garden enclosures, there is nothing equal to it. . .
:“The substitution of wire '''fences''' for those now in use, will give to every farm, [[park]], or [[lawn]] where they are introduced, a higher value. The improvement will be incalculable. Instead of rickety, zig-zag rail and board '''fences''', and dilapidated stone [[wall]]s with their interminable attendants of brush, briars and vermin, they will afford clean cultivation, and save a great amount of labor and waste now suffered by every one who has them to support.”

==Images==
===Inscribed===
<span id="roundabout_img"></span>
<gallery widths="170px" heights="170px" perrow="7">

Image:0056.jpg|[[John Bartram|John]] or [[William Bartram]], "A Draught of [[Bartram_Botanic_Garden_and_Nursery|John Bartram’s House and Garden]] as it appears from the River", 1758.

Image:0555a.jpg|Anonymous, [[Plat]] of 117 Broad Street, 1797.

Image:0555b.jpg|Anonymous, [[Plat]] of 117 Broad Street, 1797.

Image:0116.jpg|[[Charles Willson Peale]], Sketches of [[Belfield]] [detail], 1810.

Image:2298.jpg|[[Charles Willson Peale]], Sketches of [[Belfield]], 1810.

Image:0234.jpg|Lewis Miller, “Jesse Hines. Black Smith, menden his pale '''fence''',” 1813, in Lewis Miller, ''Sketches and Chronicles: The Reflections of a Nineteenth-Century Pennsylvania German Folk Artist'' (1966), 86.

Image:0237.jpg|Lewis Miller, “Old Philip Waltemeyer makeing a '''fence''' of boards at the old Southern Church [[yard]],” 1813.

Image:0526.jpg|Anonymous, ''The Picket Fence'', 1828-35.

Image:1294.jpg|Asher Benjamin, “Front '''Fences''',” in ''The Practical House Carpenter'' ([1830] 1972), pl. 33.

Image:1701.jpg|[[J. C. Loudon]], Diagram of worm '''fence''', in ''An Encyclopaedia of Gardening'' (1834), 412, fig. 276.

Image:0098.jpg|Miller & Co., Map of the residence & [[park]] grounds, near Bordentown, New Jersey: of the late Joseph Napoleon Bonaparte, ex-king of Spain, 1847.

Image:1097.jpg|Thomas S. Sinclair, “Plan of the [[pleasure ground|Pleasure Grounds]] and Farm of the [[Pennsylvania Hospital for the Insane]] at Philadelphia,” in ''American Journal of Insanity'', vol. 4, (April 1848).

Image:0377.jpg|Anonymous, “Plan of a Mansion Residence, laid out in the [[natural style]],” in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849), 115, fig. 25. “At ''i'', a light inconspicuous wire '''fence'''. . .”

Image:1559.jpg|Anonymous, "Invisible Iron '''Fence'''," ''Horticulturist,'' Vol. 4, No. 5 (November 1849), 212, fig. 86.

Image:0788.jpg|[[Frances Palmer]], Elevations and profiles of wood '''fences''', in William H. Ranlett, ''The Architect'' vol. 2 (1851), pl. 30.

</gallery>

===Associated===
<span id="roundabout_img"></span>
<gallery widths="170px" heights="170px" perrow="7">

Image:0342.jpg|Edward Savage, ''The East Front of [[Mount Vernon]]'', c.1787—92.

Image:0345.jpg|Alexander Robertson (artist), Francis Jukes (engraver), “[[Mount Vernon]] in Virginia,” 1800.

Image:0344.jpg|George Ropes, ''[[Mount Vernon]]'', 1806.

Image:0560.jpg|[[Charles Willson Peale]], Ground [[plot]] of [[Belfield]], 1810.

Image:0816.jpg|W. H. Bartlett, “Yale College. (Newhaven),” in Nathaniel Parker Willis, ''American Scenery'', 2 vols. (1840), vol. 1, pl. 35.

Image:0758.jpg|Robert Brammer and Augustus Von Smith, ''Oakland House and Race Course, Louisville'', 1840.

Image:0648.jpg|John Warner Barber, “Eastern [[View]] of the Public [[Square]] or [[Green]] in New Haven,” 1840.

File:1086.jpg|James Smillie (artist), O. J. Hanks (engraver), “The Tour—Oaken Bluff,” in Nehemiah Cleaveland, ''Green-Wood Illustrated'' (1847), pl. opp. 40.

File:1078.jpg|George W. Stilwell, Patterns of railings at Green-Wood [[Cemetery]], in Nehemiah Cleaveland, ''Green-Wood Illustrated'' (1847), pl. after 94.

</gallery>

===Attributed===
<span id="roundabout_img"></span>
<gallery widths="170px" heights="170px" perrow="7">

Image:0086.jpg|[[Benjamin Henry Latrobe]], “Greenspring, home of William Ludwell Lee, James City County, Virginia,” n.d.

Image:0002.jpg|Anonymous, Surveyor’s [[plat]] of the courthouse and adjacent land in Charles County, MD, 1697. Fence is the zigzag line running vertically in center.

Image:0180.jpg|Anonymous, ''Fairhill, The [[Seat]] of Isaac Norris Esq.'', 18th century.

Image:0463.jpg|Anonymous, Overmantel painting from Morattico Hall, 1715.

Image:1946.jpg|Anonymous, Residence of John Quincy Adams, Quincy, Massachusetts, 1846

Image:0171.jpg|Anonymous, “Issac Norris: his house at Fairhill,” 1717 (1890).

Image:0017.jpg|Anonymous, Illustration of Williamsburg buildings, flora and fauna. Modern impression taken from the original 1740s copperplate [Bodleian Plate re-strike].

Image:0008.jpg|William Dering, attr., ''Portrait of Anne Byrd Carter (Mrs. Charles Carter) (1725—1757)'', c. 1742-46.

Image:0003.jpg|William Dering, attr., ''Portrait of George Booth'', 1748-50.

Image:1752.jpg|William Halfpenny, “A [[Chinese manner|Chinese]] Acute angular Paleing” and “A [[Chinese manner|Chinese]] Obtuse & Diamond Paleing,” in ''Rural Architecture in the [[Chinese manner|Chinese]] Taste'' (1755), pl. 3.

Image:0134.jpg|Christian Remick, ''A Prospective [[View]] of part of the [[Boston Common|Commons]]'', c. 1768.

Image:2258.jpg|Sydney L. Smith (engraver) from a watercolor drawing by Christian Remick (c. 1768), ''A Prospective [[View]] of part of the [[Boston Common|Commons]]'', 1902.

Image:0026.jpg|[[Charles Willson Peale]], ''Parnassus'', c. 1769.

Image:2262.jpg|Anonymous, ''The South West [[Prospect]] of the [[Seat]] of Colonel George Boyd of Portsmouth, New Hampshire, New England, 1774''.

Image:0126.jpg|Eliza Coggeshall, Brick House with Flowers and Birds on '''Fence''', 1784, in Sotheby’s New York, ''Important American Schoolgirl Embroideries: The Landmark Collection of Betty Ring'' (January 2012): 53.<ref name="Sothebys">Sotheby’s New York, ''Important American Schoolgirl Embroideries'' (January 2012), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/I9SQRZDH view on Zotero].</ref>

Image:0131.jpg|Unknown, ''Overmantel of Rev. Joseph Wheeler House'', c. 1787-93.

Image:0048.jpg|John Nancarrow, "Plan of the [[Seat]] of John Penn jun’r: Esqr: in Blockley Township and County of Philadelphia," c. 1785. A '''fence''' is visible near the point indicated with the letter "f".

Image:0021.jpg|Cornelius Tiebout, ''A [[View]] of the present [[Seat]] of His Excel. the Vice President of the United States'', 1790.

Image:0015.jpg|Samuel McIntire, Design for a '''Fence''', c. 1791.

Image:0140.jpg|Thomas Coram, “[[View]] at St. James’s Goose Creek,” 1792.

Image:0153.jpg|John Drayton, ''A [[View]] of the Battery and Harbour of New York, and the Ambuscade Frigate'', 1794.

Image:0408.jpg|David Leonard, ''A S. W. [[view]] of the College in Providence, together with the President's House & Gardens'', c. 1795.

Image:0477.jpg|John Scoles, “Government House,” January 1795.

Image:0130.jpg|Anne Pope, Beige House, Birds Flying Over with Foreyard, 1796, in Sotheby’s New York, ''Important American Schoolgirl Embroideries: The Landmark Collection of Betty Ring'' (January 2012): 15.<ref name="Sothebys"></ref>

Image:0274.jpg|Ralph Earl, ''Houses Fronting New Milford Green'', 1796.

Image:0197.jpg|Francis Guy, ''Rose Hill'', 1798.

Image:2251.jpg|Ralph Earl, ''Captain Elijah Dewey'', 1798.

Image:0022.jpg|Clarissa Deming, ''Map of Deming [[Orchard]]'', after 1798.

Image:0449.jpg|Anonymous, ''The End of the Hunt'', c. 1800. Worm-fence in foreground.

Image:2277.jpg|Anonymous, ''The Sargent Family'', 1800.

Image:2277_detail.jpg|Anonymous, ''The Sargent Family'' [detail], 1800.

Image:0142.jpg|Thomas Coram, “[[View]] on the Road, Foot of Coll. Motte’s Rice field, Goose Creek,” 1800.

Image:0141.jpg|Thomas Coram, “The [[Grove]], [[seat]] of G. A. Hall esq.,” c. 1800.

Image:0005.jpg|Amy Cox, attr., ''Box [[Grove]]'', c. 1800.

Image:0029.jpg|Michele Felice Cornè, ''Ezekiel Hersey Derby Farm'', c. 1800.

Image:0135.jpg|Unknown, Gardiner Gilman House Overmantel, c. 1800.

Image:0165_2.jpg|Jonathan Budington or Dr. Francis Forgue, attr., ''[[View]] of Main Street in Fairfield, Connecticut'', c. 1800.

Image:0004.jpg|Anonymous, ''The Beehive'', 1800-20.

Image:0471.jpg|Anonymous (artist), George Hayward (lithographer), ''[[Vauxhall Garden]] 1803'', 1856.

Image:0123.jpg|Rebecca Couch, ''Connecticut House'', c. 1805.

Image:0203.jpg|Francis Guy, ''Perry Hall from the northwest'', c. 1805.

Image:0515.jpg|Eunice Pinney, attr., ''Mother and Child in Mountain Landscape'', 1805-25.

Image:0124.jpg|Jane Shearer, Brick House with [[Terrace]]s, 1806, in Sotheby’s New York, ''Important American Schoolgirl Embroideries: The Landmark Collection of Betty Ring'' (January 2012): 80.<ref name="Sothebys"></ref>

Image:0125.jpg|Mary Antrim, Brick House with Two Foreyards and Animals, 1807, in Sotheby’s New York, ''Important American Schoolgirl Embroideries: The Landmark Collection of Betty Ring'' (January 2012): 72.<ref name="Sothebys"></ref>

Image:0043_2.jpg|John Archibald Woodside, ''[[Lemon Hill]]'', 1807.

Image:0001.jpg|George Ropes, ''Salem [[Common]] on Training Day'', 1808.

Image:0301.jpg|William Russell Birch, “[[View]] from [[Belmont_(Philadelphia,_PA)|Belmont]] Pennsyl.<sup>a</sup> the [[Seat]] of Judge Peters,” in ''The Country [[Seat]]s of the United States'' (1808), pl. 16.

Image:0714.jpg|Anonymous, ''Memorial to Daniel Ma–'', c. 1810.

Image:0150.jpg|Rebecca Chester, ''A Full [[View]] of Deadrick’s Hill'', 1810.

Image:1468.jpg|John Lewis Krimmel (attrib.), ''Black Sawyers Working in front of the Bank of Pennsylvania, Philadelphia'', c. 1811-13.

Image:0669.jpg|Cornelius Tiebout, after John James Barralet, ''[[View]] of the Water Works at Centre [[Square]] Philadelphia'', c. 1812.

Image:0128.jpg|Mary Moulton, Needlework Sampler, 1813, in Sotheby’s New York, ''Important American Schoolgirl Embroideries: The Landmark Collection of Betty Ring'' (January 2012): 27.<ref name="Sothebys"></ref>

Image:1467.jpg|John Lewis Krimmel, Tree and rocks near a split-rail '''fence''', c. 1813.

Image:0122.jpg|Abigail Warren (possibly), ''Part of the Town of Chelmsford, Massachusetts'', c. 1813. A fence is seen across the left side horizon.

Image:0103.jpg|Lewis and Goodwin (lithographers), after a drawing by Joseph Jacques Ramée, ''Union College. Schenectady, N.Y.'' [detail], 1815.

Image:0118.jpg|Eunice Pinney, A Couple in a Landscape, c. 1815, in Susan Foster, “Couple & Casualty: The Art of Eunice Pinney Unveiled,” ''Folk Art'' (Summer 1996): 30.

Image:0044.jpg|[[Charles Willson Peale]], ''[[View]] of the Garden at [[Belfield]]'', 1816.

Image:0044_detail3.jpg|[[Charles Willson Peale]], ''[[View]] of the garden at [[Belfield]]'', [detail] 1816.

Image:1023.jpg|David J. Kennedy, ''Philadelphia Academy of Natural Sciences'', 1817.

Image:0284.jpg|William Strickland after John Moale, ''Baltimore in 1752'', 1817.

Image:0063.jpg|[[Benjamin Henry Latrobe]], “Plan of the public [[Square]] in the city of New Orleans, as proposed to be improved. . .” [detail], March 20, 1819.

Image:1130.jpg|Marie L. Pilsbury, ''Louisiana [[Plantation]] Scene'', 1820.

Image:0020.jpg|Janika de Fériet, ''The Hermitage'', c. 1820.

Image:0184.jpg|Caroline Betts, ''A [[view]] of Col. Lincoln’s [[Seat]], Casnovia [sic]'', c. 1821.

Image:2119.jpg|Robert Campbell, after Thomas Birch, ''[[View]] of the Dam and Water Works at Fairmount, Philadelphia'', 1824.

Image:0038.jpg|Arthur J. Stansbury, ''City Hall [[Park]] From the Northwest Corner of Broadway and Chambers Street'', c. 1825.

Image:0457.jpg|Anonymous, ''The [[Plantation]]'', c. 1825.

Image:0053.jpg|[[Alexander Jackson Davis]], Castle Garden, N. York, c. 1825–28.

Image:0132.jpg|Rufus Porter and J.D. Poor, Josiah Stone House [also known as the Holsaert House/Cobb House], 1825-30.

Image:0052.jpg|W. J. Bennett, ''Broad Way from the [[Bowling Green]]'', c. 1826.

Image:0112.jpg|[[Anthony St. John Baker]], “[[View]] of the White House,” 1826, in ''Mémoires d’un voyageur qui se repose'' (1850).

Image:1140.jpg|Hugh Bridport, ''The Pagoda and [[Labyrinth]] Garden'', c. 1828.

Image:1280.jpg|John Rubens Smith, ''[East front of the United States Capitol]'', c. 1828.

Image:0754.jpg|Samuel Barnard, ''[[View]] Along the East Battery, Charleston'', 1831.

Image:1941.jpg|Eliza Susan Quincy, ''Residence of John Adams and John Quincy Adams'', 1831.

Image:0424.jpg|[[Alexander Jackson Davis]], Ithiel Town, and James Dakin, ''New York University, Washington [[Square]]'', 1833.

Image:1981.jpg|John Smith Rubens (artist), J.B. Neagle (engraver), ''Washington'', in Conrad Malte-Brun, ''A System of Universal Geography'', 2 vols. (1834), vol. 2, opp. 222.

Image:1106.jpg|Anonymous, "Massachusetts Hospital for the Insane, at Worcester," in ''American Magazine of Useful and Entertaining Knowledge'' 1, no. 8 (April 1835): 325.

Image:1677.jpg|W. R. Hamilton, ''Landscape [[View]] of a Garden and House'' [detail], 1836.

Image:0764.jpg|F. A. Holtzwart, ''A [[View]] of Reading Taken from the West Side of the Schuylkill'', 1837.

Image:1093.jpg|Samuel Lancaster Gerry, ''New England Homestead'', 1839.

Image:0040.jpg|W. H. Bartlett, “Washington from the President’s House,” in Nathaniel Parker Willis, ''American Scenery'', 2 vols. (1840), vol. 2, pl. 26.

Image:1193.jpg|David J. Kennedy, “McAran’s Garden,” 1840.

Image:0113.jpg|Mary Blades, Woodbury, c. 1840.

Image:0032.jpg|[[Robert Mills]], “[[Picturesque]] [[View]] of the Building, and Grounds in front,” 1841.

Image:1608.jpg|Anonymous, "Residence of Mr. D. Barnes, Middletown, Ct.," ''Horticulturist,'' Vol. 6, No. 4 (April 1, 1851), pl. opp. 153.

Image:1047.jpg|Alexander W. Longfellow, Sketch of the grounds of the Vassall-Craigie-Longfellow House, 1844 (recto). Fence located along the perimeter of the property.

Image:1047b.jpg|Alexander W. Longfellow, Sketch of the grounds of the Vassall-Craigie-Longfellow House, 1844 (verso).

Image:0441.jpg|Susan C. Waters, ''Henry L. Wells'', 1845.

Image:0523.jpg|[[Frances Palmer]] (artist), Nathaniel Currier (lithographer), “Union Place Hotel, Union [[Square]] New-York,” c. 1845.

Image:1485.jpg|Anonymous, "Another workingman's cottage of humble means," (second type), ''Horticulturist,'' vol. 1, no. 3 (September 1846), pl. opp. 105, fig. 31.

Image:0007.jpg|Charles H. Wolf, attr., ''Pennsylvania Farmstead with Many '''Fences''''', c. 1847.

Image:0406.jpg|Henry Howe, "Ohio University, at Athens," 1848.

Image:0349.jpg|George Washington Mark, ''Marion Feasting the British Officer on Sweet Potatoes'', 1848.

Image:1942.jpg|Godfrey N. Frankenstein, ''Portrait of the Birthplaces of Presidents John Adams and John Quincy Adams'', 1849.

Image:1943.jpg|Godfrey N. Frankenstein, ''Portrait of "The Old House" residence of John Adams and John Quincy Adams Adams'', 1849.

Image:0476.jpg|James Smillie (artist), Sarony & Major (printers), ''[[View]] of Union [[Park]], New York, from the head of Broadway'', 1849.

Image:1131.jpg|Edward Hicks, ''Leedom Farm'', 1849.

Image:1945.jpg|John Adams Whipple, Daguerreotype of Old House, 1849.

Image:0497.jpg|Anonymous, “[[Bowling Green]] [[Fountain]],” in E. Porter Belden, ''New-York, Past, Present, and Future'' (1850), opp. 30.

Image:0446.jpg|Joseph Goodhue Chandler, ''Charles H. Sisson'', 1850. Fence around the house on left.

Image:0025.jpg|Robert P. Smith, “''[[View]] of Washington'',” c. 1850.

Image:1213.jpg|C. A. Hedin, ''Front Elevation on Live Oak Street'', 1853.

Image:0041.jpg|Anonymous, Capitol Under Construction, [[View]] Looking East Toward the Capitol From Third Street Vicinity, July 1860.

Image:0334.jpg|Middleton, Strobridge & Co. (engraver), “[[Mount Vernon]], the home of Washington,” c. 1861. A fence can be seen along right edge of the house grounds.

Image:2260_detail1.jpg|Painting of a Landscape with a Stag Hunt [detail], Unknown maker, Massachusetts, United States, 1800-1850.

Image:2260.jpg|Painting of a Landscape with a Stag Hunt, Unknown maker, Massachusetts, United States, 1800-1850.

File:0702.jpg|Lewis Miller, "South Water Street, 1807," 1807, from the ''Journal of Lewis Miller'', Volume I, p. 25. Courtesy of York County Heritage Trust, York, PA.

File:0563.jpg|Benjamin Henry Latrobe, ''View of the North Front of Belvidere, Richmond'', 1790s.

File:2305.jpg|After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857.

</gallery>

<hr>

== Notes ==

<references/>

[[Category: Keywords]]
[[Category: Boundaries]]

File:2305.jpg

2021-09-03T18:16:29Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Drive
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Fence
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Pavilion
}}
|Creator=After Edward Beyer
|Creation Present=No
|Creation Date=1857
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Salt Sulphur Spring, 1857''
|Inscription=''Salt Sulphur Spring, 1857''
|Medium=color lithograph on wove paper
|Dimensions=45.09 × 63.34 cm (17 3/4 × 24 15/16 in.)
|Image Title=After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
After Edward Beyer, ''Salt Sulphur Spring, 1857'', 1857, color lithograph on wove paper, 45.09 × 63.34 cm (17 3/4 × 24 15/16 in.). Corcoran Collection, [https://www.nga.gov/collection/art-object-page.212728.html National Gallery of Art, Washington, D.C.]

File:2305.jpg

2021-09-03T18:12:10Z

A-whitlock:

File:2110.jpg

2021-09-01T14:15:20Z

A-whitlock:

{{Image
|Place=Lemon Hill
|Creator=James Fuller Queen
|Creation Present=No
|Creation Date=May 17, 1855
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Lemon Hill May 17th ’55''
|Inscription=Lemon Hill May 17th ’55
|Medium=graphite drawing on tan paper
|Dimensions=17.5 x 26 cm
|Image Title=James Fuller Queen, ''Lemon Hill May 17th ’55'', May 17 1855
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>
James Fuller Queen, ''Lemon Hill May 17th ’55'', May 17 1855, graphite drawing on tan paper, sheet 17.5 x 26 cm. Marian S. Carson Collection, Library of Congress, Prints and Photographs Division, Washington, D.C.

File:2110.jpg

2021-09-01T14:14:55Z

A-whitlock:

{{Image
|Place=Lemon Hill
|Creator=James Fuller Queen
|Creation Present=No
|Creation Date=May 17, 1855
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Lemon Hill May 17th ’55''
|Medium=graphite drawing on tan paper
|Dimensions=17.5 x 26 cm
|Image Title=James Fuller Queen, ''Lemon Hill May 17th ’55'', May 17 1855
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>
James Fuller Queen, ''Lemon Hill May 17th ’55'', May 17 1855, graphite drawing on tan paper, sheet 17.5 x 26 cm. Marian S. Carson Collection, Library of Congress, Prints and Photographs Division, Washington, D.C.

Lemon Hill

2021-09-01T14:13:04Z

A-whitlock:

{{Place
|Alternate names=Pratt’s Gardens
|Established Present=No
|Established Date=1799
|Established Circa=No
|Established Concurrence=Exact
|Established Questionable=No
|Established HasEndDate=No
|Established Present End=No
|Established Circa End=No
|Established Questionable End=No
|Through Present=Yes
|Through Circa=No
|Through Concurrence=Exact
|Through Questionable=No
|Through HasEndDate=No
|Through Present End=No
|Through Circa End=No
|Through Questionable End=No
|Location=Philadelphia, PA
|Coordinates=39.97071, -75.18723
|Geolocation link=coordinates
|Condition=Altered
|Keywords=Border; Bower; Bridge; Cascade/Cataract/Waterfall; Conservatory; Drive; Espalier; Fountain; French style; Geometric style; Greenhouse; Grotto; Grove; Hedge; Hothouse; Jet; Landscape gardening; Lawn; Mound; Parterre; Picturesque; Pleasure ground/Pleasure garden; Plot/Plat; Pond; Prospect; Rustic style; Seat; Shrubbery; Statue; Summerhouse; Temple; Trellis; Vase/Urn; View/Vista; Walk
|Site owners={{Site owner
|Name=Henry Pratt
|Owned Present=No
|Owned Date=1761
|Owned Circa=No
|Owned Concurrence=Exact
|Owned Questionable=No
|Owned HasEndDate=Yes
|Owned Present End=No
|Owned Date End=1838
|Owned Circa End=No
|Owned Concurrence End=Exact
|Owned Questionable End=No
}}
|Associated people={{Associated person
|Name=John McAran
|Role=Landscape gardener
|From Present=No
|From Circa=No
|From Concurrence=Exact
|From Questionable=No
|From HasEndDate=No
|From Present End=No
|From Circa End=No
|From Questionable End=No
|End Present=No
|End Circa=No
|End Concurrence=Exact
|End Questionable=No
|End HasEndDate=No
|End Present End=No
|End Circa End=No
|End Questionable End=No
}}{{Associated person
|Name=Robert Buist
|Role=Gardener
|From Present=No
|From Circa=No
|From Concurrence=Exact
|From Questionable=No
|From HasEndDate=No
|From Present End=No
|From Circa End=No
|From Questionable End=No
|End Present=No
|End Circa=No
|End Concurrence=Exact
|End Questionable=No
|End HasEndDate=No
|End Present End=No
|End Circa End=No
|End Questionable End=No
}}{{Associated person
|Name=Peter Mackenzie
|Role=Gardener
|From Present=No
|From Circa=No
|From Concurrence=Exact
|From Questionable=No
|From HasEndDate=No
|From Present End=No
|From Circa End=No
|From Questionable End=No
|End Present=No
|End Circa=No
|End Concurrence=Exact
|End Questionable=No
|End HasEndDate=No
|End Present End=No
|End Circa End=No
|End Questionable End=No
}}
|Other resources={{ExternalLink
|External link URL=http://vocab.getty.edu/page/tgn/2445218
|External link text=Getty TGN
}}{{ExternalLink
|External link URL=http://www.lemonhill.org/
|External link text=Lemon Hill Official Website
}}
}}
See also: [[Springettsbury]], [[The Hills]]

'''Lemon Hill''' was the [[Schuylkill River]] estate of the Philadelphia merchant [[Henry Pratt]] (1761–1838). [[Henry Pratt|Pratt]] purchased the property, which comprised the southern portion of [[Robert Morris|Robert Morris's]] (1734–1806) [[The Hills]], in 1799. Under [[Henry Pratt|Pratt's]] ownership, Lemon Hill was known for its [[geometric style|geometric-style]] gardens and extensive [[greenhouse]] and [[hothouse]] complex. In 1855 Lemon Hill became part of the newly formed Fairmount Park, where the house still stands and operates as a historic site.

<hr>

==History==
On March 15, 1799, [[Henry Pratt]] (1761–1838), a wealthy shipping merchant and land speculator from Philadelphia, purchased the southern portion of [[Robert Morris|Robert Morris's]] Schuylkill River estate, [[The Hills]], at a sheriff’s sale. He renamed the property Lemon Hill, supposedly after the citrus trees that grew in Morris’s gardens, and built a new Federal-style villa to replace Morris’s house.<ref>At the sheriff’s sale, Pratt paid $14,654.22 for two plots comprising 42 acres and 93 perches of land, including the portion of Morris’s estate that housed the farmhouse and renowned greenhouse complex. Owen Tasker Robbins, “Toward a Preservation of the Grounds of Lemon Hill in Light of Their Past and Present Significance for Philadelphians” (master’s thesis, University of Pennsylvania, 1987), 25, 30, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero]. See also Elizabeth Milroy, ''The Grid and the River: Philadelphia’s Green Places, 1682–1876'' (University Park: Pennsylvania State University Press, 2016), 144, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero]. According to his accounts, Pratt ordered lumber to begin construction on the new country house in April 1800. Martha Halpern, “Henry Pratt’s Account for Lemon Hill,” ''Antiques & Fine Art Magazine'' [https://www.zotero.org/groups/54737/items/itemKey/T5QDN3UB view on Zotero].</ref> [[Henry Pratt|Pratt]] maintained his primary residence within the city of Philadelphia, and Lemon Hill served mainly as a suburban retreat for entertaining friends and business associates.<ref>For much of his life, Pratt lived in a townhouse 112 North Front Street. See the official Lemon Hill website, www.lemonhill.org.</ref>

[[Image:1138.jpg|thumb|right|Fig. 1,William Groombridge, ''View of Lemon Hill'', c. 1800.]]
[[Henry Pratt|Pratt]] also permitted members of the public to tour Lemon Hill. <span id="Boyd_cite"></span>In 1830 a Committee of the Pennsylvania Horticultural Society remarked upon the estate’s popularity, reporting that “[f]ew strangers omit paying it a visit” ([[#Boyd|view text]]). <span id="Oldschool 1813_cite"></span>Situated on a bluff above the east bank of the [[Schuylkill River]], Lemon Hill afforded an “elegant and extensive” [[prospect]] of the river [[#Oldschool 1813|view text]]) [Fig. 1].<ref>Oliver Oldschool [Joseph Dennie], “American Scenery—for the Port Folio,” ''Port Folio'', n. s. 3, vol. 2, no. 2 (August 1813): 166, [https://www.zotero.org/groups/54737/items/itemKey/QGAABXDC view on Zotero]. See also Karl Bernhard, Duke of Saxe-Weimar, ''Travels through North America, during the Years 1825 and 1826'', 2 vols. (Philadelphia: Carey, Lea & Carey, 1828), 1:140–41, [https://www.zotero.org/groups/54737/items/itemKey/H2FI56FP view on Zotero].</ref> <span id="Oldschool 1813_cite"></span>In 1813 one commentator proclaimed that the grounds were “in the highest state of cultivation” and praised [[Henry Pratt|Pratt's]] “picturesque and ornamental improvements” [[#Oldschool 1813|view text]]). <span id="Boyd_cite"></span>The Committee of the Pennsylvania Horticultural Society also commended Lemon Hill’s “[[picturesque]] effect,” with “water and [[wood]] . . . distributed in just proportions with hill and [[lawn]] and buildings of architectural beauty” ([[#Boyd|view text]]). <span id="Bernhard_cite"></span>Karl Bernhard, Duke of Saxe-Weimar, who visited the estate in 1825, was especially impressed by the “very handsome” chestnut and hickory trees as well as two very large tulip trees that ornamented the grounds ([[#Bernhard|view text]]).<ref>Bernhard 1828, 1:140–41, [https://www.zotero.org/groups/54737/items/itemKey/H2FI56FP view on Zotero].</ref>

[[File:2112.jpg|thumb|left|Fig. 2, James Fuller Queen, ''Temple in Pratt’s garden on the Schuylkill'', recto, 1840.]]
<span id="Wailes_cite"></span>The gardens at Lemon Hill were elaborately designed, featuring a circular [[grotto]] and numerous [[summerhouse]]s adorned with marble [[statue]]s, goldfish [[pond]]s, [[fountain]]s, [[cascade]]s, and [[bower]]s ([[#Wailes|view text]]), <span id="Downing 1849_cite"></span>as well as [[trellis|trellises]], springhouses, and [[temple]]s such as the one drawn by James Fuller Queen in 1840 ([[#Downing 1849|view text]]) [Fig. 2]. <span id="Boyd_cite"></span>According to the Pennsylvania Horticultural Society, flower [[border]]s along the [[walk]]s at Lemon Hill were interspersed with evergreens and flowering plants, including many exotic warm-weather varieties that were able to “bear the winter with a little straw covering” ([[#Boyd|view text]]). <span id="Downing 1849_cite"></span>Writing in 1849, [[Andrew Jackson Downing]] claimed that Lemon Hill had been “the most perfect specimen of the [[geometric style|geometric mode]] in America” during the 1820s, and that its gardens had exhibited “all the symmetry, uniformity, and high art of the old school” ([[#Downing 1849|view text]]). However, even decades before [[Andrew Jackson Downing|Downing]] penned these words, some already considered the [[geometric style|geometric]] or [[French style|French mode]] of landscape design to be old-fashioned; <span id="Watson_cite"></span>indeed, in 1816 the British naval officer Captain Joshua Rowley Watson complained that the grounds at Lemon Hill were “too much after the [[French style|French manner]] of [[pleasure garden]]s” for his taste ([[#Watson|view text]]).

[[Image:0043_2.jpg|thumb|Fig. 3, John Archibald Woodside, ''Lemon Hill'', 1807.]]
[[File:2125 detail.jpg|thumb|Fig. 4, J. Allbright (illustrator), J. B. Longacre (engraver), J. & W. W. Warr (engraver), The greenhouse and hothouses at Lemon Hill (1832).]]
<span id="Wailes_cite"></span>The [[greenhouse]] and [[hothouse]]s at Lemon Hill were said to be the largest of their kind in the United States and often dominate 19th-century depictions of the estate ([[#Wailes|view text]]) [Figs. 3–4]. The [[greenhouse]] had been a major feature of [[The Hills]] as well, and [[Henry Pratt|Pratt]] built upon [[Robert Morris|Morris’s]] already significant investment when he acquired the property. In August 1799, several months after purchasing Lemon Hill at the sheriff’s sale, [[Henry Pratt|Pratt]] paid [[Robert Morris|Morris]] $750 for [[greenhouse]] plants.<ref>Robbins 1987, 30, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero].</ref> Under [[Henry Pratt|Pratt’s]] ownership, the [[hothouse]]s contained an enormous quantity and variety of plants, including many exotics. A June 1838 auction catalogue of the contents of Lemon Hill’s [[greenhouse]]s and [[hothouse]]s lists 2,701 individual plants for sale, including various roses, carnations, geraniums, camellias, citrus, aloes, cactuses, hydrangeas, and coffee trees, among many others kinds.<ref>''Catalogue of Splendid and Rare Green House and Hot House Plants: To Be Sold by Auction, at Lemon Hill, Formerly the Seat of the Late Henry Pratt, Deceased, on Tuesday, the 5th day of June, 1838, and to Be Continued Daily Till Completed by D. & C. A. Hill, Auctioneers'' (Philadelphia, 1838), [https://www.zotero.org/groups/54737/items/itemKey/S2MZSHJ4 view on Zotero]. See also Robbins 1987, 36, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero].</ref> <span id="Aloe_cite"></span>[[Henry Pratt|Pratt]] invited the public to view his rarest specimens. In June 1821, for example, [[Henry Pratt|Pratt]] exhibited a flowering aloe—one of the plants he had purchased from [[Robert Morris|Morris’s]] greenhouse—alongside “a considerable number of rare and beautiful tropical plants” at the Philadelphia’s Orphan’s Asylum as part of a fundraiser for the institution ([[#Aloe|view text]]). [[Henry Pratt|Pratt’s]] collection also won awards from the Pennsylvania Horticultural Society, including prizes for exhibiting the first mango as well as a particularly “splendid specimen” of poinsettia.<ref>Pennsylvania Horticultural Society, ''From Seed to Flower: Philadelphia 1681–1876'' (Philadelphia: Pennsylvania Horticultural Society, 1976), 73, [https://www.zotero.org/groups/54737/items/itemKey/T79WT7WS view on Zotero].</ref> <span id="Bernhard_cite"></span>In order to water the extensive collection of plants at Lemon Hill, [[Henry Pratt|Pratt]] installed a hydraulic water-delivery system, which pumped water up from the [[Schuylkill River]] to a series basins that supplied the [[greenhouse|green]] and [[hothouse]]s ([[#Bernhard|view text]]).

Caring for the [[grove]]s, [[flower garden|flower]] and vegetable gardens, and [[greenhouse]] plants at Lemon Hill required a large team of gardeners. <span id="Boyd_cite"></span>According to an 1830 report by the Pennsylvania Horticultural Society, “For many years the chief gardener [at Lemon Hill] was assisted by eleven or twelve labourers,” but by 1830 that number had been reduced by about half, “probably owing to the finished condition” of the grounds at that time ([[#Boyd|view text]]). Although many of the skilled gardeners’ names remain unknown, we can identify three important members of Philadelphia’s horticultural community who worked at Lemon Hill early in their careers.<ref>Karl Bernhard, Duke of Saxe-Weimar, for example, simply reported after his 1825 visit to Lemon Hill that “The gardener, an Englishman by birth, seemed to be well acquainted with his plants.” Karl Bernhard, Duke of Saxe-Weimar, ''Travels through North America, during the Years 1825 and 1826'', 2 vols. (Philadelphia: Carey, Lea & Carey, 1828), 1:141, [https://www.zotero.org/groups/54737/items/itemKey/H2FI56FP view on Zotero].</ref> It was to the “science and taste as a landscape gardener” of John McAran, who would later run a successful [[nursery]] and [[pleasure garden]] in Philadelphia, that the Pennsylvania Horticultural Society credited “the decorations of Lemon-Hill.”<ref>“Report of the Committee appointed by the Pennsylvania Horticultural Society for Visiting the Nurseries and Gardens in the vicinity of Philadelphia—13th July, 1830, as it appeared in ''The Register of Pennsylvania'', edited by Samuel Hazard, Philadelphia, February 12, 1831,” in James Boyd, ''A History of the Pennsylvania Horticultural Society, 1827–1927'' (Philadelphia: Pennsylvania Horticultural Society, 1929), 434, [https://www.zotero.org/groups/54737/items/itemKey/UN9TRH8T view on Zotero]. According to J. Thomas Scharf and Thompson Westcott, [[John McAran|McAran]] had been a gardener at The Woodlands for seven years and “laid out and improved Lemon Hill for Henry Pratt.” J. Thomas Scharf and Thompson Westcott, ''Philadelphia, 1609–1884'', 3 vols. (Philadelphia: L. H. Everts & Co., 1884), 2:944, [https://www.zotero.org/groups/54737/items/itemKey/AGXZPRK7 view on Zotero].</ref> [[Robert Buist]] (1805–1880), another prominent Philadelphia nurseryman, worked briefly as a gardener at Lemon Hill shortly after emigrating from Scotland in 1828.<ref>By 1830 Buist had left to form a partnership in a florist business with Thomas Hibbert. Boyd 1929, 385, [https://www.zotero.org/groups/54737/items/itemKey/UN9TRH8T view on Zotero]. See also Thomas J. Mickey, ''America’s Romance with the English Garden'' (Athens: Ohio University Press, 2013), 5, [https://www.zotero.org/groups/54737/items/itemKey/UEQKGRPV view on Zotero].</ref> Peter Mackenzie (1809–1865), a Scottish immigrant who had trained as a horticulturalist at London’s Kew Gardens, was the last head gardener employed by [[Henry Pratt|Pratt]] at Lemon Hill, working there after arriving to Philadelphia in 1827. While a gardener at Lemon Hill, Mackenzie earned the distinction, according to an article in ''Magazine of Horticulture'', of being “the first [in the United States] to flower the Poinsettia in superb condition.”<ref>See Pennsylvania Horticultural Society 1976, 73, [https://www.zotero.org/groups/54737/items/itemKey/T79WT7WS view on Zotero]; “Peter Mackenzie,” ''A Historical Catalogue of The St. Andrew’s Society of Philadelphia with Biographical Sketches of Deceased Members, 1749–1907'' (Philadelphia: Press of Loughead & Co. for the St. Andrew’s Society, 1907), 257, [https://www.zotero.org/groups/54737/items/itemKey/3UHQDACM view on Zotero]; “Death of Peter Mackenzie,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 34, no. 3 (March 1868): 94, [https://www.zotero.org/groups/54737/items/itemKey/EQBU2C77 view on Zotero]; “What Scots Have Done for Horticulture in America,” ''Gardener’s Magazine'' 50 (January 12, 1907): 33, [https://www.zotero.org/groups/54737/items/itemKey/QP6WPV8D view on Zotero].</ref>
[[File:2117.jpg|thumb|left|Fig. 5, T. Mason Mitchell, ''Plan of the Fair Mount docks and the adjoining property belonging to Knowles Taylor, Matthew Newkirk, Sam’l Downer junr. & Isaac S. Loyd.'', c. 1840.]]

On February 29, 1836, [[Henry Pratt]] sold Lemon Hill to Knowles Taylor, a speculator and merchant, for $225,000.<ref>Appendix A in Robbins’s thesis traces the chain of title for the property. See Robbins 1987, 134, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero]. Keyser mistakenly reports that Pratt sold Lemon Hill to Isaac S. Loyd in 1836 for $225,000. See Charles S. Keyser, Thomas Cochran, and Horace J. Smith, ''Lemon Hill and Fairmount Park: The Papers of Charles S. Keyser and Thomas Cochran, Relative to a Public Park for Philadelphia'' (Philadelphia: Times Printing House, 1886), 3, [https://www.zotero.org/groups/54737/items/itemKey/IXV8W2NV view on Zotero]. According to Robbins, Knowles sold Lemon Hill to Henry J. Williams in trust for the Bank of the United States on September 12, 1840. Robbins 1987, 135, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero].</ref> In an effort to take advantage of Lemon Hill’s proximity to the [[Schuylkill River]] and to the Philadelphia Columbia Railroad, Taylor and his fellow speculator Isaac Loyd, who had purchased the neighboring estate Sedgeley, made plans to develop a system of canals and wharves along the river (in much the same way that Thomas Mitchell had planned to do at [[The Woodlands]] just a few years earlier) and to construct high-density housing on the grounds of the two properties [Fig. 5]. However, the business partners went bankrupt before the plan could be put into action.<ref> Elizabeth Milroy, ''The Grid and the River: Philadelphia’s Green Places, 1682–1876'' (University Park: Pennsylvania State University Press, 2016), 207, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero].</ref> When Lemon Hill went up for sale again in 1843, Thomas P. Cope (d. 1854), a prominent merchant and Select Councilman, proposed that the city should purchase the property and turn it into a public park in order to prevent future development along the [[Schuylkill River]]. Cope’s plan received the support of the College of Physicians, among other citizens’ groups concerned with the effects of pollution in the river, and the city of Philadelphia completed the purchase of Lemon Hill on July 24, 1844, for $75,000.<ref>Robbins 1987, 43–44, 135, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero]; Milroy 2016, 212–14, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero].</ref> Soon after this purchase, the Pennsylvania Historical Society offered to establish a garden at Lemon Hill, but the city rejected the proposal. Instead, in 1847, the city signed a ten-year lease with William Kern, an ice dealer, who sublet the estate to a tavern-keeper to be operated as a beer garden and public [[pleasure garden]].<ref>Milroy 2016, 242, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero]. According to Maria F. Ali’s history of Fairmount Park, Lemon Hill was sublet to Mr. P. Zaiss, a German immigrant, who operated a brewery on the site until 1855. Maria F. Ali, ''Fairmount Park; Along the Schuylkill River, Spring Garden Street to Northwestern Avenue, Philadelphia, Philadelphia County, Pennsylvania'', Historic American Buildings Survey PA-6183 (Washington, DC: U.S. Department of the Interior, National Park Service, 1995), 5, [https://www.zotero.org/groups/54737/items/itemKey/WGSWNJRB view on Zotero].</ref> In 1855, ''Ballou’s Pictorial Drawing-Room Companion'' described the boisterous atmosphere at the beer garden at Lemon Hill, characterizing the estate as “a favorite resort of the German population of Philadelphia . . . [who] assemble in large numbers to consume quantities of lager-bier, cheese, and other refreshments, and to amuse themselves with dancing . . .” [Fig. 6].<ref>“Lemon Hill, Phila.,” ''Ballou’s Pictorial Drawing-Room Companion'' 8, no. 19 (May 12, 1855): 297, [https://www.zotero.org/groups/54737/items/itemKey/EEIISWK8 view on Zotero]. For the controversy surrounding the use of Lemon Hill as a beer garden, especially on Sundays, see Milroy 2016, 252–53, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero].</ref>
[[Image:1803.jpg|thumb|right|Fig. 6, Benjamin R. Evans, ''Lemon Hill'', 1852.]]

<span id="Downing 1849_cite">Within twenty years of [[Henry Pratt|Pratt]] selling Lemon Hill, the estate’s grounds—once described by [[A. J. Downing]] as “brilliant and striking”—had fallen into disrepair ([[#Downing 1849|view text]]). <span id="Keyser_cite">Charles S. Keyser, who advocated for a public park at Lemon Hill, lamented the condition of the grounds in 1856, describing the charred remains of the [[hothouse]]s, the “decayed” [[grotto]] and [[summerhouse]]s, and goldfish ponds now “loathsome with slime” ([[#Keyser|view text]]).<ref>For more on Keyser’s lobbying efforts on behalf of a public park at Lemon Hill, see Milroy 2016, 250–254, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero].</ref> <span id="Fisher_cite">In 1861, Sidney George Fisher, who remembered Lemon Hill as “beautifully wooded,” decried the felling of its timber at the hands of speculators ([[#Fisher|view text]]).

[[Image:1038.jpg|thumb|left|Fig. 7, Frederick Graff, ''Plan of Lemon Hill and Sedgley Park, Fairmount and Adjoining Property'', 1851.]]
Philadelphians renewed the push to transform Lemon Hill into a public park. Concerned about the deteriorating condition of the [[Schuylkill River|Schuylkill]], Frederick Graff Jr. (1817–1890), Chief Engineer of Philadelphia’s Water Department and the nearby Fairmount Water Works, devised a landscaping plan for Lemon Hill and Sedgeley Park, which John Price Wetherill, chairman of the Watering Committee, presented to the city councils in 1851 [Fig. 7].<ref>Milroy 2016, 243–45, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero].</ref> The plan laid out a system of winding, forty-foot-wide roads that would create a [[drive]] several miles long by which the public could navigate the estate, and also proposed preserving Pratt’s mansion.<ref>Keyser et al. 1886, 6, [https://www.zotero.org/groups/54737/items/itemKey/IXV8W2NV view on Zotero]; Elizabeth Milroy, “Assembling Fairmount Park,” in ''Philadelphia’s Cultural Landscape: The Sartain Family Legacy'', ed. Katharine Martinez and Page Talbott (Philadelphia: Temple University Press for the Barra Foundation, 2000), 75, [https://www.zotero.org/groups/54737/items/itemKey/Q2IX32XD view on Zotero].</ref> However, according to Elizabeth Milroy, Graff “made no recommendations for new plantings or for the care of existing trees and shrubs.”<ref>Milroy 2016, 245, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero].</ref> Graff’s plan was never implemented, but in September 1855, Philadelphia’s Committee on City Property passed a resolution to integrate the Lemon Hill estate into a new public park that was to be named Fairmount Park.<ref> Keyser et al. 1886, 10, [https://www.zotero.org/groups/54737/items/itemKey/IXV8W2NV view on Zotero]; Robbins 1987, 49, [https://www.zotero.org/groups/54737/items/itemKey/2MIWTC48 view on Zotero].</ref>

[[File:2129.jpg|thumb|right|Fig. 8, James C. Sidney and Andrew Adams, ''Plan of Fairmount-Park'', in ''Description of Plan for the Improvement of Fairmount Park'', 1859.]]
In 1859 the city selected a design for the new Fairmount Park by James C. Sidney (1819–1881) and Andrew Adams (ca. 1800–1860), which encompassed 110 acres extending from the Fairmount Water Works at the south to just north of the Spring Garden Water Works and from the [[Schuylkill River]] at the west and the Reading Railroad at the east [Fig. 8].<ref>Milroy 2016, 261, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero]. Sidney and Adams were partners from 1858–1860 and maintained an office at 520 Walnut Street in Philadelphia. Ali 1995, 24, [https://www.zotero.org/groups/54737/items/itemKey/WGSWNJRB view on Zotero].</ref> Like Graff’s earlier plan, the Sidney & Adams plan also called for a system of circuitous [[drive]]s and [[walk]]s throughout the grounds of the Lemon Hill estate and the restoration of Pratt’s house. Sidney and Adams recommended the creation of a sixteen-foot-wide [[piazza]] that would surround Pratt’s mansion on three sides and the restoration of [[terrace]]s to the east of the house that would be planted with [[bed]]s of roses and flowering shrubs.<ref>The piazza would be located on the south, east, and west sides of the house to “afford shelter and a resting place for a large number of visitors.” James C. Sidney and Andrew Adams, ''Description of Plan for the Improvement of Fairmount Park'' (Philadelphia: Merrihew & Thompson, 1859), 18, 7, [https://www.zotero.org/groups/54737/items/itemKey/F3CCFCGD view on Zotero].</ref> Their plan also proposed the creation of a grand tree-lined [[avenue]] of American Lindens; the planting of various flowering, deciduous, and evergreen trees; and the construction of “summer houses, kiosks, rustic seats, fountains, ornamental bridges, boat houses, fish ponds &c.” In the view of a writer for the ''Gardener’s Monthly'', such improvements would help return the grounds to some “vestige of its former splendor,” when, under Pratt’s ownership, Lemon Hill had been considered one of the finest gardens in America.<ref>“The New Fairmount Park, Philadelphia, and Its History,” ''Gardener’s Monthly'' 1, no. 4 (April 1, 1859): 58, 57, [https://www.zotero.org/groups/54737/items/itemKey/FQAATT55 view on Zotero]. According to Milroy, it is likely that Pratt’s greenhouse was demolished around 1860. Milroy 2016, 373n103, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero]. For a comparison of the Sidney & Adams plan with Olmsted and Vaux’s Greensward plan for Central Park in New York, see Milroy 2000, 79, [https://www.zotero.org/groups/54737/items/itemKey/Q2IX32XD view on Zotero]; Milroy 2016, 261–62, [https://www.zotero.org/groups/54737/items/itemKey/VBR8QEHX view on Zotero]; Michael J. Lewis, “The First Design for Fairmount Park,” ''Pennsylvania Magazine of History and Biography'' 130, no. 3 (July 2006): 288–90, [https://www.zotero.org/groups/54737/items/itemKey/R3V3TEUA view on Zotero].</ref> Although the execution of the Sidney & Adams plan for Fairmount Park was often delayed during the Civil War, as Michael J. Lewis has argued, the city moved decisively and, by 1866, “Sidney’s plan was in large measure realized,” with “its apparatus of [[drive]]s and paths, its planting scheme, and landscaping” completed and available for public use.<ref>Lewis 2006, 293, [https://www.zotero.org/groups/54737/items/itemKey/R3V3TEUA view on Zotero].</ref>

—''Lacey Baradel''

<hr>

==Texts==
[[File:2106.jpg|thumb|Fig. 9, John G. Exilious, “A View of Lemon Hill the Seat of Henry Pratt Esq<sup>r</sup>.,” in Oliver Oldschool [Joseph Dennie], ed. ''The Port Folio'' (August 1813): opp. p. 166.]]
*<div id="Oldschool 1813"></div>Oldschool, Oliver, August 1813, describing Lemon Hill (quoted in Oldschool 1813: 166)<ref>Oliver Oldschool [Joseph Dennie], “American Scenery—for the Port Folio,” ''Port Folio'', n.s. 3, vol. 2, no. 2 (August 1813): 166, [https://www.zotero.org/groups/54737/items/itemKey/QGAABXDC view on Zotero].</ref>
:“Lemon Hill . . . is the seat of [[Henry Pratt]], esq. of Philadelphia; it is situated on a beautiful part of the [[Schuylkill River|river Schuylkill]], about two and a half miles from the city. The [[prospect]] from it is elegant and extensive; the grounds are in the highest state of cultivation; the [[hothouse|hot-house]] is admirably stored, and the [[picturesque]] and ornamental improvements, are highly creditable to the taste of the present liberal proprietor.” [Fig. 9] [[#Oldschool 1813_cite|back up to History]]

*<div id="Watson"></div>Watson, Joshua Rowley, July 7, 1816, describing Lemon Hill (quoted in Foster 1997: 298)<ref>Kathleen A. Foster, ''Captain Watson’s Travels in America: The Sketchbooks and Diary of Joshua Rowley Watson, 1772–1818'' (Philadelphia: University of Pennsylvania Press, 1997), [https://www.zotero.org/groups/54737/items/itemKey/J6Q29IVS view on Zotero].</ref>
:“We drove over the Upper Bridge to [[Henry Pratt|Mr Pratts]] who has a large collection of plants and extensive [[greenhouse|Greenhouses]] & ca. His grounds are too much after the [[French style|French]] manner of [[pleasure garden]]s. The view looking up the [[Schuylkill River|Schuylkill]] and over towards Eaglesfield is pretty.” [[#Watson_cite|back up to History]]

*<div id="Aloe"></div>Anonymous, 1821, describing an exhibition of an aloe plant from Lemon Hill (''Plough Boy'': 30)<ref>“The Flowering Aloe,” ''Plough Boy, and Journal of the Board of Agriculture'' (June 23, 1821): 30, [https://www.zotero.org/groups/54737/items/itemKey/RNZNFE7H view on Zotero]; a nearly identical article appears in “The Flowering Aloe, From ''The Philadelphia ‘Democratic Press’'',” ''Niles’ Weekly Register'' (June 16, 1821): 255, [https://www.zotero.org/groups/54737/items/itemKey/E63UISSF view on Zotero].</ref>
:[June 6] “It is believed that, but two of those plants have come to perfection in the United States. One was at [[Springettsbury|Springbury]], the seat of William Penn, near Bush Hill. This plant flowered in 1777. From it the late Mr. [[William Hamilton]] got a sucker, which he was fortunate enough to rear, and it flowered at [[the Woodlands]], in the year 1804. When [[Henry Pratt]], Esq. bought Lemon Hill, from the late [[Robert Morris]], there was an Aloe in the [[greenhouse|Green House]]. This plant has been cherished and tended for 70 years, with great care, and is now RAPIDLY advancing to an exhibition of all the fragrance and beauty, of which it is susceptible. We will here, perhaps a little out of place, embrace the occasion, to pay homage of our consideration and thankfulness to [[Henry Pratt|Mr. Pratt]], for the distinguished liberality with which his gardens, [[greenhouse|green houses]], &c. are, and long have been, thrown open to strangers and to citizens.
:“[[Henry Pratt|Mr. Pratt]], with a liberality and benevolence which entitle him to great praise, has bestowed his plant on the ''Orphan Asylum'', on Cherry-street, near Schuylkill Sixth-street: where it will be exhibited to the public for the benefit of that charitable institution. A building for the reception of the Aloe, being completed at the Asylum, the plant was yesterday moved thither from Lemon Hill. The greatest care was necessary and was taken in the removal. The Aloe was carried, the whole distance, on the shoulders of 24 men, and we have pleasure in saying that it did not sustain the slightest injury.
:“On the 28th of May last, it was observed that this interesting plant had put forth and unerring evidence that it was about to flower. It put forth an upright shoot, like a strong asparagus. This stem, since that time, has grown 5 feet 8 inches; considerably more than the plant had grown in 60 years before. It will be in full flower about the middle of July next.
:“We give this early notice of this interesting exhibition to afford persons at a distance an opportunity of making their arrangements to enable them to enjoy the gratification of beholding so rare and beautiful a sight.—''Democratic Press.''
:[June 8] “We have great satisfaction in announcing, that Mr. [[Henry Pratt]], not content with the liberality he had already shewn to the ''Widow’s and Orphan’s Asylum'', by the generous gift of the FLOWERING ALOE, has made most liberal additions to his bounty. To render the exhibition at the Asylum as interesting and of course as profitable as possible, [[Henry Pratt|Mr. Pratt]] yesterday sent to that institution a considerable number of rare and beautiful tropical plants. Among them were the Night Blooming Ceres, the Rose Apple of the West Indies, the Sago Palm, the Coffee Tree, the Sugar Cane, &c. &c.--''Ibid.''” [[#Aloe_cite|back up to History]]

*<div id="Bernhard"></div>Bernhard, Karl, Duke of Saxe-Weimar, 1825, describing Lemon Hill (1828: 1:140–41)<ref>Karl Bernhard, Duke of Saxe-Weimar, ''Travels through North America, during the Years 1825 and 1826'', 2 vols. (Philadelphia: Carey, Lea & Carey, 1828), [https://www.zotero.org/groups/54737/items/itemKey/H2FI56FP view on Zotero].</ref>
:“A merchant, Mr. Halbach, to whom I was introduced, took a walk with me to two gardens adjoining the city. One of these belongs to a rich merchant, [[Henry Pratt|Mr. Pratt]], and is situated upon a rocky peninsula, formed by the [[Schuylkill River|Schuylkill]], immediately above the water-works. The soil consists mostly of quartz and clay. The owner seldom comes there, and this is easy to be perceived, for instead of handsome [[plot|grass-plots]] you see potatoes and turnips planted in the garden. The trees, however, are very handsome, mostly chestnut, and some hickory. I also observed particularly two large and strong tulip trees; the circumference of one was fifteen feet. In the [[hothouse|hot-houses]] was a fine collection of orange trees, and a handsome collection of exotic plants, some of the order Euphorbia from South America; also a few palm trees. The gardener, an Englishman by birth, seemed to be well acquainted with his plants. Through a hydraulic machine the water is brought up from the river into several basins, and thence forced into the [[hothouse|hot-houses]]. There was also in the garden a mineral spring of a ferruginous quality. From several spots in the garden there are fine views of the [[Schuylkill River|Schuylkill]], whose banks, covered with trees, now in the fall of the year, have a striking and pleasant effect from the various hues of foliage.” [[#Bernhard_cite|back up to History]]

*<div id="Wailes"></div>Wailes, Benjamin L. C., December 29, 1829, describing Lemon Hill (quoted in Moore 1954: 359–60)<ref name="Moore_1954">John Hebron Moore, “A View of Philadelphia in 1829: Selections from the Journal of B. L. C. Wailes of Natchez,” ''Pennsylvania Magazine of History and Biography'' 78 (July 1954): 353–60, [https://www.zotero.org/groups/54737/items/itemKey/Z9IBV7A4/q/Moore view on Zotero].</ref>
:<p>“But the most enchanting [[prospect]] is towards the grand pleasure [[grove]] & [[greenhouse|green house]] of a [[Henry Pratt|Mr. Prat[t]]], a gentleman of fortune, and to this we next proceeded by a circutous rout, passing in view of the fish [[pond]]s, [[bower]]s, rustic retreats, [[summerhouse|summer houses]], [[fountain]]s, [[grotto]], &c., &c. The [[grotto]] is dug in a bank [and] is of a circular form, the side built up of rock and arched over head, and a number of Shells [?]. A dog of natural size carved out of marble sits just within the entrance, the guardian of the place. A narrow aperture lined with a [[hedge]] of arbor vitae leads to it. Next is a round fish [[pond]] with a small [[fountain]] playing in the [[pond]]. An Oval & several oblong fish [[pond]]s of larger size follow, & between the two last is an artificial [[cascade]]. Several [[summerhouse|summer houses]] in [[rustic style]] are made by nailing bark on the outside & thaching the roof. There is also a rustic [[seat]] built in the branches of a tree, & to which a flight of steps ascend. In one of the [[summerhouse|summer houses]] is a Spring with [[seat]]s around it. The houses are all embelished with marble busts of Venus, Appollo, Diana and a Bacanti. One sits on an Island on the fish [[pond]]. All the [[pond]]s filled with handsome coloured fish.</p>
:“The grounds are planted with a great variety of [[shrubbery]] & evergreens of various kinds of the pine & fir, and the [[hothouse|hot house]] is said to be the largest in the US. It is filled to overflowing with the choicest Exotics: the Chaddock Orange of different kinds & the Lemon loaded with fruit. There are two coffee trees with their berries. Some few shrubs were in flower & others seeded, & I was politely furnished with a few seed of 2 varieties of flowers (Myrtle & an accacia). In front of the [[hothouse|hot house]], one at each end, is a Lion of marble, well executed, & a dog in front. On the roof is a range of marble busts.” [[#Wailes_cite|back up to History]]

*<div id="Boyd"></div>Committee of the Pennsylvania Horticultural Society, 1830, describing Lemon Hill (quoted in Boyd 1929: 431–33)<ref name="Boyd_1929">James Boyd, ''A History of the Pennsylvania Horticultural Society, 1827–1927'' (Philadelphia: Pennsylvania Horticultural Society, 1929), [https://www.zotero.org/groups/54737/items/itemKey/UN9TRH8T/q/boyd view on Zotero].</ref>
:<p>“This beautiful garden, so creditable to the owner, and even to the city of Philadelphia, is kept in perfect order at great expense. Few strangers omit paying it a visit, a gratification which is afforded to them in the most liberal manner by the proprietor. Nor can any person of taste contemplate the various charms of this highly improved spot, without being in rapture with the loveliness of nature—everywhere around him, so chastely adorned by the hand of man.</p>
:<p>“Undoubtedly this is the best kept garden in Pennsylvania, and when associated with the [[greenhouse|green]] and [[hothouse|hot house]] department, may be pronounced unrivalled in the Union. The gravel [[walk]]s, [[espalier]]s, plants, shrubs, [[mound]]s, and grass [[plat]]s, are dressed periodically and minutely. . . . </p>
:<p>“Along the [[walk]]s, the flower [[border]]s are interspersed with Thunbergias, Eccremocarpus, Chelonias, Mimosas, &c. The Laurustinus, sweet Bay, English Laurel, Rosemary, Chinese privet, Myrtle, Tree Sage and South Sea Tea, stand among them, and bear the winter with a little straw covering. Even the Verbena triphylla, or Aloysia Citriodora, has survived through our cold season in [[Henry Pratt|Mr. Pratt’s]] city garden; seven of these plants are evergreens, and if they become inured to our climate, they will add greatly to our ornamental shrubs.</p>
:<p>“The treasures contained in the [[hothouse|hot]] and [[greenhouse|green houses]] are numerous. Besides a very fine collection of Orange, Lemon, Lime, Citron, Shaddock, Bergamot, Pomgranate and Fig trees in excellent condition and full of fruit, we notice with admiration the many thousand of exotics to which [[Henry Pratt|Mr. Pratt]] is annually adding. The most conspicuous among these, are the tea tree; the coffee tree——loaded with fruit; the sugar cane; the pepper tree; Banana, Plantain, Guva, Cherimona, Ficus, Mango, the Cacti in great splendour, some 14 feet high, and a gigantic Euphorbia Trigonia—19 years old, and 13 feet high. The [[greenhouse|green houses]] are 220 feet long by 16 broad; exhibiting the finest range of glass for the preservation of plants, on this continent.</p>
:<p>“Colonel Perkins, near Boston, has it is true, a grapery and peach [[Espalier]], protected by 330 feet of glass, yet as there are neither flues not foreign plants in them, they cannot properly be called [[greenhouse|green houses]], whereas [[Henry Pratt|Mr. Pratt's]] are furnished with the rarest productions of every clime, so that the committee place the [[conservatory]] of Lemon Hill at the very head of all similar establishments in this country.</p>
:“There are some pretty [[bower]]s, [[summerhouse|summer houses]], [[grotto]]s and fish [[pond]]s in this garden—the latter well stored with gold and silver fish. The mansion house is capacious and modern, and the [[prospect]]s, on all sides, extremely beautiful. In [[landscape gardening]], water and wood are indispensable for [[picturesque]] effect; and here they are found distributed in just proportions with hill and lawn and buildings of architectural beauty, the whole scene is cheerfully animated by the brisk commerce of the river, and constant movement in the busy neighborhood of Fairmount.
:<p>“An engine for raising water to the plant houses, is sometimes put in operation. [[Henry Pratt|Mr. Pratt]] placed it here at a cost of three thousand dollars. The vegetable garden is well kept and is of suitable size. For many years the chief gardener was assisted by eleven or twelve labourers, he now employs only six; probably owing to the finished condition to which the proprietor has brought his grounds. The whole plot may contain about 20 acres; [[Henry Pratt|Mr. Pratt]] has owned it 30 years or more. The superintendent aided by the liberal spirit of that gentleman, conducts his business with skill and neatness, and may challenge any garden for minute excellence or general effect.” [[#Boyd_cite|back up to History]]

[[File:2125.jpg|thumb|right|Fig. 10, J. Allbright (illustrator), J. B. Longacre (engraver), J. & W. W. Warr (engraver), Title page, in D. & C. Landreth, ''Floral Magazine and Botanical Repository'' (1832).]]
*D. & C. Landreth, 1832, describing Lemon Hill (''Floral Magazine and Botanical Repository'' 1: 6)<ref>D. & C. Landreth, eds., “Lemon Hill,” ''Floral Magazine and Botanical Repository'' 1 (1832), [https://www.zotero.org/groups/54737/items/itemKey/UTAZX6SE view on Zotero].</ref>
:“The vignette on the title-page, affords an excellent view of these far-famed grounds, from the pencil of ALBRIGHT, engraved by LONGACRE. The Garden is situate on the [[Schuylkill River|Schuylkill]], above Fairmount Water-works, and is one of the oldest private establishments of its nature in Pennsylvania.
:“For years it was the favourite summer residence of our first financier, [[Robert Morris|ROBERT MORRIS]], who originally laid out the grounds, and erected a part of the [[conservatory|conservatories]] which there exist.
:“In this fascinating spot, that worthy man and truly patriotic citizen, passed many of his happiest hours; returned from the city, whither his avocations daily called him, it was his custom and greatest pleasure to ramble around the grounds, planning new improvements, or entering with zest into the operations which were going on. The mutability of all earthly possessions transferred the premises, with the collection, about thirty years ago, to Mr. [[Henry Pratt|HENRY PRATT]], the present proprietor, who is deserving of much applause for the improvements he is constantly creating. These magnificent grounds are, perhaps, as much favoured by nature, and more by art, than any in the Union; on the southern extremity, they are bounded by the [[Schuylkill River|Schuylkill]], one of the most picturesque of rivers, enlivened by innumerable craft, laden with mineral and agricultural wealth: at a short distance is beheld the celebrated Water-works, and on a little further, is the 'Upper Ferry [[Bridge]],' that with a single span of 334 feet clasps either shore; still further, the eye rests on a second [[bridge]], with shipping and commercial bustle.
:“The annual expenditure is very considerable. For many years, ten or a dozen labourers under the direction of a gardener, found ample work. The [[conservatory|conservatories]] present an uninterrupted range of 220 feet, and are greater than any others in this country,—indeed would suffer little if compared with many of the trans-atlantic world. An engine for raising water to them, was erected by the present owner, at $3000 cost.
:“In this fairy place, may be seen in a state of perfection, rivalling that of the climes from whence they came, the useful Sugar-cane, the Guava, Mango, and Banana: the exhilarating Tea of India, and Coffee of Arabia; and the Annona Cherimolia, the delicacy of whose fruit, travellers in South America dwell on with rapture. Thousands of exotics decorate the grounds in summer, or crowd the [[hothouse|Hot]] and [[greenhouse|Green Houses]] in winter, filling the air with foods of delightful perfume, whilst Oranges, Lemons, Limes, Shaddocks, and other tropical productions, are here in vast profusion.
:“[[Fountain]]s and fish-[[pond]]s, with gold and silver fish, added to the beauty of the scene. [[Grotto]]s, [[bower]]s, and [[rustic style|rustic]] cots, are blended with natural beauties,—all combined, producing an influence no less enchanting than the 'Leasowes.' And surely SHENSTONE had not been the less eloquent, had his poetic genius been cultivated at Lemon Hill.
:“Few strangers visit Philadelphia without an examination of these grounds, and the proprietor has received the thanks of thousands for the gratification his liberality afforded.” [Fig. 10]

*W., A., August 1835, describing Lemon Hill (quoted in ''New-York Farmer and American Gardener’s Magazine'' 8: 332)<ref name="The New-York Farmer_November 1835">A. W., “Extract of a Letter from Our Correspondent, A. W., Dated Lansingburgh, 27th August,” ''New-York Farmer and American Gardener’s Magazine'' 8, no. 11 (November 1835), [https://www.zotero.org/groups/54737/items/itemKey/676ZWWM6 view on Zotero].</ref>
:“. . . I steered my course to Lemon Hill, which is the name very appropriately given to the [[pleasure ground]]s of Mr. [[Henry Pratt]]. It is situated in the immediate vicinity of the grand Water-works, and is said to contain over twenty acres. Nature seems to have displayed her utmost power in modeling this charming situation, leaving but little for art to accomplish, to render it one of the most delightful spots on earth; and art, with such a bold and lovely model, appears to have availed herself of every advantage, to beautify and complete what Nature had so happily begun.
:“The mansion is placed on an eminence, commanding a delightful view of the [[Schuylkill River|Schuylkill]], just at that point where every thing is in pleasant motion. The busy neighborhood of Fairmount, the interesting [[view]]s of this fine landscape, are fully kept before the eye, by gently winding paths, through a rich and well kept grass [[plot]]; every turn producing some new and pleasing effect. The foot does not tread in the same path which the eye has gone over before. The groups of lofty trees, so advantageously placed on the hill, near the house, with their deep green foliage, form a beautiful contrast with those of more light and stinted growth, situated in front of the ground bordering on the water; thereby adding much to the effect, by seeming to remove the perspective to the farthest extremity of the picture. The numerous well stocked [[pond|fishponds]], with their islands and aquatic productions, [[summerhouse|summer-houses]], gardens, porters’ and laborers’ lodges, all well placed for [[picturesque]] effect; and the beautiful little [[grotto]], thrown so chastely over the mineral spring, all conspire to complete the beauty and variety, without, in the least marring the productions of nature, so very interesting in the immediate vicinity. The spacious green [[hothouse|hot houses]] with their numerous and lovely tenants, spread far and wide in every direction, making the whole garden a repository of flowers and fragrance, certainly stand prominent in their kind; and as we migrate along the well kept gravel [[walk]]s, so richly adorned by tree, shrub, and plant, of every shade and shape, and from every climate, intermixed with the inmates of the [[greenhouse|green house]], the shaddock, orange, citron, lime, the fig tree, laden with inviting fruit; the sugar cane, pepper tree, banana, guava, and plantain; the cheremalia, mango, and splendid cactus; a reflecting mind must be lost in admiration, not knowing which most to admire, the amazing variety produced by nature, or the wealth, liberality, and taste, which have planted and sustain them there.”

*[[Andrew Jackson Downing|Downing, Andrew Jackson]], January 1837, Notices on the State and Progress of Horticulture in the United States,” describing Lemon Hill (''Magazine of Horticulture'' 3: 4)<ref name="Downing_January 1837">Andrew Jackson Downing, “Notices on the State and Progress of Horticulture in the United States,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 3, no. 1 (January 1837): 1–10, [https://www.zotero.org/groups/54737/items/itemKey/HPNHTESI view on Zotero].</ref>
:“For a long time the grounds of [[Henry Pratt|Mr. Pratt]], at Lemon Hill, near Philadelphia, have been considered the show-garden of that city: and the proprietor, with a praiseworthy spirit, opening his long-shaded [[walk]]s, cool [[grotto|grottoes]], [[jet|jets d’eau]], and the superb range of [[hothouse|hot-houses]], to the inspection of the citizens, contributed in a wonderful degree to improve the taste of the inhabitants, and to inspire them with a desire to possess the more beautiful and delicate productions of nature.”

*<div id="Downing 1849"></div>[[Andrew Jackson Downing|Downing, Andrew Jackson]], 1849, describing Lemon Hill (1849: 43)<ref name="Downing_1849">Andrew Jackson Downing, ''A Treatise on the Theory and Practice of Landscape Gardening, Adapted to North America''; . . . 4th ed. (New York: G. P. Putnam, 1849), [https://www.zotero.org/groups/54737/items/itemKey/5M4S2D64 view on Zotero].</ref>
:“''Lemon Hill'', half a mile above the Fairmount water-works of Philadelphia, was, 20 years ago, the most perfect specimen of the [[geometric style|geometric]] mode in America, and since its destruction by the extension of the city, a few years since, there is nothing comparable with it, in that style, among us. All the symmetry, uniformity, and high art of the old school, were displayed here in artificial plantations, formal gardens with [[trellis|trellises]], [[grotto|grottoes]], spring-houses, [[temple]]s, [[statue]]s, and [[vase]]s, with numerous [[pond]]s of water, [[jet|jets-d'eau]], and other water-works, [[parterre]]s and an extensive range of [[hothouse]]s. The effect of this garden was brilliant and striking; its position, on the lovely banks of the [[Schuylkill River|Schuylkill]], admirable; and its liberal proprietor, [[Henry Pratt|Mr. Pratt]], by opening it freely to the public, greatly increased the popular taste in the neighborhood of that city.” [[#Downing 1849_cite|back up to History]]

*[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1850, describing Lemon Hill (1850: 331)<ref>J. C. (John Claudius) Loudon, ''An Encyclopaedia of Gardening; Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening'', rev. ed. (London: Longman et al., 1850), [https://www.zotero.org/groups/54737/items/itemKey/W8EQFZUG view on Zotero].</ref>
:“850. ''Lemon Hill, near Philadelphia''. . . [Downing observes:] ‘. . . An extensive range of [[hothouse|hothouses]], curious [[grotto|grottoes]] and spring-houses, as well as every other [[gardenesque]] structure, gave variety and interest to this celebrated spot, which we regret the rapidly extending trees, and the mania for improvement there, as in some of our other cities, have now nearly destroyed and obliterated.’ (''Downing’s Landscape Gardening adapted to North America.'')"

*<div id="Keyser"></div>Keyser, Charles S., 1856, describing Lemon Hill (quoted in Keyser, et al. 1886: 6–7, 18)<ref>Charles S. Keyser, Thomas Cochran, and Horace J. Smith, ''Lemon Hill and Fairmount Park: The Papers of Charles S. Keyser and Thomas Cochran, Relative to a Public Park for Philadelphia'' (Philadelphia: Times Printing House, 1886), [https://www.zotero.org/groups/54737/items/itemKey/IXV8W2NV view on Zotero].</ref>
:“. . . by neglect, by fire and by wanton destruction, this place, the abode of a once princely luxury had fallen into ruin; where beautiful [[hothouse|hot-houses]] filled with rare exotics overlooked the [[Schuylkill River|river]], only falling walls blackened by fire remained; the [[shrubbery]] had been destroyed; the little bark [[grotto]] over the spring and the shady [[summerhouse|summer houses]] had decayed; and the ponds once filled with the gold fish had become loathsome with slime; only the grand old tulip trees remained, and the pines which stood as they still stand to-day, silent sentinels around the deserted mansion. . .
:“The grounds lie in undulating slopes, breaking off in bluffs at the water’s edge, at heights of perhaps from 50 to 100 feet. The intervening hollows are filled below and near the water’s edge, with an undergrowth of [[shrubbery]]. They spread out in an easy ascent to the slopes above, covered with greensward. Upon the highest point of the grounds midway between the two Water Works, are the remains of the foundation of a small building, perhaps a [[summerhouse|summer house]]; it is surrounded with a broken circle of cedar trees. Further down towards the dam, on a beautiful [[lawn]] overlooking Fairmount, stands the mansion house; near this are the ruins of the [[summerhouse|summer houses]]. Back towards the railroad from the mansion, down a thickly wooded descent, is the once beautiful spring. A carriage [[drive]] appears from the position of some trees, yet remaining in a traceable order, to have followed the course of the river along the summit of the slopes through the grounds. Some large tulip trees of beautiful form and some venerable pines remain.” [[#Keyser_cite|back up to History]]

*<div id="Fisher"></div>Fisher, Sidney George, November 21, 1861, describing Lemon Hill and Sedgley (quoted in Fisher 2007: 122)<ref>Sidney George Fisher, ''A Philadelphia Perspective: The Civil War Diary of Sidney George Fisher'', ed. Jonathan W. White (New York: Fordham University Press, 2007), [https://www.zotero.org/groups/54737/items/itemKey/STS4EM33 view on Zotero].</ref>
:“It is a rolling piece of ground, commanding fine views of the river, but unfortunately has but little timber, that having been cut down some years ago by Isaac Loyd, a speculator who bought one or both these estates. Before that act of vandalism, it was beautifully wooded.” [[#Fisher_cite|back up to History]]

<hr>

==Images==
<span id="roundabout_img"></span>
<gallery widths="170px" heights="170px" perrow="7">

File:1138.jpg|William Groombridge, ''[[View]] of Lemon Hill'', c. 1800.

File:2107.jpg|Artist/maker unknown, ''A [[View]] of Lemon Hill on the River Schuylkill, the [[Seat]] of Henry Pratt Esq. of Philadelphia'', Early 19th century.

File:0043_2.jpg|John Archibald Woodside, ''Lemon Hill'', 1807.

File:2102.jpg|Pavel Petrovich Svinin, ''The Upper Bridge over the Schuylkill, Philadelphia—Lemon Hill in the Background'', 1811–ca. 1813.

File:2106.jpg|John G. Exilious, “A [[View]] of Lemon Hill the Seat of Henry Pratt Esq<sup>r</sup>.,” in Oliver Oldschool [Joseph Dennie], ed. ''The Port Folio'' (August 1813): opp. p. 166.

File:0300.jpg|Thomas Birch, ''Fairmount Water Works'', 1821.

File:2119.jpg|Robert Campbell, after Thomas Birch, ''[[View]] of the Dam and Water Works at Fairmount, Philadelphia'', 1824.

File:2105.jpg|Firm of Joseph Stubbs, decoration after Thomas Birch, Plate with [[view]] of Lemon Hill, c. 1825.

File:2104.jpg|Firm of Joseph Stubbs, decoration after Thomas Birch, Soup plate with [[view]] of Lemon Hill, c. 1825.

File:2103.jpg|Firm of Joseph Stubbs, Tureen and cover with [[view]] of Lemon Hill, c. 1828.

File:2125.jpg|J. Allbright (illustrator), J. B. Longacre (engraver), J. & W. W. Warr (engraver), The [[greenhouse]] and [[hothouse]]s at Lemon Hill, detail of the title page, in D. & C. Landreth, ''Floral Magazine and Botanical Repository'' (1832).

File:2112.jpg|James Fuller Queen, ''Temple in Pratt’s garden on the Schuylkill'', recto, 1840.

File:2117.jpg|T. Mason Mitchell, ''Plan of the Fair [[Mount]] docks and the adjoining property belonging to Knowles Taylor, Matthew Newkirk, Sam’l Downer junr. & Isaac S. Loyd.'', c. 1840.

File:2144.jpg|William Southgate Porter, ''Panorama of Fairmount'', May 22, 1848.

File:1038.jpg|Frederick Graff, ''Plan of Lemon Hill and Sedgley Park, Fairmount and Adjoining Property'', 1851.

File:1803.jpg|Benjamin R. Evans, ''Lemon Hill'', 1852.

File:2099.jpg|Anonymous, “Lemon Hill,” in M. M. Ballou, ed., ''Ballou’s Pictorial Drawing-Room Companion'' 8, no. 19 (May 12, 1855), p. 297.

File:2111.jpg|James Fuller Queen, [[View]] from the Schuylkill River looking up toward a mansion, possibly Lemon Hill in Philadelphia, Pennsylvania, ca. 1856.

File:2129.jpg|James C. Sidney and Andrew Adams, ''Plan of Fairmount-Park'', in ''Description of Plan for the Improvement of Fairmount Park'', 1859.

File:2109.jpg|John C. Sinclair, ''Entrance to Lemon Hill'', c. 1870.

Image:1999.jpg|Benjamin R. Evans, ''Lemon Hill'', c. 1880.

File:2110.jpg|James Fuller Queen, ''Lemon Hill May 17th ’55'', May 17 1855.
</gallery>

<hr>

==Other Resources==
[http://tclf.org/landscapes/fairmount-park The Cultural Landscape Foundation]

<hr>

==Notes==
<references/>

<hr>

[[Category: Places]]

File:1101.jpg

2021-08-30T14:28:08Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
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|Keyword=Landscape gardening
}}{{Keyword relationship
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}}{{Keyword relationship
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|Creator=Anonymous
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|Title="Bloomingdale Asylum for the Insane," in ''American Magazine of Useful and Entertaining Knowledge'' 1, no. 1 (September 1834)
|Image Title=Anonymous, "Bloomingdale Asylum for the Insane," in ''American Magazine of Useful and Entertaining Knowledge'' 1, no. 1 (September 1834)
|Showcase main=No
|Showcase essay=No
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|Publication Date=September 1834
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|Reference Title=American Magazine of Useful and Entertaining Knowledge
|Volume=1
|Edition=1
|Page number=6
|Repository=Harvard University Library
}}
Anonymous, "Bloomingdale Asylum for the Insane," in ''American Magazine of Useful and Entertaining Knowledge'' 1, no. 1 (September 1834): 6. Harvard University Library.

File:1089.jpg

2021-08-30T14:06:07Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Cemetery/Burying ground/Burial ground
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|Creator=James Smillie (artist), W. W. Rice (engraver)
|Creation Present=No
|Creation Date=1855
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="Monument to Miss Charlotte Canda," in Nehemiah Cleaveland, ''The Rural Cemeteries of America. / Illustrated in a series of highly finished steel engravings from drawings taken on the spot, of the most picturesque scenery in Greenwood and Mount Auburn cemeteries; With descriptions by Nehemiah Cleaveland'' (1855 [1847])
|Inscription=Monument to Miss Charlotte Canda

From a design made by herself a short time before her death
|Image Title=James Smillie (artist), W. W. Rice (engraver), "Monument to Miss Charlotte Canda," in Nehemiah Cleaveland, ''The Rural Cemeteries of America. / Illustrated in a series of highly finished steel engravings from drawings taken on the spot, of the most picturesque scenery in Greenwood and Mount Auburn cemeteries; With descriptions by Nehemiah Cleaveland'' (1855 [1847])
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>
James Smillie (artist), W. W. Rice (engraver), "Monument to Miss Charlotte Canda," in Nehemiah Cleaveland, ''The Rural Cemeteries of America. / Illustrated in a series of highly finished steel engravings from drawings taken on the spot, of the most picturesque scenery in Greenwood and Mount Auburn cemeteries; With descriptions by Nehemiah Cleaveland'' (1855 [1847]), opp. p. 8. National Gallery of Art, Washington, D.C.

File:0861.jpg

2021-08-30T13:54:56Z

A-whitlock:

{{Image
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}}{{Keyword relationship
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}}{{Keyword relationship
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|Keyword=Botanic garden
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|Creator=William Dandridge Peck
|Creation Present=No
|Creation Date=February 19, 1805
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Plan of the botanic garden of Mr. Curtis, Newbury, Mass.
|Image Title=William Dandridge Peck, Plan of the botanic garden of Mr. Curtis, Newbury, Mass., February 19, 1805
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
William Dandridge Peck, Plan of the botanic garden of Mr. Curtis, Newbury, Mass., February 19, 1805. Papers of William Dandridge Peck, HUG 1677 Box 2, 1805-1807, Harvard University Archives, Cambridge, Mass.

File:0568.jpg

2021-08-30T13:51:33Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Bath/Bathhouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Canal
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Cemetery/Burying ground/Burial ground
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Mall
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Pond
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Square
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Public garden/Public ground
}}
|Creator=William Keenan
|Creation Present=No
|Creation Date=September 1844
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Plan of the City and Neck of Charleston, S.C.''
|Medium=lithograph
|Dimensions=18 9/10 x 15 in. (48 x 38 cm)
|Image Title=William Keenan, ''Plan of the City and Neck of Charleston, S.C.'', September 1844
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
William Keenan, ''Plan of the City and Neck of Charleston, S.C.'', September 1844, lithograph, 18 9/10 x 15 in. (48 x 38 cm). David Rumsey Historical Map Collection, Cartography Associates.

File:0251.jpg

2021-08-27T17:40:02Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Terrace/Slope
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=View/Vista
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Wood/Woods
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Vase/Urn
}}
|Creator=Charles Codman
|Creation Present=No
|Creation Date=1820
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Kalorama''
|Image Title=Charles Codman, ''Kalorama'', c. 1820
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Charles Codman, ''Kalorama'', c. 1820. The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.

File:1384.jpg

2021-08-27T17:37:06Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Avenue
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Canal
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Parterre
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Terrace/Slope
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Walk
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Grove
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Lawn
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Park
}}
|Creator=Batty Langley
|Creation Present=No
|Creation Date=1728
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=One of two "Designs for Gardens that lye irregularly to the ground House . . . House opening to the North upon a plain Parterre of Grass"
|Image Title=Batty Langley, One of two "Designs for Gardens that lye irregularly to the ground House . . . House opening to the North upon a plain Parterre of Grass," in ''New Principles of Gardening, or The laying out and planting parterres, groves, wildernesses, labyrinths, avenues, parks, &c.'' (1728)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1728
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''New Principles of Gardening, or The laying out and planting parterres, groves, wildernesses, labyrinths, avenues, parks, &c.''
|Figure=pl. XI
|Repository=Dumbarton Oaks Research Library and Collection
|Reference ID=MRDTAEKC
}}
Batty Langley, One of two "Designs for Gardens that lye irregularly to the ground House . . . House opening to the North upon a plain Parterre of Grass," in ''New Principles of Gardening, or The laying out and planting parterres, groves, wildernesses, labyrinths, avenues, parks, &c.'' (1728), pl. XI. Dumbarton Oaks Research Library and Collection, Washington, D.C.

File:1304.jpg

2021-08-27T17:30:53Z

A-whitlock:

{{Image
|Place=Mount Auburn Cemetery
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Cemetery/Burying ground/Burial ground
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Gate/Gateway
}}
|Creator=John Warner Barber
|Creation Present=No
|Creation Date=1844
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=“Entrance to Mount Auburn Cemetery”
|Inscription=Entrance to Mount Auburn Cemetery
|Image Title=John Warner Barber, “Entrance to Mount Auburn Cemetery,” in ''Historical Collections, Being a general collection of interesting facts, traditions, biographical sketches, anecdotes, &c., relating to the history and antiquities of every town in Massachusetts, with geographical descriptions'' (1844)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1844
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Historical Collections, Being a general collection of interesting facts, traditions, biographical sketches, anecdotes, &c., relating to the history and antiquities of every town in Massachusetts, with geographical descriptions''
|Page number=361
|Repository=Library of Congress
}}
John Warner Barber, “Entrance to Mount Auburn Cemetery,” in ''Historical Collections, Being a general collection of interesting facts, traditions, biographical sketches, anecdotes, &c., relating to the history and antiquities of every town in Massachusetts, with geographical descriptions'' (1844), p. 361. Library of Congress, Washington, DC.

File:0395.jpg

2021-08-27T17:27:20Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Conservatory
}}
|Creator=Anonymous
|Creation Present=No
|Creation Date=1849
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="Villa at Brooklyn, N.Y., with the Conservatory attached"
|Image Title=Anonymous, "Villa at Brooklyn, N.Y., with the Conservatory attached," in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1849
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''A Treatise on the Theory and Practice of Landscape Gardening''
|Page number=453
|Figure=79
|Repository=National Gallery of Art
|Reference ID=K7BRCDC5
}}
{{break}}
Anonymous, "Villa at Brooklyn, N.Y., with the Conservatory attached," in [[A. J. Downing]], ''A Treatise on the Theory and Practice of Landscape Gardening'' (1849), p. 453, fig. 79. National Gallery of Art, Washington, D.C.

File:2013.jpg

2021-08-27T17:23:36Z

A-whitlock:

{{Image
|People=Anthony St. John Baker
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Bowling green
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Lawn
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Terrace/Slope
}}
|Creator=Anthony St. John Baker
|Creation Present=No
|Creation Date=May 19, 1827
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=“Back View of Mount Airy, V<sup>a</sup>.”
|Image Title=Anthony St. John Baker, “Back View of Mount Airy, V<sup>a</sup>.,” May 19, 1827
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1850
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Mémoires d’un voyageur qui se repose''
|Volume=Part IV
|Page number=520B
|Repository=General Collection, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut
}}
Anthony St. John Baker, “Back View of Mount Airy, V<sup>a</sup>.,” May 19, 1827, in ''Mémoires d’un voyageur qui se repose'' (1850), part IV, p. 520B. General Collection, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut.

File:2013.jpg

2021-08-27T17:23:11Z

A-whitlock:

{{Image
|People=Anthony St. John Baker
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Bowling green
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Lawn
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Terrace/Slope
}}
|Creator=Anthony St. John Baker
|Creation Present=No
|Creation Date=May 19, 1827
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=“Back View of Mount Airy, VA,”
|Image Title=Anthony St. John Baker, “Back View of Mount Airy, V<sup>a</sup>.,” May 19, 1827
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=1850
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Mémoires d’un voyageur qui se repose''
|Volume=Part IV
|Page number=520B
|Repository=General Collection, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut
}}
Anthony St. John Baker, “Back View of Mount Airy, V<sup>a</sup>.,” May 19, 1827, in ''Mémoires d’un voyageur qui se repose'' (1850), part IV, p. 520B. General Collection, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut.

File:1803.jpg

2021-08-27T17:19:04Z

A-whitlock:

{{Image
|Place=Lemon Hill
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Public garden/Public ground
}}
|Creator=Benjamin R. Evans
|Creation Present=No
|Creation Date=1852
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Lemon Hill''
|Image Title=Benjamin R. Evans, ''Lemon Hill,'' 1852
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Benjamin R. Evans, ''Lemon Hill,'' 1852. Historical Society of Pennsylvania, Philadelphia.

File:1603.jpg

2021-08-27T17:16:41Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Pot
}}
|Creator=Anonymous
|Creation Present=No
|Creation Date=January 1851
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Section of a small, low-cost, wood frame "green-house,"
|Image Title=Anonymous, Section of a small, low-cost, wood frame "green-house," ''Horticulturist,'' Vol. 6, No. 1 (January 1851)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Date=January 1851
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''Horticulturist''
|Volume=6
|Page number=18
|Figure=1
|Repository=Private Collection
}}
{{break}}
Anonymous, Section of a small, low-cost, wood frame "green-house," ''Horticulturist,'' Vol. 6, No. 1 (January 1851), p. 18, fig. 1. Private Collection.

File:1193.jpg

2021-08-27T17:14:23Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Public garden/Public ground
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Fence
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Gate/Gateway
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Pond
}}
|Creator=David J. Kennedy
|Creation Present=No
|Creation Date=1840
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''McAran's Garden''
|Medium=watercolor
|Dimensions=9 1/2 x 7 2/3 in (24 x 20 cm)
|Image Title=David J. Kennedy, ''McAran's Garden'', 1840
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
David J. Kennedy, ''McAran's Garden'', 1840, watercolor, 9 1/2 x 7 2/3 in (24 x 20 cm). [http://digitallibrary.hsp.org/index.php/Detail/Object/Show/object_id/1204 Historical Society of Pennsylvania, Philadelphia].

File:0941.jpg

2021-08-27T15:57:36Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Vase/Urn
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Fountain
}}
|Creation Present=No
|Creation Date=July 1848
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="A pair of ''tozza'' [''sic''] vases, for a fountain"
|Image Title=Anonymous, "A pair of ''tozza'' [''sic''] vases, for a fountain," in A. J. Downing, ed., ''The Horticulturist and Journal of Rural Art and Rural Taste Devoted to Horticulture, Landscape, Gardening, Rural Architecture, Botany, Pomology, Entomology, Rural Economy, &c.'' 3, no. 1 (July 1848)
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
|Reference Title=''The Horticulturist and Journal of Rural Art and Rural Taste Devoted to Horticulture, Landscape, Gardening, Rural Architecture, Botany, Pomology, Entomology, Rural Economy, &c.''
|Volume=3
|Page number=42
|Figure=13
|Repository=Private Collection
}}
Anonymous, "A pair of ''tozza'' [''sic''] vases, for a fountain," in A. J. Downing, ed., ''The Horticulturist and Journal of Rural Art and Rural Taste Devoted to Horticulture, Landscape, Gardening, Rural Architecture, Botany, Pomology, Entomology, Rural Economy, &c.'' 3, no. 1 (July 1848): p. 42, fig. 13. Private collection.

File:0549.jpg

2021-08-27T15:54:26Z

A-whitlock:

{{Image
|Place=Mount Vernon
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Lawn
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Piazza
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Portico
}}{{Keyword relationship
|Keyword relationship=Attributed
|Keyword=Terrace/Slope
}}
|Creator=Victor de Grailly
|Creation Present=No
|Creation Date=1840
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=Yes
|Creation Present End=No
|Creation Date End=1850
|Creation Circa End=No
|Creation Concurrence End=Exact
|Creation Questionable End=No
|Title=''Mount Vernon''
|Medium=oil on canvas
|Dimensions=16 3/16 x 21 1/2 in. (41.1 x 54.6 cm)
|Image Title=Victor de Grailly, ''Mount Vernon'', c. 1840-50
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=Yes
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Victor de Grailly, ''Mount Vernon'', c. 1840-50, oil on canvas, 16 3/16 x 21 1/2 in. (41.1 x 54.6 cm). Eskenazi Museum of Art, Indiana University, Morton and Marie Bradley Memorial Collection.

File:0475.jpg

2021-08-27T15:48:51Z

A-whitlock:

{{Image
|Place=Nursery of Robert Buist
|People=Robert Buist
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Greenhouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Hothouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Nursery
}}
|Creator=Oscar Alexander Lawson (artist), Ely (engraver)
|Creation Present=No
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Rob[er]t Buist, Nurseryman & Florist''
|Inscription=[Upper left] Choice flower seeds & Dahlia Roots. / [Middle] Rob.<sup>t</sup> Buist, Nurseryman & Florist. / [Upper right] Hyacinths, Tulips & other Dutch Bulbs. / [Lower middle] City Establishment No. 140 South 12<sup>th</sup> Street, Philadelphia. Green House, Hothouse & Ornamental Plants & Shrubbery carefully packed for exportation.
|Medium=engraving after a drawing attributed to Oscar Alexander Lawson
|Dimensions=3 1/8 x 4 3/4 in. (8 x 12 cm).
|Image Title=Oscar Alexander Lawson (artist), Ely (engraver), ''Rob[er]t Buist, Nurseryman & Florist'' (calling card), n.d., engraving after a drawing attributed to Oscar Alexander Lawson
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Oscar Alexander Lawson (artist), Ely (engraver), ''Rob[er]t Buist, Nurseryman & Florist'' (calling card), n.d., engraving after a drawing attributed to Oscar Alexander Lawson, 3 1/8 x 4 3/4 in. (8 x 12 cm). Alexander Lawson Scrapbooks (Collection 79, 2:154c). Ewell Sale Stewart Library, The Academy of Natural Sciences of Philadelphia.

Inscription: [Upper left] Choice flower seeds & Dahlia Roots. / [Middle] Rob.<sup>t</sup> Buist, Nurseryman & Florist. / [Upper right] Hyacinths, Tulips & other Dutch Bulbs. / [Lower middle] City Establishment No. 140 South 12<sup>th</sup> Street, Philadelphia. Green House, Hothouse & Ornamental Plants & Shrubbery carefully packed for exportation.

File:0475.jpg

2021-08-27T15:48:23Z

A-whitlock:

{{Image
|Place=Nursery of Robert Buist
|People=Robert Buist
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Greenhouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Hothouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Nursery
}}
|Creator=Oscar Alexander Lawson (artist), Ely (engraver)
|Creation Present=No
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Rob[er]t Buist, Nurseryman & Florist'' (calling card)
|Inscription=[Upper left] Choice flower seeds & Dahlia Roots. / [Middle] Rob.<sup>t</sup> Buist, Nurseryman & Florist. / [Upper right] Hyacinths, Tulips & other Dutch Bulbs. / [Lower middle] City Establishment No. 140 South 12<sup>th</sup> Street, Philadelphia. Green House, Hothouse & Ornamental Plants & Shrubbery carefully packed for exportation.
|Medium=engraving after a drawing attributed to Oscar Alexander Lawson
|Dimensions=3 1/8 x 4 3/4 in. (8 x 12 cm).
|Image Title=Oscar Alexander Lawson (artist), Ely (engraver), ''Rob[er]t Buist, Nurseryman & Florist'' (calling card), n.d., engraving after a drawing attributed to Oscar Alexander Lawson
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Oscar Alexander Lawson (artist), Ely (engraver), ''Rob[er]t Buist, Nurseryman & Florist'' (calling card), n.d., engraving after a drawing attributed to Oscar Alexander Lawson, 3 1/8 x 4 3/4 in. (8 x 12 cm). Alexander Lawson Scrapbooks (Collection 79, 2:154c). Ewell Sale Stewart Library, The Academy of Natural Sciences of Philadelphia.

Inscription: [Upper left] Choice flower seeds & Dahlia Roots. / [Middle] Rob.<sup>t</sup> Buist, Nurseryman & Florist. / [Upper right] Hyacinths, Tulips & other Dutch Bulbs. / [Lower middle] City Establishment No. 140 South 12<sup>th</sup> Street, Philadelphia. Green House, Hothouse & Ornamental Plants & Shrubbery carefully packed for exportation.

File:0475.jpg

2021-08-27T15:45:59Z

A-whitlock:

{{Image
|Place=Nursery of Robert Buist
|People=Robert Buist
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Greenhouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Hothouse
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Nursery
}}
|Creator=Oscar Alexander Lawson (artist), Ely (engraver)
|Creation Present=No
|Creation Date=n.d.
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Rob[er]t Buist, Nurseryman & Florist'' (calling card)
|Inscription=[Upper left] Choice flower seeds & Dahlia Roots. / [Middle] Rob.<sup>t</sup> Buist, Nurseryman & Florist. / [Upper right] Hyacinths, Tulips & other Dutch Bulbs. / [Lower middle] City Establishment No. 140 South 12<sup>th</sup> Street, Philadelphia. Green House, Hothouse & Ornamental Plants & Shrubbery carefully packed for exportation.
|Medium=engraving after a drawing attributed to Oscar Alexander Lawson
|Dimensions=3 1/8 x 4 3/4 in. (8 x 12 cm).
|Image Title=Oscar Alexander Lawson (artist), Ely (engraver), ''Rob[er]t Buist, Nurseryman & Florist'' (calling card), n.d., engraving after a drawing attributed to Oscar Alexander Lawson
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Oscar Alexander Lawson (artist), Ely (engraver), ''Rob[er]t Buist, Nurseryman & Florist'' (calling card), n.d., engraving after a drawing attributed to Oscar Alexander Lawson, 3 1/8 x 4 3/4 in. (8 x 12 cm). Alexander Lawson Scrapbooks (Collection 79, 2:154c). Ewell Sale Stewart Library, The Academy of Natural Sciences of Philadelphia.

Inscription: [Upper left] Choice flower seeds & Dahlia Roots. / [Middle] Rob.<sup>t</sup> Buist, Nurseryman & Florist. / [Upper right] Hyacinths, Tulips & other Dutch Bulbs. / [Lower middle] City Establishment No. 140 South 12<sup>th</sup> Street, Philadelphia. Green House, Hothouse & Ornamental Plants & Shrubbery carefully packed for exportation.

File:2253.jpg

2021-08-27T15:37:09Z

A-whitlock:

{{Image
|Keyword relationships={{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Park
}}{{Keyword relationship
|Keyword relationship=Inscribed
|Keyword=Square
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Bowling green
}}
|Creator=Benjamin Taylor, John Roberts (engraver)
|Creation Present=No
|Creation Date=1797
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title="A New & Accurate Plan of the City of New York in the State of New York in North America"
|Image Title=Benjamin Taylor, John Roberts (engraver), "A New & Accurate Plan of the City of New York in the State of New York in North America," 1797
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Benjamin Taylor, John Roberts (engraver), "A New & Accurate Plan of the City of New York in the State of New York in North America," 1797. From The New York Public Library Digital Collections.

File:2114.jpg

2021-08-27T15:35:11Z

A-whitlock:

{{Image
|Place=The Woodlands
|People=William Hamilton
|Creator=Pavel Petrovich Svinin
|Creation Present=No
|Creation Date=1811
|Creation Circa=No
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=Yes
|Creation Present End=No
|Creation Date End=1813
|Creation Circa End=Yes
|Creation Concurrence End=Exact
|Creation Questionable End=No
|Title=''View of Morrisville, General Moreau’s Country House in Pennsylvania, Possibly The Woodlands, Pennsylvania''
|Medium=watercolor on white laid paper
|Dimensions=5 3/8 x 7 9/16 in. (13.7 x 19.2 cm)
|Image Title=Pavel Petrovich Svinin, ''View of Morrisville, General Moreau’s Country House in Pennsylvania, Possibly The Woodlands, Pennsylvania'', 1811–c. 1813
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Pavel Petrovich Svinin, ''View of Morrisville, General Moreau’s Country House in Pennsylvania, Possibly The Woodlands, Pennsylvania'', 1811–c. 1813, watercolor on white laid paper, 5 3/8 x 7 9/16 in. (13.7 x 19.2 cm). The Metropolitan Museum of Art. Rogers Fund, 1942.

File:1986.jpg

2021-08-27T15:33:15Z

A-whitlock:

{{Image
|Place=Elgin Botanic Garden
|People=Andrew Gentle, David Hosack
|Keyword relationships={{Keyword relationship
|Keyword relationship=Associated
|Keyword=Botanic garden
}}{{Keyword relationship
|Keyword relationship=Associated
|Keyword=Greenhouse
}}
|Creator=Anonymous
|Creation Present=No
|Creation Date=1810
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=''Elgin Botanic Garden''
|Image Title=Anonymous, ''Elgin Botanic Garden'', c. 1810
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
Anonymous, ''Elgin Botanic Garden'', c. 1810. The LuEsther T. Mertz Library, New York Botanical Garden, Bronx, New York.

File:2205.jpg

2021-08-27T15:32:25Z

A-whitlock:

{{Image
|People=Alexander Jackson Davis
|Creator=Mary Freeman Goldbeck
|Creation Present=No
|Creation Date=1858
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Portrait of Alexander Jackson Davis
|Image Title=Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1858
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>

Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1845. Drawings
and Archives, Avery Architectural and Fine Arts Library, Columbia University [1940.00.00740].

File:2205.jpg

2021-08-27T15:32:14Z

A-whitlock:

{{Image
|People=Alexander Jackson Davis
|Creator=Mary Freeman Goldbeck
|Creation Present=No
|Creation Date=1858
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Portrait of Alexander Jackson Davis
|Image Title=Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1858
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>
Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1845. Drawings
and Archives, Avery Architectural and Fine Arts Library, Columbia University [1940.00.00740].

File:2205.jpg

2021-08-27T15:31:49Z

A-whitlock:

{{Image
|People=Alexander Jackson Davis
|Creator=Mary Freeman Goldbeck
|Creation Present=No
|Creation Date=1858
|Creation Circa=Yes
|Creation Concurrence=Exact
|Creation Questionable=No
|Creation HasEndDate=No
|Creation Present End=No
|Creation Circa End=No
|Creation Questionable End=No
|Title=Portrait of Alexander Jackson Davis
|Image Title=Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1858
|Showcase main=No
|Showcase essay=No
|Publication Present=No
|Publication Circa=No
|Publication Concurrence=Exact
|Publication Questionable=No
|Publication HasEndDate=No
|Publication Present End=No
|Publication Circa End=No
|Publication Questionable End=No
}}
<br>
Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1858. Mary Freeman Goldbeck, Portrait of Alexander Jackson Davis, ca. 1845. Drawings
and Archives, Avery Architectural and Fine Arts Library, Columbia University [1940.00.00740].