Gardenesque - Revision history

V-Federici at 16:03, July 14, 2020

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A-Whitlock at 15:31, January 27, 2020

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V-Federici at 14:49, January 6, 2020

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V-Federici at 14:41, January 6, 2020

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V-Federici at 14:33, January 6, 2020

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V-Federici at 14:30, January 6, 2020

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V-Federici at 14:27, January 6, 2020

2020-01-06T14:27:26Z

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 :“In planting, thinning, and pruning, in order to produce '''gardenesque''' effect, the beauty of every individual tree and [[shrub]], as a single object, is to be taken into consideration, as well as the beauty of the mass: while in planting, thinning, and pruning for [[picturesque]] effect, the beauty of individual trees and [[shrub]]s is of little consequence; because no tree or [[shrub]], in a [[picturesque]] [[plantation]] or scene, should stand isolated, and each should be considered as merely forming part of a group or mass. In a [[picturesque]] imitation of nature, the trees and [[shrub]]s, when planted, should be scattered over the ground in the most irregular manner; both in their disposition with reference to their immediate effect as plants, and with reference to their future effect as trees and [[shrub]]s. In some places trees should prevail, in others [[shrub]]s; in some parts the [[plantation]] should be thick, in others it should be thin; two or three trees, or a tree and [[shrub]], ought often to be planted in one hole, and this more especially on [[lawn]]s. Where, on the contrary, trees and [[shrub]]s are to be scattered in the '''gardenesque''' manner, every one should stand singly; as in the [[geometric style|geometrical manner]] they should stand in regular lines, or in some regular figure. In the '''gardenesque''', there may be single trees and single [[shrub]]s; but there can be no such thing as a single tree in the [[picturesque]]. Every tree, in the [[picturesque]] style of laying out grounds, must always be grouped with something else, if it should be merely a [[shrub]], a twiner, or a tuft of grass or other plants at its root. In the '''gardenesque''', the beauty of the tree consists in its own individual perfections, which are fully developed in consequence of the isolated manner in which it has been grown; in the [[picturesque]], the beauty of a tree or [[shrub]], as of every other object in the landscape, consists in its fitness to group with other objects. Now, the fitness of one object to group with another evidently does not consist in the perfection of the form of that object, but rather in that imperfection which requires another object to render it complete. . .
 :“Mr. Williams, considering that, in all works of art, and in all natural objects which are to be examined singly, one of the greatest beauties is symmetry, has those trees and [[shrub]]s which he manages in a '''gardenesque''' manner brought into the most perfectly symmetrical forms, by tying the branches up or down, inwards or outwards, as may be necessary, with small almost invisible copper wire; by which means, no only every plant in a tub or a [[pot]] is perfectly symmetrical, whatsoever be its form but those trees and [[shrub]]s which stand singly on the lawn, or compose '''gardenesque''' masses, are individually so treated; and, standing as they do a few inches apart from each other, the separate shape of each plant is seen by the spectator. The same care is bestowed on the dahlias, which are here grown in large quantities, and of sorts most of which were raised under the direction of Mr. Williams, from seeds saved in his own garden. . .
-[[File:1756.jpg|thumb|Fig. 3, [[J. C. Loudon]], “View at Hendon Rectory,” Middlesex, England, in ''The Suburban Gardener'' (1838), 483, fig. 175.]]
+[[File:1756.jpg|thumb|Fig. 3, [[J. C. Loudon]], “[[View]] at Hendon Rectory,” Middlesex, England, in ''The Suburban Gardener'' (1838), 483, fig. 175.]]
 :“A point, where the spectator, having his back to the house, sees before him a narrow strip of [[lawn]], with a handsome symmetrical plants of the following kinds:—Next [to the] entrance door, Taxòdium dístichum nùtnas, Dáhl''ia'', ''P''ìnus rígida, Taxòdium dístichum pàtens. Beyond this, there is a row of dwarf hybrid rhododendrons, as a margin to a bank of common laurel, cut smooth above, with standard roses, and other trees, all cut into symmetrical roundish forms, rising through it. . . which forms a very singular phalanx of objects, and serves to occupy the minds of the spectator, and prevent his recollecting that he is so very near the boundary and the public road.” [Fig. 3]

@@ Line 88: / Line 88: @@
 <gallery widths="170px" heights="170px" perrow="4">
-Image:1756.jpg|[[J. C. Loudon]], “View at Hendon Rectory,” Middlesex, England, in ''The Suburban Gardener'' (1838), 483, fig. 175.
+Image:1756.jpg|[[J. C. Loudon]], “[[View]] at Hendon Rectory,” Middlesex, England, in ''The Suburban Gardener'' (1838), 483, fig. 175.
 </gallery>
@@ Line 96: / Line 96: @@
 Image:1043.jpg|Sidney Mason Stone, ''House for Roger Sherman Baldwin, New Haven, Conn. [exterior elevation]'', c. 1830–40.
-Image:0032.jpg|[[Robert Mills]], ''Picturesque View of the Building, and Grounds in front'', 1841.
+Image:0032.jpg|[[Robert Mills]], ''[[Picturesque]] [[View]] of the Building, and Grounds in front'', 1841.
 Image:0034.jpg|[[Robert Mills]], Alternative plan for the grounds of the National Institution, 1841.
-Image:1967.jpg|[[A. J. Downing]], ''Plan Showing Proposed Method of Laying Out the Public Grounds at Washington'', 1851.
+Image:1967.jpg|[[A. J. Downing]], ''Plan Showing Proposed Method of Laying Out the [[Public_garden/Public_ground|Public Grounds]] at Washington'', 1851.
 Image:1673.jpg|Anonymous, ''The Claremont'', c. 1855.
-Image:0023.jpg|[[A. J. Downing]], ''Plan Showing Proposed Method of Laying Out the Public Grounds at Washington'', 1851. Manuscript copy by Nathaniel Michler, 1867.
+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>

@@ Line 82: / Line 82: @@
 <gallery widths="170px" heights="170px" perrow="4">
-Image:1760.jpg|[[J. C. Loudon]], “Trees. . . arranged in the gardenesque manner,” in ''The Suburban Gardener'' (1838), 165, fig. 47.
+Image:1760.jpg|[[J. C. Loudon]], “Trees. . . arranged in the '''gardenesque''' manner,” in ''The Suburban Gardener'' (1838), 165, fig. 47.
 </gallery>

@@ Line 15: / Line 15: @@
 ==Texts==
 ===Usage===
-*[[C. M. (Charles Mason) Hovey|Hovey, C. M. (Charles Mason)]], November 1839, describing Elfin Glen, residence of P. Dodge, Salem, MA (''Magazine of Horticulture'' 5: 404)<ref>Charles Mason Hovey, “Notices of Gardens and Horticulture, in Salem, Mass.,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 5, no. 11 (November 1839): 401–16, [https://www.zotero.org/groups/54737/items/itemKey/25HW5NZ9 view on Zotero].</ref>
+*Hovey, C. M. (Charles Mason), November 1839, describing Elfin Glen, residence of P. Dodge, Salem, MA (''Magazine of Horticulture'' 5: 404)<ref>Charles Mason Hovey, “Notices of Gardens and Horticulture, in Salem, Mass.,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 5, no. 11 (November 1839): 401–16, [https://www.zotero.org/groups/54737/items/itemKey/25HW5NZ9 view on Zotero].</ref>
 :“The cottage stands near the road, and is entered from the west front; on the south end is a [[piazza]]; the drawing-room opens into this, and thence into the garden to an open space, answering somewhat the purpose of a [[terrace]], neatly gravelled; a [[walk]] from thence conducts directly, in a straight line, nearly to the edge of the river, where it terminates in a [[rustic style|rustic]] [[arch]] and [[vase]] on the [[lawn]]; on each side of the [[walk]] there is turf, with circles of flowers at the distance of ten or twelve feet; these are each backed by a line of buckthorn [[hedge]]s, with a [[view]] to screen both the fruit garden on the east, and the vegetable garden on the west, from sight. As much as we dislike criticism in such a case as this, we must admit that this has too set an appearance for a garden in the [[modern style]]; our ideas, in regard to [[picturesque]] gardening, or, rather, what may be called the '''gardenesque''' style, are, perhaps, somewhat known, and some of our readers might think it singular for us not at once to disapprove of such taste. We have suggested to Mr. Dodge what we consider a great improvement, and have advised the removal of at least one of the [[hedge]]s, and other alterations, which we think would add greatly to the beauty of the grounds.”
-*[[C. M. (Charles Mason) Hovey|Hovey, C. M. (Charles Mason)]], April 1841, describing the [[White House]], Washington, DC (''Magazine of Horticulture'' 8: 129)<ref>Charles Mason Hovey, “Notes Made during a Visit to New York, Philadelphia, Baltimore, and Washington, and Intermediate Places, from August 8th to the 23rd, 1841,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 8, no. 4 (April 1842): 121–29, [https://www.zotero.org/groups/54737/items/itemKey/IRC7B9MN view on Zotero].</ref>
+*Hovey, C. M. (Charles Mason), April 1841, describing the White House, Washington, DC (''Magazine of Horticulture'' 8: 129)<ref>Charles Mason Hovey, “Notes Made during a Visit to New York, Philadelphia, Baltimore, and Washington, and Intermediate Places, from August 8th to the 23rd, 1841,” ''Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs'' 8, no. 4 (April 1842): 121–29, [https://www.zotero.org/groups/54737/items/itemKey/IRC7B9MN view on Zotero].</ref>
 :“We can conceive of no worse taste than the execution of the work as it now is: the object of these [[mound]]s seems to have been to hide one part of the garden from another; but this could have been done much better by a [[picturesque]] or '''gardenesque''' [[plantation]] of trees, without a resort to the artificial means which have been used. We trust, for the credit of a national taste, that some alterations may be made, when there shall be means at command to do it, and that the grounds may be re-arranged, and laid out in a style corresponding to the architecture of the building and the character of the place.”
@@ Line 31: / Line 31: @@
-*Horticola [pseud.], March 1852, “Notes on Gardens and Country Seats Near Boston,” describing Oakley Place, seat of [[William Pratt]], Boston, MA (''Horticulturist'' 7: 127)<ref>Horticola [pseud.], “Notes on Gardens and Country Seats near Boston,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 7, no. 3 (March 1852): 126–28, [https://www.zotero.org/groups/54737/items/itemKey/73G5WK8I view on Zotero].</ref>
+*Horticola [pseud.], March 1852, “Notes on Gardens and Country Seats Near Boston,” describing Oakley Place, seat of William Pratt, Boston, MA (''Horticulturist'' 7: 127)<ref>Horticola [pseud.], “Notes on Gardens and Country Seats near Boston,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 7, no. 3 (March 1852): 126–28, [https://www.zotero.org/groups/54737/items/itemKey/73G5WK8I view on Zotero].</ref>
 :“OAKLEY PLACE, the residence of Mrs. PRATT, is near Mr. CUSHING’S, and presents a fine specimen of a small country place, combining the [[picturesque]] and the natural—the '''gardenesque''' and the wild, in beautiful harmony together.”

@@ Line 52: / Line 52: @@
-[[File:1760.jpg|thumb|Fig. 2, [[J. C. Loudon]], “Trees . . . arranged in the gardenesque manner,” in ''The Suburban Gardener'' (1838),  165, fig. 47.]]
+[[File:1760.jpg|thumb|Fig. 2, [[J. C. Loudon]], “Trees. . . arranged in the gardenesque manner,” in ''The Suburban Gardener'' (1838),  165, fig. 47.]]
 *[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1838, ''The Suburban Gardener'' (1838: 164–66, 482–83)<ref>J. C. (John Claudius) Loudon, ''The Suburban Gardener, and Villa Companion'' (London: Longman et al., 1838), [https://www.zotero.org/groups/54737/items/itemKey/BQVBJ48F view on Zotero].</ref>
 :“'''''Gardenesque''' Imitation''. Where the '''gardenesque''' style of imitating nature is to be employed, the trees, [[shrub]]s, and herbaceous plants must be separated; and, instead of being grouped together as in forest scenery (where two trees, or a tree and a [[shrub]], often appear to spring from the same root, and this root is accompanied by large rampant herbs), every '''gardenesque''' group must consist of trees which do not touch each other, and which only become groups by being as near together as is practicable without touching, and by being apart from larger masses, or from single trees or rows of trees. It is not meant by this, that in the '''gardenesque''' style the trees composing a group should all be equally distant from one another; for in that case they would not form a whole, which the word group always implies. On the contrary, though all the trees in a '''gardenesque''' group ought to be so far separated from each other as not to touch, yet the degrees of separation may be as different as the designer chooses, provided the idea of a group is not lost sight of.

← Older revision		Revision as of 14:41, January 6, 2020
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	*Anonymous, April 1, 1837, “Landscape Gardening” (''Horticultural Register'' 3: 124–25)<ref>Anonymous, “Landscape Gardening,” ''Horticultural Register, and Gardener’s Magazine'' 3 (April 1, 1837): 121–31, [https://www.zotero.org/groups/54737/items/itemKey/TBFISAR7 view on Zotero].</ref>		*Anonymous, April 1, 1837, “Landscape Gardening” (''Horticultural Register'' 3: 124–25)<ref>Anonymous, “Landscape Gardening,” ''Horticultural Register, and Gardener’s Magazine'' 3 (April 1, 1837): 121–31, [https://www.zotero.org/groups/54737/items/itemKey/TBFISAR7 view on Zotero].</ref>
−	:“Confining ourselves to the [[modern style\|modern]] or [[natural style]], we shall proceed to offer some remarks on its characteristics. Landscape gardens in this style generally present either [[picturesque]], or what is termed '''gardenesque''' scenery. . . . In '''gardenesque''' scenery, not only the general effect is studied, but the separate beauty of the different trees and [[shrub]]s, and herbaceous flowering plants, are also displayed; art is not concealed, and although the effect of the individual parts at a near view is sought, yet at a distance the whole appears to group so as to form a pleasing whole, as in [[picturesque]] scenery. . . The [[picturesque]] is calculated to please particularly the admirers of landscape scenery in nature; the '''gardenesque''' not only these, but the florist and botanist also. When herbaceous flowers are introduced into [[picturesque]] scenes, they are allowed to run wild, and the soil is left uncultivated about them; but when they are made to form a part of '''gardenesque''' scenery, they should receive the highest cultivation, so as to exhibit them individually to the best advantage. In [[picturesque]] scenery, the trees may be allowed to grow thick or irregular, provided they form an agreeable collective effect; but in the '''gardenesque''', every thing irregular or rough should be removed, which would prevent a neat and finished appearance.”	+	:“Confining ourselves to the [[modern style\|modern]] or [[natural style]], we shall proceed to offer some remarks on its characteristics. Landscape gardens in this style generally present either [[picturesque]], or what is termed '''gardenesque''' scenery. . . In '''gardenesque''' scenery, not only the general effect is studied, but the separate beauty of the different trees and [[shrub]]s, and herbaceous flowering plants, are also displayed; art is not concealed, and although the effect of the individual parts at a near view is sought, yet at a distance the whole appears to group so as to form a pleasing whole, as in [[picturesque]] scenery. . . The [[picturesque]] is calculated to please particularly the admirers of landscape scenery in nature; the '''gardenesque''' not only these, but the florist and botanist also. When herbaceous flowers are introduced into [[picturesque]] scenes, they are allowed to run wild, and the soil is left uncultivated about them; but when they are made to form a part of '''gardenesque''' scenery, they should receive the highest cultivation, so as to exhibit them individually to the best advantage. In [[picturesque]] scenery, the trees may be allowed to grow thick or irregular, provided they form an agreeable collective effect; but in the '''gardenesque''', every thing irregular or rough should be removed, which would prevent a neat and finished appearance.”

← Older revision		Revision as of 14:33, January 6, 2020
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	*<div id="Loudon_LemonHill"></div>[[J. C. (John Claudius) Loudon\|Loudon, J. C. (John Claudius)]], 1850, describing [[Lemon Hill]], estate of [[Henry Pratt]], Philadelphia, PA (1850: 331)<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., 1850), [https://www.zotero.org/groups/54737/items/itemKey/W8EQFZUG view on Zotero].</ref>		*<div id="Loudon_LemonHill"></div>[[J. C. (John Claudius) Loudon\|Loudon, J. C. (John Claudius)]], 1850, describing [[Lemon Hill]], estate of [[Henry Pratt]], Philadelphia, PA (1850: 331)<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., 1850), [https://www.zotero.org/groups/54737/items/itemKey/W8EQFZUG view on Zotero].</ref>
−	:“850. ''[[Lemon Hill]], near Philadelphia''. . .[~~ ~~[[Andrew Jackson Downing\|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''.)” [[#Loudon_LemonHill_cite\|back up to History]]	+	:“850. ''[[Lemon Hill]], near Philadelphia''. . . [ [[Andrew Jackson Downing\|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''.)” [[#Loudon_LemonHill_cite\|back up to History]]

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 Two different uses of the term gardenesque have appeared in American garden writing. First, it was used as an adjective to describe architecture or ornament that seemed particularly suited for the garden. The pseudonymous critic, Horticola, provided a telling example of the term’s early usage when in 1852 he derided the appearance of a house and its grounds as being “ungardenesque,” meaning it lacked the refinement of garden improvement ([[#Horticola|view text]]). <span id="Loudon_LemonHill_cite"></span>[[J. C. (John Claudius) Loudon|J. C. Loudon]], when describing [[Lemon Hill]] in Philadelphia, characterized a gardenesque structure simply as one that enhances a garden scene ([[#Loudon_LemonHill|view text]]). Later in an 1850 essay on the waterworks at the gardens of Versailles and Château de Saint-Cloud in France, the term was still used generally to describe decorative garden [[fountain]]s.
-Second, gardenesque was the name of a specific design style. In an 1832 issue of his ''Gardener’s Magazine'', [[J. C. (John Claudius) Loudon|Loudon]] used the term initially to refer to the new style that arose purely from the art of [[landscape gardening]].<ref>See also A. A. Tait, “Loudon and the Return to Formality,” in ''John Claudius Loudon and the Early Nineteenth Century in Great Britain'', ed. Elisabeth Blair MacDougall (Washington, DC: Dumbarton Oaks, Trustees for Harvard University, 1980), 61–76, [https://www.zotero.org/groups/54737/items/itemKey/MDNAC32B view on Zotero].</ref>In his ''Encyclopaedia of Gardening'' (1834) he provided a definition that initially appeared vague but, in fact, was quite profound and charted a new theoretical course for the art of landscape design. He wrote that “the aim of the Gardenesque is to add, to the acknowledged claims of the Repton school, all those which the science of gardening and botany, in their present advanced state, are capable of producing.”<ref>Tait 1980, 62, [https://www.zotero.org/groups/54737/items/itemKey/MDNAC32B view on Zotero].</ref> This seemingly simple statement represented a radical break from the predominant aesthetic preference for the [[natural style]] or [[picturesque]] beauty that had been defined in terms of the imitation of nature. The new style, in contrast, was measured in terms of its difference from the natural, unimproved appearance of the environment. Its goal was the display of the art of the garden.
+Second, gardenesque was the name of a specific design style. In an 1832 issue of his ''Gardener’s Magazine'', [[J. C. (John Claudius) Loudon|Loudon]] used the term initially to refer to the new style that arose purely from the art of [[landscape gardening]].<ref>See also A. A. Tait, “Loudon and the Return to Formality,” in ''John Claudius Loudon and the Early Nineteenth Century in Great Britain'', ed. Elisabeth Blair MacDougall (Washington, DC: Dumbarton Oaks, Trustees for Harvard University, 1980), 61–76, [https://www.zotero.org/groups/54737/items/itemKey/MDNAC32B view on Zotero].</ref> In his ''Encyclopaedia of Gardening'' (1834) he provided a definition that initially appeared vague but, in fact, was quite profound and charted a new theoretical course for the art of landscape design. He wrote that “the aim of the Gardenesque is to add, to the acknowledged claims of the Repton school, all those which the science of gardening and botany, in their present advanced state, are capable of producing.”<ref>Tait 1980, 62, [https://www.zotero.org/groups/54737/items/itemKey/MDNAC32B view on Zotero].</ref> This seemingly simple statement represented a radical break from the predominant aesthetic preference for the [[natural style]] or [[picturesque]] beauty that had been defined in terms of the imitation of nature. The new style, in contrast, was measured in terms of its difference from the natural, unimproved appearance of the environment. Its goal was the display of the art of the garden.
 <span id="Loudon_1834_cite"></span>Loudon defined the gardenesque as a style or mode of laying out a garden, whether in a regular or irregular design, with the intent of producing a “distinctive. . . character.” It was a style that was contrasted with the [[picturesque]], in which [[clump|clumps]] of trees and grouping of [[shrub|shrubs]] as found in nature had been the principle planting types ([[#Loudon_1834|view text]]). Also, it was distinct from the [[geometric style|geometric]] or [[ancient style]] that often was highly architectonic and repetitious. The ultimate expression of the primary characteristic of the gardenesque was achieved by its emphasis on the unique quality of each plant specimen. Trees and [[shrub|shrubs]] were planted so that each stood alone in order to promote the fullest display of each individual specimen, as illustrated in Loudon’s ''Suburban Gardener, and Villa Companion'' (1838). Because [[J. C. (John Claudius) Loudon|Loudon]] recommended the use of colorful exotic plants, the new style was linked to horticultural knowledge and skill of the gardener-designer. The term “gardenesque,” however, was immediately misconstrued to mean a style of laying out gardens with an overly horticultural emphasis that became associated with the extreme artifice of bedding-out.<ref>T. H. D. Turner, “Loudon’s Stylistic Development,” ''Journal of Garden History'' 2, no. 2 (April–June 1982): 184, [https://www.zotero.org/groups/54737/items/itemKey/K7QG599K view on Zotero].</ref> [[Robert Mills|Robert Mills's]] 1841 design for [[botanic garden|botanic gardens]] on the [[national Mall]] in Washington, DC, exemplifies this approach [Fig. 1].

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-*<div id="Loudon_LemonHill"></div>[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1850, describing [[Lemon Hill]], estate of [[Henry Pratt]], Philadelphia, PA (1850: 331)<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., 1850), [https://www.zotero.org/groups/54737/items/itemKey/W8EQFZUG view on Zotero].</ref> [[#Loudon_LemonHill_cite|back up to History]]
+*<div id="Loudon_LemonHill"></div>[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1850, describing [[Lemon Hill]], estate of [[Henry Pratt]], Philadelphia, PA (1850: 331)<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., 1850), [https://www.zotero.org/groups/54737/items/itemKey/W8EQFZUG view on Zotero].</ref>
-:“850. ''[[Lemon Hill]], near Philadelphia''. . . .[&#8239;[[Andrew Jackson Downing|Downing]] observes:&#8239;] ‘. . . 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''.)”
+:“850. ''[[Lemon Hill]], near Philadelphia''. . .[&#8239;[[Andrew Jackson Downing|Downing]] observes:&#8239;] ‘. . . 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''.)” [[#Loudon_LemonHill_cite|back up to History]]
@@ Line 35: / Line 35: @@
-*<div id="Horticola"></div>Horticola [pseud.], April 1852, “Further Notes on Country Seats Near Boston,” describing Rose Hill, residence of George Leland, Waltham, MA (''Horticulturist'' 7: 168)<ref>Horticola [pseud.], “Further Notes on Country Seats near Boston,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 7, no. 4 (April 1852): 168–70, [https://www.zotero.org/groups/54737/items/itemKey/F52EWXB6 view on Zotero].</ref> [[#Horticola_cite|back up to History]]
+*<div id="Horticola"></div>Horticola [pseud.], April 1852, “Further Notes on Country Seats Near Boston,” describing Rose Hill, residence of George Leland, Waltham, MA (''Horticulturist'' 7: 168)<ref>Horticola [pseud.], “Further Notes on Country Seats near Boston,” ''Horticulturist and Journal of Rural Art and Rural Taste'' 7, no. 4 (April 1852): 168–70, [https://www.zotero.org/groups/54737/items/itemKey/F52EWXB6 view on Zotero].</ref>
-:“Considering all the bearings of this place, we think the [[hothouse|hot-houses]] and [[greenhouse|green-house]], most unfortunately situated. Built on the side of a deep bank, with the back running within a few rods of, and parallel to, the main front of the mansion, the back [[wall]]s and chimneys present a very un'''gardenesque''' appearance from the [[piazza]] of the house.”
+:“Considering all the bearings of this place, we think the [[hothouse|hot-houses]] and [[greenhouse|green-house]], most unfortunately situated. Built on the side of a deep bank, with the back running within a few rods of, and parallel to, the main front of the mansion, the back [[wall]]s and chimneys present a very un'''gardenesque''' appearance from the [[piazza]] of the house.” [[#Horticola_cite|back up to History]]
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-*<div id="Loudon_1834"></div>[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1834, ''An Encyclopaedia of Gardening'' (1834: 1167)<ref>J. C. (John Claudius) Loudon, ''An Encyclopaedia of Gardening; Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening'', new ed. (London: Longman et al., 1834), [https://www.zotero.org/groups/54737/items/itemKey/TGQ5WTNR view on Zotero].</ref> [[#Loudon_1834_cite|back up to History]]
+*<div id="Loudon_1834"></div>[[J. C. (John Claudius) Loudon|Loudon, J. C. (John Claudius)]], 1834, ''An Encyclopaedia of Gardening'' (1834: 1167)<ref>J. C. (John Claudius) Loudon, ''An Encyclopaedia of Gardening; Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening'', new ed. (London: Longman et al., 1834), [https://www.zotero.org/groups/54737/items/itemKey/TGQ5WTNR view on Zotero].</ref>
-:“6710. By '''gardenesque''' beauty is to be understood a kind of scenery, the creation of which is peculiar to gardening. For example, the disposition of the trees of a residence in lines, in geometrical forms, in a country where all the trees around are as nature has disposed them in natural forest scenery, produces that distinctive character of art, which we have called the '''gardenesque'''. In like manner, when all the trees of the general face of the country, not laid out in [[park]]s or [[pleasure ground|pleasure-grounds]], are in geometrical forms or straight lines, then, by planting the trees of a residence in that irregular manner which is characteristic of natural scenery, as distinctive a character is produced as in the former case, and this also we call '''gardenesque'''. Suppose a third case, in which, it was desired to produce the '''gardenesque''' and yet to preserve the same disposition of the trees that prevailed in the surrounding scenery; in that case, trees not in use in the surrounding scenery are to be employed, by which as distinctive a character is produced as in the two former instances, and this also we call '''gardenesque'''.”
+:“6710. By '''gardenesque''' beauty is to be understood a kind of scenery, the creation of which is peculiar to gardening. For example, the disposition of the trees of a residence in lines, in geometrical forms, in a country where all the trees around are as nature has disposed them in natural forest scenery, produces that distinctive character of art, which we have called the '''gardenesque'''. In like manner, when all the trees of the general face of the country, not laid out in [[park]]s or [[pleasure ground|pleasure-grounds]], are in geometrical forms or straight lines, then, by planting the trees of a residence in that irregular manner which is characteristic of natural scenery, as distinctive a character is produced as in the former case, and this also we call '''gardenesque'''. Suppose a third case, in which, it was desired to produce the '''gardenesque''' and yet to preserve the same disposition of the trees that prevailed in the surrounding scenery; in that case, trees not in use in the surrounding scenery are to be employed, by which as distinctive a character is produced as in the two former instances, and this also we call '''gardenesque'''.”  [[#Loudon_1834_cite|back up to History]]

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 ==History==
 [[File:0034.jpg|thumb|left|Fig. 1, [[Robert Mills]], Alternative plan for the grounds of the National Institution, Washington, DC, 1841.]]
-Two different uses of the term gardenesque have appeared in American garden writing. First, it was used as an adjective to describe architecture or ornament that seemed particularly suited for the garden. The pseudonymous critic, Horticola, provided a telling example of the term’s early usage when in 1852 he derided the appearance of a house and its grounds as being “ungardenesque,” meaning it lacked the refinement of garden improvement ([[#Horticola|view citation]]). <span id="Loudon_LemonHill_cite"></span>[[J. C. (John Claudius) Loudon|J. C. Loudon]], when describing [[Lemon Hill]] in Philadelphia, characterized a gardenesque structure simply as one that enhances a garden scene ([[#Loudon_LemonHill|view citation]]). Later in an 1850 essay on the waterworks at the gardens of Versailles and Château de Saint-Cloud in France, the term was still used generally to describe decorative garden [[fountain]]s.
+Two different uses of the term gardenesque have appeared in American garden writing. First, it was used as an adjective to describe architecture or ornament that seemed particularly suited for the garden. The pseudonymous critic, Horticola, provided a telling example of the term’s early usage when in 1852 he derided the appearance of a house and its grounds as being “ungardenesque,” meaning it lacked the refinement of garden improvement ([[#Horticola|view text]]). <span id="Loudon_LemonHill_cite"></span>[[J. C. (John Claudius) Loudon|J. C. Loudon]], when describing [[Lemon Hill]] in Philadelphia, characterized a gardenesque structure simply as one that enhances a garden scene ([[#Loudon_LemonHill|view text]]). Later in an 1850 essay on the waterworks at the gardens of Versailles and Château de Saint-Cloud in France, the term was still used generally to describe decorative garden [[fountain]]s.
 Second, gardenesque was the name of a specific design style. In an 1832 issue of his ''Gardener’s Magazine'', [[J. C. (John Claudius) Loudon|Loudon]] used the term initially to refer to the new style that arose purely from the art of [[landscape gardening]].<ref>See also A. A. Tait, “Loudon and the Return to Formality,” in ''John Claudius Loudon and the Early Nineteenth Century in Great Britain'', ed. Elisabeth Blair MacDougall (Washington, DC: Dumbarton Oaks, Trustees for Harvard University, 1980), 61–76, [https://www.zotero.org/groups/54737/items/itemKey/MDNAC32B view on Zotero].</ref>In his ''Encyclopaedia of Gardening'' (1834) he provided a definition that initially appeared vague but, in fact, was quite profound and charted a new theoretical course for the art of landscape design. He wrote that “the aim of the Gardenesque is to add, to the acknowledged claims of the Repton school, all those which the science of gardening and botany, in their present advanced state, are capable of producing.”<ref>Tait 1980, 62, [https://www.zotero.org/groups/54737/items/itemKey/MDNAC32B view on Zotero].</ref> This seemingly simple statement represented a radical break from the predominant aesthetic preference for the [[natural style]] or [[picturesque]] beauty that had been defined in terms of the imitation of nature. The new style, in contrast, was measured in terms of its difference from the natural, unimproved appearance of the environment. Its goal was the display of the art of the garden.
-<span id="Loudon_1834_cite"></span>Loudon defined the gardenesque as a style or mode of laying out a garden, whether in a regular or irregular design, with the intent of producing a “distinctive . . . character.” It was a style that was contrasted with the [[picturesque]], in which [[clump|clumps]] of trees and grouping of [[shrub|shrubs]] as found in nature had been the principle planting types ([[#Loudon_1834|view citation]]). Also, it was distinct from the [[geometric style|geometric]] or [[ancient style]] that often was highly architectonic and repetitious. The ultimate expression of the primary characteristic of the gardenesque was achieved by its emphasis on the unique quality of each plant specimen. Trees and [[shrub|shrubs]] were planted so that each stood alone in order to promote the fullest display of each individual specimen, as illustrated in Loudon’s ''Suburban Gardener, and Villa Companion'' (1838). Because [[J. C. (John Claudius) Loudon|Loudon]] recommended the use of colorful exotic plants, the new style was linked to horticultural knowledge and skill of the gardener-designer. The term “gardenesque,” however, was immediately misconstrued to mean a style of laying out gardens with an overly horticultural emphasis that became associated with the extreme artifice of bedding-out.<ref>T. H. D. Turner, “Loudon’s Stylistic Development,” ''Journal of Garden History'' 2, no. 2 (April–June 1982): 184, [https://www.zotero.org/groups/54737/items/itemKey/K7QG599K view on Zotero].</ref> [[Robert Mills|Robert Mills's]] 1841 design for [[botanic garden|botanic gardens]] on the [[national Mall]] in Washington, DC, exemplifies this approach [Fig. 1].
+<span id="Loudon_1834_cite"></span>Loudon defined the gardenesque as a style or mode of laying out a garden, whether in a regular or irregular design, with the intent of producing a “distinctive. . . character.” It was a style that was contrasted with the [[picturesque]], in which [[clump|clumps]] of trees and grouping of [[shrub|shrubs]] as found in nature had been the principle planting types ([[#Loudon_1834|view text]]). Also, it was distinct from the [[geometric style|geometric]] or [[ancient style]] that often was highly architectonic and repetitious. The ultimate expression of the primary characteristic of the gardenesque was achieved by its emphasis on the unique quality of each plant specimen. Trees and [[shrub|shrubs]] were planted so that each stood alone in order to promote the fullest display of each individual specimen, as illustrated in Loudon’s ''Suburban Gardener, and Villa Companion'' (1838). Because [[J. C. (John Claudius) Loudon|Loudon]] recommended the use of colorful exotic plants, the new style was linked to horticultural knowledge and skill of the gardener-designer. The term “gardenesque,” however, was immediately misconstrued to mean a style of laying out gardens with an overly horticultural emphasis that became associated with the extreme artifice of bedding-out.<ref>T. H. D. Turner, “Loudon’s Stylistic Development,” ''Journal of Garden History'' 2, no. 2 (April–June 1982): 184, [https://www.zotero.org/groups/54737/items/itemKey/K7QG599K view on Zotero].</ref> [[Robert Mills|Robert Mills's]] 1841 design for [[botanic garden|botanic gardens]] on the [[national Mall]] in Washington, DC, exemplifies this approach [Fig. 1].
 [[Andrew Jackson Downing|A. J. Downing]] introduced [[J. C. (John Claudius) Loudon|Loudon’s]] theory of the gardenesque style in America in his first edition of ''A Treatise on the Theory and Practice of Landscape Gardening'' (1841), in which he reprinted two pages from [[J. C. (John Claudius) Loudon|Loudon’s]] ''Suburban Gardener, and Villa Companion''.<ref>Judith Major, ''To Live in a New World: A. J. Downing and American Landscape Gardening'' (Cambridge, MA: MIT Press, 1997), 58, 61, [https://www.zotero.org/groups/54737/items/itemKey/IJRZTPR2 view on Zotero].</ref> He continued to promote the use of exotic plants in order to achieve the distinction of art for landscape design and so that gardening would not simply be seen as an imitation of nature. [[A. J. Downing|Downing]] did not, however, consider the gardenesque style superior to the [[picturesque]] or to the beautiful styles (see [[Picturesque]]). The gardenesque was most appropriate, according to both [[J. C. (John Claudius) Loudon|Loudon]] and [[Andrew Jackson Downing|Downing]], for the design of [[botanic garden|botanic gardens]] and [[arboretum|arboreta]]. Although he did not use the term “gardenesque” in his report, [[Andrew Jackson Downing|Downing]] employed the gardenesque style when he planned a “public museum of trees,” for the [[national Mall]]. Trees were to be “planted singly or in open groups, to allow full expansion” and viewing of specimen trees. [[Andrew Jackson Downing|Downing’s]] plan to introduce to the capital a variety of new plants that were drawn from across the newly transcontinental United States could be most effectively designed using the gardenesque mode. Although [[Andrew Jackson Downing|Downing’s]] gardenesque was based upon the highest standard of botanical expertise, he never carried it to the extreme of bedding-out and artifice that some did.