Clump

See also: Grove, Plantation, Shrubbery, Thicket, Wood

History

The clump emerged as a garden feature in the eighteenth century in both England and America. The earliest treatises available in North America defined a clump as a group of seven or eight trees planted to form a single unit [Fig. 1]. The Complete Farmer (1769) stipulated that this grouping of trees was “without shape or order,” and Samuel Johnson (1755) referred to a clump as “a shapeless piece of wood.” Johnson, however, added that the feature was “nearly equal in its dimensions,” suggesting thatit was round in plan. Geographer Jedidiah Morse’s 1789 description of the “circular clumps” at Mount Vernon indicates that some Americans interpreted rounded, symmetrical groupings of trees as clumps.

English author Thomas Whately in 1770 provided an extensive discussion of clumps that was often cited by later treatise writers . He characterized a clump as a smaller version of a “close wood” or an “open grove. ” Unlike his predecessors, Whately insisted that a clump could be made of two trees and that the most agreeable form of it “extended rather in length than in breadth,” thus contradicting Johnson’s stipulation that a clump was “nearly equal in its dimensions . ” Whately’s argument that clumps should be irregular in form derived from contemporary debates in landscape gardening that cautioned against the artificial appearance of overly regularized forms. Inshort, irregularity suggested the desired quality of naturalness (see Landscape gardenin g and Modern style). To adhere to the new aesthetic of naturalness, clumps had to display both a variety of vegetation and forms according to the scenery in which they were placed.

The composition of clumps varied according to American treatise writers and observers. Bernard M’Mahon in 1806 was inclusive when he stated that clumps could be composed solely of trees or shrubs, or a mixture of trees, shrubs, and herbaceous plants. Ten years later, G. Gregory in his New and Complete Dictionary of Arts and Sciences (1816) suggested that clumps “of shrubs all of the same kind” created “good” effects. Clumps from a mixture of larger and smaller deciduous trees, such as the horse chestnut and red bud, were created at Monticello, as described by Thomas Jefferson (1807).

The arrangement of plant material within clumps was equally varied. An article in the 1833 volume of the New England Farmer recommended that “a proper system” be adopted in order to avoid “a heterogeneous mass, without meaning, without taste or design.” By contrast, American gardeners John Gardiner and David Hepburn, in the American Gardener ( 1 8 04), recommended the use of a graduated slope for such plantings.

Regarding the placement of this feature in the landscape, Whately distinguished between two modes. “Independent clumps,” considered “beautiful objects in themselves” could be used to “break an extent of lawn” or as a “continued line . . . of ground or of plantation.” “Relative clumps,” however, planted in relation to other garden features, could be used to create harmonies and contrasts, thus unifying the disparate parts of landscape garden into a single composition. Whately’s disparagement of artifice led him to regard independent clumps with suspicion because of their obvious artificiality. The best treatment of an independent clump, according to Whately, was the placement of “open” clumps (meaning that the plant material was well spaced) “at the point of an abrupt hill, or on a promontory into a lake or river,” where it served to focus the viewer’s attention. “Relative clumps” were more natural, according to Whately’s aesthetic, and a sensitive placement of them intensified the viewer’s visual experience of the garden by providing a succession of open and occluded views.

Thomas Jefferson, when writing in 1804 of his plan to create “advantageous catches of prospect” through the careful planting of clumps, was clearly familiar with Whately’s guidelines for “relative clumps.” This idea was especially apparent when Jefferson specified that he intended to break up his “canvas” of grove—“trimmed very high, so as to give it the appearance of open ground”—with “clumps of thicket, as the open grounds of the English are broken by clumps” of trees. Even in the 1830s when other garden styles, such as the gardenesque, were current, garden designers still envisioned clumps as a means to control access to a view, as in C. M. Hovey’s 1835 description in American Gardeners’ Magazine of Mansion House in Brookline, Mass. (see Gardenesque).

Several late eighteenth- and early nineteenth-century American gardens exemplify the use of clumps according to Whately’s categories. Benjamin Henry Latrobe’s 1807 plan for the White House made use of planting features that corresponded to relative clumps, positioned to create a transition from the wood and garden [Fig. 2]. The notion that clumps could “relieve” the plainness of lawns or woods was found in C. M. Hovey’s description in the Magazine of Horticulture of Mrs. Pratt’s house in Boston (1850), which noted how clumps “broke” the monotony of the landscape. At Mount Auburn Cemetery in Cambridge, Mass., H.A.S. Dearborn (1831) praised how the clumps of trees and shrubs helped to diversify the “picturesque sheets of water.”

The aesthetic concerns of Whately and his contemporaries were complemented by the material advantages that clumps offered. As Charles Marshall wrote in 1799, clumps of four or five fenced-in forest trees provided an excellent resource for timber. Americans who cleared away trees for their homesteads presumably perceived the advantage of leaving standing clumps of trees for later use as construction or heating materials, as indicated in P. Campbell’s 1793 description of the Catskill Mountains.

Several treatise writers, however, condemned clumps. British designer Humphry Repton, while acknowledging that groups of trees were important elements in landscape design, argued that “formal” clumps of trees of equal height surrounded by a fence for their protection were ugly deformities because of their sameness. In one of his earliest writings (1836), American designer A. J. Downing declared the clump to be perfect. By the time he wrote his treatise (1849), he confessed that experience had taught him that the clump was the product of an amateur ornamental planting. He judged trees of the same height that were planted equidistant from one another in a circular form as overly artificial [Fig. 3]. Like Repton, Downing instead recommended arranging trees in irregular patterns in order to achieve “variety, connexion, and intricacy.”

-- Anne L. Helmreich

Texts

Usage

• Washington, George, 2 March 1785, describing Mount Vernon, plantation of George Washington, Fairfax County, Va. (Jackson and Twohig, eds., 1978: 4:97)

“Planted the remainder of the Ash Trees—in the Serpentine walks—the remainder of the fringe trees in the Shrubberies—all the black haws—all the large berried thorns with a small berried one in the middle of each clump—6 small berried thorns with a large one in the middle of each clump—all the swamp red berry bushes & one clump of locust trees.”

• G., L., 15 June 1788 [?], in a letter to her sister, Eliza, describing the Woodlands, seat of William Hamilton, near Philadelphia, Pa. (quoted in Madsen 1989: 19)

“[The walks were] planted on each side with the most beautiful & curious flowers & shrubs. They are in some parts enclosed with the Lombardy poplar except here & there openings are left to give you a view of some fine trees or beautiful prospect beyond, & in others, shaded by arbours of the wild grape, or clumps of large trees under which are placed seats where you may rest yourself & enjoy the cool air.”

• Morse, Jedidiah, 1789, describing Mount Vernon, plantation of George Washington, Fairfax County, Va. ([1789] 1970: 381)

“the lands in that side are laid out somewhat in the form of English gardens, in meadows and grass grounds, ornamented with little copses, circular clumps and single trees.”

• Campbell, P., 9 April 1793, describing the vicinity of the Hudson River in New York (p. 287)

“On the east side I could see the country to be pretty closely inhabited, each farm having a clump of wood by it for fuel.”

• La Rochefoucauld Liancourt, FrançoisAlexandre-Frédéric, duc de, 1796, describing Drayton Hall, plantation of John Drayton, Charleston, S.C. (1800: 2:438)

“We stopped to dine with Dr. DRAYTON at Drayton-hall. The house is an ancient building, but convenient and good; and the garden is better laid out, better cultivated and stocked with good trees, than any I have hitherto seen. In order to have a fine garden, you have nothing to do but to let the trees remain standing here and there, or in clumps, to plant bushes in front of them, and arrange the trees according to their height. Dr. Drayton’s father, who was also a physician, began to lay out the garden on this principle; and his son, who is passionately fond of a country life, has pursued the same plan.”

• Hamilton, Alexander, c. 1801–4, describing possible planting methods for Hamilton Grange, estate of Alexander Hamilton, New York, N.Y. (quoted in Lockwood 1931: 1:263)

“some laurel should be planted along the edge of the shrubbery and round the clump of trees near the house.”

• Jefferson, Thomas, 1804, describing improvements for Monticello, plantation of Thomas Jefferson, Charlottesville, Va. (quoted in Nichols and Griswold 1978: 111)

“The ground between the upper and lower roundabouts to be laid out in lawns & clumps of trees, the lawns opening so as to give advantageous catches of prospect to the upper roundabout.. . .

“The canvas at large must be Grove, of the largest trees, (poplar, oak, elm, maple, ash, hickory, chestnut, Linden, Weymouth pine, sycamore) trimmed very high, so as to give it the appearance of open ground, yet not so far apart but that they may cover the ground with close shade.

“This must be broken by clumps of thicket, as the open grounds of the English are broken by clumps of trees. plants for thickets are broom, calycanthus, altheas, gelder rose, magnolia glauca, azalea, fringe tree, dogwood, red bud, wild crab, kalmia, mezereon, euonymous, halesia, quamoclid, rhododendron, oleander, service tree, lilac, honeysuckle, brambles.”

• Latrobe, Benjamin Henry, 17 March 1807, describing the White House, Washington, D.C. (Colonial Williamsburg Foundation)

“In removing the ground, it would certainly be necessary to go down in front of the colonnade to the level of about one foot below the bases of the Columns but, it will certainly not deprive this colonnade of any part of its beauty to pass behind a few gentle Knolls and groves or Clumps in its front, and much expense of removing earth would be thereby saved.”

• Jefferson, Thomas, 16 April 1807, describing Monticello, plantation of Thomas Jefferson, Charlottesville, Va. (1944: 334)

N. E. S. E. S. W. N. W. Clump Clump Clump Clump

13. Paper mulberries 2. 2. 5. 4 6. Horse chestnuts 3 3 2. Taccamahac poplars 1 1 4. purple beach 2 2 2. Robinia hispida 1 1 2. Choak cherries 1 1 3. Mountain ash. —— —— 1 2 Sorbus Aucuparia 2. Xanthoxylon 1 1 1. Red bud 1

• Jefferson, Thomas, November 1812, describing Poplar Forest, property of Thomas Jefferson, Bedford County, Va. (quoted in Chambers 1993: 75, 77)

“[Planted] clump of Anthenian & Balsam poplars at each corner of house. intermix locusts, common & Kentucky, red-bud, dogwoods, calycanthus, liriodendron.”

• Dearborn, H.A.S., 30 September 1831, describing Mount Auburn Cemetery, Cambridge, Mass. (quoted in Ward 1831: 48)

“the small ponds and morasses converted into picturesque sheets of water, and their margins diversified by clumps and belts of our most splendid native flowering trees, and shrubs, requiring a soil thus constituted for their successful cultivation.”

• Hovey, C. M., February 1835, “Calls at Gardens and Nurseries,” describing Mansion House, country estate of Thomas H. Perkins, Brookline, Mass. (American Gardeners’ Magazine 1: 73)

“There are several large clumps of the above [Pinus Stròbus, Abies canadénsis, balsamífera, and Alba] which serve to break the view of the garden from the mansion.”

• Kirkbride, Thomas S., April 1848, describing the pleasure grounds and farm of the Pennsylvania Hospital for the Insane, Philadelphia, Pa. (American Journal of Insanity 4: 348)

“The remainder of the grounds on this side of the deer-park is specially appropriated to the use of the male patients. In this division is a fine grove of large trees, several detached clumps of various kinds and a great variety of single trees standing alone or in avenues along the different walks, which, of brick, gravel or tan, are for the men, more than a mile and a quarter in extent. The groves are fitted up with seats and summer houses, and have various means of exercise and amusement connected with them”

• Hovey, C. M., February 1850, “Notes on Gardens and Gardening in the neighborhood of Boston,” describing the residence of Mrs. Pratt, near Boston, Mass. (Magazine of Horticulture 16: 53)

“The landscape for a considerable distance is ornamented with, and broken by, individual trees, clumps, and masses of cedars and pines, which, in summer, must have a fine effect, when contrasted with the lighter foliage of the deciduous trees.”

• Watson, John Fanning, 1857, describing the residence of William Bingham, Philadelphia, Pa. (1:414)

“The grounds generally he had laid out in beautiful style, and filled the whole with curious and rare clumps 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, John Fanning, 1857, describing Wilton, property of Joseph Turner, near Philadelphia, Pa. (2:478)

“Wilton, the place once of Joseph Turner, down in the neck, was the nonpareil of its day. . . . Every possible attention was paid to embellishment, and the garden cultivation was superior. The grounds had ornamental clumps and ranges of trees.”

Citations

• Miller, Philip, 1733, The Gardeners Dictionary ([1754] 1969: 1527)

“In small Gardens, where there is not room for these magnificent Wildernesses, there may be some rising Clumps of Ever-greens, so designed as to make the Ground appear much larger than it is in Reality; and if in these there are some Serpentine-walks well contriv’d, it will greatly improve the Places, and deceive those who are unacquainted with the Ground, as to its Size. These Clumps or little Quarters of Ever-greens should be placed just beyond the plain Opening of Grass before the House, where the Eye will be carried from the plain Surface of Grass, to the regular Slope of Ever-greens, to the greatest Pleasure of the Beholder; but if there is a distant Prospect of the adjacent Country from the House, then this should not be obstructed, but rather a larger Opening allowed for the View, bounded on each Side with these rising Clumps, which may be extended to half the Compass of the Ground: and on the back Part from the Sight, may be planted the several kinds of flowering Shrubs, according to their different Growths, which will still add to the Variety. These small Quarters should not be surrounded with Hedges, for the Reasons before given for the larger Plantations; nor should they be cut into Angles, or any other studied Figures, but be designed rather in a rural manner; which is always preferable to the other, for these Kinds of Plantations.”

• Johnson, Samuel, 1755, A Dictionary of the English Language (1:n.p.)

“CLUMP. n.s. [formed from lump.] A shapeless piece of wood, or other matter, nearly equal in its dimensions.”

• Society for the Encouragement of Arts, Manufacturers and Commerce, 1769, The Complete Farmer (n.p.)

“AVENUE. . . .

“The old method of planting avenues was with regular rows of trees, and this has been always kept till of late; but we have now a much more magnificent way of planting avenues: this is by setting the trees in clumps or platoons, making the opening much wider than before, and placing the clumps of trees about three hundred feet distant from one other. In each of these clumps there should be planted either seven or nine trees; but it is to be observed, that this is only to be practised where the avenue is to be of some considerable length, for, in short walks, this will not appear so sightly as single rows of trees. The avenues made by clumps are fittest of all for parks. The trees in each clump should be planted thirty feet asunder, and a trench should be thrown up round the whole clump, to prevent the deer from coming to the trees to bark them. Miller’s Gard. Dict....

“CLUMP, a number of trees growing together without shape or order.”

• Whately, Thomas, 1770, Observations on Modern Gardening ([1770] 1982: 53–58)

“It has been already observed, that clumps differ only in extent from a wood, if they are close; or from a grove, if they are open. . . . But besides the properties they may have in common with woods or with groves, they have others peculiar to themselves, which require examination.

“They are either independant or relative; when independant, their beauty, as single objects, is solely to be attended to; when relative, the beauty of the individuals must be sacrificed to the effect of the whole, which is the greater consideration.

“The least clump that can be, is of two trees; and the best effect they can have is, that their heads united should appear one large tree; two therefore of different species, or seven or eight of such shapes as do not easily join, can hardly be a beautiful groupe, especially if it have a tendency to a circular form. Such clumps of firs, though very common, are seldom pleasing; they do not compose one mass, but are only a confused number of pinnacles. The confusion is however avoided, by placing them in succession, not in clusters; and a clump of such trees is therefore more agreable when it is extended rather in length than in breadth. . . .

“If humbler growths at the extremity can discompose the strictest regularity, the use of it is thereby recommended upon other occasions. It is indeed the variety peculiarly proper for clumps: every apparent artifice affecting the objects of nature, disgusts; and clumps are such distinguished objects, so liable to the suspicion of having been left or placed on purpose to be so distinguished, that to divert the attention from these symptoms of art, irregularity in the composition is more important to them than to a wood or to a grove; being also less extensive, they do not admit so much variety of outline: but variety of growths is most observable in a small compass; and the several gradations may often be cast into beautiful figures.

“The extent and the outline of a wood or a grove engage the attention more than the extremities; but in clumps these last are of the most consequence: they determine the form of the whole; and both of them are generally in sight: great care should therefore be taken to make them agreable and different. The ease with which they may be compared, forbids all similarity between them: for every appearance of equality suggests an idea of art; and therefore a clump as broad as it is long, seems less the work of nature than one which stretches into length.

“Another peculiarity of c l u m p s, is the facility with which they admit a mixture of trees and of shrubs, of wood and of grove; in short, of every species of plantation. None are more beautiful than those which are so composed. Such compositions are, however, more proper in compact than in straggling c l u m p s: they are most agreeable when they form one mass: if the transitions from very lofty to very humble growths, from thicket to open plantations, be frequent and sudden, the disorder is

more suited to rude than to elegant scenes. “The occasions on which independent clumps may be applied, are many. They are often desirable as beautiful objects in themselves; they are sometimes necessary to break an extent of lawn, or a continued line, whether of ground or of plantation; but on all occasions a jealousy of art constantly attends them, which irregularity in their figure will not always alone remove. Though elevations shew them to advantage, yet a hillock evidently thrown up on purpose to be crowned with a clump, is artificial to a degree of disgust: some of the trees should therefore be planted on the sides, to take off that appearance. The same expedient may be applied to clumps placed on the brow of a hill, to interrupt its sameness: they will have less ostentation of design, if they are in part carried down either declivity. The objection already made to planting many along such a brow, is on the same principle: a single clump is less suspected of art; if it be an open one, there can be no finer situation for it, than just at the point of an abrupt hill, or on a promontory into a lake or a river. It is in either a beautiful termination, distinct by its position, and enlivened by an expanse of sky or of water, about and beyond it. Such advantages may ballance little defects in its form; but they are lost if other clumps are planted near it: art then intrudes, and the whole is displeasing. . . . “But though a multiplicity of clumps, when each is an independant object, seldom seems natural; yet a number of them may, without any appearance of art, be admitted into the same scene, if they bear a relation to each other: if by their succession they diversify a continued outline of wood; if between them they form beautiful glades; if all together they cast an extensive lawn into an agreeable shape, the effect prevents any scrutiny into the means of producing it. But when the reliance on that effect is so great, every other consideration must give way to the beauty of the whole. The figure of the glade, of the lawn, or of the wood, are principally to be attended to: the finest clumps, if they do not fall easily into the great lines, are blemishes: their connections, their contrasts, are more important than their forms. “A line of clumps, if the intervals be closed by others beyond them, has the appearance of a wood, or of a grove; and in one respect the semblance has an advantage over the reality. In different points of view, the relations between the clumps are changed; and a variety of forms is produced, which no continued wood or grove, however broken, can furnish. These forms cannot all be equally agreeable; and too anxious a sollicitude to make them every where pleasing, may, perhaps, prevent their being ever beautiful. The effect must often be left to chance; but it should be studiously consulted from a few principal points of view; and it is easy to make any recess, any prominence, any figure in the outline, by clumps thus advancing before, or retiring behind one another. “But amidst all the advantages attendant on this species of plantation, it is often exceptionable when commanded from a neighbouring eminence; clumps below the eye lose some of their principal beauties; and a number of them betray the art of which they are always liable to be suspected; they compose no surface of wood; and all effects arising from the relations between them are entirely lost. A prospect spotted with many clumps can hardly be great: unless they are so distinct as to be objects, or so distant as to unite into one mass, they are seldom an improvement of a view.” Marshall, Charles, 1799, An Introduction to the Knowledge and Practice of Gardening (1:119, 122, 124–25, 129) “As to small plantations, of thickets, coppices, clumps, and rows of trees, they are to be set close according to their nature, and the particular view the planter has, who will take care to consider the usual size they attain, and their mode of growth. An advantage at home for shade or shelter, and a more distant object of sight, will make a difference: for some immediate advantage, very close planting may take place, but good trees cannot be thus expected; yet if thinned in time, a strait tall stem is often thus procured, which afterwards is of great advantage. “For little clumps, or groupes of forest trees, (as elms) there may be planted three or four in a sport, within five or six feet of one another, and thus be easily fenced: having the air freely all round, and a good soil, such clumps produce fine timber. . . . “RURAL and extensive gardening is naturally connected with a taste for planting forest trees; and an idea of the picturesque should ever accompany the work of planting. Merely for the sake of objects to gratify the eye, planting is very often pursued, and wherever trees can be introduced to improve a view from the house, or accustomed walks, there a man, having it in his power, a proprieter of the land, ought to plant. “If to planting in clumps, coppices, groves, avenues, and woods, be added levelling of ground, improving of water courses, and pastures, making lawns, &c. the expense incurred would be honourable, and answered by pleasures of the sincerest kind! . . . “If there is good room, single trees of the fir kind, at due distances, are admirable ornaments about a house, and clumps of shrubs all of the same kind have a good effect. . . . “Too much plain is to be guarded against, and when it abounds, the eye should be relieved, by clumps or some other agreeable object.” Repton, Humphry, 1803, Observations on the Theory and Practice of Landscape Gardening (pp. 14, 46) “Small plantations of trees, surrounded by a fence, are the best expedients to form groupes, because trees planted singly seldom grow well; neglect of thinning and of removing the fence, has produced that ugly deformity called a Clump. “Thus Brown has been treated with ridicule by the contemptuous observation, that all his improvements consisted in belting, clumping, and dotting; but I conceive the two latter ought rather to be considered as cause and effect, than as two distinct ideas of improvement; for the disagreeable and artificial appearance of young trees, when protected by what is a called a cradle fence, together with the difficulty of making them grow thus exposed to the wind, induced Mr. Brown to form small clumps fenced round, containing a number of trees calculated to shelter each other, and to promote the growth of those few which might be ultimately destined to remain and form a group. “This I apprehend was the origin and intention of those clumps, and that they never were designed as ornaments in themselves, but as the most efficacious and least disgusting manner of producing single trees and groups to vary the surface of a lawn, and break its uniformity by light and shadow.” Gardiner, John and David Hepburn, 1804, The American Gardener (p. 108) “Plant roses, honeysuckles, jasmins, lilacs, double hawthorn, cherry blossom, and other hardy shrubs, when the weather is mild.—In forming a shrubbery, plant the lowest shrubs in front of clumps, and the tallest most backward, three to six feet apart, according to the bulk the shrubs grow. They will thus appear to most advantage.” M’Mahon, Bernard, 1806, The American Gardener’s Calendar (pp. 55–58) “In designs for a Pleasure-ground, according to modern gardening; consulting rural disposition, in imitation of nature; all too formal works being almost abolished . . . instead of which, are now adopted, rural open spaces of grass-ground, of varied forms and dimensions, and winding walks, all bounded with plantations of trees, shrubs, and flowers, in various clumps. . . . “For instance, a grand and spacious open lawn, of grass-ground, is generally first presented immediately to the front of the mansion, or main habitation; sometimes widely extended on both sides, to admit of a greater prospect, &c. and sometimes more contracted towards the habitation; widening gradually outwards, and having each side embellished with plantations of shrubbery, clumps, thickets, &c. in sweeps, curves, and projections, towards the lawn. . . . “First an open lawn of grass-ground is extended on one of the principal fronts of the mansion or main house, widening gradually from the house outward, having each side bounded by various plantations of trees, shrubs, and flowers, in clumps, thickets, &c. exhibited in a variety of rural forms, in moderate concave and convex curves, and projections, to prevent all appearance of a stiff uniformity. . . . “Each boundary must be planted with a choice variety of ornamental trees and shrubs, deciduous,