J. C. (John Claudius) Loudon

Overview

Birth Date: April 8, 1783

Death Date: December 14, 1843

Role: Landscape designer, Architect

Used Keywords: Alcove, Ancient style, Arbor, Aviary/Bird cage/Birdhouse, Basin, Bed, Beehive, Belvedere/Prospect tower/Observatory, Botanic garden, Bower, Bridge, Cascade/Cataract/Waterfall, Chinese manner, Clump, Conservatory, Dutch style, Edging, Espalier, Fence, Ferme ornée/Ornamental farm, Flower garden, Fountain, French style, Gardenesque, Gate/Gateway, Geometric style, Grotto, Hedge, Hothouse, Icehouse, Kitchen garden, Lake, Landscape gardening, Lawn, Modern style/Natural style, Mound, Mount, Orangery, Park, Parterre, Pavilion, Picturesque, Plantation, Pleasure ground/Pleasure garden, Pond, Porch, Portico, Pot, Public garden/Public ground, Rockwork/Rockery, Rustic style, Seat, Shrubbery, Square, Statue, Temple, Terrace/Slope, Thicket, Trellis, Vase/Urn, View/Vista, Walk, Wall, Wood/Woods

Other resources: Library of Congress Authority File; Getty ULAN; Oxford Dictionary of National Biography;

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John Claudius Loudon (April 8, 1783–December 14, 1843) was a Scottish botanist, landscape architect, cemetery designer, and author, as well as the most influential horticultural journalist of his time. Through an extraordinarily prolific publishing career, Loudon raised popular knowledge of and interest in botany, horticulture, and agriculture while shaping contemporary taste in gardens, public parks, and domestic architecture throughout Britain, America, and much of the Western world.

History

Fig. 1, J. C. Loudon, “Greenhouse or conservatory for a flower-garden, with a span roof,” in An Encyclopaedia of Gardening (1826), 811, fig. 568. Back to texts

As a young man, Loudon worked part-time for nurserymen and landscape gardeners near Edinburgh while pursuing the study of animal husbandry, gardening, and agriculture. On moving to London in 1803, he swiftly established his authority as a practitioner and theorist of landscape gardening and even dabbled in landscape painting, exhibiting five works at the Royal Academy of Arts between 1804 and 1817. In addition to the study of art, his taste owed much to the reading of classical and modern writers, particularly English poets and aesthetic theorists. Uvedale Price, one of the principal theorists of the picturesque, was especially influential; Loudon later observed, “I believe that I am the first who has set out as a landscape gardener, professing to follow Mr. Price’s principles.” Loudon’s plan for improving the public squares of London through picturesque plantings of trees and shrubs, published in the Literary Journal in 1803, initiated a voluminous outpouring of articles, books, and pamphlets that would occupy him for the rest of his life.

Loudon traveled extensively in order to familiarize himself with the ornamental and agricultural use of land in Britain and continental Europe. Impressed by the productivity of Russian hothouses during a trip to Scandinavia and Eastern Europe (1813–14), he began experimenting with the use of curved iron and glass in innovative hothouse structures that could be adjusted to the changing angle of the sun’s rays [Fig. 1]. In 1819 he visited France, Italy, Switzerland, and the Low Countries to gather material for An Encyclopaedia of Gardening: Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture and Landscape-gardening (1822)—by far the most comprehensive and systematic compendium of gardening information that had been published at the time. In contrast to many of Loudon’s previous publications, which were expensively produced and richly illustrated, the Encyclopaedia of Gardening was a practical guide intended for professional gardeners and middle-class amateurs rather than elite readers. As such, it established a new direction in garden literature that Loudon continued to develop in subsequent publications, such as Encyclopaedia of Cottage, Farm, and Villa Architecture (1833) and The Suburban Gardener and Villa Companion (1838).

Fig. 2, J. C. Loudon, “View at Hendon Rectory,” Middlesex, England, in The Suburban Gardener (1838), 483, fig. 175. Back to texts

Landowners throughout England and Scotland sought Loudon’s advice on improving the grounds of their estates. Following his marriage in 1830, he was greatly assisted by his wife, Jane Webb Loudon, who became an important gardening authority in her own right. In 1826 Loudon launched Gardener’s Magazine—the first periodical devoted solely to horticulture—which aimed “to disseminate new and important information on all topics connected with horticulture and to raise the intellect and the character of those engaged in this art.” Addressed to an expanding middle-class audience, the magazine became an international forum for the exchange of specialized information on scientific discoveries, technological improvements, aesthetic theories, and working designs. An article Loudon published in the magazine in 1832 established the term “Gardenesque” to denote a deliberately artificial style of garden layout that lent itself to botanical study of individual plant specimens, revealing the art of the gardener as well as the beauty of nature [Fig. 2]. Whereas earlier landscape artists had “looked on garden scenery entirely with the eye of a painter and a poet,” Loudon believed that “the modern artist adds to these the eye of the botanist and the cultivator.”

Loudon’s most important work in the Gardenesque style is the Derby Arboretum (1839–41)—generally considered England’s first public park—which he designed with over one thousand different varieties of trees and shrubs. Among Loudon’s numerous horticultural publications, the most ambitious was his copiously illustrated (and financially ruinous) eight-volume “paper arboretum,” the Arboretum et Fruticetum Britannicum (1835–38): a survey of all the trees and shrubs then growing in Britain, which he hoped would spur a taste for arboriculture and the cultivation of a greater variety of trees.

—Robyn Asleson

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Texts

Books

An Encyclopaedia of Gardening, 4th ed. (1826)

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) View at Internet Archive

An Encyclopaedia of Gardening, new ed., improved and enlarged (1834)

J. C. (John Claudius) Loudon, An Encyclopaedia of Gardening; Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening, new ed., considerably improved and enlarged (London: Longman et al., 1834) View at Hathi Trust

The Suburban Gardener (1838)

J. C. (John Claudius) Loudon, The Suburban Gardener, and Villa Companion (London: Longman et al, 1838) View at Internet Archive

An Encyclopaedia of Gardening, new ed., corrected and improved (1850)

J. C. (John Claudius) Loudon, An Encyclopaedia of Gardening; Comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening, a new ed., corr. and improved (London: Longman et al., 1850) View at Hathi Trust

Journals

Gardener’s Magazine

Fig. 72, “General View of the Hot-houses, as seen across the American Garden,” Cheshunt Cottage, in Gardener’s Magazine 15, no. 117 (December 1839): 646, fig. 161.

Fig. 73, “View from the Chinese Temple,” Cheshunt Cottage, in Gardener’s Magazine 15, no. 117 (December 1839): 651, fig. 162.

Fig. 74, “Boat-house and Agave Mount,” Cheshunt Cottage, in Gardener’s Magazine 15, no. 117 (December 1839): 667, fig. 173.

• 1832, Review of Practical Hints on Landscape Gardening (Gardener’s Magazine 8: 701–2)

“In our opinion, a landscape-gardener knows but a part of his profession, who is not conversant with the numerous families of American and other trees which will thrive in the open air in Britain. Mere picturesque improvement is not enough in these enlightened times: it is necessary to understand that there is such a character of art as the gardenesque, as well as the picturesque. The very term gardenesque, perhaps, will startle some readers; but we are convinced, nevertheless, that it is a term which will soon find a place in the language of rural art. Landscape-gardening, it will be allowed, is, to a certain extent, an art of imitation. Now, an imitative art is not one which produces facsimiles of the things to be imitated; but one which produces imitations, or resemblances, according to the manner of that art. Thus, sculpture does not attempt colour, nor painting to raise surfaces in relief; and neither attempt to deceive. In the like manner, the imitator, in a park or pleasure-ground, of a landscape composed of ground, wood, and water, does not produce facsimiles of the grounds, wood, and water, which he sees around him on every side; but, of ground, wood and water, arranged in imitation of nature, according to the principles of his particular art. The character of this art has varied from the earliest times to the present day; but profoundly examined, the principle which guided the artist remains the same; and the successive fashions that have prevailed will be found to confirm our views of the subject, viz., that all imitations of nature worthy of being characterized as belonging to the fine arts art not facsimile imitations, but imitations of manner. To apply this principle to the planting of trees in park or pleasure-ground scenery nature, in any given locality, makes use of a certain number of trees found indigenous there; but the garden imitator of natural woods introduces either other forms and dispositions of the same kinds of trees, as in the geometric style; or the same disposition of other species of trees, as in the most improved practice of the modern style. In neither case does the artist produce a correct facsimile of nature; for, if he did, however beautiful the scene copied, the beauty produced would be merely that of repetition. But we have neither room nor time at present fully to illustrate this theory. Let it suffice for us to state, for the consideration of those of our readers who have reflected on the subject, that there is as certainly, in gardening, as an art of imitation, the gardenesque, as there is, in painting and sculpture, the picturesque and sculpturesque.”

• December 1839, describing Cheshunt Cottage, property of William Harrison, near London, England (Gardener’s Magazine 15: 644, 653, 667–68)

“3. The orangery. The paths are of slate, and the centre bed, or pit, for the orange trees, is covered with an open wooden grating, on which are placed the smaller pots; while the larger ones, and the boxes and tubs, are let down through openings made in the grating, as deep as it may be necessary for the proper effect of the heads of the trees. This house, and that for Orchidàceæ, are heated from the boiler. . . . [Fig. 72]

“85, Double ascent of the steps to a mound formed of the earth removed in excavating for the pond. From the platform to which these steps lead, there is a circuitous path to the Chinese temple, and the steps are ornamented with Chinese vases, thus affording a note of preparation for the Chinese temple. The outer sides of the steps are formed of rockwork, and between the two stairs is a pedestal with Chinese ornaments.

“86, The Chinese temple, on the highest part of the mount formed of the soil taken from the excavation now constituting the pond. The view from the interior of this temple is shown in fig. 162. . . . [Fig. 73]

“87, Rustic steps descending from the Chinese temple to the walk which borders the pond. . . .

“The masses of trees and shrubs are chiefly on the mount near the lake, and along the margin which shuts out the kitchen-garden; and in these places they are planted in the gardenesque manner, so as to produce irregular groups of trees, with masses of evergreen and deciduous shrubs as undergrowth, intersected by glades of turf. they are scattered over the general surface of the lawn, so as to produce a continually varying effect, as viewed from the walks; and so as to disguise the boundary, and prevent the eye from seeing from one extremity of grounds to the other, and thus ascertain their extent.” [Fig. 74]

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Images

An Encyclopaedia of Gardening, 4th ed. (1826)

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  J. C. Loudon, “A plan of a Chinese garden and dwelling,” in An Encyclopaedia of Gardening (1826), 103, fig. 37.

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  J. C. Loudon, Plant boxes, in An Encyclopaedia of Gardening (1826), 285, figs. 177–79.

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  J. C. Loudon, Moveable edgings: basket edging and the earthenware border, in An Encyclopaedia of Gardening (1826), 296, figs. 219–20.

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  J. C. Loudon, “The flued wall, or hot-wall,” in An Encyclopaedia of Gardening (1826), 304, figs. 236 and 237.

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  J. C. Loudon, “The cellular wall,” in An Encyclopaedia of Gardening (1826), 305, fig. 238.

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  J. C. Loudon, “The wavy or serpentine wall” and “the angular wall,” in An Encyclopaedia of Gardening (1826), 307, figs. 241 and 242.

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  J. C. Loudon, “The cast-iron espalier rail,” in An Encyclopaedia of Gardening (1826), 309, fig. 248.

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  J. C. Loudon, “The acuminated semi-globe” hot-house, in An Encyclopaedia of Gardening (1826), 315, fig. 254.

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  J. C. Loudon, “Ponds or large basins” and “Tanks or cisterns,” in An Encyclopaedia of Gardening (1826), 339, figs. 286–288.

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  J. C. Loudon, Elevated circular platform to keep ice in stacks in Ice Houses, in An Encyclopaedia of Gardening (1826), 340, fig. 289.

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  J. C. Loudon, Beehive, in An Encyclopaedia of Gardening (1826), 344, fig. 295.

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  J. C. Loudon, “Wire-cages,” in An Encyclopaedia of Gardening (1826), 347, fig. 301.

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  J. C. Loudon, “The Swiss bridge,” in An Encyclopaedia of Gardening (1826), 350, fig. 312.

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  J. C. Loudon, A gate in a simple or rustic structure, in An Encyclopaedia of Gardening (1826), 354, fig. 326.

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  J. C. Loudon, Examples of Treillage-Work, in An Encyclopaedia of Gardening (1826), 355, fig. 328.

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  J. C. Loudon, “Porches and porticoes,” in An Encyclopaedia of Gardening (1826), 356, fig. 330.

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  J. C. Loudon, “Alcoves,” in An Encyclopaedia of Gardening (1826), 356, fig. 331.

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  J. C. Loudon, “The Italian Arbor” and “The French Arbor,” in An Encyclopaedia of Gardening (1826), 356, figs. 332 and 333.

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  J. C. Loudon, Covered seats of the rustic kind, in An Encyclopaedia of Gardening (1826), 357, figs. 334–336.

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  J. C. Loudon, Elegant structures of the seat kind, in An Encyclopaedia of Gardening (1826), 357, figs. 337 and 338.

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  J. C. Loudon, “Drooping fountains,” in An Encyclopaedia of Gardening (1826), 359, figs. 341–343.

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  J. C. Loudon, “Intricate and fanciful figures of parterres,” in An Encyclopaedia of Gardening (1826), 375, figs. 363a, 363b and 364.

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  J. C. Loudon, “Levelling for terrace-slopes,” in An Encyclopaedia of Gardening (1826), 377, fig. 369.

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  J. C. Loudon, “Cross walls,” in An Encyclopaedia of Gardening (1826), 471, fig. 427.

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  J. C. Loudon, “Peach-houses and vineries,” in An Encyclopaedia of Gardening (1826), 509, fig. 450a–c.

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  J. C. Loudon, “Rustic fences,” in An Encyclopaedia of Gardening (1826), 792, fig. 542.

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  J. C. Loudon, Plan of French parterre of embroidery, in An Encyclopaedia of Gardening (1826), 797, fig. 550.

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  J. C. Loudon, The botanic flower garden with a gravel-walk, in An Encyclopaedia of Gardening (1826), 801, fig. 553.

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  J. C. Loudon, “The select or grouped manner of planting a shrubbery,” in An Encyclopaedia of Gardening (1826), 806, fig. 559.

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  J. C. Loudon, Ground-plan for “systematic or methodical planting in shrubberies,” in An Encyclopaedia of Gardening (1826), 807, fig. 560.

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  J. C. Loudon, “Grecian temple,” in An Encyclopaedia of Gardening (1826), 809, fig. 562.

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  J. C. Loudon, Bower formed of lattice-work, in An Encyclopaedia of Gardening (1826), 809, fig. 563.

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  J. C. Loudon, Plan, view, and section of green-house, in An Encyclopaedia of Gardening (1826), 811, fig. 567.

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  J. C. Loudon, Greenhouse or conservatory for a flower-garden, with a span roof, in An Encyclopaedia of Gardening (1826), 811, fig. 568.

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  J. C. Loudon, Orangery at Pimlico, in An Encyclopaedia of Gardening (1826), 813, fig. 570.

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  J. C. Loudon, The placement of groups and thickets in plantations, in An Encyclopaedia of Gardening (1826), 954, fig. 649.

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  J. C. Loudon, Clump of Scotch pines, in An Encyclopaedia of Gardening (1826), 965, fig. 663.

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  J. C. Loudon, Landscape gardening for a residence in the ancient style, in An Encyclopaedia of Gardening (1826), 1007, fig. 690.

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  J. C. Loudon, In planting with a view to natural beauty, in An Encyclopaedia of Gardening (1826), 1008, fig. 691.

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  J. C. Loudon, A garden in the ancient style, in An Encyclopaedia of Gardening (1826), 1009, fig. 694.

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  J. C. Loudon, The imitation of a lake, in An Encyclopaedia of Gardening (1826), 1010, fig. 696.

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  J. C. Loudon, “A waterfall, or cascade,” in An Encyclopaedia of Gardening (1826), 1012, fig. 700.

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  J. C. Loudon, Aviary designed by Humphry Repton for the grounds of the Pavilion at Brighton, in An Encyclopaedia of Gardening (1826), 1020, fig. 718.

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  J. C. Loudon, "The pleasure-ground", in An Encyclopaedia of Gardening (1826), 1021, fig. 719.

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  J. C. Loudon, Plan of a ferme ornée with wild and irregular hedges, in An Encyclopaedia of Gardening (1826), 1023, fig. 722.

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  J. C. Loudon, Plan of a large public square, in An Encyclopaedia of Gardening (1826), 1030, fig. 733.

An Encyclopaedia of Gardening, new ed., improved and enlarged (1834)

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  J. C. Loudon, A grotto scene from Monza, Italy, in An Encyclopaedia of Gardening (1834), 36, fig. 20.

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  J. C. Loudon, Rustic Dutch fountain, in An Encyclopaedia of Gardening (1834), 63, fig. 43.

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  J. C. Loudon, Orangery at Baden Gardens, in An Encyclopaedia of Gardening (1834), 174, fig. 130.

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  J. C. Loudon, Rustic shed, in An Encyclopaedia of Gardening (1834), 227, fig. 163.

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  J. C. Loudon, “A lofty prospect tower,” in An Encyclopaedia of Gardening (1834), 328, fig. 224.

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  J. C. Loudon, “An Octagon Pagoda,” in An Encyclopaedia of Gardening (1834), 333, fig. 233.

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  J. C. Loudon, Diagram of worm fence, in An Encyclopaedia of Gardening (1834), 412, fig. 276.

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  J. C. Loudon, “The propagation-pot” and “carnation-saucer,” in An Encyclopaedia of Gardening (1834), 540, figs. 444–45.

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  J. C. Loudon, “The apiary, or bee-house,” in An Encyclopaedia of Gardening (1834), 613, fig. 620.

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  J. C. Loudon, Kitchen garden, in An Encyclopaedia of Gardening (1834), 721, fig. 696.

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  J. C. Loudon, Section and plan for a building to house orange trees, in An Encyclopaedia of Gardening (1834), 974, fig. 785a and b.

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  J. C. Loudon, A clump, in An Encyclopaedia of Gardening (1834), 1118, fig. 874a.

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  J. C. Loudon, One of the “Accidental Accompaniments to the Materials of Landscape,” for birds and animals, in An Encyclopaedia of Gardening (1834), 1183, fig. 947.

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  J. C. Loudon, “Seat formed of moss and hazel rods” and “Trellised arches for climbers,” in An Encyclopaedia of Gardening (1834), 1196, figs. 960–62.

The Suburban Gardener (1838)

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  J. C. Loudon, “Trees . . . arranged in the gardenesque manner,” in The Suburban Gardener (1838), 165, fig. 47.

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  J. C. Loudon, Trees arranged in the picturesque style, in The Suburban Gardener (1838), 165, fig. 48.

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  J. C. Loudon, A rustic thatched structure, in The Suburban Gardener (1838), 466, fig. 172.

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  J. C. Loudon, “A Villa Residence of Two Acres, within a regular Boundary, laid out in the Geometrical Style,” in The Suburban Gardener (1838), 530, fig. 200.

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  J. C. Loudon, Fountain supplied from a cistern, in The Suburban Gardener (1838), 582, fig. 233.

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  J. C. Loudon, “View of the French parterre,” in The Suburban Gardener (1838), 583, fig. 235.

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  J. C. Loudon, View of the rockwork, in The Suburban Gardener (1838), 584, fig. 237.

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  J. C. Loudon, Statue of Mercury in front of trelliswork for creepers, in The Suburban Gardener (1838), 585, fig. 238.

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  J. C. Loudon, “View of the rustic arch,” in The Suburban Gardener (1838), 586, fig. 240.

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  J. C. Loudon, “Entrance to the Flower-garden at Wimbledon House,” in The Suburban Gardener (1838), 641, fig. 267.

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  J. C. Loudon, A walk covered with trelliswork, in The Suburban Gardener (1838), 664, fig. 280.

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  J. C. Loudon, A bee-canopy covering one of Mr. Nutt’s hives, in The Suburban Gardener (1838), 713, fig. 306.

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  J. C. Loudon, Nutt’s hive placed in the front of a veranda, in The Suburban Gardener (1838), 714, fig. 307.

Gardener’s Magazine (December 1839)

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  J. C. Loudon, “Cheshunt Cottage, from the Road,” in the Gardener’s Magazine 15, no. 117 (December 1839): 633, fig. 154.

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  J. C. Loudon, “View from the Drawingroom Window at Cheshunt Cottage, looking to the Left,” in the Gardener’s Magazine 15, no. 117 (December 1839): 634, fig. 155.

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  J. C. Loudon, “View from the Drawingroom Window at Cheshunt Cottage, looking to the Right,” in the Gardener’s Magazine 15, no. 117 (December 1839): 636, fig. 156.

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  J. C. Loudon, “Ground Plan of Cheshunt Cottage,” in the Gardener’s Magazine 15, no. 117 (December 1839): 636, fig. 157.

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  J. C. Loudon, “View from the Library Porch,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 640, fig. 158.

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  J. C. Loudon, Plan of farmyard, garden offices and hot-houses at Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 642, fig. 159.

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  J. C. Loudon, “Rustic Alcove,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 644, fig. 160.

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  J. C. Loudon, “General View of the Hot-houses, as seen across the American Garden,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 646, fig. 161.

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  J. C. Loudon, “View from the Chinese Temple,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 651, fig. 162.

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  J. C. Loudon, “Distant View of the House and Tent, across the Pond,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 653, fig. 163.

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  J. C. Loudon, “Grotto, with Umbrella Tent over,” Cheshunt Cottage, in Gardener’s Magazine 15, no. 117 (December 1839): 654, fig. 164.

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  J. C. Loudon, Vertical profile of the gardens and the pleasure-ground, Cheshunt Cottage (left side), in the Gardener’s Magazine 15, no. 117 (December 1839): 656, fig. 165.

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  J. C. Loudon, Vertical profile of the gardens and the pleasure-ground, Cheshunt Cottage (right side), in the Gardener’s Magazine 15, no. 117 (December 1839): 657, fig. 165.

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  J. C. Loudon, “Covered Seat, of grotesque and rustic Masonry,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 656, fig. 168.

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  J. C. Loudon, Elevation of the Back Woodwork of a Rustic Covered Seat, Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 660, fig. 168.

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  J. C. Loudon, “Hermit’s Seat, and Classical Vase,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 664, fig. 172.

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  J. C. Loudon, “Boat-house and Agave Mount,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 667, fig. 173.

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  J. C. Loudon, “Garden Front of Cheshunt Cottage,” in the Gardener’s Magazine 15, no. 117 (December 1839): 669, fig. 174.

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  J. C. Loudon, “View across the Water, looking towards the House,” Cheshunt Cottage, in the Gardener’s Magazine 15, no. 117 (December 1839): 673, fig. 175.

An Encyclopaedia of Gardening, new ed., corrected and improved (1850)

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  J. C. Loudon, Perspective view of a house in the village of Riceborough, Ga., in An Encyclopaedia of Gardening (1850), 332, fig. 231.

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Other Resources

Parks & Gardens UK

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