In addition to providing settings for decorative objects, groves sometimes displayed rare or unusual tree specimens. At [[Mount Vernon]], [[George Washington|Washington]] contrasted his northern grove, to be made up entirely of locust trees, with his southern grove, to be planted with “clever,” “curious,” and “ornamental” trees and [[shrub]]s. At [[The Woodlands]], [[William Hamilton]] also filled his groves with rare ornamental trees.
[[File:0059.jpg|thumb|left|Fig. 6, [[Benjamin Henry Latrobe]], Spring house—elevation and plan, from “Buildings Erected or Proposed to be Built in Virginia,” 1795–99.]]
[[File:0134.jpg|thumb|left|Fig. 7, Christian Remick, ''A Prospective View of part of the Commons'', c. 1768.]]
Groves provided shade and settings for [[walk]]s that linked buildings in a unified composition. They sheltered or highlighted important architectural features. Groves of evergreens or shade trees were well suited for graves and church settings because of the associations with perpetual life. [[Eliza Lucas Pinckney|Pinckney]] and [[Charles Willson Peale]] both spoke of the aura of solemnity found in the deep shade and quiet of their respective groves. Alexander Hamilton (1744) called the “darkened and shaded” grove very “romantick.” Architect [[Benjamin Henry Latrobe]] depicted a [[temple]] deep in a grove, a scene that recalled idealized landscapes associated with the classical past [Fig. 6]. Funerary associations of the grove, dating back to antiquity, made the feature an especially appropriate setting for commemorative monuments and landscape [[cemeteries]].
Changes - History of Early American Landscape Design
A Project of the Center for Advanced Study in the Visual Arts, National Gallery of Art
History of Early American Landscape Design
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[ A Project of the National Gallery of Art, Center for Advanced Study in the Visual Arts ]
A Project of the Center for Advanced Study in the Visual Arts

National Gallery of Art, Washington