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History of Early American Landscape Design

Difference between revisions of "Vase/Urn"

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===Usage===
 
===Usage===
  
McIntire, Samuel, 8 June 1795, describing a  
+
* McIntire, Samuel, 8 June 1795, describing a statement of account with Elias Hasket Derby (quoted in Kimball 1940: 74)  
statement of account with Elias Hasket Derby  
 
(quoted in Kimball 1940: 74)  
 
  
“1793 Dec 4th to Sundrie Drawings for  
+
: “1793 Dec 4th to Sundrie Drawings for Summer Houses @ 24/ £1: 4:  
Summer Houses @ 24/ £1: 4:  
+
:1794 Apl 25 to Carving 4 Vases for  
1794 Apl 25 to Carving 4 Vases for  
+
:the Summer House at 18/s each 3: 18:  
the Summer House at 18/s each 3: 18:  
+
:July to Building the Summer  
July to Building the Summer  
+
:House at the Farm @ 100: 0:0  
House at the Farm @ 100: 0:0  
+
:to Extra work on the Same,  
to Extra work on the Same,  
+
:Viz., finishing four Closets  
Viz., finishing four Closets  
+
:@20/each 4: 0:0” [Fig. 8]  
@20/each 4: 0:0”  
 
[Fig. 8]  
 
  
Ingraham, Joseph Holt, 1835, describing a plantation
 
near New Orleans, La. (1:243)
 
  
“Passing from this plantation scene through the
+
* Ingraham, Joseph Holt, 1835, describing a plantation near New Orleans, La. (1:243)
airy hall of the dwelling, which opened from piazza
 
to piazza through the house, to the front gallery,  
 
whose light columns were wreathed with the delicately
 
leaved Cape-jasmine, rambling woodbine and
 
honeysuckle, a lovelier and more agreeable scene
 
met my eye. I stood almost embowered in the
 
foliage of exotics and native plants, which stood
 
upon the gallery in handsome vases of marble and
 
China-ware. The main avenue opened a vista to the
 
river through a paradise of althea, orange, lemon,
 
and olive trees, and groves and lawns extended on
 
both sides of this lovely spot, ‘Where Flora’s brightest
 
broidery shone,’ terminating at the villas of
 
adjoining plantations.
 
  
Willis, Nathaniel Parker, 1840, describing
+
: “Passing from this plantation scene through the airy hall of the dwelling, which opened from piazza to piazza through the house, to the front gallery, whose light columns were wreathed with the delicately leaved Cape-jasmine, rambling woodbine and honeysuckle, a lovelier and more agreeable scene met my eye. I stood almost embowered in the foliage of exotics and native plants, which stood upon the gallery in handsome vases of marble and China-ware. The main avenue opened a vista to the river through a paradise of althea, orange, lemon, and olive trees, and groves and lawns extended on both sides of this lovely spot, ‘Where Flora’s brightest broidery shone,’ terminating at the villas of adjoining plantations.
Undercliff, seat of General George P. Morris, near
 
Cold-Spring, N.Y. ([1840] 1971: 233)
 
  
“In front, a circle of greensward is refreshed by
 
a fountain in the centre, gushing from a Grecian
 
vase, and encircled by ornamental shrubbery; from thence a gravelled walk winds down a gentle
 
declivity to a second plateau, and again descends
 
to the entrance of the carriage road, which leads
 
upwards along the left slope of the hill, through a
 
noble forest, the growth of many years, until suddenly
 
emerging from its sombre shades, the visitor
 
beholds the mansion before him in the bright
 
blaze of day.”
 
  
Hovey, C. M., November 1841, describing Highland
+
* Willis, Nathaniel Parker, 1840, describing Undercliff, seat of General George P. Morris, near Cold-Spring, N.Y. ([1840] 1971: 233)
Place, estate of A. J. Downing, Newburgh,  
 
  
N.Y. (Magazine of Horticulture 7: 405)
+
: “In front, a circle of greensward is refreshed by a fountain in the centre, gushing from a Grecian vase, and encircled by ornamental shrubbery; from thence a gravelled walk winds down a gentle declivity to a second plateau, and again descends to the entrance of the carriage road, which leads upwards along the left slope of the hill, through a noble forest, the growth of many years, until suddenly emerging from its sombre shades, the visitor beholds the mansion before him in the bright blaze of day.
“7. Large palms in pots, or Maltese vases, or
 
vases made of artificial stone, set on the turf. In
 
the introduction of vases, it should always be
 
remembered that the vase should not be set down
 
immediately on the turf, but upon a plinth....  
 
  
“8. Rustic basket, for flowers, as represented in
 
the engraving just referred to. These are very easily
 
made. Mr. Downing has given a figure of one, in
 
his Treatise on Landscape Gardening, where he
 
states they may be made in the following manner:—
 
An octagon box serves as the body or frame
 
of the vase; on this, pieces of birch and hazel,
 
(small split limbs, covered with the bark,) are
 
nailed closely, so as to form a sort of mosaic covering
 
to the whole exterior.”
 
  
Downing, A. J., October 1847, describing Montgomery
+
* Hovey, C. M., November 1841, describing Highland Place, estate of A. J. Downing, Newburgh, N.Y. (Magazine of Horticulture 7: 405)  
Place, country home of Mrs. Edward
 
(Louise) Livingston, Dutchess County, N.Y.  
 
(quoted in Haley 1988: 52)  
 
  
“Passing under neat and tasteful archways of  
+
: “7. Large palms in pots, or Maltese vases, or vases made of artificial stone, set on the turf. In the introduction of vases, it should always be remembered that the vase should not be set down immediately on the turf, but upon a plinth....
wirework, covered with rare climbers, we enter
+
: “8. Rustic basket, for flowers, as represented in the engraving just referred to. These are very easily made. Mr. Downing has given a figure of one, in his Treatise on Landscape Gardening, where he states they may be made in the following manner:—An octagon box serves as the body or frame of the vase; on this, pieces of birch and hazel, (small split limbs, covered with the bark,) are nailed closely, so as to form a sort of mosaic covering to the whole exterior.”
what is properly
 
  
“THE FLOWER GARDEN.
 
“In the centre of the garden stands a large vase
 
of the Warwick pattern; others occupy the centres
 
of parterres in the midst of its two main divisions,
 
and at either end is a fanciful light summer-house,
 
or pavilion, of Moresque character.”
 
  
Downing, A. J., 1849, describing Blithewood, seat
+
* Downing, A. J., October 1847, describing Montgomery Place, country home of Mrs. Edward (Louise) Livingston, Dutchess County, N.Y. (quoted in Haley 1988: 52)
of Robert Donaldson, Dutchess County, N.Y.  
 
  
(p. 425)
+
: “Passing under neat and tasteful archways of wirework, covered with rare climbers, we enter what is properly
“At Blithewood, the seat of R. Donaldson,
+
: “THE FLOWER GARDEN.  
Esq., on the Hudson, a number of exquisite vases
+
: “In the centre of the garden stands a large vase of the Warwick pattern; others occupy the centres of parterres in the midst of its two main divisions, and at either end is a fanciful light summer-house, or pavilion, of Moresque character.”  
may be seen in the pleasure-grounds, which are
 
cut in Maltese stone. These were imported by the  
 
proprietor, direct from Malta, at very moderate
 
rates, and are not only ornamental, but very
 
durable. Their color is a warm shade of grey which
 
harmonizes agreeably with the surrounding vegetation.”  
 
[Fig. 9]
 
  
Twain, Mark, 26 October 1853, describing Fair-
 
mount Waterworks, Philadelphia, Pa. (quoted in
 
Gibson 1988: 2)
 
  
“We arrived at Fairmount. . . . Seeing a park at the
+
* Downing, A. J., 1849, describing Blithewood, seat of Robert Donaldson, Dutchess County, N.Y. (p. 425)
foot of the hill, I entered—and found it one of the
 
nicest little places about. Fat marble Cupids, in big
 
marble vases, squirted water upward incessantly.
 
===Citations===
 
  
[Dézallier d’Argenville, A.-J.], 1712, The Theory
+
: “At Blithewood, the seat of R. Donaldson, Esq., on the Hudson, a number of exquisite vases may be seen in the pleasure-grounds, which are cut in Maltese stone. These were imported by the proprietor, direct from Malta, at very moderate rates, and are not only ornamental, but very durable. Their color is a warm shade of grey which harmonizes agreeably with the surrounding vegetation.” [Fig. 9]  
and Practice of Gardening ([1712] 1969: 75–76)
 
  
“STATUES and Vases contribute very much to
 
the Embellishment and Magnificence of a Garden,
 
and extremely advance the natural Beauties of it.
 
They are made of several Forms, and different
 
Materials; the richest are those of Cast-Brass, Lead
 
gilt, and Marble; the ordinary Sort are of common
 
Stone, or Stucco. . . .
 
  
“THE usual Places of Figures and Vases are
+
* Twain, Mark, 26 October 1853, describing Fairmount Waterworks, Philadelphia, Pa. (quoted in Gibson 1988: 2)  
along the Palisades, in the Front, and upon the
 
Sides of a Parterre; in the Niches and Sinkings of
 
Horn-beam, or of Lattice-work made for that Purpose.
 
In Groves, they are placed in the Center of a
 
Star, or S. Andrew’s Cross; in the Spaces between
 
the Walks of a Goose-foot, in the Middle of Halls
 
and Cabinets, among the Trees and Arches of a
 
Green-Gallery, and at the Head of a Row of Trees,
 
or Palisades, that stand free and detached. They
 
are also put at the lower End of Walks and Vistas,
 
to set them off the better; in Porticos, and Arbors
 
of Trellis-work; in Basons, Cascades, &c. In general,
 
they do well every where; and you can scarce
 
have too many of them in a Garden: But, as in the
 
Business of Sculpture, it should be excellent, as
 
well as in Painting and Poesy [sic] (which are its
 
two Sisters).”
 
  
Gibbs, James, 1728, A Book of Architecture (pp. xxi,
+
: “We arrived at Fairmount. . . . Seeing a park at the foot of the hill, I entered—and found it one of the nicest little places about. Fat marble Cupids, in big marble vases, squirted water upward incessantly.
xxv)
 
  
“Three Designs for Columns, proper for pub-
 
lick Places or private Gardens; viz. a plain Dorick
 
Column upon its Pedestal with a Vase a top, a
 
fluted Column properly adorn’d, and a Rustick
 
frosted Column, with a Figure a-top, as I have made them for several Gentlemen. The Proportions
 
of them are mark’d upon an upright Line,
 
divided into so many Diameters of the Column
 
for the Height. . . .
 
  
“Three Designs for Vases, done for the Right
+
===Citations===
Honourable the Earl of Oxford. There are two
 
Vases well executed in Portland Stone according
 
to the middle Draught, which are set upon two
 
large Peers on each side of the principal Walk in
 
the Garden at Wimpole in Cambridgeshire....
 
[Fig. 10]
 
 
 
“Fifty four Draughts of Vases, &c. in the
 
Antique manner, made for several persons at different
 
times. Many of them have been executed
 
both in Marble and Metal.”
 
 
 
Whately, Thomas, 1770, Observations on Modern
 
Gardening ([1770] 1982: 138)
 
 
 
“vases, statues, and termini, are usual
 
appendages to a considerable edifice; as such they
 
may attend the mansion, and trespass a little upon
 
the garden, provided they are not carried so far
 
into it as to lose their connection with the structure.”
 
 
 
 
 
Webster, Noah, 1828, An American Dictionary of
 
the English Language (n.p.)
 
 
 
“URN . . . A kind of vase of a roundish form,
 
largest in the middle; used as an ornament.
 
Cyc....
 
 
 
“VASE, n. [Fr. from L. vas, vasa, a vessel; It. vaso.]
 
 
 
“1. A vessel for domestic use, or for use in temples;
 
as a vase
 
for sacrifice, an urn, &c.
 
 
 
“2. An ancient vessel dug out of the ground or
 
from rubbish, and kept as a curiosity.
 
  
“3. In architecture, an ornament of sculpture,  
+
* [Dézallier d’Argenville, A.-J.], 1712, The Theory and Practice of Gardening ([1712] 1969: 75–76)
placed on socles or pedestals, representing the vessels
 
of the ancients, as incense-pots, flower-pots,
 
  
&c. They usually crown or finish facades or frontispieces.  
+
: “STATUES and Vases contribute very much to the Embellishment and Magnificence of a Garden, and extremely advance the natural Beauties of it. They are made of several Forms, and different Materials; the richest are those of Cast-Brass, Lead gilt, and Marble; the ordinary Sort are of common Stone, or Stucco. . . .
Cyc.  
+
: “THE usual Places of Figures and Vases are along the Palisades, in the Front, and upon the Sides of a Parterre; in the Niches and Sinkings of Horn-beam, or of Lattice-work made for that Purpose. In Groves, they are placed in the Center of a Star, or S. Andrew’s Cross; in the Spaces between the Walks of a Goose-foot, in the Middle of Halls and Cabinets, among the Trees and Arches of a Green-Gallery, and at the Head of a Row of Trees, or Palisades, that stand free and detached. They are also put at the lower End of Walks and Vistas, to set them off the better; in Porticos, and Arbors of Trellis-work; in Basons, Cascades, &c. In general, they do well every where; and you can scarce have too many of them in a Garden: But, as in the Business of Sculpture, it should be excellent, as well as in Painting and Poesy [sic] (which are its two Sisters).
  
“4. The body of the Corinthian and Composite
 
capital; called also the tambor or drum.”
 
  
Downing, A. J., August 1836, “Remarks on the
+
* Gibbs, James, 1728, A Book of Architecture (pp. xxi, xxv)  
Fitness of the different Styles of Architecture for
 
the Construction of Country Residences, and on
 
the Employment of Vases in Garden Scenery”
 
(American Gardeners’ Magazine 2: 285–86)  
 
  
“It will not be inadvertent to the present hasty
+
: “Three Designs for Columns, proper for publick Places or private Gardens; viz. a plain Dorick Column upon its Pedestal with a Vase a top, a fluted Column properly adorn’d, and a Rustick frosted Column, with a Figure a-top, as I have made them for several Gentlemen. The Proportions of them are mark’d upon an upright Line, divided into so many Diameters of the Column for the Height. . . .  
remarks to hint at the additional charm which
+
: “Three Designs for Vases, done for the Right Honourable the Earl of Oxford. There are two Vases well executed in Portland Stone according to the middle Draught, which are set upon two large Peers on each side of the principal Walk in the Garden at Wimpole in Cambridgeshire.... [Fig. 10]
may be produced in highly finished places, especially
+
: “Fifty four Draughts of Vases, &c. in the Antique manner, made for several persons at different times. Many of them have been executed both in Marble and Metal.
where the buildings are in the Grecian style,  
 
by introducing into the lawns and gardens the
 
classic vase
 
in its different forms, and, if thought
 
desirable, statues also. They serve as it were as a
 
connecting link between so highly artificial an  
 
object as a modern villa, and the verdant lawns
 
and gay gardens which surround it. Elevated upon
 
pedestals, and placed at suitable points in the  
 
view—on the parapets of terraces near the
 
house—before a group of foliage upon the lawn,
 
and at proper intervals in the garden, they give a
 
classic and elegant air to the whole, which adds
 
greatly to its value. Beautiful in their forms, contrasting
 
finely with the deep green of vegetation,
 
and leading the eye gradually from their own
 
sculptured beauty to the architectural symmetry
 
of the building, of which they form as it were a
 
continuous though detached part, amalgamating
 
it with the grounds in which it is placed—their
 
effect can only be appreciated beforehand by those
 
who have studied the excellent effect produced by
 
their introduction into the scene.  
 
  
“Another reason which may be offered for the
 
introduction of vases into architectural and garden
 
scenery is ‘the gratification which such objects
 
afford to the man of intelligence and taste. There
 
are, perhaps, few objects, next to the human figure,
 
which afford as many interesting historical
 
associations as the vase. It may truly be said to be
 
the first and last production of the plastic art. The
 
first utensil formed by man, in the dawn of civilization in every country, is a vessel or vase for
 
holding water; and that on which the highest
 
resources of art are bestowed, in ages of the greatest
 
refinement, is a vase or vessel for holding wine.
 
In the first case, it is hollowed out of a gourd, or
 
rudely shaped of clay, and dried in the sun; and, in
 
the latter case, it is manufactured of costly metals
 
or precious stones; or, if of common materials,
 
such as stone, earthenware or glass, it is rendered
 
valuable by the taste and skill bestowed on its
 
form and ornaments. The history of every country
 
may be traced by its vases no less than by its coins;
 
and the history of all countries is set before us in
 
the vases of all countries.’ [Loudon, X. 494.]”
 
  
Hovey, C. M., January 1839, “Notes on Gardens
+
* Whately, Thomas, 1770, Observations on Modern Gardening ([1770] 1982: 138)  
and Nurseries” (Magazine of Horticulture 5: 29)  
 
  
“The beauty of vases in garden scenery has
+
: “vases, statues, and termini, are usual appendages to a considerable edifice; as such they may attend the mansion, and trespass a little upon the garden, provided they are not carried so far into it as to lose their connection with the structure.
been already urged by our correspondent, Mr.
 
Downing, (Vol. II, p. 281,) and we had intended to  
 
add something to his remarks, ourselves, by the
 
way of impressing the subject more upon the  
 
attention of our readers. . . .  
 
  
“Surely we need not say any thing further to
 
show how much they would add to the beauty of
 
the garden, or the elegance of the conservatory. In
 
either place, they are objects too inviting not to be
 
found in every garden. These vases are easily filled
 
with handsome plants, well suited to the situation,
 
and the following might compose, in part, the
 
group for the green-house.”
 
  
Rusticus [pseud.], August 1846, “Design for a
+
* Webster, Noah, 1828, An American Dictionary of the English Language (n.p.)  
Rustic Gate” (Horticulturist 1: 72)  
 
  
“Indeed, rustic work of all kinds is extremely
+
: “URN . . . A kind of vase of a roundish form, largest in the middle; used as an ornament. Cyc....
pleasing in any situation where there is any thing
+
: “VASE, n. [Fr. from L. vas, vasa, a vessel; It. vaso.]
like a wild or natural character; or even where
+
: “1. A vessel for domestic use, or for use in temples; as a vase for sacrifice, an urn, &c.
there is a simple and rustic character. In the
+
: “2. An ancient vessel dug out of the ground or from rubbish, and kept as a curiosity.  
immediate proximity of a highly finished villa, it
+
: “3. In architecture, an ornament of sculpture, placed on socles or pedestals, representing the vessels of the ancients, as incense-pots, flower-pots, &c. They usually crown or finish facades or frontispieces. Cyc.
strikes me that rustic work, such as arbors, fences,  
+
: “4. The body of the Corinthian and Composite capital; called also the tambor or drum.”  
flower baskets and the like, are rather out of place.  
 
The sculptured vase of marble, or terra cotta,  
 
would appear to be the most in keeping with an
 
elegant place of the first class; that is to say, for all
 
situations very near the house. In wooded walks,
 
or secluded spots, rustic work looks well always.”  
 
  
Downing, A. J., July 1848, “Ornamental Vases
 
and Chimney Tops” (Horticulturist 3: 40)
 
  
“There are few objects that may, with so much
+
* Downing, A. J., August 1836, “Remarks on the Fitness of the different Styles of Architecture for the Construction of Country Residences, and on the Employment of Vases in Garden Scenery” (American Gardeners’ Magazine 2: 285–86)
good effect, be introduced into the scenery of  
 
pleasure grounds, surrounding a tasteful villa, as
 
the vase, in its many varied forms. The terra cotta
 
vases of the Garnkirk company exhibit pleasing
 
forms, and a soft mellow shade of colour, which
 
harmonizes admirably with the hue of foliage and  
 
turf. From among the variety manufactured by
 
them, we have selected a few, of which we here
 
present engravings. . . .
 
  
“To set down a vase upon the earth, or the  
+
: “It will not be inadvertent to the present hasty remarks to hint at the additional charm which may be produced in highly finished places, especially where the buildings are in the Grecian style, by introducing into the lawns and gardens the classic vase in its different forms, and, if thought desirable, statues also. They serve as it were as a connecting link between so highly artificial an object as a modern villa, and the verdant lawns and gay gardens which surround it. Elevated upon pedestals, and placed at suitable points in the view—on the parapets of terraces near the house—before a group of foliage upon the lawn, and at proper intervals in the garden, they give a classic and elegant air to the whole, which adds greatly to its value. Beautiful in their forms, contrasting finely with the deep green of vegetation, and leading the eye gradually from their own sculptured beauty to the architectural symmetry of the building, of which they form as it were a continuous though detached part, amalgamating it with the grounds in which it is placed—their effect can only be appreciated beforehand by those who have studied the excellent effect produced by their introduction into the scene.
lawn, without any pedestal, is to give it a temporary
+
: “Another reason which may be offered for the introduction of vases into architectural and garden scenery is ‘the gratification which such objects afford to the man of intelligence and taste. There are, perhaps, few objects, next to the human figure, which afford as many interesting historical associations as the vase. It may truly be said to be the first and last production of the plastic art. The first utensil formed by man, in the dawn of civilization in every country, is a vessel or vase for holding water; and that on which the highest resources of art are bestowed, in ages of the greatest refinement, is a vase or vessel for holding wine. In the first case, it is hollowed out of a gourd, or rudely shaped of clay, and dried in the sun; and, in the latter case, it is manufactured of costly metals or precious stones; or, if of common materials, such as stone, earthenware or glass, it is rendered valuable by the taste and skill bestowed on its form and ornaments. The history of every country may be traced by its vases no less than by its coins; and the history of all countries is set before us in the vases of all countries.’ [Loudon, X. 494.]”
character, and to rob it of that dignity and
 
importance which it gains, both to the eye and the  
 
reason, by being placed on a firm and secure
 
pedestal. . . .  
 
  
“Looking at the vase in an artistical point of
 
view, it is considered as performing the office of
 
uniting the architecture and the grounds of a
 
complete country residence. It is the architectural
 
idea, carried a little beyond the house, and shows
 
that the same feeling of taste and embellishment
 
reigns in both departments of the residence. It will
 
be easily understood from this, that the most suitable
 
place for vases is in highly kept portions of
 
the pleasure ground, near the house, where the
 
vases may be seen in connexion with it; or, at
 
least, where the architecture of the building harmonizes
 
with the highly artificial forms of the
 
vase. The simplest cottage may have its vase; but,
 
where the building is small, the rustic vase, made
 
of bits of wood, and filled with flowering plants, is
 
in better keeping than those made of any more
 
highly artificial materials.”
 
  
Downing, A. J., 1849, A Treatise on the Theory and  
+
* Hovey, C. M., January 1839, “Notes on Gardens and Nurseries” (Magazine of Horticulture 5: 29)  
Practice of Landscape Gardening (pp. 423–27, 471,
 
473)  
 
  
“Where there is a terrace ornamented with
+
: “The beauty of vases in garden scenery has been already urged by our correspondent, Mr. Downing, (Vol. II, p. 281,) and we had intended to add something to his remarks, ourselves, by the way of impressing the subject more upon the attention of our readers. . . .  
urns or vases, and the proprietor wishes to give a
+
: “Surely we need not say any thing further to show how much they would add to the beauty of the garden, or the elegance of the conservatory. In either place, they are objects too inviting not to be found in every garden. These vases are easily filled with handsome plants, well suited to the situation, and the following might compose, in part, the group for the green-house.
corresponding air of elegance to his grounds,
 
vases, sundials, etc., may be placed in various
 
appropriate situations, not only in the architectural
 
flower-garden, but on the lawn, and through
 
the pleasure-grounds in various different points
 
near the house. We say near the house, because we
 
think so highly artificial and architectural an
 
object as a sculptured vase, is never correctly
 
introduced unless it appear in some way connected
 
with buildings, or objects of a like architectural
 
character. To place a beautiful vase in a
 
distant part of the grounds, where there is no
 
direct allusion to art, and where it is accompanied
 
only by natural objects, as the overhanging trees
 
and the sloping turf, is in a measure doing violence
 
to our reason or taste, by bringing two
 
objects so strongly contrasted, in direct union. But
 
when we see a statue or a vase placed in any part
 
of the grounds where a near view is obtained of  
 
the house (and its accompanying statues or  
 
vases), the whole is accounted for, and we feel the
 
distant vase to be only part of, or rather a repetition
 
of the same idea,—in other words, that it
 
forms part of a whole, harmonious and consistent.  
 
  
“Vases of real stone, as marble or granite, are
 
decorations of too costly a kind ever to come into
 
general use among us. Vases, however, of equally
 
beautiful forms, are manufactured of artificial
 
stone, of fine pottery, or of cast iron, which have
 
the same effect, and are of nearly equal durability,
 
as garden decorations.
 
  
“A vase should never, in the open air, be set
+
* Rusticus [pseud.], August 1846, “Design for a Rustic Gate” (Horticulturist 1: 72)  
down upon the ground or grass, without being
 
placed upon a firm base of some description,
 
either a plinth or a pedestal. Without a base of this
 
kind it has a temporary look, as if it had been left
 
there by mere accident, and without any intention
 
of permanence. Placing it upon a pedestal, or
 
square plinth (block of stone), gives it a character
 
of art, at once more dignified and expressive of
 
stability. Besides this, the pedestal in reality serves
 
to preserve the vase in a perpendicular position, as well as to expose it fairly to the eye, which could
 
not be the case were it put down, without any
 
preparation, on the bare turf or gravel.
 
  
“Figure 69 is . . . Gothic. . . . These with many
+
: “Indeed, rustic work of all kinds is extremely pleasing in any situation where there is any thing like a wild or natural character; or even where there is a simple and rustic character. In the immediate proximity of a highly finished villa, it strikes me that rustic work, such as arbors, fences, flower baskets and the like, are rather out of place. The sculptured vase of marble, or terra cotta, would appear to be the most in keeping with an elegant place of the first class; that is to say, for all situations very near the house. In wooded walks, or secluded spots, rustic work looks well always.
other elegant vases and urns are manufactured in
 
an artificial stone, as durable as marble, by Austin
 
of London, and together with a great variety of  
 
other beautiful sculpturesque decorations, may be
 
imported at very reasonable prices. . . . [Fig. 11]
 
  
“These vases, when colored to imitate marble
 
or other stone, are extremely durable and very
 
ornamental. As yet, we are unable to refer our
 
readers to any manufactory here, where these articles
 
are made in a manner fully equal to the English;
 
but we are satisfied, it is only necessary that
 
the taste for such articles should increase, and the
 
consequent demand, to induce our artisans to
 
produce them of equal beauty and of greater
 
cheapness. . . .
 
  
“Large vases are sometimes filled with earth
+
* Downing, A. J., July 1848, “Ornamental Vases and Chimney Tops” (Horticulturist 3: 40)
and planted with choice flowering plants, and the
 
effect of the blossoms and green leaves growing
 
out of these handsome receptacles, is at least
 
unique and striking Loudon objects to it in the
 
case of an elegant sculptured vase, ‘because it is
 
reducing a work of art to the level of a mere garden
 
flower-pot, and dividing the attention
 
between the beauty of the form of the vase and of
 
its sculptured ornaments, and that of the plant
 
which it contains.’ This criticism is a just one in its
 
general application, especially when vases are considered
 
as architectural decorations. Occasional
 
deviations, however, may be permitted, for the
 
sake of producing variety, especially in the case of
 
vases used as decorations in the flower-garden.
 
  
“A very pretty and fanciful substitute for the  
+
: “There are few objects that may, with so much good effect, be introduced into the scenery of pleasure grounds, surrounding a tasteful villa, as the vase, in its many varied forms. The terra cotta vases of the Garnkirk company exhibit pleasing forms, and a soft mellow shade of colour, which harmonizes admirably with the hue of foliage and turf. From among the variety manufactured by them, we have selected a few, of which we here present engravings. . . .
sculptured vase, and which may take its place in
+
: “To set down a vase upon the earth, or the lawn, without any pedestal, is to give it a temporary character, and to rob it of that dignity and importance which it gains, both to the eye and the reason, by being placed on a firm and secure pedestal. . . .
the picturesque landscape, may be found in vases  
+
: “Looking at the vase in an artistical point of view, it is considered as performing the office of uniting the architecture and the grounds of a complete country residence. It is the architectural idea, carried a little beyond the house, and shows that the same feeling of taste and embellishment reigns in both departments of the residence. It will be easily understood from this, that the most suitable place for vases is in highly kept portions of the pleasure ground, near the house, where the vases may be seen in connexion with it; or, at least, where the architecture of the building harmonizes with the highly artificial forms of the vase. The simplest cottage may have its vase; but, where the building is small, the rustic vase, made of bits of wood, and filled with flowering plants, is in better keeping than those made of any more highly artificial materials.
or baskets of rustic work, constructed of the
 
branches and sections of trees with the bark
 
attached. Figure 74 is a representation of a pleasing
 
rustic vase which we have constructed without  
 
difficulty. A tripod of branches of trees forms the  
 
pedestal. An octagonal box serves as the body or
 
frame of the vase; on this, pieces of birch and  
 
hazel (small split limbs covered with the bark) are nailed closely, so as to form a sort of mosaic covering
 
to the whole exterior. Ornaments of this
 
kind, which may be made by the amateur with the  
 
assistance of a common carpenter, are very suitable
 
for the decoration of the grounds and flower-
 
gardens of cottages or picturesque villas. An
 
endless variety of forms will occur to an ingenious
 
artist in rustic work, which he may call in to the
 
embellishment of rural scenes, without taxing his
 
purse heavily. . . . [Fig. 12]
 
  
“Weeping, or Tazza Fountians, as they are
 
called, are simple and highly pleasing objects,
 
which require only a very moderate supply of
 
water compared with that demanded by a constant
 
and powerful jet. The conduit pipe rises
 
through and fills the vase, which is so formed as to
 
overflow round its entire margin. Figure 93 represents
 
a beautiful Grecian vase for tazza fountains.
 
The ordinary jet and the tazza fountain may be
 
combined in one, when the supply of water is sufficient,
 
by carrying the conduit pipe to the level of
 
the top of the vase, from which the water rises
 
perpendicularly, then falls back into the vase and
 
overflows as before. . . . [Fig. 13]
 
  
“Unity of expression is the maxim and guide in
+
* Downing, A. J., 1849, A Treatise on the Theory and Practice of Landscape Gardening (pp. 423–27, 471, 473)
this department of the art, as in every other. Decorations
 
can never be introduced with good effect,
 
when they are at variance with the character of
 
surrounding objects. A beautiful and highly architectural
 
villa may, with the greatest propriety,  
 
receive the decorative accompaniments of elegant
 
vases, sundials, or statues, should the proprietorchoose to display his wealth and taste in this manner;
 
but these decorations would be totally misapplied
 
in the case of a plain square edifice, evincing
 
no architectural style in itself.
 
  
“In addition to this, there is great danger that a  
+
: “Where there is a terrace ornamented with urns or vases, and the proprietor wishes to give a corresponding air of elegance to his grounds, vases, sundials, etc., may be placed in various appropriate situations, not only in the architectural flower-garden, but on the lawn, and through the pleasure-grounds in various different points near the house. We say near the house, because we think so highly artificial and architectural an object as a sculptured vase, is never correctly introduced unless it appear in some way connected with buildings, or objects of a like architectural character. To place a beautiful vase in a distant part of the grounds, where there is no direct allusion to art, and where it is accompanied only by natural objects, as the overhanging trees and the sloping turf, is in a measure doing violence to our reason or taste, by bringing two objects so strongly contrasted, in direct union. But when we see a statue or a vase placed in any part of the grounds where a near view is obtained of the house (and its accompanying statues or vases), the whole is accounted for, and we feel the distant vase to be only part of, or rather a repetition of the same idea,—in other words, that it forms part of a whole, harmonious and consistent.
mere lover of fine vases may run into the error of  
+
: “Vases of real stone, as marble or granite, are decorations of too costly a kind ever to come into general use among us. Vases, however, of equally beautiful forms, are manufactured of artificial stone, of fine pottery, or of cast iron, which have the same effect, and are of nearly equal durability, as garden decorations.
assembling these objects indiscriminately in different  
+
: “A vase should never, in the open air, be set down upon the ground or grass, without being placed upon a firm base of some description, either a plinth or a pedestal. Without a base of this kind it has a temporary look, as if it had been left there by mere accident, and without any intention of permanence. Placing it upon a pedestal, or square plinth (block of stone), gives it a character of art, at once more dignified and expressive of stability. Besides this, the pedestal in reality serves to preserve the vase in a perpendicular position, as well as to expose it fairly to the eye, which could not be the case were it put down, without any preparation, on the bare turf or gravel.
parts of his grounds, where they have really  
+
: “Figure 69 is . . . Gothic. . . . These with many other elegant vases and urns are manufactured in an artificial stone, as durable as marble, by Austin of London, and together with a great variety of other beautiful sculpturesque decorations, may be imported at very reasonable prices. . . . [Fig. 11]
no place, but interfere with the quiet character of  
+
: “These vases, when colored to imitate marble or other stone, are extremely durable and very ornamental. As yet, we are unable to refer our readers to any manufactory here, where these articles are made in a manner fully equal to the English; but we are satisfied, it is only necessary that the taste for such articles should increase, and the consequent demand, to induce our artisans to produce them of equal beauty and of greater cheapness. . . .
surrounding nature. He may overload the grounds  
+
: “Large vases are sometimes filled with earth and planted with choice flowering plants, and the effect of the blossoms and green leaves growing out of these handsome receptacles, is at least unique and striking Loudon objects to it in the case of an elegant sculptured vase, ‘because it is reducing a work of art to the level of a mere garden flower-pot, and dividing the attention between the beauty of the form of the vase and of its sculptured ornaments, and that of the plant which it contains.’ This criticism is a just one in its general application, especially when vases are considered as architectural decorations. Occasional deviations, however, may be permitted, for the sake of producing variety, especially in the case of vases used as decorations in the flower-garden.
with an unmeaning distribution of sculpturesque  
+
: “A very pretty and fanciful substitute for the sculptured vase, and which may take its place in the picturesque landscape, may be found in vases or baskets of rustic work, constructed of the branches and sections of trees with the bark attached. Figure 74 is a representation of a pleasing rustic vase which we have constructed without difficulty. A tripod of branches of trees forms the pedestal. An octagonal box serves as the body or frame of the vase; on this, pieces of birch and hazel (small split limbs covered with the bark) are nailed closely, so as to form a sort of mosaic covering to the whole exterior. Ornaments of this kind, which may be made by the amateur with the assistance of a common carpenter, are very suitable for the decoration of the grounds and flower-gardens of cottages or picturesque villas. An endless variety of forms will occur to an ingenious artist in rustic work, which he may call in to the embellishment of rural scenes, without taxing his purse heavily. . . . [Fig. 12]
or artificial forms, instead of working up those  
+
: “Weeping, or Tazza Fountians, as they are called, are simple and highly pleasing objects, which require only a very moderate supply of water compared with that demanded by a constant and powerful jet. The conduit pipe rises through and fills the vase, which is so formed as to overflow round its entire margin. Figure 93 represents a beautiful Grecian vase for tazza fountains. The ordinary jet and the tazza fountain may be combined in one, when the supply of water is sufficient, by carrying the conduit pipe to the level of the top of the vase, from which the water rises perpendicularly, then falls back into the vase and overflows as before. . . . [Fig. 13]
parts where art predominates in such a manner,  
+
: “Unity of expression is the maxim and guide in this department of the art, as in every other. Decorations can never be introduced with good effect,
by means of appropriate decorations, as to  
+
when they are at variance with the character of surrounding objects. A beautiful and highly architectural villa may, with the greatest propriety, receive the decorative accompaniments of elegant vases, sundials, or statues, should the proprietorchoose to display his wealth and taste in this manner; but these decorations would be totally misapplied in the case of a plain square edifice, evincing no architectural style in itself.
heighten by contrast the beauty of the whole adjacent  
+
: “In addition to this, there is great danger that a mere lover of fine vases may run into the error of assembling these objects indiscriminately in different parts of his grounds, where they have really no place, but interfere with the quiet character of surrounding nature. He may overload the grounds with an unmeaning distribution of sculpturesque or artificial forms, instead of working up those parts where art predominates in such a manner, by means of appropriate decorations, as to heighten by contrast the beauty of the whole adjacent landscape.”
landscape.”
 
  
 
==Images==
 
==Images==

Revision as of 19:55, March 1, 2016

History

The term vase typically referred to a freestanding, symmetrical vessel having a wider mouth than foot [Fig. 1], although some British pattern books included types with narrow mouths and elaborate lids [Fig. 2]. If fitted with a foot or pedestal set on either a small base or plinth, the vessel sometimes was referred to as an urn. Throughout history, ashes of the dead have been deposited in urns, giving them symbolic importance. Frequently urns were used for memorials and monuments, especially in cemeteries [Fig. 3]. In the context of the designed landscape, treatise writers often strongly recommended that the vase be placed on top of a pedestal or plinth so that it would be easily visible. A. J. Downing elaborated upon this point in an 1836 article about architecture and at greater length in his 1849 treatise, when he explained that without such a placement, the vase would appear as a temporary, accidental introduction to the landscape. A permanent base, in his opinion, gave the vase the “character of art, at once more dignified and expressive of stability” [Fig. 4].

Vases functioned primarily as ornamentation and were associated with a number of garden features. In his eighteenth-century treatise, A.-J. Dézallier d’Argenville suggested that vases could be used to decorate parterres, placed amidst planting features (such as groves) or in water features (such as basins), situated at the termination of walks and vistas, or housed within structures (such as porticos and arbors).

Vases continued to be featured in ornamental landscapes well into the nineteenth century, despite many changes in garden design. A painting of Kalorama, for example, depicts a vase at the center of the view [Fig. 5]. The connection between vases and water features continued as well. Downing’s texts, for example, contain numerous references to vases as fountains. The strategic placement of vases in pleasure grounds also endured. At the early nineteenth-century estate of Blithewood in Dutchess County, N.Y., vases of grey Maltese stone (which Downing praised for its ability to harmonize with vegetation) were used throughout the pleasure grounds and, in particular, at the corners of adjoining walks. Vases were also used at the termination of walks, where they served as visual focal points as in a suburban garden design described in 1848 in the Horticulturalist.

Treatise authors from different periods agreed that the vase should never be placed far from the house. Thomas Whately, in his 1770 treatise, insisted that the vase “attendthe mansion, and trespass a little upon the garden.” In 1849 Downing reiterated Whately’s idea, explaining that since the vase was a “highly artificial and architectural” object, it must be situated in the pleasure ground in such a manner that it would always “appear in some way connected with buildings, or objects of a like architectural character.” He cautioned further that vases be used judiciously. If placed “indiscriminately . . . where they have really no place, but interfere with the quiet character of surrounding nature,” vases ran the danger of destroying the “unity of expression” that Downing and others sought.

The function and placement of the vase was closely connected to its style and form. As several treatise writers counseled, vases should be stylistically consistent with their settings and, when placed near the house, should reflect the architectural character of the structure, such as Gothic, Grecian, Roman, or Italianate styles. In nineteenth-century treatises, vases in the classical or ancient style emerged as the most popular. A favored model was the Warwick Vase, a carved and decorated white marble vase from Hadrian’s Villa. The vase was recovered from the Roman site in 1770 by the Englishman William Hamilton and was subsequently taken to England by his nephew, George, Earl of Warwick. At Montgomery Place, designed by Alexander Jackson Davis and Downing in the 1840s, a Warwick-style vase was placed in the center of the flower garden [Fig. 6]. In 1849, Downing described the popular option of the rustic-style vase, in which the vessel was made out of the “branches and sections of trees with the bark attached.”

Outdoor vases were usually large in scale, two to three feet in height. They could be composed of a variety of materials, such as cast-brass, lead gilt, marble, stone and stucco, according to Dézallierd’Argenville. Downing, writing nearly one hundred and fifty years later, gave an equally wide-ranging list, including stone, artificial stone, plaster, and Roman cement. He also cited inexpensive materials intended to imitate luxury materials, such as terra-cotta and English Staffordshire, which could be treated to emulate marble. Downing’s allusion to Staffordshire pottery suggests the near-dominant presence of refined British pottery in America. Nevertheless, he mentioned several American manufacturers that produced vases and noted especially such New York manufacturers as the Salamander Works, the Garnick Company, and Coffee’s Manufactory.

Vases were also used as plant containers, as indicated in Augustus Weidenbach’s c. 1858 painting of the garden at Belvedere in Baltimore [Fig. 7], or in C. M. Hovey’s 1839 description of a greenhouse or conservatory. Nevertheless, large-scale, ornamental vases were often regarded as works of art, and, therefore, as J. C. Loudon argued, cited by Downing in 1849, they should not be reduced to the level of “a mere garden flower-pot.”

-- Anne L. Helmreich

Texts

Usage

  • McIntire, Samuel, 8 June 1795, describing a statement of account with Elias Hasket Derby (quoted in Kimball 1940: 74)
“1793 Dec 4th to Sundrie Drawings for Summer Houses @ 24/ £1: 4:
1794 Apl 25 to Carving 4 Vases for
the Summer House at 18/s each 3: 18:
July to Building the Summer
House at the Farm @ 100: 0:0
to Extra work on the Same,
Viz., finishing four Closets
@20/each 4: 0:0” [Fig. 8]


  • Ingraham, Joseph Holt, 1835, describing a plantation near New Orleans, La. (1:243)
“Passing from this plantation scene through the airy hall of the dwelling, which opened from piazza to piazza through the house, to the front gallery, whose light columns were wreathed with the delicately leaved Cape-jasmine, rambling woodbine and honeysuckle, a lovelier and more agreeable scene met my eye. I stood almost embowered in the foliage of exotics and native plants, which stood upon the gallery in handsome vases of marble and China-ware. The main avenue opened a vista to the river through a paradise of althea, orange, lemon, and olive trees, and groves and lawns extended on both sides of this lovely spot, ‘Where Flora’s brightest broidery shone,’ terminating at the villas of adjoining plantations.”


  • Willis, Nathaniel Parker, 1840, describing Undercliff, seat of General George P. Morris, near Cold-Spring, N.Y. ([1840] 1971: 233)
“In front, a circle of greensward is refreshed by a fountain in the centre, gushing from a Grecian vase, and encircled by ornamental shrubbery; from thence a gravelled walk winds down a gentle declivity to a second plateau, and again descends to the entrance of the carriage road, which leads upwards along the left slope of the hill, through a noble forest, the growth of many years, until suddenly emerging from its sombre shades, the visitor beholds the mansion before him in the bright blaze of day.”


  • Hovey, C. M., November 1841, describing Highland Place, estate of A. J. Downing, Newburgh, N.Y. (Magazine of Horticulture 7: 405)
“7. Large palms in pots, or Maltese vases, or vases made of artificial stone, set on the turf. In the introduction of vases, it should always be remembered that the vase should not be set down immediately on the turf, but upon a plinth....
“8. Rustic basket, for flowers, as represented in the engraving just referred to. These are very easily made. Mr. Downing has given a figure of one, in his Treatise on Landscape Gardening, where he states they may be made in the following manner:—An octagon box serves as the body or frame of the vase; on this, pieces of birch and hazel, (small split limbs, covered with the bark,) are nailed closely, so as to form a sort of mosaic covering to the whole exterior.”


  • Downing, A. J., October 1847, describing Montgomery Place, country home of Mrs. Edward (Louise) Livingston, Dutchess County, N.Y. (quoted in Haley 1988: 52)
“Passing under neat and tasteful archways of wirework, covered with rare climbers, we enter what is properly
“THE FLOWER GARDEN.
“In the centre of the garden stands a large vase of the Warwick pattern; others occupy the centres of parterres in the midst of its two main divisions, and at either end is a fanciful light summer-house, or pavilion, of Moresque character.”


  • Downing, A. J., 1849, describing Blithewood, seat of Robert Donaldson, Dutchess County, N.Y. (p. 425)
“At Blithewood, the seat of R. Donaldson, Esq., on the Hudson, a number of exquisite vases may be seen in the pleasure-grounds, which are cut in Maltese stone. These were imported by the proprietor, direct from Malta, at very moderate rates, and are not only ornamental, but very durable. Their color is a warm shade of grey which harmonizes agreeably with the surrounding vegetation.” [Fig. 9]


  • Twain, Mark, 26 October 1853, describing Fairmount Waterworks, Philadelphia, Pa. (quoted in Gibson 1988: 2)
“We arrived at Fairmount. . . . Seeing a park at the foot of the hill, I entered—and found it one of the nicest little places about. Fat marble Cupids, in big marble vases, squirted water upward incessantly.”


Citations

  • [Dézallier d’Argenville, A.-J.], 1712, The Theory and Practice of Gardening ([1712] 1969: 75–76)
“STATUES and Vases contribute very much to the Embellishment and Magnificence of a Garden, and extremely advance the natural Beauties of it. They are made of several Forms, and different Materials; the richest are those of Cast-Brass, Lead gilt, and Marble; the ordinary Sort are of common Stone, or Stucco. . . .
“THE usual Places of Figures and Vases are along the Palisades, in the Front, and upon the Sides of a Parterre; in the Niches and Sinkings of Horn-beam, or of Lattice-work made for that Purpose. In Groves, they are placed in the Center of a Star, or S. Andrew’s Cross; in the Spaces between the Walks of a Goose-foot, in the Middle of Halls and Cabinets, among the Trees and Arches of a Green-Gallery, and at the Head of a Row of Trees, or Palisades, that stand free and detached. They are also put at the lower End of Walks and Vistas, to set them off the better; in Porticos, and Arbors of Trellis-work; in Basons, Cascades, &c. In general, they do well every where; and you can scarce have too many of them in a Garden: But, as in the Business of Sculpture, it should be excellent, as well as in Painting and Poesy [sic] (which are its two Sisters).”


  • Gibbs, James, 1728, A Book of Architecture (pp. xxi, xxv)
“Three Designs for Columns, proper for publick Places or private Gardens; viz. a plain Dorick Column upon its Pedestal with a Vase a top, a fluted Column properly adorn’d, and a Rustick frosted Column, with a Figure a-top, as I have made them for several Gentlemen. The Proportions of them are mark’d upon an upright Line, divided into so many Diameters of the Column for the Height. . . .
“Three Designs for Vases, done for the Right Honourable the Earl of Oxford. There are two Vases well executed in Portland Stone according to the middle Draught, which are set upon two large Peers on each side of the principal Walk in the Garden at Wimpole in Cambridgeshire.... [Fig. 10]
“Fifty four Draughts of Vases, &c. in the Antique manner, made for several persons at different times. Many of them have been executed both in Marble and Metal.”


  • Whately, Thomas, 1770, Observations on Modern Gardening ([1770] 1982: 138)
“vases, statues, and termini, are usual appendages to a considerable edifice; as such they may attend the mansion, and trespass a little upon the garden, provided they are not carried so far into it as to lose their connection with the structure.”


  • Webster, Noah, 1828, An American Dictionary of the English Language (n.p.)
“URN . . . A kind of vase of a roundish form, largest in the middle; used as an ornament. Cyc....
“VASE, n. [Fr. from L. vas, vasa, a vessel; It. vaso.]
“1. A vessel for domestic use, or for use in temples; as a vase for sacrifice, an urn, &c.
“2. An ancient vessel dug out of the ground or from rubbish, and kept as a curiosity.
“3. In architecture, an ornament of sculpture, placed on socles or pedestals, representing the vessels of the ancients, as incense-pots, flower-pots, &c. They usually crown or finish facades or frontispieces. Cyc.
“4. The body of the Corinthian and Composite capital; called also the tambor or drum.”


  • Downing, A. J., August 1836, “Remarks on the Fitness of the different Styles of Architecture for the Construction of Country Residences, and on the Employment of Vases in Garden Scenery” (American Gardeners’ Magazine 2: 285–86)
“It will not be inadvertent to the present hasty remarks to hint at the additional charm which may be produced in highly finished places, especially where the buildings are in the Grecian style, by introducing into the lawns and gardens the classic vase in its different forms, and, if thought desirable, statues also. They serve as it were as a connecting link between so highly artificial an object as a modern villa, and the verdant lawns and gay gardens which surround it. Elevated upon pedestals, and placed at suitable points in the view—on the parapets of terraces near the house—before a group of foliage upon the lawn, and at proper intervals in the garden, they give a classic and elegant air to the whole, which adds greatly to its value. Beautiful in their forms, contrasting finely with the deep green of vegetation, and leading the eye gradually from their own sculptured beauty to the architectural symmetry of the building, of which they form as it were a continuous though detached part, amalgamating it with the grounds in which it is placed—their effect can only be appreciated beforehand by those who have studied the excellent effect produced by their introduction into the scene.
“Another reason which may be offered for the introduction of vases into architectural and garden scenery is ‘the gratification which such objects afford to the man of intelligence and taste. There are, perhaps, few objects, next to the human figure, which afford as many interesting historical associations as the vase. It may truly be said to be the first and last production of the plastic art. The first utensil formed by man, in the dawn of civilization in every country, is a vessel or vase for holding water; and that on which the highest resources of art are bestowed, in ages of the greatest refinement, is a vase or vessel for holding wine. In the first case, it is hollowed out of a gourd, or rudely shaped of clay, and dried in the sun; and, in the latter case, it is manufactured of costly metals or precious stones; or, if of common materials, such as stone, earthenware or glass, it is rendered valuable by the taste and skill bestowed on its form and ornaments. The history of every country may be traced by its vases no less than by its coins; and the history of all countries is set before us in the vases of all countries.’ [Loudon, X. 494.]”


  • Hovey, C. M., January 1839, “Notes on Gardens and Nurseries” (Magazine of Horticulture 5: 29)
“The beauty of vases in garden scenery has been already urged by our correspondent, Mr. Downing, (Vol. II, p. 281,) and we had intended to add something to his remarks, ourselves, by the way of impressing the subject more upon the attention of our readers. . . .
“Surely we need not say any thing further to show how much they would add to the beauty of the garden, or the elegance of the conservatory. In either place, they are objects too inviting not to be found in every garden. These vases are easily filled with handsome plants, well suited to the situation, and the following might compose, in part, the group for the green-house.”


  • Rusticus [pseud.], August 1846, “Design for a Rustic Gate” (Horticulturist 1: 72)
“Indeed, rustic work of all kinds is extremely pleasing in any situation where there is any thing like a wild or natural character; or even where there is a simple and rustic character. In the immediate proximity of a highly finished villa, it strikes me that rustic work, such as arbors, fences, flower baskets and the like, are rather out of place. The sculptured vase of marble, or terra cotta, would appear to be the most in keeping with an elegant place of the first class; that is to say, for all situations very near the house. In wooded walks, or secluded spots, rustic work looks well always.”


  • Downing, A. J., July 1848, “Ornamental Vases and Chimney Tops” (Horticulturist 3: 40)
“There are few objects that may, with so much good effect, be introduced into the scenery of pleasure grounds, surrounding a tasteful villa, as the vase, in its many varied forms. The terra cotta vases of the Garnkirk company exhibit pleasing forms, and a soft mellow shade of colour, which harmonizes admirably with the hue of foliage and turf. From among the variety manufactured by them, we have selected a few, of which we here present engravings. . . .
“To set down a vase upon the earth, or the lawn, without any pedestal, is to give it a temporary character, and to rob it of that dignity and importance which it gains, both to the eye and the reason, by being placed on a firm and secure pedestal. . . .
“Looking at the vase in an artistical point of view, it is considered as performing the office of uniting the architecture and the grounds of a complete country residence. It is the architectural idea, carried a little beyond the house, and shows that the same feeling of taste and embellishment reigns in both departments of the residence. It will be easily understood from this, that the most suitable place for vases is in highly kept portions of the pleasure ground, near the house, where the vases may be seen in connexion with it; or, at least, where the architecture of the building harmonizes with the highly artificial forms of the vase. The simplest cottage may have its vase; but, where the building is small, the rustic vase, made of bits of wood, and filled with flowering plants, is in better keeping than those made of any more highly artificial materials.”


  • Downing, A. J., 1849, A Treatise on the Theory and Practice of Landscape Gardening (pp. 423–27, 471, 473)
“Where there is a terrace ornamented with urns or vases, and the proprietor wishes to give a corresponding air of elegance to his grounds, vases, sundials, etc., may be placed in various appropriate situations, not only in the architectural flower-garden, but on the lawn, and through the pleasure-grounds in various different points near the house. We say near the house, because we think so highly artificial and architectural an object as a sculptured vase, is never correctly introduced unless it appear in some way connected with buildings, or objects of a like architectural character. To place a beautiful vase in a distant part of the grounds, where there is no direct allusion to art, and where it is accompanied only by natural objects, as the overhanging trees and the sloping turf, is in a measure doing violence to our reason or taste, by bringing two objects so strongly contrasted, in direct union. But when we see a statue or a vase placed in any part of the grounds where a near view is obtained of the house (and its accompanying statues or vases), the whole is accounted for, and we feel the distant vase to be only part of, or rather a repetition of the same idea,—in other words, that it forms part of a whole, harmonious and consistent.
“Vases of real stone, as marble or granite, are decorations of too costly a kind ever to come into general use among us. Vases, however, of equally beautiful forms, are manufactured of artificial stone, of fine pottery, or of cast iron, which have the same effect, and are of nearly equal durability, as garden decorations.
“A vase should never, in the open air, be set down upon the ground or grass, without being placed upon a firm base of some description, either a plinth or a pedestal. Without a base of this kind it has a temporary look, as if it had been left there by mere accident, and without any intention of permanence. Placing it upon a pedestal, or square plinth (block of stone), gives it a character of art, at once more dignified and expressive of stability. Besides this, the pedestal in reality serves to preserve the vase in a perpendicular position, as well as to expose it fairly to the eye, which could not be the case were it put down, without any preparation, on the bare turf or gravel.
“Figure 69 is . . . Gothic. . . . These with many other elegant vases and urns are manufactured in an artificial stone, as durable as marble, by Austin of London, and together with a great variety of other beautiful sculpturesque decorations, may be imported at very reasonable prices. . . . [Fig. 11]
“These vases, when colored to imitate marble or other stone, are extremely durable and very ornamental. As yet, we are unable to refer our readers to any manufactory here, where these articles are made in a manner fully equal to the English; but we are satisfied, it is only necessary that the taste for such articles should increase, and the consequent demand, to induce our artisans to produce them of equal beauty and of greater cheapness. . . .
“Large vases are sometimes filled with earth and planted with choice flowering plants, and the effect of the blossoms and green leaves growing out of these handsome receptacles, is at least unique and striking Loudon objects to it in the case of an elegant sculptured vase, ‘because it is reducing a work of art to the level of a mere garden flower-pot, and dividing the attention between the beauty of the form of the vase and of its sculptured ornaments, and that of the plant which it contains.’ This criticism is a just one in its general application, especially when vases are considered as architectural decorations. Occasional deviations, however, may be permitted, for the sake of producing variety, especially in the case of vases used as decorations in the flower-garden.
“A very pretty and fanciful substitute for the sculptured vase, and which may take its place in the picturesque landscape, may be found in vases or baskets of rustic work, constructed of the branches and sections of trees with the bark attached. Figure 74 is a representation of a pleasing rustic vase which we have constructed without difficulty. A tripod of branches of trees forms the pedestal. An octagonal box serves as the body or frame of the vase; on this, pieces of birch and hazel (small split limbs covered with the bark) are nailed closely, so as to form a sort of mosaic covering to the whole exterior. Ornaments of this kind, which may be made by the amateur with the assistance of a common carpenter, are very suitable for the decoration of the grounds and flower-gardens of cottages or picturesque villas. An endless variety of forms will occur to an ingenious artist in rustic work, which he may call in to the embellishment of rural scenes, without taxing his purse heavily. . . . [Fig. 12]
“Weeping, or Tazza Fountians, as they are called, are simple and highly pleasing objects, which require only a very moderate supply of water compared with that demanded by a constant and powerful jet. The conduit pipe rises through and fills the vase, which is so formed as to overflow round its entire margin. Figure 93 represents a beautiful Grecian vase for tazza fountains. The ordinary jet and the tazza fountain may be combined in one, when the supply of water is sufficient, by carrying the conduit pipe to the level of the top of the vase, from which the water rises perpendicularly, then falls back into the vase and overflows as before. . . . [Fig. 13]
“Unity of expression is the maxim and guide in this department of the art, as in every other. Decorations can never be introduced with good effect,

when they are at variance with the character of surrounding objects. A beautiful and highly architectural villa may, with the greatest propriety, receive the decorative accompaniments of elegant vases, sundials, or statues, should the proprietorchoose to display his wealth and taste in this manner; but these decorations would be totally misapplied in the case of a plain square edifice, evincing no architectural style in itself.

“In addition to this, there is great danger that a mere lover of fine vases may run into the error of assembling these objects indiscriminately in different parts of his grounds, where they have really no place, but interfere with the quiet character of surrounding nature. He may overload the grounds with an unmeaning distribution of sculpturesque or artificial forms, instead of working up those parts where art predominates in such a manner, by means of appropriate decorations, as to heighten by contrast the beauty of the whole adjacent landscape.”

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Notes

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