I moseyed through the leafy parterres one day, as little kids sailed model boats on the basin's water.
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On level land Suarez created French-style parterres: formal gardens of neatly trimmed plant beds that are laid out in symmetrical patterns with paths for walking.
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Every scrap of land was covered in vines, and at every turn there was another pompous chateau trumpeting its existence with tall gates, formal parterres or Palladian columns.
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The parts that in photographs looked rather mad—that boulevard paved with marble blossoms, bridges lined with mosaic portraits of Madrileños, the brilliantly planted parterres—provide opportunities to pause and delight in a sprawling composition.
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"It's very romantic for me because Pitti is where I saw shows like Raf Simons's first for Jil Sander," Mr. Koch added, referring to a magical twilight presentation held amid the parterres and umbrella pines ornamenting the gardens of a Renaissance palazzo outside the city limits.
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Olsen, from the north of England, enjoys gardening: Guided by Guadagnino's colleague, Gaia Chaillet Giusti, she planted modest parterres in a chevron pattern, had two mature palms helicoptered onto the property from nearby Tremezzina and installed a dollhouse-like structure for the family's pet tortoise, Frittata.
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Photograph from Geography Photos / UIG / Getty Landscape history is filled with major earthworks—hills and grottoes, parterres and canals—but their purpose was often to trick the eye into believing that the landscape had always been that way (the British tradition) or to overwhelm you with the intricacy of plantings, sculpture, and fountains (the French tradition).
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Scotland's Lost Gardens, Marilyn Brown Parterres were laid out in the 1840s by W. A. Nesfield.
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He also designed the parterres below the house.Bisgrove, P.181 Little of Barry's interior design survived later remodelling.
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In the middle of the oval is a round marble fountain within a round catch basin. Six carved light standards, each with two lamps, flank the steps leading from the street. On either side of the entourage are large flagpoles on bronze bases inside grass parterres bordered by small hedges. At the rear of the parterres are marble urns with fountains flanking the balustraded entrance steps.
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It was demolished in about 1755 but traces of the park's parterres and garden walks still remain. John Constable painted a landscape in oil in 1815 of Brightwell.
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Today the park contains parterres, gardens, and variety of trees, some of which are more than two centuries old and designated arbres remarquables de France (remarkable trees of France).
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Later, in the 17th century Baroque garden, they became more elaborate and stylised. The French parterre reached its greatest development at the Palace of Versailles, which inspired many similar parterres throughout Europe.
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Beginning in 1866, the new owner, Julien de Cerval, who was inspired by Italian gardens, built rustic structures, redesigned the parterres, laid out five kilometres of walks, and planted pines and cypress trees.
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When William Bentinck, 1st Earl of Portland was ambassador to Paris in 1698, he convinced Desgots to return with him to England, where Desgots worked out plans for the Queen's House, Greenwich, and parterres for Windsor Castle, in part bringing up to date earlier plans made by Le Nôtre.Strandberg 1974, p 63. Nothing came of the English adventure, except that William III of England, who was also Stadthouder in the Netherlands, commissioned him to draw up plans for the gardens at Het Loo, which have recently been replanted to Desgots' designs. Plan of the Palais-Royal gardens as designed by Claude Desgots (from Blondel's Architecture françoise, 1754) Back in France once more, he was appointed Designer of the parterres of the Royal HousesDessinateur des parterres des Maisons Royales.
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Mollet was summoned to England in the 1620s to lay out gardens for Charles I of England and perhaps the parterres at Wilton House,Karling p 18 but by 1633 he was in the service of Prince Frederick Henry of Orange, for whom he laid out parterres en broderie that included the lion rampant of the prince's coat-of-arms, in turf and clipped boxwood, set in colored gravels at Huis Honselaarsdijk, and at the prince's other main residence, Huis ter Nieuwburg near Rijswijk.
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Jacques Boyceau Jacques Boyceau, sieur de la BarauderieAccording to the inscription on his portrait engraved by Grégoire Huret , not "Baraudière" as is sometimes reported. (ca. 1560 - 1633) was a French garden designer, the superintendent of royal gardens under Louis XIII, whose posthumously produced Traité du iardinage selon les raisons de la nature et de l'art. Ensemble divers desseins de parterres, pelouzes, bosquets et autres ornements"Treaty of gardening according to the principles of nature and of art. Together with divers designs of parterres, greens, bosquets and other ornaments" was published in 1638.
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The Italian Renaissance gardens were planted in 1580 and are regarded as some of the most beautiful Renaissance gardens in Europe, a splendid park of terraces climbing upon the hill. They include a parterre and hedge maze, and expansive vistas of the surrounding landscape from the terrace gardens. First, only two square parterres right and left hand of the cypress way were designed, and a maze behind the right one, as figured in Nürnbergische Hesperides in 1714. Some years later, four additional flower parterres were laid out left hand, as to be seen at a map in the Verona State Archives.
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In Alexandre Francini's engravings (1614) of the royal gardens at Fontainebleau and Saint Germain-en-Laye, compartments of bosquets are already in evidence. In Jacques Boyceau's posthumous Traité du iardinage selon les raisons de la nature et de l'art (1638), designs for bosquets alternate with patterns for parterres. Château d'Amboise: the parterres have been recreated in the twentieth century as rectangles of lawns set in gravel and a formal bosquet of trees In the eighteenth-century, bosquets flanked the Champs-Elysées, Paris. In Paris, bosquets set in gravel may still be enjoyed in the Jardin des Tuileries and the Jardin du Luxembourg.
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Elaborate parterres of broderies, with their curves and counter- curves, were replaced by parterres of grass bordered with flowerbeds, which were easier to maintain. Circles became ovals, called rotules, with alleys radiating outward in the shape of an 'x', and irregular octagon shapes appeared. Gardens began to follow the natural landscape, rather than moving earth to shape the ground into artificial terraces. The middle of the 18th century saw spread in popularity of the new English landscape garden, created by British aristocrats and landowners, and the Chinese style, brought to France by Jesuit priests from the Court of the Emperor of China.
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In front of the palace were trees and parterres enclosed by walls. Behind the palace was a larger garden with four rectangular ponds. The building was demolished in 1790 after years of neglect. At present, the area is woodland known as the Rijswijkse Bos.
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It contains parterres (formal gardens). The remaining land is neatly divided in fields lined by allées, some being there still. There are some ornamental ponds and lakes on the estate. The Warthausen Brewery, active from 1632-1970, was located at the foot of the hill.
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Some of the Robert Adam interiors were remodelled, with the dining room being entirely by Barry, and he created the formal terraces and parterres surrounding the house. Between 1844 and 1848, Barry remodelled Dunrobin Castle,Girouard, P.430 Sutherland, Scotland, in Scots Baronial Style, for George Sutherland-Leveson-Gower, 2nd Duke of Sutherland for whom he had remodelled Trentham Hall. Due to a fire in the early 20th century, little of Barry's interiors survive at Dunrobin, but the gardens, with their fountains and parterres, are also by Barry. Canford Manor,Newman & Pevsner, P.127 Dorset, was extended in a Tudor Gothic style between 1848 and 1852, including a large entrance tower.
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In Hortus Woburnensis,Forbes, J. 1833 Hortus Woburnensis, 240 written later by Sinclair's successor James Forbes, the design of the heath parterres at Woburn is also attributed to Sinclair, and in a letter to the Duke, Sir George Hayter, who did the illustrations for Hortus ericaeus, made reference to Sinclair as having shown him around the greenhouse and parterres and selecting the specimens to be illustrated. To find the best possible growing conditions for the collection of heaths Sinclair began collecting different types of heath soils and analysing their constituents. After several years of systematic investigation he concluded that they were made up mainly of humus, which derived from decayed leaves, and sand.
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André Mollet became royal gardener to Queen Christina in Stockholm. His lasting record is his handsomely-printed folio, Le Jardin de plaisir ("The Pleasure Garden") , Stockholm 1651, which he illustrated with meticulous copperplate engravings after his own designs, and which, with an eye to a European aristocratic clientele, he published in Swedish, French and German. In his designs the rich patterning of parterres, which had formerly been a garden feature of interest in isolation, was for the first time arranged in significant relation to the plan of the house. Mollet's designs coordinated the elements of scythed turf—making its debut here as an essential element of garden design—with gravel paths, basins and fountains, parterres, bosquets and allées.
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Parterre at Cliveden with restored 19th-century style planting Parterre at Hanbury Hall, Worcestershire, viewed from a first floor window. At Kensington Palace the planting of the parterres was by Henry Wise, whose nursery was nearby at Brompton. In an engraving from 1707–1708, (illustration, right), the up-to-date Baroque designs of each section are clipped scrolling designs, symmetrical around a centre, in low hedging punctuated by trees formally clipped into cones; however, their traditional 17th century layout, a broad central gravel walk dividing paired plats, each subdivided in four, appears to have survived from the Palace's former (pre-1689) existence as Nottingham House. Subsidiary wings have subsidiary parterres, with no attempt at overall integration.
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The garden is accessible via grass paths and cobbled paths. Stone gateposts and seats, as well as old, unused buildings, and parterres are included in the landscaping. The parterre is referred to as Lady Strickland’s Garden. A slate plaque is situated outside the entrance to the garden and contains an epitaph.
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The grounds were widely admired in the 19th century for their elaborate parterres or formal gardens, which have been restored to resemble their appearance during the 1820s. Several trees are more than 200 years old. In addition to the mansion and grounds, visitors may tour the overseer's house and slave quarters.
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As nearby Baltimore grew and local agriculture declined, the Ridgelys found it increasingly difficult to maintain the property. Five of the six parterres were removed and replanted as a grass lawn. Some income was generated by producing cider from the estate's apple orchards and operating a dairy. In 1929, Capt.
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Work also began in 1949 to restore four of the site's six 19th-century parterres. On October 15, 1966, Hampton was listed on the National Register of Historic Places. In October 1979, it was acquired by the National Park Service (NPS), which has operated and managed the estate since.McKee, p. 105.
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Baldus 1884. In the years after 1906, the detailed bird's-eye-view perspective engravings of Jacques Androuet enabled the patterned parterres of the Château de Villandry to be restored to their 16th-century appearance. The standard work on Jacques Androuet du Cerceau the Elder remains the 1887 monograph of .Miller 1996, p.
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This allowed a focus on significant landscape features such as Bass rock at Balcaskie and Loch Leven Castle at Kinross. Alexander Edward (1651–1708) continued in the tradition established by Bruce, adding landscapes at houses including Hamilton Palace and Kinnaird castle, Angus. Grand schemes in the French tradition included James Douglas, 2nd Duke of Queensberry (1662–1711) reworking of the terraces at Drumlanrig Castle, which incorporated the Douglas family crest into the parterres design, and the militaristic earthworks undertaken for Field Marshal John Dalrymple, 2nd Earl of Stair (1679–1747) at Castle Kennedy, Wigtownshire. The Earl of Mar's palace at Alloa was the grandest realisation of the Versailles style gardens in Scotland: it included canals, parterres, statues and ornamental trees.
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Claude Mollet, the founder of a dynasty of nurserymen-designers that lasted into the 18th century, developed the parterre in France. His inspiration in developing the 16th-century patterned compartimens, i. e. simple interlaces formed of herbs, either open and infilled with sand, or closed and filled with flowers, was the painter Etienne du Pérac, who returned from Italy to the Château d'Anet near Dreux, France where he and Mollet were working. C. 1595 Mollet introduced compartment-patterned parterres to the royal gardens of Saint-Germain-en-Laye and Fontainebleau; the fully developed scrolling embroidery-like parterres en broderie first appear in Alexandre Francini's engraved views of the revised horticultural plans of Fontainebleau and Saint-Germain-en-Laye in 1614.
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The Earl of Mar's palace at Alloa was the grandest realisation of the Versailles style gardens in Scotland: it included canals, parterres, statues and ornamental trees. Common features in gardens of this period were elaborate sundials, such as the one created by John Mylne (c. 1589–1657) at Holyrood (1633) and that at Newbattle Abbey.
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A garden was a place to think, read, write and relax.Attlee, 2006: 13 Pliny described shaded paths bordered with hedges, ornamental parterres, fountains, and trees and bushes trimmed to geometric or fantastic shapes; all features which would become part of the future Renaissance garden.Allain and Christiany, L'Art des jardins en Europe, Paris, 2006: 132.
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The vast farm produced corn, beef cattle, dairy products, hogs, and horses. More than 300 slaves worked the fields and served the household, making Hampton one of Maryland's largest slaveholding estates.A Hampton Chronology, Hampton National Historic Site – National Park Service. nps.gov Six parterres were designed on three terraced levels facing the mansion, planted with roses, peonies, and seasonal flowers.
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His landscapes displayed formal elements such as parterres, avenues, geometrically shaped lakes and pools, and kitchen gardens. Transitional elements in his designs included lawns, amphitheatres, garden buildings and statues, winding paths through wooded areas to viewing points and the use of ha-has – features are some of the progressive ideas he helped bring into favour (Jellicoe, 1986, p. 72).
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The garden at Asthall Manor covers . It was created for the current owners of Asthall by Julian and Isobel Bannerman (best known for their work for Prince Charles at Highgrove House) and includes traditional gardens of herbaceous borders and lawns, contemporary parterres and areas of wild woodland and wildflowers running down to water- meadows by the River Windrush.
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17th-century engraving of the parterres as first laid out The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are more mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new. Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.Beatrix Jones, Le Notre and his Gardens, Scribner's Magazine, v.
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He also laid out new gardens. At the front, parterres were arranged around two pools. At the rear, a fountain was built as the focus of the garden, and another sunken 'garden of Flora' was laid out to the east. In 1816 Victoria Santini married into the eponymous Torrigiani family, who uprooted the existing garden to make an 'English style' park.
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Photograph of the gardens, restored according to Desgotz's design. The private "Great Garden" is situated behind the house. This Dutch Baroque garden, often nicknamed the "Versailles of Holland", actually serves to show more differences than similarities. It is still within the general Baroque formula established by André le Nôtre: perfect symmetry, axial layout with radiating gravel walks, parterres with fountains, basins and statues.
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By the end of the eighteenth century, these formal parterres had been removed and the canal ponds filled in.Tinniswood (1999), 84–86. Sir John Brownlow was succeeded at Belton by his brother, who was content to permit Brownlow's widow, Alice, to remain in occupation. She spent the remainder of her life at Belton arranging advantageous marriages for her five daughters.
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Pamplona has many parks and green areas. The oldest is the Taconera park, whose early designs are from the seventeenth century. Taconera is today a romantic park, with wide pedestrian paths, parterres, and sculptures. The Media Luna park was built as part of the II Ensanche and is intended to allow relaxing strolling and sightseeing over the northern part of the town.
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Much of the parkland is now covered with mixed woodland, including Rookery Wood and Temple of Peace Wood. W. A. Nesfield's plan for the north parterre Formal gardens were laid out around the house by W. A. Nesfield in around 1840–50 for Hungerford Crewe. Nesfield's design included statuary, gravelled walks and elaborate parterres realised using low box hedges and coloured minerals.Bisgrove, p.
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The villa underwent Neoclassic style reconstruction in the end of the 18th and start of the 19th century by the architect Simone Cantoni. The facade was added a large clock face. The surrounding gardens were arrayed in parterres, and contained a Nymphaeum of Neptune (1720–1721) with a waterfall fountain. The latter was admired by the French scholar Montesquieu in 1728.
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There are two gardens within the castle, the southern one including a bowling green. Below the castle's west wall is the King's Knot, a 16th-century formal garden, now only visible as earthworks, but once including hedges and knot-patterned parterres. The gardens were built on the site of a medieval jousting arena known as the Round Table, in imitation of the legendary court of King Arthur.
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Trentham Hall, demolished A major focus of his career was the remodelling of older country houses. His first major commission was the transformation of Henry Holland's Trentham HallGirouard, P.422 in Staffordshire, between 1834 and 1840. It was remodelled in the Italianate style with a large tower (a feature Barry often included in his country houses). Barry also designed the Italianate gardens, with parterres and fountains.
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Dominique Jarrassé, Grammaire des Jardins Parisiens, Parigramme, Paris, 2007, pg. 65 Francini planned two terraces with balustrades and parterres laid out along the axis of the chateau, aligned around a circular basin. He also built the Medici Fountain to the east of the palace as a nympheum, an artificial grotto and fountain, without its present pond and statuary. The original garden was just eight hectares in size.
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The 13th-century castle has five towers, a moat and a drawbridge. Within the castle is the residence rebuilt in the 18th century, with the original furnishings and paneling. The 7-hectare garden features a stairway of water, using a hydraulic system built in the 18th century. The garden is made up of a series of terraces, with six parterres of broderies made of boxwood.
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In Rome, part of Primaticcio's commission was to take casts of the best Roman sculptures in the papal collections, some of which were cast in bronze to decorate the parterres at Fontainebleau.The project, which brought a first virtual confrontation with Roman sculpture to French patrons and artists, is surveyed in detail by S. Pressouyre, "Les fontes de Primatice à Fontainebleau", Bulletin monumental 127 (1969), pp. 223-38.
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The South Parterre is located beneath the windows of the queen's apartments and on the roof of the Orangerie. It is decorated with box trees and flowers in arabesque patterns. The Orangerie is located beneath the main terrace of the palace, on which the North and South Parterres rest. Three huge retaining walls divide the South Parterre from the lower parterre (parterre bas) of the Orangerie.
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A 'ha-ha' – that is a ditch to control livestock movements without visual interruption to the landscape resulting from a fence or a wall – can be found near the mansion. Vestigial remains of the earlier extensive parterres of the earlier Baroque house can be seen in the park, but are difficult to discern today, in spite of interpretation panels installed by the National Trust.
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In his book, The most excellent buildings in France, he spent three prints the castle and its grounds. The largest pavilion of the house looked a learned audience. It was a geometrically ordered garden, with many species of rare plants. He had the characteristics of the Renaissance garden: wooden galleries ending with small temples, a fountain in the center, using the box to delimit the parterres.
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NTA (NSW), 2013. An illustrated edition of the collection (a four-page colour illustrated brochure by James R.Lawson P/L) exists documenting the event. Sir Raymond & Lady Burrell, guided initially by architect Espie Dods and landscape consultant Gai Stanton, have since then rearranged the house and garden with a revised entry through a southern (formerly service) courtyard, which has been given formal emphasis by parterres and trellises.
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Craven Square features curving brick walkways and a lush landscape of flowering trees, shrubs and annuals. The Upper Terrace has a walled sunken garden constructed in 1928, while the Lower Terrace directly in front of the south elevation of the house features the recreated formal gardens of geometric parterres enclosed by hedges of boxwood and gravel paths. Beyond the formal gardens is the pasture with views of the Ohio River.
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The Garden parterre, committed to the French garden style and the water axis have been left, but were simplified. The forest area, originally segmented by hunting aisles, the bosquetted areas and the embedded, independent, formal Garden parterres of the three Parkschlösschen castles were subjected to a uniform overall planning and transformed into a self-contained English-style landscape park in which a considerable proportion was converted into water areas.
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The complex now consisted of two main areas, the ornamental garden near the palace and the forest in the west. The park castles sit on independent, small parterres. From 1715 on, Maximilian II Emanuel had the forest outside the palace park transformed into a deer hunting range and enlarged to nearly reach Lake Starnberg. On a larger scale, aisles and roads were created and three hunting lodges erected.
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The garden is noted for its geometric parterres which vary in shape from a thistle to Sir Alexander Seton's coat of arms. Pitmedden also has several long, varied borders which run along the garden walls. Sir Alexander Seton and Dame Margaret Lauder, his wife, established a house and garden at the site in 1675.Hudson's Historic Houses and Gardens The original garden was destroyed by fire in 1818.
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Old Carriage Road, Minister's Island Covenhoven and Gardens, 1910. LAC e007914028 Adjacent to Covenhoven were several large greenhouses, providing the Van Hornes with grapes, peaches, nectarines, cherries and cucumbers. An expert gardener, Van Horne's grounds became famous for their extensive parterres of flowers and orchards, and miles of manicured roads that bordered the island. Cultivated gardens surrounded Covenhoven, while paths were maintained across the island for walking, riding, and carriage rides.
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The 4th Duke commissioned the landscape architect, Lancelot "Capability" Brown to transform the garden in the fashionable naturalistic landscape style of the day. Most of the ponds and parterres were converted to lawns, but as detailed above several important features were spared. Many trees were planted, including various American species specially imported from Philadelphia in 1759. The main aim of this work was to improve integration of the garden and park.
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New arrangement of flowers and bedding plants are brought in each planting season. Some of the techniques used in the past range from formal French parterres to old- fashioned English cottage gardens. Using a technique called "tossing", gardeners throw the different varieties of flower packs onto the beds in a natural flow to coordinate growth. Flowers don't usually appear in single, neat rows of the same flower type.
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Page 65. with a network of streets at right angles and squares like the royal squares of France, but the project was not approved. Nor were his projects for the parterres of the Summer Garden and a residence for the tsar at Strelna (1717). Three centuries passed before Le Blond's design for a formal garden at Strelna was eventually implemented during the reconstruction of the Constantine Palace in 2003.
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His successor Henry II, who had also travelled to Italy and had met Leonardo da Vinci, created an Italian nearby at the Château de Blois.Wenzler, Architecture du jardin, pg. 12 Beginning in 1528, King Francis I created new gardens at the Château de Fontainebleau, which featured fountains, parterres, a forest of pine trees brought from Provence, and the first artificial grotto in France.Philippe Prevot, Histoire des jardins, pg.
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Alluding to the history of the neighborhood the Ethyl Corporation wanted to the complex to be a campus with various landscape architecture elements. Landscape architecture Gillette designed an open lawn lined with crape myrtles and a buffer of perimeter shrubs. To the rear of the building, Gillette installed a rectilinear garden with symmetrical parterres lined by oaks, magnolias, and brick walks. The structure still stands today and takes up a majority of the neighborhood.
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In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets and parterres were expanded and new ones created. Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". (Nolhac 1901, 1925) The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill.
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The garden is 1.4 hectares in size, and surrounds an 18th- century bastide, or Provençal manor house. Two terraces, embellished with fountains representing the Rhône and the Saône Rivers, separate the house from the garden. The garden is laid out following the principles of a classical French Garden, with parterres, broderie of box wood, statues representing the four seasons, and two basins. rows of tulip tree add to the geometric harmony of the garden.
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Henry aspired to create a great garden at Heligan. He started by planting protective shelter belts of conifers on the western and eastern boundaries of his planned extensive gardens. In 1785, he undertook a tour of southern England, visiting many of the significant gardens of the time, including those of Blenheim, Park Place, Stowe and Hestercombe. He removed the earlier parterres, and laid out the northern gardens, building walled gardens, greenhouses, and a pineapple pit.
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His successor Henry II, who had also traveled to Italy and had met Leonardo da Vinci, had an Italian garden created nearby at the Château de Blois.Wenzler, Architecture du jardin, pg. 12 Beginning in 1528, King Francis I of France created new gardens at the Palace of Fontainebleau, which featured fountains, parterres, a forest of pine trees brought from Provence and the first artificial grotto in France.Philippe Prevot, Histoire des jardins, pg.
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These buildings are of red sandstone with bold inlaid designs in white marble. Shallow water channels, sunk in the middle of the raised stone paved pathways, with intermittent tanks and cascades, divided the garden into four equal quarters. They are only slightly raised from the parterres which could be converted into flower beds. Space for large plants and trees was reserved just adjoining the enclosing walls, leaving the mausoleum fully open to view.
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Parterre de broderie at Vaux-le-Vicomte. Elements of a parterre de broderie (49 seconds, 1.54 MB) The parterres de broderie (from the French meaning 'embroidery') is the typical form of French garden design of the Baroque. It is characterised by a symmetrical layout of the flower beds and sheared box hedging to form ornamental patterns known as broderie. Even the arrangement of the flowers is designed to create a harmonious interplay of colours.
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They established a lending library. During the 1850s, new plantations were established near the house and exotic conifers were planted on the grounds. Prince Albert had an active role in these improvements, overseeing the design of parterres, the diversion of the main road north of the river via a new bridge, and plans for farm buildings. These buildings included a model dairy that he developed during 1861, the year of his death.
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Marigny devoted all his care to the installation of the park for the presentation of its prestigious collection of sculpture. In front of the château, in place of the former parterres, he created a broad terrace. He remade the gardens in the style of his day while commissioning many garden follies. At the foot of the château, the "Rotunda of Abundance", built by Soufflot, permits passage from the basement of the château to the interior of the orangery.
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The palace is surrounded by the remains of the 17th-century formal park, with parterres, ponds, and avenues. The impressive Baroque gate secures the entrance to the park from the Antakalnis street and the other gate is in the opposite side of the park, near the palace. Both of them have been restored in 2012. Since 2012, the palace has been undergoing restoration, in an attempt to bring it as close as possible to its original Baroque appearance.
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Unlike the surrounding area, the palace was not damaged during World War II. The palace has housed an independent museum (Helikon Palace Museum) since 1974; it is visited by 200,000 people each year. The parterres in which the palace stands were extended in the nineteenth century with a naturalistic landscape park in the English fashion. Open-air concerts are held on the grounds during the summer. The stable block now houses a collection of coaches and carriages.
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The gardens were visited and described by John Evelyn, who wrote much about 'the delicious and rarest fruits,' the 'innumerable timber trees in the ground about the seate,' the walks and groves of elms, limes, oaks and other trees, the quarters, walks and parterres, nurseries, kitchen garden, two very noble orangeries, and, 'above all, the canall and fishponds, the one fed with a white, the other with a black running water,' stocked with pike, carp, bream and tench.
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Hatfield House Gardens The Gardens, covering , date from the early 17th century and were laid out by John Tradescant the elder. Tradescant visited Europe and brought back trees and plants that had never previously been grown in England. The gardens included orchards, fountains, scented plants, water parterres, terraces, herb gardens and a foot maze. They were neglected in the 18th century, but restoration began in Victorian times and continues under the present Dowager Marchioness of Salisbury.
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In an interview he said that he had a love of flowers embedded in architecture, whether it was brick, stone or even concrete. His Art Deco parterres were laid out in geometrical patterns, with monochromatic masses of plants and alternating beds of flowers in pastel colors. In 1925 he formed a partnership with Léon Bazin that lasted until 1936. Laprade was a founding member of the Society of Modern Artists (1925) and of the International Union of Architects.
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The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water-craft on rivers, in line with the traditions of the Low Countries. Some of the plates are in the Siennese "map perspective".
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On the east side of the house a serpentine lake was created on the near side of the River Dee. By the 1820s formal garden beds were becoming fashionable and William Andrews Nesfield was employed to design formal parterres around the house. He added more terracing, balustraded walls, and flower beds surrounded by box edging. Grosvenor House, showing the new entrance For the London estate, Grosvenor created a "fashionable new residential quarter" near Buckingham House (later Buckingham Palace).
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Six parterres were designed on three terraced levels facing the mansion, planted with roses, peonies, and seasonal flowers. In 1820, an orangery was built on the grounds.Thomas Sully. Lady with a Harp: Eliza Ridgely. 1818. National Gallery of Art, Washington, D.C. Thomas Sully's painting Lady with a Harp, a portrait of Eliza Ridgely (1818), was in the Great Hall of Hampton Mansion from the 1820s to 1945, when it was sold to the National Gallery of Art.
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They decided to keep the main structures and to incorporate them into a postmodern landscape design. A series of gardens were planted within and around the ruins with the use of the traditional horticulture. Clipped hedges, knot gardens, parterres, bosquets and rose gardens had created a juxtaposition between this formal garden that is situated within a post-industrial site. Duisburg-Nord was a successful landscape garden because Latz had altered the relationship that humans had with the existing site.
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The garden contains a knot garden, hedged rose gardens, a terrace with herbaceous and shrub borders, and a summerhouse designed by Vanbrugh. The formal flower and topiary garden leads imperceptibly into the woodland garden, and provides a fine setting for the ornamental vegetable garden and orchard, created in the 1960s by the Countess of Ancaster and Peter Coates. Intricate parterres marked with box hedges lie close to the Castle, and a dramatic herbaceous border frames views across the lake.
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The 19th-century garden walls were added by Mary Nisbet, Lady Elgin (1778–1855), wife of the Earl of Elgin, as part of a "beautification" of Dirleton village. In the mid-19th century, two new parterres were laid out by the head gardener, David Thompson. Although neither survived, the west garden was restored, based on 19th-century plans, in 1993. The north garden was replaced in the 1920s with an Arts and Crafts-style garden of herbaceous borders.
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In 1751-53 he added an identical central block containing a theatrical divided staircase, lit with large windows that looked onto the garden parterres, which had been modified and brought up to date in 1741. Then the two were linked with a ground-floor portico. In the interiors, fuga managed in innovative ways to maintain a separation of the functional service circulation from the suites of parade rooms. The church of Sant'Apollinare (about 1748) was another commission.
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229, note 4) and the queen's apartments of the royal palace in Madrid. An octagonal room was fabricated in Paris under de Cotte's eye, 1713–1715, and sent to be installed in Madrid. At La Granja, an assistant from de Cotte's office, René Carlier, was employed in the designs for the parterres (Kimball, p 124). For the cardinal de Rohan, de Cotte provided decors for the Château de Saverne in Alsace (1721–1722; destroyed by fire).
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Set back from the street, the front facade is enhanced by two small green parterres adjoining the concrete-iron fence and sidewalk. The elevation includes Doric columns and pilasters running two stories high, identical pediments at each end and an escutcheon-like crowning piece with a clock. The latter is dead center over the entrance portico. Concrete flat roofs, an extended parapet and a wide horizontal cornice tie together all the elements, therefore underlining the horizontal continuity of the structure.
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It was still called Stainborough in Jan Kip's engraved bird's-eye view of parterres and avenues, 1714, and in the first edition of Vitruvius Britannicus, 1715. The name was changed in 1731. The original name survives in the form of Stainborough Castle, a sham ruin constructed as a garden folly on the estate. The estate was in the care of the Wentworth Castle Heritage Trust from 2001 to June 2019 and was open to the public year-round seven days a week.
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The garden had a scenery enclosed by clipped hedging, even as the Belvedere was building, in the formal French manner with gravelled walks and jeux d'eau by Dominique Girard, who had trained in the gardens of Versailles as a pupil of André Le Nôtre. Its great water basin in the upper parterre and the stairs and cascades peopled by nymphs and goddesses that links upper and lower parterres survive, but the patterned bedding has long been grassed over; it is currently being restored.
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Fountain of Diana, in the gardens of the Château de Fontainebleau. The Gardens of the Château de Fontainebleau, located in a forest which had been the hunting preserve of the Capetian Kings of France, were created by Francis I beginning in 1528. The garden featured fountains, parterres, a forest of pine trees brought from Provence and the first artificial grotto in France in 1541. Catherine de' Medici ordered copies in bronze of the statues which decorated the Cortile del Belvedere in Rome.
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Built by Jules Hardouin-Mansart, 1675–1683 for the duc de Chevreuse, Colbert's son-in-law, is a French Baroque château of manageable size. Protected behind fine wrought iron double gates, the main block and its outbuildings (corps de logis), linked by balustrades, are ranged symmetrically around a dry paved and gravelled cour d'honneur. Behind, the central axis is extended between the former parterres, now mown hay. The park with formally shaped water was laid out by André Le Notre.
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The park surrounding the house was extensive. An avenue extended to the southwest, and there were formal parterres to the southeast. The Kip illustration also shows a banqueting house, which survived as a ruin until 1966, when it was destroyed by vandals. An architectural drawing dated 1707 describes it as being 'after the Modell of the Duke of Ormonds at Richmond', and it consisted of two floors, the lower one a workspace and the upper serving as the dining area.
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Jardin botanique de l'Evêché The Jardin botanique de l'Evêché (Botanical Garden of the Bishopric, 2 hectares), also known as the Jardin botanique de Limoges, is a botanical garden located behind the Cathedral and Musée de l'Evêché in Limoges, Haute-Vienne, Limousin, France. It is open daily without charge. The garden was first established in the 18th century, with today's botanical garden created 1956–1961 and renovated in 1976. It occupies several terraces overlooking the Vienne River with gardens organized into French parterres.
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296 By the early 19th century, the park at Pavlovsk had gardens representing many different styles. A formal and geometric garden à la française was planted near the Palace. An Italian garden, with parterres, classical statues and a grand staircase was created by Brenna on the hillside overlooking the lake. Cameron used the intimate Dutch style for the little private garden outside Maria Feodorovna's private apartments, and the huge park was in the style of the English and French landscape garden.
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The famed Olmsted Brothers designed the landscaping surrounding the memorial; in 1912 an esplanade with formal parterres for flower plantings was installed between the memorial and Williams Street parkway to the east. By the 1970s the pavilion and supporting plinth were in a state of serious disrepair. City authorities undertook a restoration of the pavilion but decided to replace the platform altogether with gently sloping lawns and modest concrete staircases. Today only the pavilion and reflecting pools remain of the original complex.
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The original gardens of the residence are now totally disappeared, since French troops turned them into training grounds. Earlier drawings show an Italian garden with three terraces connected by elaborate stairways and architectural features such as a clock tower in the first court, the fountain of Hercules, a theater and parterres. Recent works have recreated a park in modern style, exhibiting modern works by Giuseppe Penone, including a fake 12 m-high cedar housing the thermic discharges of the palace.
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Beyond (in the shadowed near foreground) paired basins have central jets of water. In the UK, modern parterres exist at Trereife House in Penzance (Cornwall), at Drumlanrig Castle in Dumfriesshire and at Bodysgallen Hall near Llandudno.Trereife Park Examples can also be found in Ireland, such as at Birr Castle. One of the largest in Britain is at Cliveden in Buckinghamshire, which covers an area of ; it consists of symmetrical wedge-shaped beds filled with Nepeta ("catmint"), Santolina and Senecio, edged with box hedges.
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Charles Bridgeman (1690–1738) was an English garden designer who helped pioneer the naturalistic landscape style. Although he was a key figure in the transition of English garden design from the Anglo-Dutch formality of patterned parterres and avenues to a freer style that incorporated formal, structural and wilderness elements, Bridgeman's innovations in English landscape architecture have been somewhat eclipsed by the work of his more famous successors, William KentWilliam Kent biography and Lancelot "Capability" Brown (Jellicoe, et al., 1986, p. 72).
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In 1728, Claude's younger brother Louis became the owner of the castle. Louis' son, Pierre Jacques Louis, inherited the estate in 1740. 20 years later, he commissioned Chaussard, a Parisian architect, to change or finish the working quarters located south of the château as well as the French formal garden including two parterres, and various ponds and canals. In 1711, the château and the Lordship fell into the hands of Louis' grandchild Anne Louis Roger, who died on June 26, 1789.
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Middleton began work on the plantation's gardens in 1741. Determined to outshine his neighbors, who were laying out neat four-squared patterned parterres, Middleton employed an English gardener named Simms, of whom little is known. Basing his designs less upon his own trip to England, Middleton and Simms derived their inspiration from the engraved plans in the translation of the popular garden book by Dezallier d'Argenville, The Theory and Practice of Gardening.Ogden Tanner, "Middleton Place: Charleston's Continental Classic", Horticulture 62.2 (February 1984:28-33), p. 29.
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Noli me tangere or Christ Appearing As A Gardener To Mary Magdalene is a 1548-1560 painting by the Flemish painter Lambert Sustris. It is now in the Palais des beaux-arts de Lille. It shows the eponymous scene from the Gospel of John, set in a Renaissance-style garden with geometric parterres, a fountain, a covered passageway and a cloister. Wearing a sumptuous gold and silver damask robe, Mary kneels before Christ, holding her left hand to her breast and her right on an alabaster vase.
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Deering purchased it at the cost of providing a new water system for Bassano di Sutri. (Maher 1975:166). Rather than displaying it in the central axis, Suarez sited it at the end of its own cross-axis, not to be discovered until the visitor had penetrated deep into the plan. The design was richly patterned on the ground, with parterres en broderie in the French baroque taste, contrasts of sun and shade, and many slight changes of level to enliven the essentially flat site.
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Their design created three separate gardens with different themes, connected by footbridges over the streets that divide them. The western park, near at the Palais Omnisports, called Les Prairies, features broad lawns under trees; this part of the park is also used for informal sports, soccer skateboarding and rollerblading. The center park is called Les Parterres, and is devoted to serious gardening. It includes an aromatic garden, a rose garden, and a vegetable garden where school groups come to learn about agriculture and gardening.
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The purpose of a garden, according to Pliny, was otium, which could be translated as seclusion, serenity, or relaxation, which was the opposite of the idea of negotium that often classified busy urban life. A garden was a place to think, relax, and escape. Pliny described shaded paths bordered with hedges, ornamental parterres, fountains, and trees and bushes trimmed to geometric or fantastic shapes, all features which would become part of the future Renaissance garden.Allain and Christiany, L'Art des jardins en Europe, Paris, 2006: 132.
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The formal garden was laid out in 1720 by masters of Dutch landscape gardening on three parterres in front of the Imperial Palace. At the same time, a reflecting pool was constructed on the third parterre, and two ponds were made on the Vangazi creek flowing from the hill: the Upper (Large) and Mill ponds (later included in the cascade of Lower ponds). The main features in this garden are the Upper bath, Lower bath, Hermitage, Cave, Hermitage Kitchen, Moreyskaya column, Vorota gate, and Orlov gate.
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In 1897–98 Edwin Lutyens started to improve what had been known as the Italian Garden (and is now the Dragon Garden). Work continued in the gardens and grounds during the 20th century. The 2nd Duke commissioned Detmar Blow, a pupil of Lutyens, to re-design parts of the gardens. With Fernand Billerey, he removed the parterres, built a canal leading away from the house, added hedged compartments to the terraces, and a pond at the base of the terraces (now the Lioness and Kudu Pond).
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Three large crystal chandeliers are suspended from a heavily gilt ceiling bearing three large paintings; Night, Morning and Midday by the artist Bernhard Rode. 18th- century chairs upholstered in leather, vases of faux Egyptian porphyry and console tables furnish the gallery. Situated directly over the Grotto Hall is the Marble Hall, the largest of the festival halls, which was used variously as a ballroom and as a banqueting hall. Rising over two floors, the hall overlooks the eastern parterres and the axial vista leading to Sanssouci.
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Gardens of the Château de Blois, about 1570. At the beginning of the 16th century, King Francis I, who had also visited Italy and had met Leonardo da Vinci, built gardens in the new style on three terraces of different levels bordered by the old walls of his Château de Blois. Besides the parterres of flowers, the gardens produced a wide variety of vegetables and fruits, including orange and lemon trees in boxes, which were taken indoors in winter. The building that sheltered them, still standing, was the first orangerie in France.
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Walkways beside reflecting pool The complex is set around a large square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four-quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the centre of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The elevated marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.
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From the late seventeenth century the gardens at Versailles, with their formal avenues, parterres, and fountains that stressed symmetry and order, were a model. After the Glorious Revolution Dutch influences were also significant, with uniform planting and topiary.C. Christie, The British Country House in the Eighteenth Century (Manchester: Manchester University Press, 2000), , pp. 135–6. Portrait of William Bruce by John Michael Wright, c. 1664 Gardening books from the continent and England became widely available in this period and the first gardening book was published in Scotland. This was John Reid's, Scots Gard'ner (1683).
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Overhead view Schloss Nordkirchen, main building from the south Northern front of Schloss Nordkirchen, facing parterres Map of Nordkirchen Castle Schloss Nordkirchen is a palace situated in the town of Nordkirchen in the Coesfeld administrative district in the state of North Rhine Westphalia, Germany. The schloss was largely built between 1703 and 1734 and is known as the "Versailles of Westphalia" since it is the largest of the fully or partly moated Wasserschlösser in that region. It was originally one of the residences of the Prince-Bishopric of Münster.
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Building projects at the site were only interrupted by Catherine's death (1589); the château was sold to the Condé family and was eventually completed, and furnished with extensive parterres, at the end of the seventeenth century. Château de Saint-Maur, architect: Philibert de l'Orme The Château de Saint-Maur, still in the possession of the Condé family, was nationalised during the French Revolution, emptied of its contents, and its terrains divided up among real-estate speculators. The structure was demolished for the value of its materials; virtually nothing remains.
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The Château seen from the sky The Grandes Écuries (Great Stables) and the Château The main French formal garden, featuring extensive parterres and water features, was laid out principally by André Le Nôtre for the Grand Condé. The park also contains a French landscape garden with a cascade, pavilions, and a rustic ersatz village, the Hameau de Chantilly. The latter inspired the Hameau de la reine of Marie Antoinette in the Gardens of Versailles. The estate overlooks the Chantilly Racecourse and the Grandes Écuries (Great Stables) which contains the Living Museum of the Horse.
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The southeast portion of the estate included a garden designed by Jan Roosen, with terraces, stone staircases, parterres, trellised arbours, and ponds, while a menagerie was located on the opposite of the estate. North side, carriage courtyard: all the stucco details sparkled with gold until 1773, when Catherine II had gilding replaced with olive drab paint. During the reign of Peter the Great's daughter, Empress Elizabeth, Mikhail Zemtsov designed a new palace and work began in 1744. In 1745, Zemtsov's pupil, Andrei Kvasov, working with Savva Chevakinsky, expanded the palace to be 300 m long.
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The booklet, Il paradiso de' Fiori by Francesco Pona (1622) informs about the plants used in this time in Giardino Giusti as does also some planting sketches by Pona included in the new edition of this book, Milano 2006. The actual unifying layout of the garden parterres dates from early 20th century. The maze was reconstructed after 1945. The Giusti family, owner of the palace since the 16th century, was entitled by the Austro-Hungarian Emperor to change its original surname to "Giusti del Giardino" because of the importance of the gardens.
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Marie Antoinette's dairy and the parterres for her garden at the Petit Trianon at Versailles are derived from examples at the Desert de Retz as are items at the Chateau de Rambouillet.Cendres, pg. 168 The Desert de Retz also influenced other new and existing gardens such as the Chateau de Ermenonville. In addition to the Desert de Retz, De Monville designed a French landscape garden for Jeanne du Barry at Louveciennes, and created several fabriques for the Parc Monceau in Paris for the Duc d'Orleans, none of which seem to have survived.
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In the 17th century, formal gardens were created around the Samwell Hall; these included such features as parterres and canals. However they were costly to maintain, and in the later part of the 18th century fashions changed to favour a more informal type of garden layout. Credit for designing the informal gardens at Eaton Hall has been given to Lancelot "Capability" Brown. Although one of Brown's documents dated 1764 shows that payment was made to him by the estate, it also notes that a plan for the garden had been drawn up by William Emes.
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Walkways beside reflecting pool The large charbagh (a form of Persian garden divided into four parts) provides the foreground for the classic view of the Taj Mahal. The garden's strict and formal planning employs raised pathways which divide each quarter of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and the gateway, and a linear reflecting pool on the North-South axis reflect the Taj Mahal. Elsewhere the garden is laid out with avenues of trees and fountains.
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Pacello da Mercogliano (c. 1455-1534) was a designer of gardens and hydraulic engineer, who is documented as working for Charles VIII at Amboise with the responsibility of bringing water from the Loire up to the garden parterres laid out to one side of the château. He was assisting the architect-engineer Fra Giocondo, who had translated Frontinus's essay on the ancient aqueducts of Rome, . After Charles VIII's death in 1498, both men continued to be employed by Louis XII at Blois, whence he had removed the court.
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Working with Josiah Lane, the artisan stonemason who had built a cascade and grotto at Painshill Park, in the 1780s Hamilton added a cascade, grottoes and a hermit's cave to the lakeside. The Italianate terrace gardens on the south front of the house were commissioned by the 3rd Marquess. The Upper Terrace, by Sir Robert Smirke, was completed in 1818, and the Lower, by George Kennedy, was added in 1851. Originally planted with hundreds of thousands of annuals in intricate designs, the parterres are now more simply planted.
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Frequently found in French Baroque gardens are water gardens, cascades, grottos and statues. Further away from the country house, stately home, chateau or schloss the parterre transitions into the bosquets. Well known examples are the gardens at the Palace of Versailles in France and the Palace of Augustusburg at Brühl, near Cologne in Germany, which have achieved UNESCO World Heritage status. As fashions changed, many parterres de broderie of stately homes had to give way in the 19th century to English landscape gardens and have not been reinstated.
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The walks were lined with a hundred allegorical marble sculptures, executed by Francesco Penso, Pietro Baratta, Marino Gropelli, Alvise Tagliapietra, Bartolomeo Modulo and other Venetian sculptors that were acquired by Sava Vladislavich. In the late 20th century, 90 surviving statues were moved indoors, while modern replicas took their place in the park. The sequence of patterned parterres, originally more formal than the current landscape, were the site of Imperial assemblies, or lavish parties which often included balls, feasts, and fireworks. Apart from the statuary, a major park attraction were the fountains, the oldest in Russia, representing scenes from Aesop's fables.
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Probably the most important was its location at the Cracow Suburb Street, in front of the main entrance to the new royal residence, so everyone who visited the king must pass before the ornate Sieniawska's magnum opus. She appointed her court architect Karol Bay to design a new rococo facade profusely embellished with columns and sculptures. The conservation and enlargement of the former residence of Victorious King, John III Sobieski, is considered as her most significant achievement in the field of architecture. She embellished the palace facades and garden parterres with her coat of arms Szreniawa and monograms.
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The gardens were on the site of the present-day Place Victor-Hugo and the site of the railways station. The last vestiges of the garden were destroyed in 1890 by the construction of the Avenue Victor- Hugo. Map of Amboise in 1600 At about the same time, Pacello da Mercogliano designed gardens for the Château de Gaillon owned by Cardinal Georges d'Amboise, a Minister of King Henry IV, who had also spent time in Italy. The gardens, built on different levels below the old medieval château, were planted in parterres of flowers and fruit trees.
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Source: Château de Versailles In addition to the meticulous manicured lawns, parterres, and sculptures are the fountains, which are located throughout the garden. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique. On weekends from late spring to early autumn, the administration of the museum sponsors the Grandes Eaux – spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
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The park of Kuskovo was created between 1750 and 1780 as a formal Garden à la française, with large ornamental parterres of flowers, carefully trimmed hedges, and alleys which met at either right or diagonal angles, and were ornamented with statues, and lined with either rows of trees trimmed into spheres, large vases; orange trees; or myrtle trees trimmed into cones.Brodsky, pg. 137 Eight park alleys converge in a single point, where the circular Hermitage pavilion (1764–77) now stands. Count Sheremetev spent most of his time in the Hermitage, coming to the Palace only for formal occasions and holidays.
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Jarrassé, Dominique, Grammaire des jardins Parisiens, p. 46 Under Henry IV, the old garden was rebuilt, following a design of Claude Mollet, with the participation of Pierre Le Nôtre, the father of the famous garden architect. A long terrace was built on the north side, looking down at the garden, and a circular basin was constructed, along with an octagonal basin on the central axis. In 1664 he garden was remade again by André Le Nôtre in the style of the classic French formal garden, with parterres bordered with low shrubs and bodies of water organized along a wide central axis.
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The Luxembourg Garden in 1652 The Medici Fountain in the Luxembourg Garden The Jardin du Luxembourg was created by Marie de' Medici, the widow of Henry IV between 1612 and 1630. It was placed behind the Luxembourg Palace, an imitation of the Pitti Palace in her native Florence. She began by planting two thousand elm trees, and commissioned a Florentine gardener, Tommaso Francini, to build the terraces and parterres, and the circular basin the center. The Medici Fountain was probably also the work of Francini, though it is sometimes attributed to Salomon de Brosse, the architect of the palace.
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593 Following the romantic style, he built rustic structures, redesigned the parterres, and laid out five kilometers of walks. Jardins de Marqueyssac In the second half 20th century the house was rarely occupied and the gardens were not well maintained. Beginning in 1996, a new owner, Kleber Rossillon, restored the gardens to their old character and added some new features including an alley of santolina and rosemary and, in the romantic spirit of the 19th century, a course of water descending from the belvedere and ending in a cascade. The gardens were opened to the public in 1996.
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Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German and Russian palaces, and in tile panels at Aranjuez near Madrid. Chinese Villages were built in the mountainous park of Wilhelmshöhe near Kassel, Germany; in Drottningholm, Sweden and Tsarskoe Selo, Russia. Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, c. 1753–70, but sober homages to early Qing scholars' furnishings were also naturalized, as the tang evolved into a mid-Georgian side table and squared slat-back armchairs suited English gentlemen as well as Chinese scholars.
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Vaux-le-Vicomte André Le Nôtre's first major garden design was undertaken for Nicolas Fouquet, Louis XIV's Superintendent of Finances. Fouquet began work on the Château de Vaux-le- Vicomte in 1657, employing the architect Louis Le Vau, the painter Charles Le Brun, and Le Nôtre. The three designers worked in partnership, with Le Nôtre laying out a grand, symmetrical arrangement of parterres, pools and gravel walks. Le Vau and Le Nôtre exploited the changing levels across the site, so that the canal is invisible from the house, and employed forced perspective to make the grotto appear closer than it really is.
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Cowane's Hospital seen from the adjacent churchyard During the later 17th and early 18th century the hospital was well-used by pensioners, though a strict set of rules seems to have discouraged some from taking up residence. Further improvements to the gardens were ordered in 1712 when Thomas Harlaw, gardener to the Earl of Mar, was appointed to draw up plans for the site. A bowling green was subsequently laid out, surrounded by balustraded terraces and Dutch-style parterres of box hedging with herbs and flowers. Despite subsequent changes the gardens largely remain as they were laid out at this time.
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The features closest to the Palace are the two water parterres, large pools which reflect the facade of the palace. These are decorated with smaller works of sculpture, representing the rivers of France, which are placed so as not to interfere with the reflections in the water. Down a stairway from the Parterre d'Eau is the Latona Fountain, created in 1670, illustrating the story of Latona taken from the Metamorphoses of Ovid. According to the story, when the peasants of Lycia insulted Latona, the mother of Apollo and Diana, the god Jupiter transformed the peasants into frogs.
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The seigneurie of Sceaux appears in 15th century documents, but little remains above ground of the château built for the family Potier de Gesvres in 1597. Colbert turned to some of the premier royal architects and craftsmen to design a seat worthy of his station, the architect brothers Claude and Charles Perrault and Antoine Lepautre, and the premier peintre du roi Charles Le Brun. The parterres at Sceaux, engraved by Adam Perelle Jean-Baptiste Colbert, Marquis de Seignelay, son of Colbert and minister of the Navy, inherited Sceaux in 1683. He added sculpture by François Girardon and Antoine Coysevox.
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An Italian garden, with parterres, classical statues and a grand staircase was created by Brenna on the hillside overlooking the lake. Cameron used the intimate Dutch style for the little private garden outside Maria Feodorovna's private apartments, and the huge park was in the style of the English and French landscape garden. An English visitor, John Lowden, who saw Pavlovsk during the war against Napoleon in 1812, wrote that Pavlovsk Park was the most beautiful example of the English landscape garden in all of the Russian Empire.Lowden, John, The Encyclopedia of Gardening, London, 1827, p. 26.
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The original gardens were created in the 17th century, were large and extended along the Dordogne River. They were abandoned and replaced by fields, and then recreated in 1938 as a Garden à la française by the landscape architect Louis-Ferdinand Duprat. A monumental stairway leads from the chateau across the old moat to the French gardens by the river, where there are parterres bordered with hedges of yew, and boxwood trees clipped into cone shapes. There is also a flower garden of medieval inspiration, and an English-style park, with cedar, oak, linden, hornbeam and copper beech trees.
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107 The Château de Chenonceau had two gardens in the new style, one created for Diane de Poitiers in 1551, and a second for Catherine de' Medici in 1560.Prevot, Histoire des Jardins, 114 In 1536 the architect Philibert de l'Orme, upon his return from Rome, created the gardens of the Château d'Anet following the Italian rules of proportion. The carefully prepared harmony of Anet, with its parterres and surfaces of water integrated with sections of greenery, became one of the earliest and most influential examples of the classic French garden.Bernard Jeannel, Le Nôtre, Éd. Hazan, p.
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164 An important ornamental feature in Versailles and other gardens was the topiary, a tree or bush carved into geometric or fantastic shapes, which were placed in rows along the main axes of the garden, alternating with statues and vases. At Versailles flower beds were found only at the Grand Trianon and in parterres on the north side of the palace. Flowers were usually brought from Provence, kept in pots, and changed three or four times a year. Palace records from 1686 show that the Palace used 20,050 jonquil bulbs, 23000 cyclamen, and 1700 lily plants.
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It followed the pattern of the strictly subdivided Italian garden, with parterres, bosquet areas, fountains, aviaries and pheasant gardens. Johann Leopold Count Herberstein allowed the whole arrangement to be reshaped into a French garden. As early as the 1770s, the Eggenberg Gardens were an attraction open to the Grazer public. Way to the Archeological Museum on the North side of Eggenberg Schloss Park However, with the advent of the Enlightenment and the liberalization of ideas under Joseph II, Holy Roman Emperor, by the end of the 18th century, it was thought that Baroque gardens were ugly; having a pruned nature constricted by too stringent norms.
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Claude Wenzler, Architecture du jardin, pg. 12 They reached their peak in the gardens of the royal Château de Fontainebleau, Château d'Amboise, Château de Blois, and Château de Chenonceau. French Renaissance gardens were characterized by symmetrical and geometric planting beds or parterres, plants in pots, paths of gravel and sand, terraces, stairways and ramps, moving water in the form of canals, cascades and monumental fountains, and extensive use of artificial grottoes, labyrinths, and statues of mythological figures. They became an extension of the châteaux that they surrounded, and were designed to illustrate the Renaissance ideals of measure and proportion, and to remind viewers of the virtues of Ancient Rome.
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It became the favourite royal residence and the political capital of the kingdom under Charles' son, King Louis XII. At the beginning of the 16th century, King Louis XII initiated a reconstruction of the entry of the main block and the creation of an Italian garden in terraced parterres where Place Victor Hugo stands today. This wing, of red brick and grey stone, forms the main entrance to the château, and features a statue of the mounted king above the entrance. Although the style is principally Gothic, as the profiles of mouldings, the lobed arches and the pinnacles attest, there are elements of Renaissance architecture present, such as a small chandelier.
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Dupérac was commissioned to paint the Cabinet des Bains at the Château de Fontainebleau, and may have designed some of the gardens.Claude Mollet, in his Théâtre des plans et iardinages (posthumous, 1652), claimed to have been the first to introduce parterres de broderie in France, from having been inspired by Dupérac (noted by Karling 1974, p. 8). He has also been credited with the design of the gardens at Anet, as architect to the duke of Aumale. As architect to Henri IV beginning in 1595, he may have designed the terraced gardens at Saint-Germain-en-Laye, and was engaged in work at the Tuileries in Paris ().
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Pomodoro in the Cortile della Pigna The lowest, and largest level of the court was not planted. It was cobbled and paved with a saltire of stones laid corner to corner and had semi-permanent bleachers set against the Vatican walls to serve for outdoor entertainments, pageants and carousels such as the festive early-17th-century joust depicted in a painting in Museo di Roma, Palazzo Braschi. The upper two levels were laid out with of patterned parterres that the Italians referred to as compartimenti, set in wide graveled walkways. The four sections (now grassed) of the upper courtyard have the same pattern that appears in 16th-century engravings.
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Gardens of the Palais Royal in 1739 View of the Palais-Royal gardens in 1807, showing the circus, or riding hall. The garden of the Palais-Royal was built by Cardinal Richelieu, after he bought the hôtel d'Angennes in 1623 and turned it into his own residence, the Palais-Cardinal. When he died he left it to Louis XIV, who had played in the gardens as a child, and in 1643 it became the Palais-Royal. The garden, designed by Claude Desgots, featured two rows of elm trees, elaborate parterres and ornamental flower beds, statues, fountains and two basins, and a grove of trees at one end.
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He lowered garden walls to incorporate the surrounding countryside into the vista. This allowed a focus on significant landscape features such as Bass rock at Balcaskie and Loch Leven Castle at Kinross. Alexander Edward (1651–1708) continued in the tradition established by Bruce, adding landscapes at houses including Hamilton Palace and Kinnaird castle, Angus. Grand schemes in the French tradition included James Douglas, 2nd Duke of Queensberry's (1662–1711) reworking of the terraces at Drumlanrig Castle, which incorporated the Douglas family crest into the parterres design. There is also the militaristic earthworks undertaken for Field Marshal John Dalrymple, 2nd Earl of Stair (1679–1747) at Castle Kennedy, Wigtownshire.
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Knot Garden at St Fagans museum of country life, south Wales A knot garden is a garden of very formal design in a square frame, consisting of a variety of aromatic plants and culinary herbs including germander, marjoram, thyme, southernwood, lemon balm, hyssop, costmary, acanthus, mallow, chamomile, rosemary, Calendula, Viola and Santolina. Most knot gardens now have edges made from box (Buxus sempervirens), whose leaves have a sweet smell when bruised. The paths in between are usually laid with fine gravel. However, the original designs of knot gardens did not have the low box hedges, and knot gardens with such hedges might more accurately be called parterres.
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Kensington Palace south front with its parterres, engraved by Jan Kip, 1724 Kensington Palace was originally a two-story Jacobean mansion built by Sir George Coppin in 1605 in the village of Kensington. The mansion was purchased in 1619 by Heneage Finch, 1st Earl of Nottingham and was then known as Nottingham House."Origins," Kensington Palace official website, Retrieved 1 May 2013. Shortly after William and Mary assumed the throne as joint monarchs in 1689, they began searching for a residence better suited for the comfort of the asthmatic William, as Whitehall Palace was too near the River Thames, with its fog and floods, for William's fragile health.
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In the spring of 1941 and the fall of 1943 she taught a landscape gardening course at Connecticut College. After the birth of her first child, Ireys closed the Manhattan office and set up shop at her lifelong home on Willow Street. Ireys became known for a design aesthetic that bridged between the late 19th century ideal of the gracious formal estate and the 20th century concern for modest residential landscaping and enhanced public spaces. She borrowed elements such as terraces and parterres from large-scale landscaping and modified them for more limited acreage, emphasizing such features as serpentine walkways that created an illusion of larger space than actually existed.
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Alessandro commissioned in 1745 the construction of the prominent Villa Albani in Rome. Building began in 1751 according to Giuseppe Vasi and celebrated as complete in 1763,A brief bibliography of Albani and Villa Albani is given in Howard 1993:239 note 2. to house his evolving, constantly replaced and renewed collections of antiquities and ancient Roman sculpture, which soon filled the casino that faced the Villa down a series of formal parterres. Albani's lifelong friend Carlo Marchionni was the architect in charge, at the Villa and perhaps also for the two temples in the park, an Ionic temple of Diana and a sham ruin.
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Hewlings, Richard, Chiswick House and Gardens (English Heritage guide book, 1989, p.25) The gardens at Chiswick were originally of a standard Jacobean design, but from the 1720s they were in a constant state of transition. Burlington and Kent experimented with new designs, incorporating such diverse elements as mock fortifications, a Ha-ha, classical fabriques, statues, groves, faux Egyptian objects, bowling greens, winding walks, cascades and water features. The Bagnio, designed by Lord Burlington and Colen Campbell in 1717 Authors of antiquity, such as Horace and Pliny, were major influences on 18th century thinkers through their descriptions of their own gardens, with alleys shaded by trees, parterres, topiary, and fountains.
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Antoine-Joseph Dezallier d'Argenville (Paris, 1 July 1680 – 29 November 1765), avocat to the Parlement de Paris and secretary to the king, was a connoisseur of gardening who laid out two for himself and his family, before writing La théorie et la pratique du jardinage (published anonymously, 1709; second edition, 1713), based on his experience and his reading.Full title: La theorie et la pratique du jardinage. Ou l'on traite à fond des beaux jardins appellés communément les jardins de propreté, comme sont les parterres, les bosquets, les boulingrins, &c.; Contenant plusieurs plans et dispositions generales de jardins; nouveaux desseins…& autres ornemens servant à la décoration & embélissement des jardins.
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The marquess appointed John Webb, a pupil of Emes, to improve the garden and the landscaping. Among Webb's innovations were new terrace walls behind the house, the levelling of Belgrave Avenue and the planting of 130,000 trees along it, and a serpentine lake to the east of the house alongside the River Dee. He also arranged for the construction of greenhouses and a kitchen garden. alt=People walking is a garden containing irregularly-shaped flower beds, grassed lawns and banks, statues, urns and a row of trees in the distance Fashions changed again, and in the 1820s William Andrews Nesfield was employed to design new parterres.
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Its sixty engravings after Boyceau's designs make it one of the milestones in tracing the history of the Garden à la française (French formal garden). His nephew Jacques de Menours, who produced the volume, included an engraved frontispiece with the portrait of Boyceau. A few of the plates show formally planted bosquets, but the majority are of designs for parterres. The accompanying text asserts that some of these designs have been used at royal residences: the Palais du Luxembourg, where the two axes at right angles survive from Boyceau's original plan, the Jardin des Tuileries, the newly built château of Saint Germain-en-Laye, even at the simple château at Versailles.
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Two Italian architects were responsible for the design and execution of the site, Filiberto Luchese (1607–1666) and after his death Giovanni Pietro Tencalla (1629–1702). The Baroque Pleasure or Lust Garden is located at a distance from the Palace, as can be seen today from aerial photography. The engravings completed in 1691 by Georg Matthaeus Vischer, show a fully enclosed garden divided into half ornamental parterre and the other half to the south composed or orchards and productive ornamental features Apart from the formal Baroque parterres there is also a less formal nineteenth-century English garden close to the palace, which sustained damage during floods in 1997.
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Kensington Palace engraved by Jan Kip for Britannia Illustrata, 1707/8 Parterre at Waddesdon Manor, 2016 A parterre is a formal garden constructed on a level substrate, consisting of plant beds, typically in symmetrical patterns, which are separated and connected by paths. The borders of the plant beds may be formed with stone or tightly pruned hedging, and their interiors may be planted with flowers or other plants or filled with mulch or gravel. The paths are constituted with gravel or turf grass. French parterres originated in the gardens of the French Renaissance of the 15th century and often had the form of knot gardens.
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The hedges, some cut in swags, give height and form. The garden rooms include an Italian enclosure with box parterres; a formal rose garden laid out in a pattern based on one of the William Kent ceilings in the house; a French garden of pleached limes and plum trees which have been underplanted with spring bulbs; and a croquet lawn. Danish artist Jeppe Hein created a "Water Flame" sculpture/fountain for this garden.Houghton Hall>Garden, photo of Hein's sculpture/fountain In all seasons, this jet of water surmounted by a ball of flame illustrates a 21st century folly on a smaller scale than the contemporary pieces outside the garden walls.
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The Palacio de la Ribera was divided into two parts: one part facing north of the main pavilion, which was one of the sides of a closed courtyard with three arcaded galleries, and the other facing south, with a construction that formed an angle with the main pavilion and a garden decorated with parterres. There was a tower topped by a spire of lead at the intersection of the two buildings, with a view over the river and the gardens. The roof was decorated with red tiles. The main entrance of the palace opened onto the Paseo del Monasterio del Prado (current Salamanca avenue).
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Starting mid-century reflects little variations only important in the gardens as long as changing according to the tastes of the moment, and the last time, for example in the plan of Íbero of 1875, appears entirely English, no trace of the early parterres. In 1823 dies Manuel Miguel Osorio y Spinola and the property is inherited by his son Nicolás Osorio y Zayas, who carried out a major reform in 1847 to invest the amount of 2 reales. Nicolás Osorio y Zayas was a big fan of horses, one of the founders of the Society for the Promotion of Horse breeding in Spain. In 1854 it built new stables at the Palace.
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The Royal Palace of Portici (Reggia di Portici or Palazzo Reale di Portici; ) is a former royal palace in Portici, Southeast of Naples along the coast, in the region of Campania, Italy. Today it is the home of the Orto Botanico di Portici, a botanical garden operated by the University of Naples Federico II. These gardens were once part of the large royal estate that included an English garden, a zoo and formal parterres. It is located just a few metres from the Roman ruins of Herculaneum and is home to the Accademia Ercolanese, the deposit for all found objects of archaeological site. This is in effect the Museum of Herculaneum, opened in 1758 by King Charles.
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Formal gardens, canals, fountains and parterres were created by George London with sculptures by Arnold Quellin and Chevalier David. The Best Gallery, Long Gallery, Old Library and Chapel were all added due to Wren. What changed most of all, were the general surroundings to the house, for Thomas was impassioned by the idea of gardens, and inspired in particular by Versailles. He employed George London to lay out a vast complex of ornate terraced flower beds, with symmetrical paths and avenues, to furnish Longleat with a decorative environment, which stretched for the most part eastwards, across the leat (having diverted 'the long lete' with a canal), and on up into what is now the safari park.
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Upon the death of the duchess in 1753, the mansion became the property of the maréchal de Biron, hero of Fontenoy, whose name it has carried. A plan of the house and gardens as they were in 1752Illustrated at the Musée Rodin website. shows the deep terrace at the rear with a few wide bowed steps that led to matching parterres containing shaped compartments set in gravel and surrounded by shrubs tightly clipped in cones which flanked a wide central gravel walk. To the left of the deep cour d'honneur and entered from it, neatly clipped cabinets de verdure—small open-air rooms and recesses in fanciful shapes, connected by short galleries—were cut into solid greenery.
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Le Nôtre's central axis of the Tuileries' parterres in a late 17th-century engraving The same view today, past the palace's site to the Palais du Louvre Since 2003, the Committee for the Reconstruction of the Tuileries () has been proposing to rebuild the Tuileries Palace. This effort is similar to the proposal of reconstruction of the Berliner Stadtschloss (Berlin City Palace). Several reasons for rebuilding the Palace of the Tuileries have been advanced. Ever since the destruction of 1883, the famous perspective of the Champs-Élysées, which ended on the majestic façade of the Tuileries Palace, now ends at the Arc de Triomphe du Carrousel, formerly centered on the Tuileries but now occupying a large empty space.
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Batiffol, 1913; Bluche, 1991; Marie, 1968; Nolhac, 1901; Verlet, 1985 A vignette of Versailles from the 1652 Paris map of shows a traditional design: an entrance court with a corps de logis on the far western end, flanked by secondary wings on the north and south sides, and closed off by an entrance screen. Adjacent exterior towers were located at the four corners, with the entire structure surrounded by a moat. This was preceded by two service wings, creating a forecourt with a grilled entrance marked by two round towers. The vignette also shows a garden on the western side of the château with a fountain on the central axis and rectangular planted parterres to either side.
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In 2015, the new Andrews Visitor and Education Center opened and is the point of entrance for all visitors from the improved and landscaped Canebrake Road entrance drive. Four other gardens were completed in 2015, too. The Woodland Shade Garden offers picturesque views over a chain of lakes, the White Garden boasts three magnificent white pergolas surrounding a lawn and the Formal Garden features four parterres surrounded by olive and white crapemyrtles. The Georgia Trustees Garden replica -- the agricultural plot began by James Oglethorpe and existed from 1733 to 1755 -- also was laid out and features edible, medicinal and crop commodities the first settlers to the Georgia colony were expected to produce.
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Jarrassé, pg. 66. In 1630 she bought additional land and enlarged the garden to thirty hectares, and entrusted the work to Jacques Boyceau de la Barauderie, the indendant of the royal gardens of Tuileries and the early garden of Versailles. He was one of the early theorists of the new and more formal garden à la française, and he laid out a series of squares along an east–west alley closed at the east end by the Medici Fountain, and a rectangle of parterres with broderies of flowers and hedges in front of the palace. In the center he placed an octagonal basin with a fountain, with a perspective toward what is now the Paris observatory.
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The best surviving garden from the early seventeenth century is that at Edzell Castle, where, between 1604 and 1610, David Lindsay (1551?–1610) created an enclosure adorned with sculptures of the seven Cardinal Virtues, the seven Liberal Arts and the seven Planetary Deities, the expense of which eventually bankrupted him. Taymouth Castle painted in 1733 by James Norie, showing William Adam's improvements to the house and gardens The legacy of the Auld Alliance, and the beginnings of the grand tour, meant that French styles were particularly important in Scotland, although adapted for the Scottish climate. From the late seventeenth century the gardens at Versailles, with their formal avenues, parterres and fountains that stressed symmetry and order, were a model.
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The last reigning monarch to use Kensington Palace was George II, who did not undertake any major structural changes to the palace during his reign, and left the running of the palace to his wife Queen Caroline. At the request of the Queen, Charles Bridgeman, successor to Henry Wise as royal gardener, swept away the outmoded parterres and redesigned Kensington Gardens in a form that is still recognisable today: his remaining features are The Serpentine, the basin called the Round Pond, and the Broad Walk. After the death of his wife, George II neglected many rooms and the palace fell into disrepair. King George II died at Kensington Palace on 25 October 1760.
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Repton's ornamental lake The National Register of Historic Parks and Gardens lists of the gardens and surrounding parkland at grade II. An early engraving shows a walled forecourt to the south of the original hall, with a large stone gateway carved with Sir Randolph Crewe's arms and motto. The forecourt had terraces, balustrades and a path decorated with diamond patterns. As depicted in a painting of around 1710, the grounds were laid out in extensive formal walled pleasure gardens with parterres. During the 18th century, the park was landscaped in a more naturalistic style for John Crewe (later the first Baron Crewe) by Lancelot Brown (before 1768), William Emes (1768–71), and Humphry Repton and John Webb (1791).
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Mollet's stay in Sweden lasted five years, during which he introduced to Sweden the French parterres en broderie patterned like Baroque textiles. He modernized the existing gardens linked to the royal palace in Stockholm and laid out a new garden in the outskirts of Stockholm on the site of a former hop-garden, the Humlegården. The introduction of a Baroque garden style in Sweden dates to this decade, with the encouragement of progressive Francophile architects like Nicodemus Tessin the Elder and Jean de la Vallée, with whom Mollet had worked in Holland, together with the eager commissions from Swedish nobles that Mollet received. The results are documented in Erik Dahlbergh's topographical Suecia antiqua et hodierna.
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Although the Gardens were landscaped and filled with lawns, parterres and shrubberies, the zoological features never reached the size, range, or exoticism of rival zoos of the period. On the day of opening in 1840, the Leeds Mercury reported "The Zoological department as yet is confined to a fine pair of swans and some other fowl, monkeys and tortoises." When setting up the park in 1838, the committee had explored options for purchasing large animal exhibits, with a budget of £1,000 (). One of the people they consulted was George Wombwell, a famous menagerie exhibitor, who was able to advise that for this price, any elephants would be impossible, though it would be viable to buy a pair of lions.
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At the Château de Gaillon, begun in 1502, Georges Cardinal d'Amboise employed Pacello on the gardens.P. Lesueur, "Pacello da Mercogliano et les jardins d'Amboise, Blois et Gaillon", Bulletin de la Société de l'histoire de l'art français (1935:90-117, noted by Roberto Weiss, "The Castle of Gaillon in 1509-10", Journal of the Warburg and Courtauld Institutes 16.1/2 (1953:1-12), p. 2 note 9. Neither there, nor at Amboise or Blois, where the foundations of the castles crowned steep defensible sites, was Pacello able to tie the axes of his garden parterres to a facade of the château in any meaningful way, as was becoming the usual practice on sloping sites below Italian villas.
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12 Another influential writer was Leon Battista Alberti (1404–1472), who in 1450 wrote a tract, De re aedificatoria for Lorenzo de' Medici. Alberti used the geometric principles of Vitruvius to design building façades and gardens. He suggested that the house should look over the garden, and that the garden should have "porticos for giving shade, cradles where vines grow on columns of marble, and there should be vases and even amusing statues, provided that they are not obscene." quoted in Philippe Prevot, Histoire des Jardins, pg. 69 In his design of the gardens of the Cortile del Belvedere in Rome, the architect Bramante (1444–1544) introduced the idea of perspective, using a long axis perpendicular to the palace, along which he placed parterres and fountains.
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This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design. Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully calibrated perspectives of the gardens. Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
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182.) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.
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"Bodt or Bott, Johann von". The east front was built upon a raised terrace that descended to sweeps of gravelled ramps that flanked a grotto and extended in an axial vista framed by double allées of trees to a formal wrought iron gate, all seen in Jan Kip's view of 1714, which if it is not more plan than reality, includes patterned parterres to the west of the house and an exedra on rising ground behind, all features that appear again in Britannia Illustrata, (1730).Noted by Kenneth Lemmon, "Wentworth Castle: A Forgotten Landscape" Garden History 3.3 (Summer 1975:50–57) p. 52. An engraving by Thomas Badeslade from about 1750 still shows the formal features centred on Bodt's façade, enclosed in gravel drives wide enough for a coach-and-four.
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Marquis de Marigny by Alexandre Roslin Jean-Jacques Cartwright, in the second half of the seventeenth century, arranged a formal garden with parterres, turf boulingrins, a canal with other bodies of water, and two planted avenues "of elms in four rows, one of six hundred toises and the others of four hundred" whence the view contains the Loire and the surrounding countryside. During Marigny's tenure an English garden was created in the Bois-Bas, with a small ravine located to the west, in which Marigny planted thickets of various diverse trees, sheltering cabinets of trellis-work. One of them contained a famous hydraulic machine, conceived by the mechanic Loriot. At the edge of the Loire, a Désert was arranged in an old sand pit and was decorated as an artificial grotto.
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Fenwick, pp.13 & 17, and Gifford (1988) pp.84–87 The curving walls, a form later seen at Hopetoun, were a new innovation if Bruce did carry them out, possibly inspired by the work of the Italian Gian Lorenzo Bernini. In the gardens he laid out parterres and stepped "Italian" terraces, with a vista leading the eye to the Bass Rock, all inspired by French baroque gardens such as Vaux-le- Vicomte.Fenwick, pp.12–15 Internally, Bruce created a new layout of rooms, and it was for his continental-inspired internal planning, as much as his exterior design, that he was sought after as an architect.Gifford (1989), p.54 In 1670 the Duke of Lauderdale commissioned Bruce to remodel Thirlestane Castle, his 16th-century tower house in the Border country.
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In 1792, under order from the National Convention, some of the trees in gardens were felled, while parts of the Grand Parc were parceled and dispersed. Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the jardins botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens and that orchards could occupy the open areas of the garden. These plans were never put into action; however, the gardens were opened to the public – it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
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The hunting park that belonged to a branch of the House of Savoia was given to Emmanuel Philibert, Duke of Savoy in 1563, when he moved the capital of the duke from Chambéry to Turin. The garden of the hunting lodge and the surrounding hunting estate are clearly distinguished in Stupinigi: the complex, in fact, is part of a large geometric garden, characterized by a continuous succession of flowerbeds, parterres and avenues. This park, bordered by a wall and intersected by long avenues, was designed by the French gardener Michael Benard in 1740. The hunting park, or estate, was instead constituted by the vast area of almost 1,700 hectares that extended outside the fenced park and which had been expropriated by the Duke Emanuele Filiberto di Savoia in 1563 from the Pallavicini.
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In 1959, the schloss was purchased by the State of Nordrhein-Westfalen and has since been the site of "Fachhochschule für Finanzen Nordrhein-Westfalen" (recognized University of Applied Sciences of Finances North Rhine Westphalia) , a state-run college specializing in the training of future tax inspectors. The neighboring "Oranienburg" complex and the park were subsequently added, as was – in 2004 – the deer park, which included a generous green belt of more than 1,000 hectares of woodland surrounding the south-western perimeter of the schloss proper. Parts of the interior of the schloss are open to the public, as are the parterres and the surrounding park. Inside the schloss, an up-market restaurant offering Westphalian cuisine looks out into the large formal garden that faces the northern façade of the schloss.
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The Italian garden was influenced by Roman gardens and Italian Renaissance gardens. The principles of the French garden are based on those of the Italian garden, but André le Nôtre ultimately eclipsed it in scale and concept at the gardens of Vaux-le-Vicomte and Versailles during the 17th Century. The formal early English garden was influenced by the fountains and cascades that were elements of the Italian Renaissance garden, and though there are later water features – for example, the 300-year-old cascade at Chatsworth House – Italian influence was superseded in England by seventeenth-century formal Franco-Dutch parterres and avenues. From the early eighteenth century onward, thanks to gardeners like Charles Bridgeman, William Kent, Capability Brown, and Humphry Repton garden design in England took a completely different, romantic and informal turn.
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Rocque was born in France in about 1704, one of four children of a Huguenot family who subsequently fled first to Geneva, and then, probably in 1709, to England. He became a godfather in 1728, which suggests he was at least twenty- one years old by that time. In addition to his work as surveyor and mapmaker, Rocque was an engraver and map-seller. He was also involved in some way in gardening as a young man, living with his brother Bartholomew, who was a landscape gardener, and producing plans for parterres, perhaps recording pre- existing designs, but few details of this work are known. Rocque produced engraved plans of the gardens at Wrest Park (1735), Claremont (1738), Charles Hamilton's naturalistic landscape garden at Painshill Park, Surrey (1744), Wanstead House (1745) and Wilton House (1746).
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Since its European revival in the 16th century, topiary has been seen on the parterres and terraces of gardens of the European elite, as well as in simple cottage gardens; Barnabe Googe, about 1578, found that "women" (a signifier of a less than gentle class) were clipping rosemary "as in the fashion of a cart, a peacock, or such things as they fancy."Noted in Charles Curtis and W. Gibson, The Book of Topiary, 1904, p. 15. In 1618 William Lawson suggested :Your gardener can frame your lesser wood to the shape of men armed in the field, ready to give battell: or swift-running Grey Houndes to chase the Deere, or hunt the Hare. This kind of hunting shall not wate your corne, nor much your coyne.
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The first section considers the principles of siting the maison de plaisance relative to its gardens, techniques of laying out geometric figures in parterres, avenues and formal tree plantations (bosquets), and the planning of garden pavilions and the siting of sculpture, an essential element in the jardin français. The second part applies the principles in earth works, terraces and stairs, and the hydraulics necessary for constructing jeux d'eau: fountains, cascades, pools (bassins) and canals. His rational principles could adapt formal parterre gardening to the simplified programs available to the upper middle class,Previous books on gardening had presented only the grandest royal and aristocratic projects. which accounts for the immense popularity of his book, which is the central document in the 18th century formal garden in the wake of André Le Nôtre.
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The northwest part of Queen's Park The park was laid out by Alexander McKenzie between March 1887 and June 1887. McKenzie was a leading figure in Victorian park design, part of an influential group of landscape designers which included Robert Marnock, Joseph Meston and William Robinson who led garden design away from the parterres and geometry of earlier Victorian gardens to a more natural style of gardening. Designed without any straight paths, Queen's Park makes extensive use of bold tree planting and shrubberies with natural outlines, and large open areas of lawn for recreation and sport. Facilities in the park include six all-weather tennis courts, a pitch-and-putt course, an ornamental quiet garden, a children's playground with paddling pool, a children's animal farm and a cafe.
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In keeping with the French style of its exterior, Boughton House is set amidst a highly impressive formal, yet arcadian garden of strict geometry, designed on the golden ratio. Vast swathes of turf, planes of reflecting water, strong lines of trees and linear earth forms create an intellectually meditative landscape indicative of the Age of Enlightenment and the idea that a garden could be a journey of the mind, yet acknowledge the natural world. The 2nd Duke, who had been nicknamed John The Planter, swept away the previous ornamental parterres, multiplied the avenues of elms and planes, and developed the role of water which structures the garden. Later, the landscaper of the garden at Stowe, Charles Bridgeman, who was under his employ, is believed to have created the sculptural earth forms.
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In 1905, a previous country home of Kahn's, Cedar Court in Morristown, New Jersey, was virtually destroyed by fire. In constructing Oheka, Kahn determined to build a fireproof building, so he had his architects, Delano and Aldrich, design the building out of steel and concrete, making it one of the first totally fireproof residential buildings. In constructing the home, two years were spent building an artificial hill on which to place it, giving it views of Cold Spring Hills and Cold Spring Harbor. See also: Aerial view of the castle and its gardens (2009) Kahn commissioned the Olmsted Brothers to design the estate's grounds, centered on a formal axial sunken garden in the French manner, of clipped greens and gravel in parterres and water terraces, screened by high clipped hedging from the entrance drive that ran parallel to the main axis.
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In 1495, King Charles VIII and his nobles imported the Renaissance garden style from Italy after their unsuccessful Italian War of 1494–1498. The new French Renaissance garden was characterized by symmetrical and geometric planting beds or parterres; plants in pots; paths of gravel and sand; terraces; stairways and ramps; moving water in the form of canals, cascades and monumental fountains, and extensive use of artificial grottoes, labyrinths and statues of mythological figures. They also featured a long axis perpendicular to the palace, with bodies of water and a view of the whole garden, They were designed to illustrate the Renaissance ideals of measure and proportion, and to remind viewers of the virtues of Ancient Rome. The French kings imported not only the ideas, but also Italian gardeners, landscape architects, and fountain-makers to create their gardens.
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It was destroyed in the Thirty Years' War and in the following War of the Palatinate Succession; it was rebuilt by count Johann Wilhelm and his predecessor. From 1720 it served temporarily as the residence of the Elector Karl III Philip (1716-1742) after he moved away from Heidelberg. Later on it served as a summer residence of the Elector of the Palatinate and their court. Schwetzingen Castle began as a simple aristocratic fishing retreat (much like Versailles and Karlsruhe which began as hunting lodges) and had an eventful architectural history, in several phases of construction, especially during the reigns of the Elector Karl III Philip and Karl IV Theodor (1742-1799) who, as their answer to Versailles, embellished the castle gardens with some of the finest and most elaborate formal water parterres in Germany gardens.
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The Tuileries gardens in the late 17th century, remade by Louis XIV and Le Nôtre In 1664, Louis XIV had the Tuileries garden redesigned by André Le Nôtre in the style of the classic French formal garden, with parterres bordered with low shrubs and bodies of water organized along a wide central axis. He added the Grand Carré around the circular basin at the east end of the garden, and the horseshoe-shaped ramp at the west end, leading to a view of the entire garden. In 1667, Charles Perrault, the author of Sleeping Beauty and other famous fairy tales, proposed to Louis XIV that the garden be opened at times to public. His proposal was accepted, and the public (with the exception of soldiers in uniform, servants and beggars) were allowed on certain days to promenade in the park.
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State bed, designed by Daniel Marot, engraving, ca 1702 In 1694, he traveled with William to London, where he was appointed one of his architects and Master of Works. In England his activities appear to have been concentrated at Hampton Court Palace, where he designed the garden parterres, which were swept away in the following generation and have been restored at the end of the 20th century. Much of the furniture, especially the mirrors, guéridons and state beds, in the new State Rooms readied for William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs (illustration, right). After William's death Marot returned to Holland where he lived out his life.
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Facade of the Château de Sceaux Castle and grounds The duc de Trévise, son of Napoleon's Maréchal Mortier, who had married the daughter of M. Lecomte, inherited the domaine and set to restoring the park and the pavilion and Orangerie. The gardens were restored, with parterres and gravel largely replaced by clipped lawns. In 1856-62 he erected the present smaller château in brick with stone quoins, designed to evoke the style of Louis XIII, designed by the architect Augustin Théophile Quantinet and built by Joseph- Michel Le Soufaché. In 1922, the heiress of Trévise, princesse de Faucigny- Cystra, planned to give up Sceaux to real estate developers; through the efforts of the mayor Jean-Baptiste Bergeret de Frouville it was preserved and opened to the public of the town that had grown up around the park.
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The formal opening of the gardens took place on 8 July 1840, and featured a crowded ceremony attended by 2,000 people, with flags, bands, and a live demonstration of birds of prey. Reports from contemporaneous local newspapers took different angles on the new gardens; the Leeds Intelligencer disparaged the fountain which had no water and the display with the hawks, which involved the shredding of live birds to show the hawks' natural behaviour. On the other hand, the Leeds Mercurys adulatory report made no mention of those, saying: > Surrounded by a high wall within which on the west, south and east, is a > plantation of trees in proper botanical arrangement, and on the north are > fruit trees trained against a wall. Beautiful slopes of grass, tasteful > parterres and shrubberies, with winding walks, two very handsome ponds with > islands and a beautiful fountain.
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17th-century engraving of Vaux-le-Vicomte broderies (embroidery-like patterning) at Vaux- le-Vicomte The first important garden à la française was the Chateau of Vaux-le-Vicomte, created for Nicolas Fouquet, the Superintendent of Finances to Louis XIV, beginning in 1656. Fouquet commissioned Louis Le Vau to design the chateau, Charles Le Brun to design statues for the garden, and André Le Nôtre to create the gardens. It was for the first time that the garden and the chateau were perfectly integrated. A grand perspective of 1500 meters extended from the foot of the chateau to the statue of the Farnese Hercules, and the space was filled with parterres of evergreen shrubs in ornamental patterns, bordered by coloured sand, and the alleys were decorated at regular intervals by statues, basins, fountains, and carefully sculpted topiaries.
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It was the express wish of the benefactor, Charles Boyd Alexander, that the College be situated somewhere on the spur running parallel to the Tocal Road. The reason for this was this spur was the least valuable farming land but afforded fine views over the Paterson River and Webber's Creek valleys and consequently over much of the 2,000 hectare property.McKay and Cox 1964 p.2 The site that Cox and McKay initially selected was at the top of this north facing spur. In the initial sketch designNSWSL PXD 790/455 and PXD 790/482the College buildings were symmetrically arranged around a traditional enclosed cloistered quadrangle comprising quartered parterres with the chapel forming the four side isolating itself from the surrounding farm and the Tocal homestead complex, although the axial relationship with the homestead on the opposing hill was by this time firmly established.
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The parterres have been recreated in the twentieth century as rectangles of lawns set in gravel and a formal bosquet of trees. The chapel of Saint Hubert (1493) where Leonardo da Vinci is buried King Francis I was raised at Amboise, which belonged to his mother, Louise of Savoy, and during the first few years of his reign, the château reached the pinnacle of its glory. As a guest of the King, Leonardo da Vinci came to Château Amboise in December 1515 and lived and worked in the nearby Clos Lucé, connected to the château by an underground passage. Records show that at the time of Leonardo da Vinci's death on 2 May 1519, he was buried in the Chapel of St. Florentin, originally located (before it was razed at the end of 18th century) approximately 100 meters NE of the Chapel of St. Hubert.
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Sten Karling, in "The importance of André Mollet and his family for the development of the French formal garden," in The French Formal Garden, Elizabeth MacDougall and F. Hamilton Hazlehurst, editors, (Dumbarton Oaks, 1974), in making this point, notes Ancy-le-Franc, Anet, Maune, Charleval, Verneuil and Saint-Germain-en-Laye. According to Claude Mollet's Théâtre des plans et jardinageThe book was not published until 1652, but it had long been in preparation (Karling 1974). the parterres were laid out in 1595 for Henry IV by Mollet, trained at Anet and the progenitor of a dynasty of royal gardeners. One of the parterre designs by Mollet at Saint-Germain-en-Laye was illustrated in Olivier de Serres' (1600), but the Château Neuf and the whole of its spectacular series of terraces can be fully seen in an engraving after Alexandre Francini, 1614.Francini's engraving is illustrated by Karling, fig. 8.
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1881, the director of the Riga City Gardens and Parks Georg Kuphaldt expanded the park territory considerably by transferring areas of city squares and the front part of the bordering territory belonging to the Greek Orthodox Seminary. In the newly expanded garden, Kuphaldt installed flower parterres and exotic trees and bushes such as: Gleditschia triacanthos (Honey locust), Dimorphantus mandschuricus Maxim (Japanese angelica tree), Aesculus rubicunda Lois, Fagus silvatica (Copper beech), Fagus asplenifolia (Fernleaf European beech), Fagus folis atropurpureis, Acer negundo (American maple), Acer negundo foliis variegatis, Robinia pseudoacacia (Black locust), Magnolia obovata (Japanese bigleaf magnolia), Magnolia yulan (Lily tree), Bignonia catalpa (Herb linn), Pterocarya caucasica (Caucasian wingnut), Prunus laurocerasus (Cherry laurel), Aucuba japonica (Spotted laurel), Buxus sempervirens (European box), Buxus arborescens (Boxwood tree), Ilex aquifolium (European holly), Ilex laurifolia, Berberis aquifolium (Oregon grape), Rhododendron catawbiense, Yucca flamentosa (Adam's needle yucca), Hedera helix (Common ivy).
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They worked on the Tuileries Palace that faced the Louvre across the Place du Carrousel and the parterres. In that prominent square, Percier and Fontaine designed the Arc du Carrousel (1807–1808), commemorating the Battle of Austerlitz, They also worked at Josephine's Château de Malmaison, at the Château de Montgobert for Pauline Bonaparte, and did alterations and decorations for former Bourbon palaces or castles at Compiègne, Saint-Cloud, and Fontainebleau. Percier and Fontaine designed every detail in their interiors: state beds, sculptural side tables, and other furniture, wall lights and candlesticks, chandeliers, door hardware, textiles, and wallpaper. On special occasions, Percier was called upon to design for the Sèvres porcelain manufactory: in 1814 Percier's published designs were adapted by Alexandre Brogniart, director of Sèvres, a grand classicising vase 137 cm tall, that came to be known as the "Londonderry Vase" when Louis XVIII gave it to the Marquess of Londonderry just before the Congress of Vienna.
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In 1716, it was sold to Marie Anne de Bourbon (1666-1739), dowager princess de Conti, the legitimised daughter of Louis XIV and Louise de la Vallière. On her death in 1739 it was sold to the king, by then Louis XV. In spite of the loss of the immediately surrounding woods in favor of parterres with the Seine as backdrop and bosquets punctuated by statuary, the hunting was good in the neighboring forest of Sénart, the king's original motivation for purchasing Choisy. The king enlarged the château from 1740 onwards, under the direction of Ange- Jacques Gabriel, premier architecte du Roi. He was able to use Choisy by 1741. The central block was doubled in depth in the modern way; a theatre was added and the stables were greatly enlarged; Mlle de Montpesier's belle orangerie was rebuilt and in its central salon Edmé Bouchardon's Love shaping his bow from the club of Hercules was installed in 1752.
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His major published work, Vitruvius Britannicus, or the British Architect... appeared in three volumes between 1715 and 1725. (Further volumes using the successful title were assembled by Woolfe and Gandon, and published in 1767 and 1771, see below.) Vitruvius Britannicus was the first architectural work to originate in England since John Shute's Elizabethan First Groundes. In the empirical vein, it was not a treatise but basically a catalogue of design, containing engravings of English buildings by Inigo Jones and Sir Christopher Wren, as well as Campbell himself and other prominent architects of the era. In the introduction that he appended and in the brief descriptions, Campbell belaboured the "excesses" of Baroque style and declared British independence from foreigners while he dedicated the volume to Hanoverian George I. The third volume (1725) has several grand layouts of gardens and parks, with straight allées, for courts and patterned parterres and radiating rides through wooded plantations, in a Baroque manner that was rapidly becoming old-fashioned.
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Depiction of Kensington Palace Depiction of Henbury Hall Britannia Illustrata, also known as Views of Several of the Queens Palaces and also of the Principal Seats of the Nobility & Gentry of Great Britain is a 170709 map plate folio of parts of Great Britain, arguably the most important work of Dutch draughtsman Jan Kip, who collaborated with Leonard Knijff. The folio consisted of a range of large, detailed folded colored and black and white drawings which today provides a valuable insight into land and buildings at country estates at the time. The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths gates and toolsheds are illustrated in detail, and staffed with figures and horses, coaches pulling into forecourts, water-craft on rivers, in line with the traditions of the Low Countries.
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As it evolved, the high central Baroque block of the Castle was extended to either side (from 1747 onwards) in matching curved ranges of glazed arcades that were punctuated by pavilions which followed the arc of the vast garden circle. They partly enclose the circle bisected by a wide gravel axis flanked by parterres which centers on a spring-fed water- basin inspired by the bassin of Diana at Versailles, but here expressing the more appropriately water-centered Greek myth of the poet Arion and the dolphins. On the other side at the entrance, a mulberry-tree allée stretched from the centre of the Castle to the city of Heidelberg, 10 km away on the horizon, truly a remarkable feat of autocratic landscaping. The curving outbuildings of Schwetzingen inspired the smaller Rococo perfections of Schloss Benrath, with its quarter arcs of matching corps de logis embracing a formal sheet of water, built for Carl Theodor near Düsseldorf, 1756-1770\.
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Vasi merely indicates the patterned parterre beds on the lowest level, later swept away by the familiar extensive landscape. The casino is set into the hill slope such that the main entrance on the north side is at a level above the giardino segreto or ‘secret garden’ enclosure on its south side, a parterre garden with low clipped hedges. The gardens on the sloping site were laid out from around 1650 by Innocent's nephew, Camillo Pamphili, formalizing the slope as a sequence from the parterres that flank the Casino, to a lower level below, framed by the boschi or formalized woodlands that rose above clipped hedges, and eventually arriving at a rusticated grotto in the form of an exedra, from which sculptured figures emerge from the rockwork. The exedra, now grassed, formerly enframed a 'Fountain of Venus' by Algardi, which is preserved in the Villa Vecchia, together with Algardi's bas-reliefs of putti representing Love and the Arts that were formerly here.
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The key to this style is naturalism, a studied, but unselfconscious, attempt to leave the impression that the grounds are untouched by human hands. The landscaper employs his artistry, through the use of various forms of asymmetric balance, to convince the visitor that the apparent wildness and randomness of the terrain is the product of artful Nature, rather than the artifice of Man. In contrast to previous formal gardens, with their geometrically designed parterres and pathways, their severely clipped shrubbery, and the artificiality of their topiary, which reflect an attempt to impose the gardener's will on Nature, the English garden adopts a more cooperative or collaborative approach. The English gardener and landscape architect, Capability Brown, compared his role as a garden designer to that of a poet or composer: "Here I put a comma, there, when it's necessary to cut the view, I put a parenthesis; there I end it with a period and start on another theme.".
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It was also connected with the slave trade, John Hawkins using it as a base for his operations, and Olaudah Equiano, the slave who became an important part of the abolition of the slave trade, was sold from one ship's captain to another in Deptford around 1760.The Interesting Narrative of the Life of Olaudah Equiano Or Gustavus Vassa, The African, Written By Himself, Volume 1, Olaudah Equiano, Kessinger Publishing, 2004, Surviving riverside building of the former Royal Victoria Victualling Yard Diarist John Evelyn lived in Deptford at Sayes Court, the manor house of Deptford, from 1652 after he had married the daughter of the owner of the house, Sir Richard Browne.Douglas D. C. Chambers, ‘Evelyn, John (1620–1706)’, Oxford Dictionary of National Biography, Oxford University Press, September 2004; online edn, January 2008, accessed 13 January 2008. After the Restoration, Evelyn obtained a 99-year lease of the house and grounds, and laid out meticulously planned gardens in the French style, of hedges and parterres.
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Entrance to the Villa Albani from via Salaria, 92 Planned in 1743, the building of the villa began in 1747 according to Giuseppe Vasi and was celebrated as complete in 1763. Its purpose was to house Cardinal Albani's evolving and renewed collections of antiquities and ancient Roman sculpture, which soon filled the casino that faced the Villa down a series of formal parterres. The villa with its collection, fountains, statues, stairways and frescoes, and Italian-style garden, the hemicycle of the Kaffeehaus, constitutes a sublime testimony of that particular antiquarian taste which came to the fore in mid-18th-century, that for which Rome had become a key destination on the Grand Tour. While the Cardinal was the real director of works, for the layout of the works Albani's lifelong friend Carlo Marchionni was the architect in charge, at the Villa and perhaps also for the two temples in the park, an Ionic temple of Diana and a sham ruin.
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The jardin à la française evolved from the French Renaissance garden, a style which was inspired by the Italian Renaissance garden at the beginning of the 16th century. The Italian Renaissance garden, typified by the Boboli Gardens in Florence and the Villa Medici in Fiesole, was characterized by planting beds, or parterres, created in geometric shapes, and laid out symmetrical patterns; the use of fountains and cascades to animate the garden; stairways and ramps to unite different levels of the garden; grottos, labyrinths, and statuary on mythological themes. The gardens were designed to represent harmony and order, the ideals of the Renaissance, and to recall the virtues of Ancient Rome. View of the Catherine de' Medici's garden at Château de Chenonceau Following his campaign in Italy in 1495, where he saw the gardens and castles of Naples, King Charles VIII brought Italian craftsmen and garden designers, such as Pacello da Mercogliano, from Naples and ordered the construction of Italian-style gardens at his residence at the Château d'Amboise and at Château Gaillard, another private résidence in Amboise.
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Wild spaces and dreams of primitive men accord but ill with orderly parterres and velvet lawns, and in the country along the Berkshire border we find again a modern England we all know and some us do not care about, the England of "desirable residences within easy reach of the railway station", and "on gravel soil," not forgetting "with fine views"; and the sport if the "sport" of syndicates. But as the railway line is left behind the country grows wilder, and the Downs are again approached; the rough lanes twine and tumble in and over the spurs and valleys that run up the dominating heights of Walbury and Inkpen. On one such rise stands the church of East Woodhay, well above that village. The grey, ivy-covered stones in the graveyard look venerable enough, but the church, as a table on the tower announces, was rebuilt in 1823, and the only possible word in its favour is that the brick of which its partly composed gives a touch of colour among the elms of the litten, where the rooks caw evident approval of the water-wheel that protrudes itself within a few feet of the tower.
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He engaged the architect Jacques Lemercier, who was already responsible for the Sorbonne and the Cardinal's hôtel in Paris, the Palais Cardinal (now the Palais-Royal). With the permission of King Louis XIII, he created from scratch a walled town on a grid arrangement, and, enclosing within its volumes the modest home of his childhood, an adjacent palace, the Château de Richelieu,The château was engraved by Jean Marot, La magnifique chasteau de Richelieu, about 1660; it is unlikely that essential changes had been made since the Cardinal's death. The château was described, on the basis of Marot's engraving, by H. Carrington Lancaster, "The Chateau de Richelieu and Desmaretz's Visionnaires" Modern Language Notes 60.3 (March 1945:167-172) on which the present description is based. surrounded by an ornamental moat and large imposing walls enclosing a series of entrance courts towards the town and, on the opposite side, grand axially-planned formal vista gardens of parterres and gravel walks, a central circular fountain, and views reaching to an exedra cut in the surrounding trees and pierced by an avenue in the woodlands extending to the horizon.
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