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- Mansfield Park: Texts and Contexts | The Chapel Hill Rare Book Blog
See Jane Austen, Mansfield Park , ed. John Wiltshire Cambridge University Press, , , n. Hall, , xx. CrossRef Google Scholar. George Ellis, ed. See Daniel P. Nastali and Phillip C. Strahan for the Author, , Jane Austen, Mansfield Park , ed. John Milton, Paradise Lost , ed. Roger Lonsdale, 4 vols Oxford: Clarendon Press, , 1: Boulton Oxford University Press, , William Blake, Visions of the Daughters of Albion , ed.
Not by the remotest suggestion could a clipped yew in the form of a peacock or a giraffe be called French. Le Notre eliminated the menagerie and the aviary, but kept certain geometrical forms, particularly with respect to hedges, where niches were frequently trimmed out for the placing of statues, columns surmounted with golden balls, etc. The most famous of the frankly Renaissance gardens developed as a result of the migrations of the French monarchs in Italy were those surrounding such palaces and chateaux as Fontainebleau, Amboise, and Blois.
Often these manifestly French gardens, though of Italian inspiration in the first instance, were actually the work of Italian craftsmen. It is difficult to determine just how garden broderies came into being. They may have been indirectly due to woman's love of embroidery and the garden alike. The making of these garden broderies was a highly cultivated art. Pierre Vallet, embroiderer to Henri IV, created much in his line of distinction and note, and acquired an extensive clientele for his flowers and models. Often these gardens, with their parterres [Pg 28] and broderies were mere additions to an already existing architectural scheme, but with respect to the gardens of the Luxembourg and Saint Germain-en-Laye they came into being with the edifices themselves, or at least those portions which they were supposed to embellish.
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Harmony was then first struck between the works of the horticulturist—the garden-maker—and those of the architect—the builder in stone and wood. This was the prelude to those majestic ensembles of which Le Notre was to be the composer. Of the celebrated French palace and chateau gardens which are not centered upon the actual edifices with which they are more or less intimately connected, but are distinct and apart from the gardens which in most cases actually surround a dwelling, may be mentioned those of Montargis, Saint Germain, Amboise, Villers-Cotterets and Fontainebleau.
These are rather parks, like the "home-parks," so called, in England, which, while adjuncts to the dwellings, are complete in themselves and are possessed of a separate identity, or reason for being. Chiefly these, and indeed most French gardens of the same epoch, differ greatly from contemporary works in Italy in that the latter were often built and terraced up and down the hillsides, whereas [Pg 29] the French garden was laid out, in the majority of instances, on the level, though each made use of interpolated architectural accessories such as balustrades, statuary, fountains, etc.
Mollet was one of the most famous gardeners of the time of Louis XIV. He was the gardener of the Duc d'Aumale, who built the gardens of the Chateau d'Anet while it was occupied by Diane de Poitiers, and for their time they were considered the most celebrated in France for their upkeep and the profusion and variety of their flowers. This was the highest development of the French garden up to this time. It is possible that this Claude Mollet was the creator of the parterres and broderies so largely used in his time, and after.
Mollet's formula was derived chiefly from flower and plant forms, resembling in design oriental embroideries. He made equal use of the labyrinth and the sunken garden. His idea was to develop the simple parquet into the elaborate parterre. His elaborate work "Theatre des Plans et Jardinage" was written towards , but was only published a half a century later. It was only in the sixteenth century that gardens in Paris were planned and developed on a scale which was [Pg 30] the equal of many which had previously been designed in the provinces.
The chief names in French gardening—before the days of Le Notre—were those of the two Mollets, the brothers Boyceau, de la Barauderie and Jacques de Menours, and all successively held the post of Superintendent of the Garden of the King. In these royal gardens there was always a [Pg 31] distinctly notable feature, the grand roiales , the principal avenues, or alleys, which were here found on a more ambitious scale than in any of the private gardens of the nobility. By the end of the sixteenth century the Garden of the Tuileries, which was later to be entirely transformed by Le Notre, offered an interesting aspect of the parquet at its best.
There were six wide longitudinal alleys or avenues cut across by eight or ten smaller alleys which produced this rectangular effect. Within some of the squares were single, or grouped trees; in others the conventional quincunx ; others were mere expanses of lawn, and still others had flowers arranged in symmetrical patterns. These gardens of the Tuileries were first modified by a project of Bernard Palissy, the porcelainiste. He let his fancy have full sway and the criss- [Pg 32] cross alleys and avenues were set out at their junctures with moulded ornaments, enamelled miniatures, turtles in faience and frogs in porcelain.
It was this, perhaps, which gave the impetus to the French for their fondness to-day for similar effects, but Bernard Palissy doubtless never went so far as plaster cats on a ridgepole, as one may see to-day on many a pretty villa in northern France.
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This certainly lent an element of picturesqueness to the Renaissance Garden of the Louvre, a development of the same spirit which inspired this artist in his collaboration at Chenonceaux. The former, under Francis I and Henri II, were divided into geometrical compartments thoroughly in the taste of the Renaissance, but bordered frequently with representations of designs taken from Venetian lace and various other contemporary stuffs.
There were other parterres , where the compartments were planned on a more utilitarian scale; in other words, they were the potagers which rendered [Pg 33] the garden, said Olivier de Serres, one of "profitable beauty. In general the compartments were renewed twice a year, in May and August.
The Grand Parterre at Fontainebleau, called in other days the Parterre de Tiber , offered as remarkable an example of the terrace garden as was to be found in France, the terraces rising a metre or more above the actual garden plot and enclosing a sort of horticultural arena. It was in the sixteenth century that architectural motives came to be incorporated into the gardens in the form of square, round or octagonal pavilions, and here and there were added considerable areas of tiled pavements, features which were found at their best in the gardens of the Chateau de Gaillon and at Langeais.
One special and distinct feature of the French Renaissance garden was the labyrinth, of which three forms were known. The first was composed of merely low borders, the second of hedges shoulder high, or even taller, and the third was practically a roofed-over grove. The latter invention was due, it is said, to the discreet Louis XIV. In that garden the labyrinth was sometimes called the "Road of Jerusalem" and it was presumably of eastern origin.
In the seventeenth century grottos came to be added to the garden, though this is seemingly an Italian tradition of much earlier date. Among the notable grottos of this time were that of the Jardin des Pins at Fontainebleau, and that of the Chateau de Meudon, built by Philibert Delorme, of which Ronsard celebrated its beauties in verse.
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The art was not confined to the gardens of royalties and the nobility, for the bourgeoisie speedily took up with the puerile idea said to have come from Holland, by the way , and built themselves grottos of shells, plaster and boulders. It was then that the chiens de faience , which the smug Paris suburbanite of to-day so loves, were born. By the seventeenth century the equalized carreaux of the early geometrically disposed gardens were often replaced with the oblongs, circles and, somewhat timidly introduced, more bizarre forms, the idea being to give variety to the ensemble.
There was less fear for the artistic effect of great open spaces than had formerly [Pg 35] existed, and the avenues and alleys were considerably enlarged, and such architectural and sculptural accessories as fountains, balustrades and perrons were designed on a more extensive scale. Basins and canals and other restrained surfaces of water began to appear on a larger scale, and greater insistence was put upon their proportions with regard to the decorative part which they were to play in the ensemble.
The moving spirit which ordained all these things was the will of the Roi Soleil. Parterres and broderies were designed on even a grander scale than before. They were frequently grouped into four equal parts with a circular basin in the centre, and mirror-like basins of water sprang up on all sides.
Close to the royal dwelling was the fore-court, as often dressed out with flowers and lawn as with tiles and flags. From it radiated long alleys and avenues, stretching out almost to infinity. At this time the grass-plots were developed to high order, and there were groves, rest-houses, [Pg 36] bowers, and theatres de verdure at each turning. Tennis-courts came to be a regularly installed accessory, and the basins and "mirrors" of water were frequently supplemented by cascades, and some of the canals were so large that barges of state floated thereon.
Over some of the canals bridges were built as fantastic in design as those of the Japanese, and again others as monumental as the Pont Neuf. In their majestic regularity the French gardens of the seventeenth century possessed an admirable solemnity, albeit their amplitude and majesty give rise to justifiable criticism. It is this criticism that qualifies the values of such gardens as those of Versailles and Vaux, but one must admit that the scale on which they were planned has much to do with this, and certainly if they had been attached to less majestic edifices the comment would have been even more justifiable.
As it is, the criticism must be qualified. The aspect of the garden by this time had been greatly modified. Aside from such great ensembles as those of Versailles was now to be considered a taste for something smaller, but often overcrowded with accessories of the same nature, which compared so well with the vastness of Versailles, but which, on the other hand, looked so out of place in miniature.
It was not long now before the "style pompadour" began to make itself shown with regard to garden design—the exaggeration of an undeniable grace by an affected mannerism. All the rococco details which had been applied to architecture now began to find their duplication in the garden rockeries—weird fantasies built of plaster and even shells of the sea. By later years of the eighteenth century there came on the scene as a designer of gardens one, De Neufforge.
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His work was a prelude to the classicism of the style of Louis XVI which was to come. There was, too, at this time a disposition towards the English garden, but only a slight tendency, though towards the conventional French garden had been practically abandoned. The revolution in the art of garden-making therefore preceded that of the world of politics by some years. There are three or four works which give specific details on these questions.
They are " De la Distribution des Maisons de Plaisance ," by Blondel , his " Cours d'Architecture " of the same date, and Panseron's volume entitled " Recueil de Jardinage ," published in In the moyen-age the garden was a thing [Pg 38] quite apart from the dwelling, and was but a diminutive dooryard sort of a garden. The garden of the Renaissance amplified the regular lines which existed in the moyen-age, but was often quite as little in accord with the dwelling that it surrounded as its predecessor.
The union of the garden and the dwelling and its dependencies was clearly marked under Louis XIV, while the gardens of Louis XV tended somewhat to modify the grand lines and the majestic presence of those of his elder. These gardens of Louis XV were more fantastic, and followed less the lines of traditional good taste. The straight line now disappeared in favour of the most dissolute and irrational curves imaginable, and the sober majesty of the gardens of Louis XIV became a tangle of warring elements, fine in parts and not uninteresting, effective, even, here and there, but as a whole an aggravation.
By comparison with the big garden of Le Notre this latter conception is as a boudoir to a reception hall.
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The garden of Louis XVI was a composite, with interpolations from across the Rhine, from Holland and Belgium and from England even; features which got no great hold, however, but which, for a time, gave it an air less French than anything which had gone before.
From the beginning of the nineteenth century the formal garden was practically abandoned in France. It was the period of the real decadence of the formal garden. This came not from one cause alone but from many. To the straight lines and gentle curves of former generations upon generations of French gardens were added sinuosities as varied and complicated as those of the Vale of Cashmere, and again, with tiny stars and crescents and what not, the ground resembled an ornamental ceiling more than it did a garden.
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The sentimentalism of the epoch did its part, and accentuated the desire to carry out personal tastes rather than build on traditionally accepted lines. The taste for the English garden grew apace in France, and many a noble plantation was remodelled on these lines, or [Pg 40] rooted up altogether.
Immediately neighbouring upon the dwelling the garden still bore some resemblance to its former outlines, but, as it drew farther away, it became a park, a wildwood or a preserve. Isabey's gardens may have lacked much that was remarkable in the best work of Le Notre, but they were considerably better than anything of a similar nature, so far as indicating a commendable desire to return to better ideals. Under the Second Empire a great impulse was given to garden design and making in Paris itself.
It was then that the parks and squares came really to enter into the artistic conception of what a city beautiful should be.