Posts Tagged ‘wall fountains’

Garden fountains come in a huge variety of decorative styles, from ornately carved wall fountains to floating pond fountains. If you’re looking for a way to bring a soothing ambiance to the sanctuary of your backyard or patio, then a water fountain can be a wonderful feature. The sight and sound of flowing water can have a lovely soothing effect, helping to wash away the stresses and strains of daily life. An outdoor fountain can become a stunning focal point of your garden design. The gentle trickling sound can help drown out the sound of the city and create a peaceful and inspiring environment.

Outdoor water fountains run on either an electric pump or solar power. They come in a range of sizes and styles, to suit all kinds of garden themes. Tiered cascades, birdbaths, wall mounted and traditional pedestal designs are some of the many options available. Designs based on mythical figures, animals and cherubs are popular, as are more contemporary designs. Having a pond fountain not only adds to the atmosphere of relaxation and calm, but also helps keep the water circulating and prevents it from becoming stagnant.
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The Roman de la Rose gives the best possible idea of both the French and English gardens of the Middle Ages. It was chiefly written by Guillaume de Loris, in the first half of the thirteenth century, and was probably well known in England before it was translated by Chaucer into English. There are several manuscript copies of it containing descriptions in the text, accompanied by illustrations giving vivid pictures of the pleasure garden. Its form—the walls enclosing it with their surrounding moat, the subdivisions of latticework, the “flowery mede,” shaded by fruit trees, with a fountain in its center, and the stone-coped beds, containing clipped shrubs and other smaller plants—are clearly shown from various points of view.

In the most important of these illustrations (which is on the opposite page, and was taken from a fourteenth-century Flemish manuscript preserved at the British Museum), the garden is shown as a whole, ornamented with many quaint details. It is enclosed by a crenellated wall, surrounded by a moat. The subdivisions are formed by a fence of wooden trellis-work, on the topmost railing of which is balanced a peacock. In the left-hand division is a copper fountain head, where the water, spouting from lions’ mouths, drips into a circular basin, and runs off through a marble channel embedded in the turf. Velvety grass, thickly sprinkled with daisies, surrounds the fountain and forms a soft seat for the little company of merrymakers who are singing and playing upon musical instruments.
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As the cultivated ground of estates grew in size, it gradually came to be divided into compartments. These subdivisions were usually formed of latticework with square or diamond-shaped apertures, more or less ornamental as during the classic era. There were beds for plants raised several inches above the level of the path, retained by a stone coping, and fenced in with wattles, latticework, or open wooden railings. Fruit trees and herbs predominated, for as yet flowers were given no especial prominence in the garden. The main paths or alleys were covered with sand, and usually broad enough for two or three people to pace abreast. Narrower paths were intended to facilitate the weeding of the beds.

Resting-places were provided for those who found walking or standing tiresome. Simple benches cushioned with turf were built into embrasures or against the wall. Earth banked up around the trunk of a tree, grassed over and held in place by wattled osiers, formed a circular seat. In the center of the garden a three-sided exedra constructed of stone or brick, covered with grass and flowers, often formed the most important feature. Arbors or bowers were wooden structures covered by shrubs and vines and usually shading a comfortable seat.

Water in various forms was always, if possible, introduced into the garden. Fishponds, bathing pools, and fountains were common. Usually the central and most ornamental architectural feature of the pleasure garden was a fountain. The earliest
of an ornamental appearance were apparently of Oriental design.
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The Tudor garden was a homely enclosure, like the living room in a simple house containing few, but good-sized, apartments. Sometimes one large enclosure answered many purposes. First of all, it contained the medicinal herbs. Then it answered the purpose of the pleasure garden, providing alleys and arbors for people to walk on and sit under, besides ground for games. Finally, it supplied a mixture of vegetables and flowers for use and ornament. The orchard, if not actually a part of the garden, was placed near it and similarly ornamented.

A number of sun-dials were also scattered about, both for use and ornament. Henry VIII apparently ordered them by the dozen. Sun-dials had existed in England before the Roman invasion, but interest in them seems to have been especially keen during the sixteenth century. The first book in English devoted to dialing was published in 1533, and was largely a translation from Witkendus. At this period the actual dial was more fanciful than at a later date and often formed an armillary sphere.

A water supply was considered a very important adjunct to the garden. A central feature was often a well or fountain fed by a spring, or a cistern. Cisterns were made of lead and decorated in such a way as to make them very ornamental.
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English gardens had degenerated into meaningless repetitions of French and Dutch fashions by the end of the seventeenth century. Conventional plans were mimicked or exaggerated until the formal manner became merely an affected mannerism. Finally, nothing remaining but the defects of the old system, a reaction resulted in its entire destruction. On the ruins was created the Landscape Garden, in the strict meaning of the word no garden at all, but a stretch of cultivated scenery.

The English — perhaps because they had most abused the conventional system — were the first to raise an outcry against formal gardening. Formality could certainly be carried to no greater excess; it was logical to seek beauty in a contrary extreme. Freedom from every restraint was the gospel of the new school. Kent, its leader according to Walpole, was the first to jump outside the fence and insist that the garden should be “set free from its prim regularity, and the gentle stream taught to serpentize.” His method, as described by Lord Kames, was, “to paint a field with beautiful objects, natural and artificial, disposed like colors upon a canvas.”
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The reign of Edward I allowed landowners to turn their attention to something other than defense and safety. As within the castle the wealthy lord sought to embellish the great hall, which often took the place of the ancient keep, with fine tapestry, richly carved furniture, magnificently carved garden statuary, large functional and ornate garden fountains, so outside as well he strove to decorate the gardens with fountains, arbors, and perhaps a maze.

The improvement in husbandry and horticulture was as satisfactory as the advance made in the fine arts. Here the influence of the king was specially felt. Though engaged in war or busy with legislative cares, Edward I found time to attend to the cultivation of his gardens and the stocking of his vineyards and orchards. Fruit and forest trees, shrubs, and flowers introduced from the continent were naturalized in the king’s gardens, fed by plentiful water from the fountains, or in those of the nobility and the larger religious houses.

New varieties of fruit were introduced at this time. Figs, oranges, lemons, citrons, almonds, and even olives are noted among the fruits growing in the gardens of some of the large land-owners. These natives of a southern climes could not have ripened their fruits unless in exceptionally warm seasons or by means of hothouses, with water supplied by the local fountains; however, the evidence that they existed is overwhelming.
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British Gardens during the Roman Years

To get a good picture of Romano-British gardens of antiquity, we must consider their prototypes in Italy. Horticulture in primitive Italy, as in other countries, was at its beginning merely intended for practical purposes. Gradually the Latin word hortus, applied in the days of republican simplicity to a field of vegetables, was stretched, at the time of the luxurious emperors, to denote pleasure gardens of the utmost magnificence. In this latter period, the source of every new form of Roman art, including garden architecture, was Greece, which in its turn had received inspiration from Egypt, Persia, and Assyria.

Egyptian gardens are the earliest of which definite records still exist. Pictures and inscriptions, dating far back into the centuries before Christ, show that most Egyptian dwellings were built around a series of courtyards containing vegetation both useful and ornamental. Originally, a row of trees along the inner wall of the building shaded it and the enclosed quadrangle. Later, the tree trunks gave place to solid columns, and the overhanging branches to projecting rafters, which resulted in a general effect foreshadowing the Greek peristyle (columned porch or colonnade) and monastic cloisters.

Religious significance was attached to almost every feature in pre-Christian gardens, and tree worship was observed in all ancient countries. Among the favorites were the pine, the emblem of Cybele, the oak of Jupiter, the laurel of Apollo, the myrtle of Venus, the poplar of Hercules, and the olive of Minerva. The cypress was also grown in many places. Yew, although common, was not much esteemed; instead, juniper and rosemary were often employed for topiary work. Box, too, was frequently clipped, and then, as now, considered the best shrub for edgings.
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Every Tudor garden contained one or more arbors. One type had a square-topped roof, while the other type was arched. Both were constructed of willows or osiers. Fragrant rosemary, jasmine, and roses of various sorts, especially the sweetbrier or eglantine, were also trained over the trellis, which often rested on a part of the wall. As was remarked by an old writer, “the herb gardeners erected and framed most gardens in a refreshing manner”

More solid constructions of brick or of stone were useful in winter as well as summer, as they were furnished with chimneys. Such a one, on a large scale, is still to be seen at Hampton Court, and is called the banqueting house. Another, which has now disappeared, was built for Elizabeth of York at Windsor.

Long covered walks formed another important feature in every garden. Sometimes they passed between lines of clipped trees bent to form an arch, like the hornbeam walk at Hatfield, or the one of witch elm, called Queen Mary’s, at Hampton Court. At other times the arches were constructed of woodwork and covered with vines. One of the advantages of these walks was that under their shade it was possible to go from one part of the garden to another without being exposed to the sun. Beneath the arbors, and in other spots covered or uncovered, seats and tables were placed for reading and writing, and where refreshments might also be served. Most often these were arranged at the ends of the paths or around the fountain.
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