The Crystal Palace and its grounds occupy two hundred acres, and it is of importance to note that, in the formation of the gardens, the same uniformity of parts is adhered to as in the building itself; that is to say, the width of the walks, the width and length of the basins of the fountains, the length of the terraces, the breadth of the steps, are all multiples and sub-multiples of the one primary number of eight. By this symmetrical arrangement perfect harmony prevails, unconsciously to the looker-on, in the structure and in the grounds.
As the visitor quits the building from the Central Transept, let him pause at the top of the broad flight of steps leading to the first terrace, and notice the prospect before him. At his feet are the upper and lower terraces, bordered by stone balustrades, the long lines of which are broken by steps and projecting bastions. Along these balustrades, at intervals, the eye is attracted by the statues that surmount them. Straight before him runs the broad central walk, and, on either side of it, on the second terrace, the ground is covered with green turf, now relieved by beds filled with gay-coloured flowers, and further heightened in effect by fountains which throw water high up into the air. As a side boundary to the foreground of this picture, the wings of the building stretch out in their blue colouring, their cheerful, light aspect, harmonising with the rest of the scene. Looking straight forward, below the level of the second terrace, we see the large circular fountain, surrounded by white marble statues, which stand out sharp and clear against the dark landscape beyond. On either side, on a yet lower level, a glimpse is caught of the glistening waters in the two largest fountains, backed by embankments of turf; and beyond these again, if we could only lift our vision over the plateau, we should see the waters of the large lake, whose islands are peopled by monsters that inhabited the earth when the world was young. To the right, and to the left, in the grounds, are pleasant sloping lawns, dotted here and there with trees, and thickly planted shrubs; and then, beyond the Palace precincts, stretching away into the far distance, is visible the great garden of Nature herself, a picture of rural loveliness, almost unmatched by any scene so close as this to the great London city. Undulating scenery prevails: here it is rich with bright verdure, there dark with thick wood: here, the grass field; there, the grey soil, which, in the spring time, is covered with the delicate green of young wheat; and, in the autumn, waves thick with golden corn. Across the fields run long lines of hedgerows, telling plainly of the country in which they are found; and in the very heart of all, the village church spire shoots through the trees, surrounded by clusters of cottages, whose modest forms are almost hidden by the dark foliage in which they are nestled. The exquisite scene is completed by a long line of blue hills that ranges at the back of all.
VIEW OF GREAT TRANSEPT.
Gardening, as an art, has flourished in all countries; and has possessed in each such distinctive features as the climate, the nature of the soil, and its physical formation, as well as the character of the people, have created. In the Gardens before us two styles are seen, The Italian and The English Landscape. A few words may be sufficient to describe the leading characteristics of both.
In Italy, during the middle ages, internal warfare confined men to their fortresses, and no gardens existed save those “pleasaunces” cultivated within the castle’s quadrangle. When times grew more peaceful, men became more trustful, ventured forth, enjoyed the pleasures of a country life, and gardening prospered. In monasteries especially, the art received attention; but it was not until the beginning of the 16th century that a decided advance was manifest, and then we have to note a return to the style of gardening that flourished in ancient Rome itself. Lorenzo de’ Medici possessed a garden laid out in the revived classical manner, and this style, which is recognised as the Italian, has existed in Italy with certain modifications ever since. Its chief features are the profuse use of architectural ornaments—the grounds being subdivided into terraces, and adorned with temples, statuary, urns, and vases, beds cut with mathematical precision, formal alleys of trees, straight walks, hedges cut into fantastic devices, jets of water, elaborate rock-work, and fish-ponds dug into squares or other geometrical forms. Everything in these gardens is artificial in the extreme, and in set opposition to the wild luxuriance of nature; and although the trees and shrubs are planted with a great regard to precision, they are too frequently devoid of all artistic effect. During the last century, the Italian style became blended with English landscape-gardening, but without much success; for the formality of the original style clings to all Italian gardening at the present day.
View from the Terrace.
English gardening does not seem to have been regularly cultivated until the reign of Henry VIII.; although previously to his time, parks and gardens had been laid out. Bluff King Hal formed the gardens of Nonsuch Palace in Surrey on a most magnificent scale, decking them out with many wonderful and curious contrivances, including a pyramid of marble with concealed holes, which spirted water upon all who came within reach,—a practical joke which our forefathers seem to have relished highly, for the ingenious engine was imitated in other gardens after that period. In this reign also were first laid out by Cardinal Wolsey the Hampton Court Gardens, containing the labyrinth, at that period an indispensable device of a large garden. The artificial style in James I.’s time called forth the indignation of the great Lord Bacon, who, although content to retain well-trimmed hedges and trees, pleaded strongly in the interest of nature. He insisted that beyond the highly dressed and embellished parts of the garden, should ever lie a portion sacred from the hand of man—a fragment of wild nature! He calls it “the heath, or desert.” During Charles II.’s reign, landscape-gardening received an impulse. It was in his time that Chatsworth was laid out, and that buildings were introduced into gardens. During his reign, too, lived Evelyn—a spirit devoted to the service of the rural genius. In his Diary, Evelyn makes mention of several noblemen’s and gentlemen’s gardens which he visited, and some of which indeed he himself devised. His remarks convey an idea of the state of gardening during the reign of the merry monarch. “Hampton Park, Middlesex,” he says, “was formerly a flat, naked piece of ground, now planted with sweet rows of lime trees, and the canal for water now near perfected; also the hare park. In the garden is a rich and noble fountain, with syrens, statues, &c., cast in copper by Fanelli, but no plenty of water. There is a parterre which they call Paradise, in which is a pretty banqueting-house set over a cave or cellar.” It was under Charles too that St. James’s Park was formed, a labour upon which the king employed Le Nôtre, the celebrated gardener of Versailles,—an artist of singular good taste, and with an admirable eye for the picturesque.
During the reign of William and Mary, Hampton Court was considerably improved. Some Dutch features were introduced into gardening, and vegetable sculpture, and parterres in lace, came into vogue.