Pub Date : 2022-01-02DOI: 10.1080/14601176.2022.2035164
E. Eigen
Abstract: This paper addresses issues of race, species, and kind through an incident that took place 25 May 2020, when a birder and a dog owner crossed path in the Ramble of New York’s Central Park. The birder, a gay Black man, was searching for scarlet tanagers and other songbirds. The dog owner, a white woman, was walking Henry, her blond cocker. The birder asked the dog owner to leash her spaniel, a bird dog, as required by park rules. The dog owner called 911, reporting that an ‘African-American man was putting her in danger’. There is a pre-history to their encounter. Our dubious guide is John James Audubon, whose Ornithological Biography presents haunting scenes of life out of doors, the ramble, or the hunt, and how humans and animals prey upon each other. But the decisive voice is that of Frederic Law Olmsted, who not only designed Central Park (with Calvert Vaux), but also provided the moral and ethical code for its police force. Once it is shown how all the actors (human and animal) and the setting are in fact ‘related,’ it is the presence of the police in the park that must be explained.
{"title":"Birds, dogs, and humankind in Olmsted’s ‘Bramble’: a story of Central Park","authors":"E. Eigen","doi":"10.1080/14601176.2022.2035164","DOIUrl":"https://doi.org/10.1080/14601176.2022.2035164","url":null,"abstract":"Abstract: This paper addresses issues of race, species, and kind through an incident that took place 25 May 2020, when a birder and a dog owner crossed path in the Ramble of New York’s Central Park. The birder, a gay Black man, was searching for scarlet tanagers and other songbirds. The dog owner, a white woman, was walking Henry, her blond cocker. The birder asked the dog owner to leash her spaniel, a bird dog, as required by park rules. The dog owner called 911, reporting that an ‘African-American man was putting her in danger’. There is a pre-history to their encounter. Our dubious guide is John James Audubon, whose Ornithological Biography presents haunting scenes of life out of doors, the ramble, or the hunt, and how humans and animals prey upon each other. But the decisive voice is that of Frederic Law Olmsted, who not only designed Central Park (with Calvert Vaux), but also provided the moral and ethical code for its police force. Once it is shown how all the actors (human and animal) and the setting are in fact ‘related,’ it is the presence of the police in the park that must be explained.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"42 1","pages":"3 - 21"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47937980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/14601176.2022.2031744
T. Williamson, Louisa Crawley
Abstract: This article examines the development of the landscape of Raynham Hall, Norfolk, England in the late seventeenth and early eighteenth centuries, and presents two hitherto unrecognised sketches by William Kent. It argues that Raynham was one of the first places in England where geometric gardens were removed in order to provide a largely open, parkland setting for the mansion. It attributes this innovation to William Kent and suggests that it was associated with Raynham’s status as an early essay in Palladian architecture. Finally, it argues that more scholarly attention should be given to the connections between architectural styles, and modes of lndscape and garden design, in eighteenth-century England.
{"title":"The gardens at Raynham and their destruction, c. 1700-1735","authors":"T. Williamson, Louisa Crawley","doi":"10.1080/14601176.2022.2031744","DOIUrl":"https://doi.org/10.1080/14601176.2022.2031744","url":null,"abstract":"Abstract: This article examines the development of the landscape of Raynham Hall, Norfolk, England in the late seventeenth and early eighteenth centuries, and presents two hitherto unrecognised sketches by William Kent. It argues that Raynham was one of the first places in England where geometric gardens were removed in order to provide a largely open, parkland setting for the mansion. It attributes this innovation to William Kent and suggests that it was associated with Raynham’s status as an early essay in Palladian architecture. Finally, it argues that more scholarly attention should be given to the connections between architectural styles, and modes of lndscape and garden design, in eighteenth-century England.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"42 1","pages":"22 - 33"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42640726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/14601176.2022.2054611
Elizabeth Hyde
With the outbreak of the global COVID-19 pandemic, the unprecedented demonstrations held in protest of the police murder of Black American George Floyd, the January 6, 2021, insurrection at the United States capitol, and now the Russian invasion of Ukraine, many of us have concluded this is an age of living historically. That these days, months, and years are making history that will be studied intensely by our scholarly peers in the future. But we could also argue that this is an age of living historiographically. For at few times in our past has how we tell history, how we engage in history telling, been more important to our present. One need only consider the scholarly and political impact of the ‘1619 Project’ on the forced arrival of enslaved Africans into the American landscape, or the real-time use of social media to manipulate the historical record around the 2020 presidential election in the United States or the 2022 invasion of Ukraine, to be reminded of the extraordinarily high stakes of getting it right.This is also true of the history of gardens and landscapes—built environments that shape lives, nature, and history.
{"title":"Prologue","authors":"Elizabeth Hyde","doi":"10.1080/14601176.2022.2054611","DOIUrl":"https://doi.org/10.1080/14601176.2022.2054611","url":null,"abstract":"With the outbreak of the global COVID-19 pandemic, the unprecedented demonstrations held in protest of the police murder of Black American George Floyd, the January 6, 2021, insurrection at the United States capitol, and now the Russian invasion of Ukraine, many of us have concluded this is an age of living historically. That these days, months, and years are making history that will be studied intensely by our scholarly peers in the future. But we could also argue that this is an age of living historiographically. For at few times in our past has how we tell history, how we engage in history telling, been more important to our present. One need only consider the scholarly and political impact of the ‘1619 Project’ on the forced arrival of enslaved Africans into the American landscape, or the real-time use of social media to manipulate the historical record around the 2020 presidential election in the United States or the 2022 invasion of Ukraine, to be reminded of the extraordinarily high stakes of getting it right.This is also true of the history of gardens and landscapes—built environments that shape lives, nature, and history.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"42 1","pages":"1 - 2"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45569435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/14601176.2022.2045741
Dorna Eshrati
Abstract: Though nineteenth-century parks, also known as ‘pleasure grounds’, were seen at the time as an antidote to unhealthy high-density urban living in large cities such as New York City, they were embraced by small towns and communities that experienced none of the challenges associated with big city living. Instead, this study argues that parks were seen as a sophisticated sign of modernity. For example, when the state of Kansas was founded in 1861, its settlers felt a strong sense of responsibility and made great efforts to improve their home by creating pleasure grounds for their communities. This study investigates the motives and advocates of shaping and developing the pleasure grounds of Kansas between 1850 and 1920. Results show that it was not only major cities of the state like Topeka and Wichita that developed public parks for their citizens; many smaller Kansas towns also embraced the idea of creating pleasure grounds. Their residents were motivated by a sense of competition and believed that by beautifying their living environments, they could stand out in the region and attract newcomers. Local newspapers, city officials, businesses—most notably railroad companies, property owners, and public-spirited citizens were the main advocates for creating and improving parks in Kansas.
{"title":"The motives behind creating nineteenth-century pleasure grounds in the newly-settled state of Kansas, USA","authors":"Dorna Eshrati","doi":"10.1080/14601176.2022.2045741","DOIUrl":"https://doi.org/10.1080/14601176.2022.2045741","url":null,"abstract":"Abstract: Though nineteenth-century parks, also known as ‘pleasure grounds’, were seen at the time as an antidote to unhealthy high-density urban living in large cities such as New York City, they were embraced by small towns and communities that experienced none of the challenges associated with big city living. Instead, this study argues that parks were seen as a sophisticated sign of modernity. For example, when the state of Kansas was founded in 1861, its settlers felt a strong sense of responsibility and made great efforts to improve their home by creating pleasure grounds for their communities. This study investigates the motives and advocates of shaping and developing the pleasure grounds of Kansas between 1850 and 1920. Results show that it was not only major cities of the state like Topeka and Wichita that developed public parks for their citizens; many smaller Kansas towns also embraced the idea of creating pleasure grounds. Their residents were motivated by a sense of competition and believed that by beautifying their living environments, they could stand out in the region and attract newcomers. Local newspapers, city officials, businesses—most notably railroad companies, property owners, and public-spirited citizens were the main advocates for creating and improving parks in Kansas.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"42 1","pages":"48 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46927705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/14601176.2021.2005351
Efrat Hildesheim
Israeli Highway 90 spans the whole country, running parallel to the Israel– Jordan border to its east. The longest road in Israel (478 km), it serves as Israel’s backbone, extending from the 19th-century pioneering village of Metula on Israel’s northern border with Lebanon, to the popular tourist city of Eilat on its southern border with Egypt. The 35 km-long northwest Dead Sea segment, which is the subject of this article, is located on a part of the road within the occupied territories of the West Bank. Stretching along the Great Rift Valley, Highway 90 offers some of Israel’s most breathtaking landscapes: the Arava Desert; the Dead-Sea and Judean Desert; the dramatic Jordan Valley; the Sea of Galilee in the north; and the cool northern Galilee, within which over 20 national parks, nature reserves, and UNESCO-recognized cultural landscapes are located. The road runs through and next to 1880s Jewish pioneers’ agricultural cooperatives, firstgeneration kibbutzim, small towns, former British Mandate army bases and abandoned former Jordanian ones, Palestinian villages, colonial West Bank settlements, and two semi-military checkpoints. It thus forms a symbolic journey through history from the crossing of the Jordan River in the biblical period via the myth of Masada, the last stronghold of the Jewish revolt against the Romans in 73 C.E., and the Qumran caves, where the Dead Sea Scrolls were found, up to the 21st century. The road’s proximity to the eastern border, its changing landscape, and perceptions of the landscape and the border play a significant role in the ideological formation of culture and society in Israel. To convey the juxtaposition and the affinities between the border and the road parallel to it, I refer to Highway 90 as a borderoad, implying that the road and the border constitute a unified liminal space and landscape. The hybrid notion of the borderoad forms the border as a present-absent while the road performs as a civil-military international boundary. The road then, just like the border, operates as a national emblem, and so does its landscape. Moreover, being in the contested territories of the West Bank the northwest Dead Sea segment conveys multiple meanings of the borderoad. The road is fabricated from various segments, some of which are national highways of the highest quality, while others are outdated, two-lane, single carriageways in poor condition. Even so, despite its segmentation and the differences of width, maintenance, and classification, it operates as a complete road that serves its users as well as the state as a functional, symbolic and ideological medium. As a nation-state, the idea of modernism is fundamental to the formation of the state of Israel, its culture and society. This is well manifested in roads as well as in borders. This article suggests an inquiry into facets of early modernism of Highway 90 and its landscape, and will focus on a 35 km stretch on the northwest coastline of the Dead Sea, from E
{"title":"Landscape and national modernism in Israeli Highway 90: the case of the northwest Dead Sea segment, 1967–1971","authors":"Efrat Hildesheim","doi":"10.1080/14601176.2021.2005351","DOIUrl":"https://doi.org/10.1080/14601176.2021.2005351","url":null,"abstract":"Israeli Highway 90 spans the whole country, running parallel to the Israel– Jordan border to its east. The longest road in Israel (478 km), it serves as Israel’s backbone, extending from the 19th-century pioneering village of Metula on Israel’s northern border with Lebanon, to the popular tourist city of Eilat on its southern border with Egypt. The 35 km-long northwest Dead Sea segment, which is the subject of this article, is located on a part of the road within the occupied territories of the West Bank. Stretching along the Great Rift Valley, Highway 90 offers some of Israel’s most breathtaking landscapes: the Arava Desert; the Dead-Sea and Judean Desert; the dramatic Jordan Valley; the Sea of Galilee in the north; and the cool northern Galilee, within which over 20 national parks, nature reserves, and UNESCO-recognized cultural landscapes are located. The road runs through and next to 1880s Jewish pioneers’ agricultural cooperatives, firstgeneration kibbutzim, small towns, former British Mandate army bases and abandoned former Jordanian ones, Palestinian villages, colonial West Bank settlements, and two semi-military checkpoints. It thus forms a symbolic journey through history from the crossing of the Jordan River in the biblical period via the myth of Masada, the last stronghold of the Jewish revolt against the Romans in 73 C.E., and the Qumran caves, where the Dead Sea Scrolls were found, up to the 21st century. The road’s proximity to the eastern border, its changing landscape, and perceptions of the landscape and the border play a significant role in the ideological formation of culture and society in Israel. To convey the juxtaposition and the affinities between the border and the road parallel to it, I refer to Highway 90 as a borderoad, implying that the road and the border constitute a unified liminal space and landscape. The hybrid notion of the borderoad forms the border as a present-absent while the road performs as a civil-military international boundary. The road then, just like the border, operates as a national emblem, and so does its landscape. Moreover, being in the contested territories of the West Bank the northwest Dead Sea segment conveys multiple meanings of the borderoad. The road is fabricated from various segments, some of which are national highways of the highest quality, while others are outdated, two-lane, single carriageways in poor condition. Even so, despite its segmentation and the differences of width, maintenance, and classification, it operates as a complete road that serves its users as well as the state as a functional, symbolic and ideological medium. As a nation-state, the idea of modernism is fundamental to the formation of the state of Israel, its culture and society. This is well manifested in roads as well as in borders. This article suggests an inquiry into facets of early modernism of Highway 90 and its landscape, and will focus on a 35 km stretch on the northwest coastline of the Dead Sea, from E","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"41 1","pages":"309 - 326"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48804040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/14601176.2021.2017682
Y. Zhuang
Among us, the Beauty of Building and Planting is placed chiefly, in some certain Proportions, Symmetries, or Uniformities; our Walks and our Trees ranged so, as to answer one another, and at exact Distances. The Chineses scorn this way of Planting, and say a Boy that can tell an hundred, may plant Walks of Trees in strait Lines, and over against one another, and to what Length and Extent He pleases. But their greatest reach of Imagination, is employed in contriving Figures, where the Beauty shall be great, and strike the eye, but without any order or disposition of parts, that shall be commonly or easily observ’d. And though we have hardly any Notion of this sort of Beauty, yet they have a particular Word to express it; and where they find it hit their Eye at first sight, they say the Sharawadgi is fine or is admirable, or any such expression of Esteem.
{"title":"Temple, Huygens and ‘sharawadgi’: tempering the passions to achieve tranquillity","authors":"Y. Zhuang","doi":"10.1080/14601176.2021.2017682","DOIUrl":"https://doi.org/10.1080/14601176.2021.2017682","url":null,"abstract":"Among us, the Beauty of Building and Planting is placed chiefly, in some certain Proportions, Symmetries, or Uniformities; our Walks and our Trees ranged so, as to answer one another, and at exact Distances. The Chineses scorn this way of Planting, and say a Boy that can tell an hundred, may plant Walks of Trees in strait Lines, and over against one another, and to what Length and Extent He pleases. But their greatest reach of Imagination, is employed in contriving Figures, where the Beauty shall be great, and strike the eye, but without any order or disposition of parts, that shall be commonly or easily observ’d. And though we have hardly any Notion of this sort of Beauty, yet they have a particular Word to express it; and where they find it hit their Eye at first sight, they say the Sharawadgi is fine or is admirable, or any such expression of Esteem.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"41 1","pages":"288 - 308"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43694243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/14601176.2021.2009709
G. M. Thomas
Scholars tend to contrast Neoclassicism and Chinoiserie as opposing artistic movements bearing mutually exclusive trajectories of design and ideology. But these two aesthetic systems operated very much in tandem, as complementary facets of eighteenth-century royal and aristocratic visual and material culture across Europe. Chinese-style gardens and garden structures were almost always attached to classical or Neoclassical houses and palaces, while nearly every Chinoiserie room was set within a predominantly classical or Neoclassical interior. The same patrons patronized both modes of design, which were executed by the same designers and craftspeople. William Chambers was one of the most influential advocates for Chinese design in architecture and gardens alike, but was simultaneously a major architect and theorist of Neoclassicism. As David Porter has forcefully shown, the Chinese taste in England was widely considered an overly sensual, feminine threat to the rational, masculine authority of classicism. But this was no battle of opposing schools; Chinese and Neoclassical modes of taste, design, and ideology co-existed as symbiotic partners within the same unified cultural system, logically related as yin-yang complements rather than mutually exclusive antagonists. In garden design in particular, Chinese elements appeared as part of the ‘natural’ aesthetic that spread from England, an aesthetic that was inseparably conjoined to the classical aesthetic of the main house on which each garden depended. In England itself, the same patron, Lord Burlington, built one of Europe’s first consciously Neoclassical buildings, Chiswick House (1726–29), as well as one of Europe’s first consciously naturalistic gardens, at Stowe (1730 +), which also included Europe’s first modern Chinese folly, the Chinese House (1737–38). In France, the authoritative teacher and theorist JacquesFrançois Blondel (1705–1774) — whose students included Chambers and other budding Neoclassicists — wrote in 1752 that the outer gardens of a country house (maison de plaisance) should deploy irregularity and diversity in order to complement the house through complementary opposition: ‘one must find in nature enough to satisfy the view with contrasting objects which, in proportion to their diversity, provide just as many spaces for passing alternately from the regularity of shapes to this beautiful disorder generated by valleys, slopes, and mountains, the one raising the value of the other through its opposition’. Chinese bridges, boats, pavilions, and games became doubly favored, both as material enhancers of this picturesque diversity and as signs of the broader Anglo-Chinese aesthetic of studied disorder. If the use of Chinese elements thus became a modern way to complement modern Neoclassicism, the deeper question this raises for historians concerns the nature of that complementarity; in what ways, and to what degree, were Chinese forms and ideologies seen as alien to, or compatible
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Pub Date : 2021-10-02DOI: 10.1080/14601176.2021.2014158
Jakub Guziur
Scottish poet and artist Ian Hamilton Finlay is best-known for his concrete poetry of the 1960s and his later work which presents a unique combination of poetry, sculpture and gardening. Finlay approached gardens as ‘a text’. This essay offers ‘a reading’ of his stone column bases, i.e. bases of classical columns installed in front of real, growing trees. To clarify the symbolic role of the column, attention is drawn to the art of the Archaic period of the Greek culture. Finlay’s artistic concept is seen as representing kosmopoeisis, a process of transforming chaos into the cosmos, which is, by its nature, of an artistic character. The artwork as a complex artistic statement touches upon a number of crucial topics (such as nature, cultivation, order, beauty, piety, or violence); this essay tries to elucidate their interrelationship.
{"title":"On Ian Hamilton Finlay’s tree-column bases in sacred groves","authors":"Jakub Guziur","doi":"10.1080/14601176.2021.2014158","DOIUrl":"https://doi.org/10.1080/14601176.2021.2014158","url":null,"abstract":"Scottish poet and artist Ian Hamilton Finlay is best-known for his concrete poetry of the 1960s and his later work which presents a unique combination of poetry, sculpture and gardening. Finlay approached gardens as ‘a text’. This essay offers ‘a reading’ of his stone column bases, i.e. bases of classical columns installed in front of real, growing trees. To clarify the symbolic role of the column, attention is drawn to the art of the Archaic period of the Greek culture. Finlay’s artistic concept is seen as representing kosmopoeisis, a process of transforming chaos into the cosmos, which is, by its nature, of an artistic character. The artwork as a complex artistic statement touches upon a number of crucial topics (such as nature, cultivation, order, beauty, piety, or violence); this essay tries to elucidate their interrelationship.","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"41 1","pages":"261 - 267"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44083976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14601176.2021.1945223
Rebecca Tropp
Cambridge International Trust; St John's College, University of Cambridge; Kettle's Yard Travel Fund; Society of Architectural Historians of Great Britain
剑桥国际信托；剑桥大学圣约翰学院；凯特尔庭院旅游基金；英国建筑历史学家协会
{"title":"‘The most original and interesting part of the design’: The attached quadrant conservatory at the dawn of the nineteenth century","authors":"Rebecca Tropp","doi":"10.1080/14601176.2021.1945223","DOIUrl":"https://doi.org/10.1080/14601176.2021.1945223","url":null,"abstract":"Cambridge International Trust; St John's College, University of Cambridge; Kettle's Yard Travel Fund; Society of Architectural Historians of Great Britain","PeriodicalId":53992,"journal":{"name":"STUDIES IN THE HISTORY OF GARDENS & DESIGNED LANDSCAPES","volume":"41 1","pages":"234 - 256"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44659754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14601176.2021.2005350
Johan N. Prinsloo
thinking toppled the Olympian gods as the bearers of truth, yet keeping them alive as subjects for poetry and, by extension, the art of placemaking. It needn’t be overstated here that the expansion of the Greek world towards the East following Alexander’s conquests resulted in growing wealth, ambitious city-building and the monumentalisation and geometrisation of gardens and parks following Persian examples. Within one such park, the royal gardens of Alexandria, stood a hill ascended by a spiral path dedicated to the god Pan, hence called Paneion. The horned goat-god roamed the wilderness where, during the Hellenic period, his sanctuaries were found in rustic settings such as Mt Lykaion. Within the grid of Alexandria we now find him on a civilised mountain — a simulacrum of his native ‘towering crags’. Although the mound may have been constructed as a religious space for sacrifice and mantic dancing, our only historic description of it recounts a rather more secular experience: In short, the city of Alexandria abounds with public and sacred buildings. The most beautiful of the former is the Gymnasium, with porticos exceeding a stadium in extent. In the middle of it are the court of justice and groves. Here also is a Paneium, an artificial mound of the shape of a fircone, resembling a pile of rock, to the top of which there is an ascent by a spiral path. From the summit may be seen the whole city lying all around and beneath it. This account from the first century BC by the Greek geographer Strabo (64 BC–AD 24), who had a penchant for describing views from mountains, has been interpreted by Bowe to indicate that the mound satisfied the ‘desire to look beyond the enclosure of a garden’. If so, we thus see a shift in the experience of mythopoetic places from religious epiphany to aesthetic delight. Rome: monumentalisation of the burial mound Strabo also scribed a rare account of an artificial, Roman mound. Describing the verdurous Campus Martius in Rome, he noted the presence of a number of burial mounds, highlighting one in particular: The most remarkable of these is that designated as the Mausoleum, which consists of a mound of earth raised upon a high foundation of white marble, situated near the river, and covered to the top with ever-green shrubs. Upon the summit is a bronze statue of Augustus Cæsar, and beneath the mound are the ashes of himself, his relatives, and friends. Behind is a large grove containing charming promenades. Like the Paneion, the Mausoleum of Augustus stood in a public park. Based on the description, this artificial mound was more for looking at, than for looking from. Also, the text makes no reference to myth, yet we cannot dismiss it as an example of topomythopoiesis too easily. Constructed during Augustus’ lifetime on the eve of Empire in 28 BC, the structure is a synthesis of the tumulus and the tholos: a conical mound of earth (supported on a drum) topped by a circular temple with an earthen roof crowned by a statue —
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