18C Jacques Rigaud (1681-1754) Vue du Château de Marli. Prise du bas du grand parterre.

 Jacques Rigaud (1681-1754) Vue du Château de Marli. Prise du bas du grand parterre.

18C Jacques Rigaud (1681-1754) Hampton Court from the Garden Side Veue du Chateau d'Hampton-Court du Côte du Jardin 1736

Jacques Rigaud (1681-1754) Hampton Court from the Garden Side  Veue du Chateau d'Hampton-Court du Côte du Jardin 1736

Man-made Landscapes of Bavarian Gardens, & Grounds by Michael Wening (1645-1718)

 Michael Wening (Bavarian artist, 1645-1718) Riedenburg

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

The Walk which surrounds the Royal Garden. View of a paved walk lined with fir trees interspersed with small bushes trimmed to tall cones, a domed pagoda at the end, and men and women walking. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

The Theatre. View of a rectangular space, raised with a short flight of steps leading up to it, enclosed by rows of tall box hedges with classical statues set on pedestals in each opening, a man striking an attitude on the stage produced and men and women talking at the foot fo the steps. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

The First Grand Cross Walk & after your Entrance into ye Royal Garden. View along a walk with a large round fountain in the centre, lined by small trees trimmed into cones interspersed with classical urns and statues set on pedestals, small rectangular gardens enclosed in low hedges beyond and rows of trees along the horizon, with people walking. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

The Cascade behind the Theatre. View of an ornamental cascade; water flowing from three arched niches and two large shells held by water gods either side, with rows of firs, classical statues and box hedges on the level above, and flights of steps curving down on either side to the foreground, where people walk. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

Two Summer Rooms one towards the Grand Gallery the other towards the Cascade. View of a summer pagoda with a round archway topped by a triangular pediment and two small balustraded wings, people sitting inside and walking outside, the interior walls painted with scenes of crowds greeting a man on horseback, and tall hedges behind. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

Front of the Grotto towards the Royal Garden. View of a building with a colonnaded roof terrace, an arched doorway, two protruding wings and flights of steps running up on either side, men and women walking, and trees in the background to left. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

Front of the Grand Gallery towards ye Gardens. View of a building with a mansard roof, dormer windows and porch with a triangular pediment, and people walking in a garden in front of it with a fountain and rows of small potted firs, enclosed by a hedge with tall trees behind it. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

Entry into the Grand Middle Walk of the Royal Garden. View looking down over ornamental gardens composed of potted plants and small sections enclosed with low hedges, with a large fountain in the middle distance, smaller ones set out at the corners of a hexagon around it, and two pagodas either side in the distance, fronted by a trellis divided by pillars forming a screen with three openings, and people walking. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

A View of the Grand Cascade in ye Royal Garden. View of a large cascade with water flowing in four streams over steps between arched niches, two containing classical statues, into a shallow basin, with statues in a row along the low balustrade on the top and flights of steps curving down either tide to the lawn where people walk, an ordered forest in the background to right and the corner of a single storey building of the same height as the cascade to left.
From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

A View of the Amphitheatre as it fronts the Natural Theatre. View of a small amphitheatre formed of two sets of three broad grassy steps, enclosed by a tall box hedge, with tall trees set in a semi-circle on the steps creating natural pillars, and classical statues on pedestals between them, with people walking in the foreground. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

A Front View of the Palace. View of a building with a triangular pediment and coat of arms over the entrance, behind a wall with gates set between four pillars, seen from a paved walk with lawns either side lined with trees, where people walk, two gardeners talk to left and a few men approach on horseback. From Twelve Principal Views of Herrenhausen; artist Johann Sebastian Müller & publisher Robert Sayer; 1751-52; London

18C Garden

School of Cornelis Troost (1697-1750) Garden in May

1751 Gardens of Herrenhausen in Germany - Johann Sebastian Müller (c 1715–1790)

The Great Garden at Herrenhausen about 1708

In 1636, the German Count of Calenberg established a country estate in Herrenhausen, from which the city of Hannover was supplied with produce. From 1674 onwards, the estate was enlarged to serve as a summer residence. In 1680, Count Ernst August took over as head of state. Deeming it opportune to have a dwelling commensurate with his political standing and ambitions, in 1690 he commissioned work to turn the estate into a palace for which he, himself, drafted the plans.

The plans called for a central structure to be symmetrically flanked by four other buildings. With the count's death in 1697, construction work abruptly ceased. In the same year, Sophia (Electress of Hanover), commissioned the French gardener Martin Charbonnier with the expansion of the baroque garden (now known as the "Great Garden"). Despite extensive renovation in 1704, the palace's basic layout remains unchanged to this day.

From 1714 on, the Electorate of Hanover was joined in a "personal union" with the Kingdom of Great Britain. The electors from Hannover resided in Great Britain as kings and often spent the summer at Herrenhausen Palace, for which purpose the palace and the gardens were well attended to until the Seven Years' War put an abrupt end to this. Maintenance work reduced to a bare minimum until 1814, at which time the Kingdom of Hannover was established. In 1819, the palace was redesigned in the Neoclassical style by court architect Georg Ludwig Friedrich Laves.

Allegory 1700s Harvesting

Jan Josef Horemans the Elder (Dutch artist, 1682-1759) Summer

Sharing the Harvest - 18C Markets by Flemish artist Pieter Angillis 1685-1734

Pieter Angillis (Flemish, 1685-1734) At the Marketplace

Pieter Angillis (Flemish, 1685-1734) Eine elegante Gesellschaft bei einem Gemüseverkäufer 1734

Pieter Angillis (Flemish, 1685-1734) The Vegetable Seller detail 1725

Pieter Angillis (Flemish, 1685-1734) Elegant Figures in a Market Square

Pieter Angillis (Flemish, 1685-1734) Fruit and Vegetable Market

Pieter Angillis (Flemish, 1685-1734) or his circle, Poultry Vendors

Pieter Angillis (Flemish, 1685-1734) The Vegetable Seller

Pieter Angillis (Flemish, 1685-1734) Vegetable Seller c 1726

Pieter Angliss Market at Coven Garden 1762

18C English Gardens & Grounds

 1700 The Royal Chappel of St George in Windsor Castle; print; Thomas Bowles II & Joseph Smith 1700-1710; London

 1708 The North Prospect of Mountague House; Britannia Illustrata James Simon 1708-1717

 1712 A Prospect of King William the Third's palace and gardens at Loo; print; Benjamin Cole 1712-1783

 1720 Buckingham House in St James's Park, London Described John Bowles & Sutton Nicholls 1720-1728 London

 1720 Marlborough House in St James's Park; London Described; print; John Bowles (Published by); Sutton Nicholls (Print made by); 1720-1728

 1720 Somerset House showing the courtyard and gardens, from the Thames, the Folly in foreground; after Knyff llustration from the Antiquities of Westminster. 1808

1720 The Royal Hospital at Greenwich; London Described; print; John Bowles (Published by); Sutton Nicholls (Print made by); 1720-1725; London


John Wootton (English painter, ca.1682-1764) , View of Cassiobury House & Park

1750 James Chapman  Temple Newsam House for Henry, 7th Viscount Irwin


1750-70 William Hannan, (1720-75) Osterley Park and House at Dusk

John Boydell (1719-1804) North View of Blenheim House & Park in the County of Oxford

1794  William Hayes (British, 1729 –1799) The Menagerie House at Osterley, Frontispiece from Portraits of rare and curious birds from the menagerie at Osterley Park 

1800 Theodore de Bruyn (1730-1804) Luxborough House, Essex 

Sharing the Autumn Harvest - 1700s Local Food Markets by Flemish Pieter Angillis 1685-1734

Pieter Angillis (Flemish, 1685-1734) At the Marketplace

Pieter Angillis (Flemish, 1685-1734) Eine elegante Gesellschaft bei einem Gemüseverkäufer 1734

Pieter Angillis (Flemish, 1685-1734) The Vegetable Seller detail 1725

Pieter Angillis (Flemish, 1685-1734) Elegant Figures in a Market Square

Pieter Angillis (Flemish, 1685-1734) Fruit and Vegetable Market

Pieter Angillis (Flemish, 1685-1734) or his circle, Poultry Vendors

Pieter Angillis (Flemish, 1685-1734) The Vegetable Seller

Pieter Angillis (Flemish, 1685-1734) Vegetable Seller c 1726

Pieter Angliss Market at Coven Garden 1762

1712 English Gardens - Badminton the Seat of the Duke of Beaufort

Badminton the Seat of the Duke of Beaufort Johannes Kip (1653-1722) The Ancient & Present State of Gloucestershire, pub by Sir Robert Atkyns 1712.

Badminton House is a country house in Badminton, Gloucestershire, England, which has been the principal seat of the Dukes of Beaufort, since the late 17C, when the family moved from Raglan Castle, which had been ruined in the English Civil War.  In 1612, Edward Somerset, the 4th Earl of Worcester, bought from Nicholas Boteler his manors of Great and Little Badminton, called 'Madmintune' in the Domesday Book, while 1 century earlier the name 'Badimyncgtun' was recorded, held by that family since 1275. 

Gardenvisit.com tells us that Henry, Duke of Beaufort, built the bulk of the present house in 1682. He had a real passion for avenues, & his park grounds were traversed by numbers of walks, 20 of them starting from one point like the centre of a star. It is said that he infected his neighbours with his own enthusiasm, so that they let him extend the avenues into their territory, & in this way he obtained more distant and glorious views. But the gardens cover a very large tract of land. They lie round a house in the middle of a great park, with the chief avenue 2 & a half miles long leading to the entrance. On the left of it there are parterres & a bowling-green. Behind the parterres, & in a straight line with them, are bosquets with fountains & finely designed paths; at the very end is a semicircular little room cut out of the hedge and containing 2 fountains.

Just from this engraving, we can see knot gardens & geometric beds edged with a low hedge of box or other shrubs, & the fountains intended to animate the garden, reflecting an interest in hydraulics.  Here the formal layout reflects the great gardens of France & Holland.  Terraces created from excavated & moved earth are used to control the irregular natural landscape and for balanced control & order.  The parterres evolved from the Tudor knots.  And in these grounds, avenues are used to direct the visitor to the seat of power, to direct the view of the gardens & surrounding landscape, & as an expression of welcome as well as status.  The trees in the avenues are a sort of army of soldiers standing shoulder to shoulder at attention to warn as well as welcome.
  
Here, also, is a 4-part garden maze. A hedge maze is an outdoor garden maze or labyrinth in which the "walls" or dividers between passages are made of vertical hedges. Hedge mazes evolved from the knot gardens of Renaissance Europe. Early garden mazes began to appear in the 16C. These initial mazes were constructed from evergreen herbs, but, over time, box became a more popular option due to its robustness. Italian architects had been sketching conceptual garden labyrinths as early as 1460, and hundreds of mazes were constructed in Europe between the 16C-18C.  Initially, the hedge maze was not intended to confuse, but to provide a unicursal walking path. Puzzle-like hedge mazes featuring dead ends and tall hedges arrived in England during the reign of King William III of England. It was possible to get lost in the much-admired labyrinth of Versailles, built for Louis XIV of France in 1677 and destroyed in 1778. This maze was adorned with 39 hydraulic sculpture groups depicting Aesop's fables. The oldest surviving puzzle hedge maze, at Hampton Court Palace in Surrey, England, was built for King William in the late 17C. Its distinctive trapezoidal shape is due to pre-existing garden paths running alongside the maze. Mazes & topiary are an expression of man's ultimate control over nature.  The maze allows the owner to "help" his visitors who might get lost in the surrounding green, living puzzle, which the owner built, of course.  Status & the impression of wisdom, culture, & intelligence were important for the owners of these gardens.  

18C Jacques Rigaud (1681-1754) Royal Palace of Hampton Court

Jacques Rigaud (1681-1754) Royal Palace of Hampton Court  Vue du Palais Royal de Hampton Court