18C Ladies on Horseback Honing their Gamepark Skills

 1710 Elizabeth Cahrlotte d'Orleans, Duchesse de Lorraine by Jean-Baptiste Martin

 1720 Lady on Horseback Unknown artist

 1730s Marie Leczinska Queen of France (1703-1768), riding side saddle on a white horse, the moor attendant with parasol

 1740 James Seymour (British artist, 1702–1752) Princess Amelia Sophia

 1743 Elisabeth I of Russia by Georg Christoph Grooth
 1744 Catherine the Great based on Catherine the Great of Russia while Grand Duchess by Georg Christoph Grooth

 1750 Catherine the Great of Russia after Georg Christoph Grooth

1760 George Stubbs (English artist, 1724-1806) The Countess of Coningsby in the Costume of the Charlton Hunt

1762 Catherine II (1729–96) the Great of Russia by Vigilius Erichsen (1722–82)

1769 Johann Zoffany (German-born English painter, 1733-1810) The Drummond Family

1777 George Stubbs (English artist, 1724-1806) John and Sophia Musters Out Riding at Colwick Hall

1780 George Stubbs (English artist, 1724-1806) The Wedgewood Family 

1783 Francisco José de Goya y Lucientes (Spanish painter, 1746–1828) Maria Luisa, Queen of Spain on Horseback (María Teresa de Vallabriga)

 1783 Marie Antoinette in hunting attire by Louis Auguste Brun de Versoix

 1783 Marie Antoinette Riding at Versailles by Brun de Versoix

 1785 José Campeche Dama a caballo

 1789 Wilhelmina of Prussia, Princess of Orange by Tethart Phillipp Christian Haag

1793  George Stubbs (English artist, 1724-1806) Laetitia, Lady Lade on Horseback 

1799 Francisco José de Goya y Lucientes (Spanish painter, 1746–1828) Maria Luisa,Queen of Spain on Horseback (Maria Louisa of Parma, Queen of Spain) 

1720 English House & Grounds

1720 Unknown artist, View of the South Aspect of Belton House, Lincolnshire, with the House Porter plus a deer park, swans, dogs, a hunt, & a carriage.

1720s-30s English landscapes by Peter Tillemans (1684–1734)

Peter Tillemans (Flemish artist, 1684–1734) A View of the Garden and Main Parterre of Winchendon House, Buckinghamshire, from the East, with Figures in the Foreground

Peter Tillemans (c. 1684-1734) was a Flemish painter, best known for his works on sporting & topographical subjects. Tillemans was born in Antwerp, the son of a diamond-cutter, & studied painting there.  He was brother-in-law to fellow artist Peter Casteels (1684-1749); & in 1708 the two young men were brought over to England by a dealer named Turner to copy Old Master paintings.  By 1711, he had joined Godfrey Kneller's (1646-1723) new Great Queen Street Academy of painting as a founding member, where Tillemans declared his speciality as 'landskip'.  He later joined the Society of St Luke (and was its Steward, 1725). Tillemans lived chiefly in Westminster, but traveled to execute commissions.  

Peter Tillemans (Flemish artist, 1684-1734) Newstead Abbey, Nottinghamshire, West Aspect 1730

By 1715, he had acquired his most faithful patron, Dr Cox Macro of Suffolk. In his country landscapes with gardens paintings, the houses often stand in a countryside brought to life by animals & hunting scenes.  He was employed with Joseph Goupy to paint a series of scenes for the opera-house in the Haymarket. In 1719, he was commissioned by John Bridges (1666-1724) to make about 500 drawings for the History of Northamptonshire.   These drawings were all executed in Indian ink, for which Bridges gave him a guinea a day & the run of his house. Tillemans resided for some years at Richmond in Surrey, where is brother-in-law lived.  He also stayed at the home of his patron Dr. Cox Macro of Norton Haugh in Suffolk, where he died on 5 Dec. 1734.

Peter Tillemans (Flemish artist, 1684–1734) London from Greenwich Park

Peter Tillemans (Flemish artist, 1684–1734) Panoramic view of Chatsworth House and Park

Peter Tillemans (Flemish artist, 1684–1734) Prospect Of Ashburnham Place Sussex

Peter Tillemans (Flemish artist, 1684–1734) The View from One-Tree Hill in Greenwich Park

 Peter Tillemans (Flemish artist, 1684–1734) View of Chatsworth House and Park

Peter Tillemans (Flemish artist, 1684-1734) Idealized View of Chirk Castle

Peter Tillemans (Flemish artist, 1684–1734) A View of Uppark

Peter Tillemans (Flemish artist, 1684–1734) East View of Newsterad Abbey, Nottinghamshire

Peter Tillemans (Flemish artist, 1684–1734) A View of the Downs near Uppark including a view of the riding hill summerhouse

Peter Tillemans (Flemish artist, 1684–1734) Little Haugh Hall, Suffolk

  Peter Tillemans (Flemish artist, 1684–1734) River Thames

Peter Tillemans (Flemish artist, 1684–1734) View of Knowsley Park from the Riding Hill Summer House, looking towards Prescot Detail

1640s Discovering a Garden in a Painting Background - Nicholas van Helt 1614-1669

1640s Nicholas van Helt (Dutch artist, 1614-1669) Portrait of two Children as Hunters in a Garden

17C & 18C English Gardens & Grounds and The Hunt

Willem Schellinks (Dutch-born English artist, c1627-c1678), The Departure for the Chase from the Garden

John Wootton (English painter, ca.1682-1764) In the Garden Preparing for the Hunt

John Wootton (English painter, ca.1682-1764) The Beauchamp-Proctor Family and Friends at Langley Park, Norfolk

Love in the Garden - Crispin de Passe 1565-1637

 Crispin de Passe (1565-1637) The Five Senses 

17C Gardens - Enghien - Greek Mount of Parnassus

Romeyn de Hooghe (Dutch artist, 1645-1708) a model Greek Mountain of Parnassus at the Renaissance gardens at Enghien near Hainault. This parkcontained a model of the Greek Mountain of Parnassus from antiquity dedicated to Apollo and the Muses, which was the traditional home of poetry & music. Deer are being hunted at the foot of this "mountain."

Pietro de' Crescenzi (c 1233-1320) Gardens - Illuminated Manuscripts

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French. Le livre des prouffis champestres et ruraux, Book 6 On herb gardens (folio 157)   These workers are maintaining raised beds. De Crescenzi noted that these hot beds were constructed by putting fresh dung in a pit & either putting soil over it & planting in the soil, covering over the plants with a shelter in inclement weather.

Piero de’Crescenzi’s 12 book treatise, the "Liber Ruralium Commodorum" (On the Rural Arts) is the most important work on agriculture & gardens written during the middle ages. Piero de Crescenzi wrote "Liber Ruralium Commodorum" in 1305.
Book 1 - the best location & arrangement of a manor, villa, or farm
Book 2 - the botanical background needed to raise different crops
Book 3 - building a granary & cultivation of cereal, forage & food 
Book 4 - on vines & wine-making
Books 5 & 6 - arborculture &horticulture, including 185 plants useful for medicine & nourishment
Book 7 - meadows and woods
Book 8 - on gardens
Book 9 - animal husbandry & bee-keeping
Book 10 - hawking & hunting
Book 11 - a general summary of the book
Book 12 - a calendar of duties and tasks, month by month. 

Italian attorney & land-owner Crescenzi relied heavily on Roman agricultural principles, although he supplemented these traditions with contemporary medieval ideas natural sciences & medicine. Crescenzi took much of his information from Roman authors, such as Cato, Columella, Varo, & Palladius. Crescenzi’s treatise surveys building, managing, & maintaining an agricultural estate & even devotes an entire book of his treatise to pleasure gardens, before the development of villa gardens in the Renaissance. By the late 15C, his work was widely available in manuscript & print editions & was owned by many in the lavish villas around Rome, Florence, & Venice. 

Manuscript copies of Ruralia Commoda were popular (over 100 copies are known), making it an excellent candidate for the new technology of printing. The editio princeps appeared in 1471- in Latin, un-illustrated, it was printed by Johann Schüssler of Augsburg. Another 36 incunable editions exist, most printed in Germany. The treatise remained one of the most popular works of its kind until the 17C, when the Aristotelian precepts on which it was based were nearly smothered by the empirical methods of more recent developments in science.

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French.  Le livre des prouffis champestres et ruraux, Book 5 On trees (folio 112v)

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French. Le livre des prouffis champestres et ruraux, Book 5 On trees (folio 112v) b   Crescenzi advised: "Trees are to be planted in their rows, pears, apples,  & palms, & in warm places, lemons. Again mulberries, cherries, plums, & such noble trees as figs, nuts, almonds, quinces, & such-like, each according to their kinds, but spaced twenty feet apart more or less."

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French. Le livre des prouffis champestres et ruraux, Book 7 On meadows and groves (folio 201v) For decorative features using trees, Crescenzi suggests willow & popular trees, densely planted with other plants & vines, "cut out into the shape of towers & crenellations." 

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French. Le livre des prouffis champestres et ruraux, Book 8 On pleasure gardens (folio 205v)

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French. Le livre des prouffis champestres et ruraux, Book 10 On hunting (folio 265r)

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09. Illuminator - Master of Fitzwilliam MS. 268 - 1470-1485 - French. Le livre des prouffis champestres et ruraux, Book 11 On regulating a rural operation.  Piero de' Crescenzi gave advice on breeding pheasants, which he believed were more noble & more beautiful than any other bird in the garden or farm.  He also wrote that garden parks often were stocked with wild beasts. 

He advised, "Of the gardens of royal personages & powerful & wealthy lords. And inasmuch as wealthy persons can by their riches & power obtain such things as please them & need only science & art to create all they desire. For them, therefore, let a great meadow be chosen, arranged, & ordered, as here shall be directed. Let it be a place where the pleasant winds blow &  where there are fountains of waters; it should be twenty 'Journaux' or more in size according to the will of the Lord & it should be enclosed with lofty walls. Let there be in some part a wood of divers trees where the wild beasts may find a refuge. In another part let there be a costly pavilion where the king & his queen or the lord & lady may dwell, when they wish to escape from wearisome occupations & where they may solace themselves."

"Let there be shade & let the windows of the pavilion look out upon the garden but not exposed to the burning rays of the sun. Let fish-pools be made & divers fishes placed therein. Let there also be hares, rabbits, deer & such-like wild animals that are not beasts of prey. And in the trees near the pavilion  let great cages be made & therein place partridges, nightingales, blackbirds, linnets, & all manner of singing birds. Let all be arranged so that the beasts & the birds may easily be seen from the pavilion. Let there also be made a pavilion with rooms & towers wholly made of trees...”

14C Italian manuscript Treatise on Rural Economy by Pietro de' Crescenzi (c 1233-1320)

14C Italian manuscript Treatise on Rural Economy by Pietro de' Crescenzi (c 1233-1320)

Piero de' Crescenzi (1233-1321) Liber ruralium commodorum 1304-09  Title page of a vernacular translation of the De agricultura of Piero Crescentio, printed by Capcasa in Venice in 1495