The regular garden style has a long history. It originated in France in the 17th century and was used in landscape art to create parks and gardens at palaces and castles. Such a garden requires large and level areas, and creating it is a very expensive undertaking, both in terms of money and the investment of human labor and time in its arrangement.

But even in small areas it is quite possible to use individual elements of this style. For example, this form of landscaping is suitable for decorating the front entrance to a beautiful mansion. Note that it must be combined with the style of the building itself, and, for example, is completely unacceptable for a log house, no matter how large it is.

All elements of such a garden are made in the form of geometric shapes and have clear and regular contours. Alleys must be present.

If there is a gazebo in the garden, then it is advisable to use forged metal or wooden carved decorative elements in its design.

The same fragments would be appropriate as part of fences. Another option is a cast fence, made in a strict classical manner.

Garden parterre in regular style

A garden designed in a regular style always has one obligatory element, called the “parterre”. It represents a single ceremonial composition consisting of flower beds, lawns and ponds. This is the face of the garden. A fountain or sculpture can also be placed here.

The real front ground occupies a large space, and the entire composition can only be seen from the windows of the upper floor of the house. But the simplest parterre today is often performed next to many private houses and cottages - this is a well-groomed lawn of regular shape, limited along the perimeter by a border or flower beds.

One of mandatory elements The parterres are flower beds. They can be located separately or surround a sculptural group, a fountain or a large flowerpot, representing a rather complex composition and intricate shape.

Water

If a regular garden includes a pond, then it must have the shape of a regular geometric figure. A large reservoir can consist of several levels, made in the form of steps.

Hedges

A garden decorated in a regular style cannot do without hedges. They should always be neatly trimmed, as they are made in the form of clear geometric patterns.

Arches and turrets, and even “offices” closed from prying eyes can be created by shearing. These green walls make real labyrinths.

What plants are used in a regular style?

In such a garden, as a rule, plants that have decorative foliage are used. Another criterion is the longest possible flowering period.

Trees that can be given interesting shapes by pruning include privet, boxwood, barberry, yew, thuja and juniper. However, you should not get carried away with a wide variety of plantings - it is enough to use two to three types in compositions.

When creating flower beds for these gardens, strictness of form is important. And such a garden is also characterized by arabesques - flower beds consisting of low-growing plants. These can be bright awl-shaped phloxes, lobelias, coleuses or ageratums.

Also Regular garden, French garden- a type of park that arose in Western Europe at the end of the 16th century. He inherited the symmetrical layout of Renaissance gardens along the main axis while subordinating all parts of the ensemble to a single artistic concept. Baroque gardens actively intervene in the environment, using the terrain, water resources, forests, and plants in their own way. Park buildings, sculptures, and flower beds are also actively used while maintaining the hierarchy and special order of constructing the garden.

Historical stages

• Italian baroque garden
• French baroque garden
• Late Baroque gardens

Origins

The origins of European Baroque gardens are seen in the miniature gardens of Muslim Spain. Using the hydraulic engineering skills of the ancient Romans and the figurative system of gardens in Western Asia, Muslim Spain created their own type of garden. The most famous examples were created in Granada, Cordoba, Toledo, most of which were destroyed.

Usually these are small gardens, laid out geometrically, with paths, flowers, and small buildings. Preference was given to evergreen plants or fragrant plants and bushes. Gardens become an integral part of the palaces of officials surrounding palace buildings or become a decoration patios. Pools of water and small fountains were added to the elements of the Muslim garden in Spain. Such gardens were associated with the gardens of the Muslim paradise and even an allegory of the Koran. The most famous examples of such gardens among those preserved and restored in Spain are

• Generalife gardens,
• Alhambra gardens.

Medieval gardens in Europe

The gardens of Muslim Spain delighted Western European diplomats, merchants and noble travelers, and the stage of borrowing began. Character traits Muslim gardens in Spain are canonized (geometric layout, desire for symmetry, the use of evergreens, small fountains). The first examples of miniature gardens appeared near medieval castles and in the courtyards of monasteries. But in Western Europe they value the decorative component of such a garden and do not associate it in any way with either the Muslim paradise or the allegory of the Koran. The trend of separation and new ideological content is intensifying in the decades of militant confrontation between the two religious systems of Islam and Catholicism.

Compromise forms arose only in capitalist Spain 19th century, when the awareness of the extraordinary artistic value of the buildings and gardens of the Muslim day finally came. The stage of restoration of gardens and restoration of buildings of the same Alhambra and Generalife began - without reference to the Koran, but as another component of an unusual cultural heritage.

Creative continuation

In medieval Europe, garden culture received a creative continuation and complication. An elongated pool of water (as in the Alhambra) did not become widespread, and would only be revived in the Baroque era. But in the courtyards of castles and monasteries, their own examples of gardens appear with their own created patterns, which are constantly enriched and complicated. The long existence of castle and monastery gardens, wars and changing fashions did not contribute to the preservation of these gardens. But medieval miniatures and sketches recorded the appearance of such gardens. And they were partially recreated in the 19th and 20th centuries.

Hood. Abel Grimmer. "Gardeners", 1607, Antwerp.

Garden and labyrinth, Rievaulx castle, France

Garden and ornamental vegetable garden of Vilandry Castle, France. Restoration.

Baroque garden of Italian type (late 16th-17th centuries)

The Baroque garden of the Italian type is a logical continuation of the Renaissance garden. Renaissance gardens were still small in size and lacking in splendor. They used a fountain with a sculpture, benches, bosquets, and pots with lemon trees. The palace or villa dominated everything. The terraces have not yet been subjugated to a single artistic concept, to each other and to the palace. The tightness within the city fortress walls did not allow the creation of gardens in cities, and they appeared on the outskirts (the Boboli Gardens in Florence) or in the countryside.

Western European gardens have Italian roots. Already in the gardens of Ancient Rome they knew about the figured arrangement of plants, about the great importance of water in the garden (streams, canals, fountains), sculptures were placed in the gardens and primitive pavilions were built. In the Middle Ages, gardens were simplified both in function and layout. The best features of ancient Roman gardens were revived by the Italians of the Renaissance. The poet Francesco Petrarca was already a practical gardener, although the gardens of his time still retained a simplified layout. Complications of planning and loading with new content came along with the turn to landscape architecture of highly gifted figures of the High Renaissance. Donato Bramante reconstructed the Vatican courtyards in such a way that from its three terraces one could watch the ceremonies in the lower courtyard. Construction on a single axis, symmetry, grandeur of proportions, parterres and steps of Bramante's gardens made a huge impression on contemporaries. Donato Bramante's principles were creatively developed. And already new Roman palaces and country premises of the princes of the church were turned into palace and park ensembles (Villa Madama by Raphael Santi, Villa Giulia by Giacomo da Vignola). The Italian gardens on the premises of Ippolito DiEste, in the Aldobrandini family (Villa Aldobrandini), which preceded the huge garden at Versailles, were transformed into grandiose, enchanting ensembles.

The creation of real gardens and parks began to be actively influenced by assemblies and textbooks with photographs on the creation ornamental gardens. The corresponding textbooks with engravings of plans were printed in Italy itself (Sebastiano Serlio, IV book on architecture, 1537), in Great Britain (Thomas Hill, 1536), in the Netherlands (Hans Vredeman de Vries, 1583) and others.

Villa Giulia in Monte, arch. Vignoli (1550-1555) and the Sacred Forest Park

Vignoli, together with the architect Ammanati, are building a villa for Pope Julius III (Giulio of Italy, hence the name). Small in size, the villa is already a real garden and park ensemble. Construction on a single axis, strict symmetry of all parts, subordination of terraces to buildings, has conquests and a parterre (garden). Semicircular steps, a nymphaeum, a grotto, and a fountain, typical of Baroque gardens, found their place. From the previous days this garden took small sizes and isolation from environment(the garden is hidden by stone fence walls).

Vignoli also gave an example of the reconstruction of a bastion-type fortress into a new type of Renaissance palace with a garden (castle-palace of Caprarola near Viterbo).

arch. Viñoly. 1st courtyard of Villa Julia

arch. Viñoly. Plan of Villa Giulia, Rome

Courtyard of a villa with Nymphaeum, antique engraving

Courtyard of a villa with Nymphaeum, photo

Villa Aldobrandini in Frascatti, arch. G.della Porta

An example of a developed baroque garden of the Italian type was the ensemble of Villa Aldobrandini in Frascatti near Rome. The architect of the villa also became the main gardener. Giacomo della Porta (1537-1602) used the mountainside to create terraces on which he laid out both the Aldobrandini Palace and the garden. The mountain stream became the decoration of the cascade, turning into a large nymphaeum, equal in size to the villa itself. The park terrace of the villa became the theater hall of the nymph, decorated with sculptures, a grotto, and modeling. The roar of water enlivened this entire jumble of architecture and sculptures.

The opposite facade of the villa surprised with its grandiose dimensions and oval steps of majestic proportions, which increased the already large facade.

Landscape sculpture by Italian masters

Pietro Baratta, "Allegory of Architecture", 1722.

Pietro Baratta, "Glory of the Warriors"

Wallenstein Palace and Garden, Prague

The early gardens of the Italian type include the garden near the Wallenstein Palace in Prague. The commander from Austria, Albrecht Wallenstein, acquired several plots of land with houses in order to build his palace. They mercilessly demolished the buildings, freed up space and... It turned out that the site was asymmetrical, without ponds, few trees and in the wrong place. The owner invited craftsmen from Italy, who had the difficult task of creating a symmetrical baroque ensemble on an asymmetrical site.

Even in the late Renaissance, the Italians learned to work with asymmetrical areas. The most successful was the layout of the five-pointed courtyard of the Borghese Palace with the creation of parterres and alleys, the prospects of which ended with fountains.

Palace for Wallenstein in 1623-30. It was built by the Italians Giovanni Pieroni and Andrea Spezza, and Niccolò Sebregondi worked on the baroque garden. The palace and garden did not become completely symmetrical. But emphasizing the axes of the ensemble and the layout of the garden became the first perfect example of Baroque in Prague.

Podgoretsky Castle, Ukraine

It is known that the strange garden of Podgoretsky Castle was created by a master gardener from Rome. The garden was laid out on the north side on terraces, of which there are three. The smallest of the castle's terraces had a three-part parterre (garden) and a plant pattern. The steps to the second terrace were supported by an arcade, which created a gallery and served as a grotto. It seems that every possible means of decorating a garden has been used here. There was a fountain in the center. Several parterres were decorated with marble sculptures by Italian masters.

The third terrace was decorated with a green area with clearings that were used for walking. The garden was damaged through wars and people’s negligence, the sculptures were taken away. As of 2009, the garden is in need of restoration.

Southern facade of the castle.

Second terrace of the former garden, Podgoretsky Castle

Early regular park in 16th century France

One of the first regular gardens was created in France near the Castle of Saint Germain. The then modest garden was the highlight of the New Palace, built for the king by the architect Philibert Delorme. Delorme practiced in Rome, where he saw with his own eyes the formal gardens of Italy. Now he has brought a new attraction for France to the territory of his country.

The borrowing of the culture of ornamental gardens from Italy went in two ways:

• they were studied and copied by French visitors to Italy,
• The (still modest) gardens behind the layout were offered by Italians invited to work in France. Thus, decorative gardens with a regular layout were proposed in his own publications by Sebastiano Serlio, a Bolognese architect and theorist invited to work at Fontainebleau.

A large baroque garden also appeared at the royal castle of Blois. The medieval, intricate layout of the buildings did not allow the creation of a symmetrical, axial structure of the ensemble. Therefore, the regular park of the Blois castle is located on the side and has both symmetrical and asymmetrical areas. The original state of the Baroque garden in Blois was recorded by Andre Ducerseau around 1575.

Sebastiano Serlio. Decorative garden at the Château d'Ancy-le-Franc, around 1579

Ane Castle and Garden

Jacques Rigaud engraving c. 1675, regular park in Blois in the 16th century.

Castle and regular park in Blois ca. 1575

Baroque garden of French type, 17th century

A French baroque garden has all the features of an Italian baroque garden. This includes the use of terraces, parterres, and water resources. But French gardens were laid out on small hills, and the terraces were not as high as in Italy. In France, they loved parterres and came up with several varieties of them: dry parterre, water parterre, parterre with sculpture, parterre with arabesques (complex patterns). Nature was actively conquered by geometric shapes (cutting bushes into a cone, ball, wall), stakes in the form of mirrors, river beds in the form of straight canals, etc. All this is subordinated to the main dominant feature of the garden - the palace of a nobleman or king. It was in France in the 17th century. A type of garden and park ensemble was completed and was called a French-type garden. The creator of the French-type garden was the brilliant gardener Andre Le Nôtre (1613-1700). This type of garden spread from Great Britain to Russia.

The first perfect example of a French-type garden in France was the garden of the castle of Vaux-le-Vicomte. Its grandiose continuation with exaggeration and gigantomania was Versailles.

Dutch Baroque Gardens

Dutch Baroque gardens followed a lot from the Renaissance. While remaining within the Baroque style, the gardens of Holland had significant national characteristics and did not lose their Renaissance intimacy, small size and purpose for leisure of the family and its loved ones. In the middle of the 16th century, diplomat Busbeck brought tulips to Germany from Turkey. Residents of the city of Augsburg have already admired 1,559 new flowers. The flower quickly spread throughout Western Europe, and in Holland it gained epidemic control and unprecedented popularity. They were cultivated by both boots and aristocrats, as well as peasants, fishermen and even mercenaries. A specialized tulip exchange arose here, where the sale of rare varieties caused a stir as for the sale of exotics. Botanists and hobbyists were actively involved in breeding new varieties. When a gardener received a tulip of an unusual dark purple (almost black) color, a celebration was held in the city of Haarlem (Netherlands). The new tulip was carried in a triumphal procession, and the Prince of Orange greeted the gardener and gave him 100,000 guilders as a reward. (Comparison: Rembrandt’s four-story house in Amsterdam cost 13,000, but it was sold for 11,000 guilders).

Against the mass background of small private gardens with a regular layout, luxurious gardening ensembles of the rich and a handful of Dutch aristocrats stood out. These gardens occupied a significant area and were guided by famous French examples - but without their gigantomania. These samples included parterres (water, network), sculptures, and fountains, but their number was limited. The palace occupied the geometric center of the site and the central axis of the site passed through it, if the French garden was taken as a model. But a national feature was often the asymmetry in the location of the owner’s premises, its lateral location, and the garden had additional areas where, in addition to flowers, fragrant herbs, vegetables, and fruit trees were grown. In the sleeping area, green rooms were set up, each with its own contents (fragrant herbs, a fountain, berry bushes, fruit trees). The central alley was not wide, although it combined the offices well with each other. Small areas of parterres were ceremonial; the Dutch garden did not pursue ostentation, but preferred privacy.

Served privacy and exactly the layout. The three-beam layout at Versailles was intended to reveal a broad perspective on the royal palace, conquering the garden. The diagonal alleys of Dutch gardens, on the contrary, were arranged away from the estate and often did not reveal prospects for the construction. Only unique noble houses in Holland followed the French models, remaining rather exceptions or variants with foreign influences.

Dutch gardens quickly became subjects for paintings. Numerous garden-themed engravings were created by Hans Vredeman de Vries and his son. Method Dutch gardeners was widespread in the northern countries of Europe, influencing the ornamental gardening of East Anglia, Denmark, Sweden, the Baltic states, and subsequently Muscovy. Andre Mollet wrote a treatise on gardening (The Garden of Delights) for Queen Christina of Sweden, based on Dutch experience. The regular park (Summer Garden (St. Petersburg)), which was planned in the new capital by order of Peter I, was laid out precisely according to Dutch models, which the tsar loved so much. His first gardener, Jan Roosen, was also Dutch.

Palace Heis ten Bosch, plan of the ensemble.

Het Loo Palace and Garden.

Palace and garden Heis ten Neuburg

Networked garden parterre in Het Loo.

Baroque garden in England

The spread of Baroque gardens in England had its own characteristics. Firstly, it was a magnificent amusement for rich landowners and the royal family, because it required the allocation of significant plots of land for parterres and parts of regular parks. Secondly, Baroque was not popular in England, which had a very limited lifespan, especially in British architecture and British ornamental horticulture. Thirdly, Baroque gardening in Great Britain had two origins - the Baroque gardens of Catholic France and the Baroque gardens of Protestant Holland.

The experience of the Baroque gardeners of Catholic France could not be ignored due to its extraordinary achievements and rapid development, which influenced the gardening of several European and American countries. And the famous French park designer Andre Le Nôtre even received orders to create several gardens in the UK, which is how the matter quietly ended. Closer to the tastes of English aristocrats were the restrained baroque gardens of Protestant Holland, the influence of which intensified during the reign of King William of Orange, a Dutchman by birth. Serpentines of paths and labyrinths, which had a strong tradition since the British Middle Ages, which were generally quite influential on the conservative tastes of the conservative English people, became widespread in Baroque gardens in England. Both labyrinths and serpentine paths were useful because on a limited plot of land they provided the opportunity to walk for as long as desired. Even the short period of Baroque gardening was reflected in the creation of several local publications with proposals for the layout of labyrinths and various serpentines.

But the fashion for baroque gardens in England was rapidly advancing, because from the early to mid-18th century. The British seized the artistic initiative from the French and proposed their own model of a garden - the English garden or landscape park. In bourgeois England this did not require an army of gardeners and too expensive materials for the construction of park pavilions. Here they learned early to count money, even spent on popular gardens. Therefore, gardening publications like Betty Langley 1726 were late and quickly became an anachronism and quickly faded into history. In Britain, the tendency to destroy and destroy Baroque gardens, renovating them into cheap landscape gardens, quickly gained momentum. A relatively small proportion of Baroque gardens were preserved, mainly in large estates or at royal castles as a sign of prestige and luxury. An even smaller part of the Baroque gardens was restored according to historical plans in the 20th century.

Regular park at Longleat House.

Hampton Court, formal garden.

Regular park at Hampton Court.

John Vanbrugh, Castle Howard, project.

Baroque rhythms and arrhythmia of landscape gardens

Baroque gardens differed from landscape gardens in both their ideological orientation and their vividly reproduced rhythm. The rhythm was set by trimmed plants, individual decorative sculptures or vases, and depressions in the wall-clipped bushes. Rhythm was inherent both in the large regular garden of the monarch and in the small plot of land near the garden pavilion. An individual rhythm was set already when creating drawings of the future garden.

Alley in Schönbrunn, Austria. Gorshkov culture

Regular park Belvedere. An artificial cascade with the rhythm of corner sculptures and terraces of the cascade. Vein.

Klausholm Palace, rhythm of plants behind the fountain. Germany

The rhythm of park pavilions in a living plant fence in Schönbrunn, Austria.

Berceau rhythm, galleries with plants. Summer Garden (St. Petersburg)

A regular park demonstrated the subordination of nature to a rich and influential monarch or nobleman; it was an actual continuation of luxurious halls, only in the open air, with living plants and few practical functions. After all, the monarch or nobleman received vegetables and fruits, flowers and medicinal plants from other, specialized areas. Symmetry, rhythm and geomentism dominated the Baroque garden, which involuntarily opposed wild nature. It was easy to spoil a regular park, leaving only a bunch of plants.

Monopolized by the aristocracy and Carol, the regular park became a wasteful enterprise with its own army of servants, like the great palace.

On the contrary, it was arrhythmia and copying of landscape elements that were inherent in landscape gardens and parks. The latter had a different ideological content - quiet walks, hints of the past, sum and memories. Laughter, active games and movements became unnecessary in such a garden and were crowded out on its margins. It is difficult to spoil such a garden, so plant trimming is not practiced. In such a garden they plant fruit trees and berry fields, quietly graze livestock or raise poultry in ponds, which is useful for economic reasons. Subsequently, it turned out that the landscape park calmly served the great owner no worse than a geometrized regular park, but without an army of gardeners, without signs of conquering nature and an extra pile of money for its maintenance.

Late Baroque gardens

Late Baroque gardens can be seen using examples from Russian Empire. The attraction to examples of Western European culture and Western European Baroque occurred at the end of the 17th century. The lack of local masters prompted the invitation of foreign masters.

At the first stage, the small baroque gardens of Holland served as models for the gardens of St. Petersburg, according to the samples of which even the large Summer Garden in St. Petersburg was planned. After visiting France and Versailles, Tsar Peter I turned to French-type gardens. Even a student of the brilliant Le Nôtre, Leblond, was invited to St. Petersburg. In a short period of work (three years), Leblon did not manage to implement any of his plans, but significantly raised the level of drawings and layouts of gardens in St. Petersburg. The late Baroque gardens in Russia themselves are a mixture of various finds from different countries.

Majestic examples of Baroque gardens in St. Petersburg were the Menshikov Palace park on Vasilyevsky Island (does not exist), the Lower Park in Oranienbaum (being restored), Peterhof (palace and park ensemble), the park in Strelna near the Konstantinovsky Palace (restored), and the gardens of Tsarskoe Selo.

An example of a Baroque garden in Moscow is the garden in Sheremetev’s Kuskovo estate, the largest among those that have survived (now an estate museum).

The oldest of the Baroque gardens in the Moscow region was created in the estate of the nobleman Jacob Bruce Glinka. The estate has been preserved and is used as a sanatorium. A regular garden with ponds, but without symmetry and destroyed park structures, requires restoration.

Among the best examples of regular gardens in the Moscow region is the garden of the estate of S. G. Chernyshev Yaropolets, which is in a ruined state, like the palace.

Summer Palace of Peter I and Summer Garden in St. Petersburg; 1 716, engraver O. Zubov

Menshikov's estate with the Ambassadorial Palace and park; 1715, engraver O. Zubov.

Country palace and park ensemble Kateringof; 1 716, engraver O. Zubov.

Late Baroque garden in Olesko

One of the examples of late Baroque gardens in Ukraine is the garden in the Capuchin monastery near Olesko Castle. The author of the monastery project is an architect from Podolia, Martin Dobravsky.

Construction continued in 1737-1739. The complex was presided over by a church. The mur, up to three meters high, surrounded the monastery courtyard, the basic plan of which resembled a three-nave, single-apse church, where there was a main altar and four chapels. Five stone chapels were built in place of the altars in the garden. Park paths were made along the axes of the monastery. The garden had clipped wallpaper, a parterre (garden), and two pools of water. The somewhat austere external forms of the monastery without lush decoration, wavy facades and columns were successfully complemented garden plants(including medicinal ones), fruit trees. In front of the facade of the church, the sculptor Leblanc installed three stone sculptures of saints, which have Rococo features. Clipped plants, sculptures on wavy pedestals and Rococo features in sculptures are signs of the late Baroque, more characteristic of a secular palace with a regular garden than a monastery.

The preserved layout of the garden, sculptures on baroque pedestals and the small size of the garden made it possible to restore the baroque garden and the opportunity to return it to a look close to the original. The complex of architectural structures of the monastery is used by the Lviv Art Gallery.

List of Baroque gardens in Ukraine

• Italian Park (Podgorica)
• Castle Garden (Zhovkva)
• Garden of the Capuchin Monastery (Olesko)
• Svyatoyursky Park (Garden of St. George's Cathedral, Lviv)
• regular park of the Vishnevetsky Castle within the bastions of the fortress (known from 18th century plans, redeveloped into a landscape park)
• Khomutets, estate of the Muravyov-Apostles

Garden at the Bishop's Palace and St. Yura, Lviv

Palace and park ensemble of the house-palace of Alexei Razumovsky, Kozelets.

Castle Garden, Zhovkva.

Regular park, Lyashki Nosovka

Lyashki Nosovka, theater in the park.

Nizhyn Gymnasium of Higher Sciences, by 1820 Regular garden of the transitional period.

Unjust condemnation of Baroque gardens

Theorists of landscape gardening later talked a lot about the anti-feudal, rather than monarchical, essence of a landscape park. Active, often aggressive planning geometry and active interference in the development and growth of bushes and trees were blamed on Baroque gardens. It was completely forgotten that the regular park was monopolized by royalty in 17th century France. It was from France that the fashion for conquering nature in the garden came - for the king, the nobleman, and man in general. But a regular park arose in Italy at a time when the institution of absolutism, personified in the office of the king, was established. Therefore, the regular park was not guilty of crimes of royal (absolute) power.

Part of the savior of small gardens with a regular layout was even Humphrey Repton (1752-1818), better known as the theorist and practitioner of landscape gardening in England. On the palazzo territory, Humphrey Repton left a terrace, balustrades, flower beds, and a regular layout - signs of Baroque in the landscape environment of an English park. Elements of a regular layout without the gigantomania of Versailles took pride of place in modern times in the development of parks near sports areas in the 20th century.

The spirit of anti-feudal freedom of English gardens was extended only to the planning of gardens and the refusal to trim trees. From the first years of its existence, the English garden began to serve the absolute power in the same Britain of the 18th century as actively as the French park in Versailles of the 17th. The vicious circle has closed.

But this was carefully ignored neither in liberal Britain, nor in royal France, nor in the Russian Empire, nor in the German principalities and the like.

Ministry of Education and Science of Ukraine

Kharkov State Technical University of Construction and Architecture

Abstract on the topic: Regular garden

Specialty: Landscape architecture

Completed st.gr. A-58

Bagrova Anna

Kharkov 2010

Plan

1. General definition of regular park and main historical examples

2. Description of Versailles Park, its features and construction concept

3. Modern regular garden: techniques, design

5. Topiary plants suitable for creating a regular garden

6. Hedge

7. Sources

1.Regular park

A regular park (or garden; also French or geometric park; sometimes also “garden in a regular style”) is a park that has a geometrically regular layout, usually with pronounced symmetry and regularity of composition. It is characterized by straight alleys, which are axes of symmetry, flower beds, parterres and pools of regular shape, pruning of trees and shrubs giving the plantings a variety of geometric shapes.

The passion for laying out regular parks reached its highest peak in France during the Baroque era (XVII-XVIII centuries); the basic principles of organizing regular parks were developed by Andre Le Nôtre and his school. The fashion for them was quickly adopted in other European countries; hence the common name for regular gardens as “French”. However, it is historically inaccurate - regular gardens originated in Italy during the Renaissance, and reached their greatest sophistication in England in the 19th century, where pruning of plantings in complex and exotic forms began to be practiced (in the form of animals, birds, mushrooms, spirals, etc.; see Topiar).

Regular gardens and parks are very common in palaces and castles; as a rule, they are an important part of palace and park ensembles.

Villandry Castle is partially surrounded by a canal, and its territory is planted with gardens located on 3 levels. As Francis I's ambassador to Italy, Breton became acquainted with gardens depicted by famous Italian Renaissance artists. They harmonized perfectly with the architectural complexes in which they were located. Having appeared in France, they contributed to the disappearance of stone fences from gardens. The spacious alleys were bordered by flowering flower beds, the contours of which were outlined by hedges of trimmed bushes. The Villandry Gardens are a striking example of French park art. They are located on three levels, rising one above the other. The upper level is a water mirror. The middle terrace is located on the same level as the halls of the first floor, while the lower terrace is occupied by a stylized vegetable garden. The upper terrace is planted with fruit trees and dotted with paths winding between them. The decorative garden of the middle terrace represents the “Gardens of Love”: 4 large squares of boxwood, depicting allegories of love. The northwest massif, in the shape of smitten hearts, represents passionate love; the northeast, with a predominance of yellow, symbolizes infidelity; in the southwest, an array of hearts separated by tongues of fire depicts tender feelings; the southeastern massif, with sword points and the red color of blood, represents tragic love. At the edge of the terrace, three large diamond-shaped masses depict the Languedoc, Maltese and Basque crosses. On the other side of the moat there is a decorative vegetable garden, from which there is a view of the village with the bell tower of the Romanesque church towering nearby. This is a special part of the ensemble of gardens, made in the form of multi-colored flower beds planted with vegetables and fruit trees. This type of garden arrangement is historically determined. In the 16th century, botanical gardens were created in which specimens of plants brought from America and unknown in Europe until that time were planted. It is to this tradition that the construction of the Villandry gardens belongs, which were restored at the beginning of the 20th century thanks to Dr. Joaquim Carvalho. In square flower beds you can see cabbage, carrots, beets, lettuce, as well as apple and pear trees. Fountains, originally intended for watering, complete this landscape.

Plan of Versailles Park near Paris

The regular park of the Palace of Versailles is one of the largest and most significant in Europe. It consists of many terraces, which decrease as they move away from the palace. Flower beds, lawns, a greenhouse, swimming pools, fountains, as well as numerous sculptures are a continuation of the palace architecture. The park of Versailles also contains several small palace-like structures.

2.Description of Versailles Park, its features and construction concept

I considered it necessary to describe in more detail one of the most beautiful examples of a park in the regular style - the Versailles Park, the concept of the park is closely related to the emergence and development of classicism, as well as the system of government in France - the monarchy, landscape architecture in in this case supports the idea of ​​absolutism.

Manifestation of French absolutism in the ensemble project. Classicism

The Versailles ensemble is a highly characteristic and striking work of French classicism of the 17th century. The history of the park and palace is closely connected with the development of absolutism.

The construction of Versailles was conceived and carried out in the second half of the 17th century, when absolutism reached the highest level of its power. The last years of the reign of Louis XIV, the years of the crisis of absolutism and the beginning of its decline, are also the period of the crisis of Versailles.

Versailles, as the main residence of the king, was supposed to exalt and glorify the boundless power of French absolutism. However, this does not exhaust the content of the ideological and artistic concept of the Versailles ensemble, as well as its outstanding significance in the history of world architecture. Shackled by official regulations, forced to submit to the despotic demands of the king and his entourage, the builders of Versailles - a huge army of architects, artists, masters of applied and landscape art - managed to embody in it the enormous creative forces of the French people.

The peculiarities of constructing the ensemble as a strictly ordered centralized system based on the absolute compositional dominance of the palace over everything around it are determined by its general ideological concept. Three wide straight radial avenues of the city converge on the Palace of Versailles, located on a high terrace, forming a trident. Middle Avenue continues on the other side of the palace in the form of the main alley of a huge park.

Perpendicular to this main compositional axis of the city and the park is located the palace building, which is very elongated in width. The middle trident avenue leads to Paris, the other two lead to the royal palaces of Saint-Cloud and So, as if connecting the king’s main country residence with various regions of the country.

Architecture of the Facades The architecture of the palace, created by Hardouin-Mansart, especially from the park side, is distinguished by great stylistic unity. Strongly stretched in breadth, the palace building fits well with the strict, geometrically correct layout of the park and the natural environment. The composition of the facade clearly highlights the second, front floor with large-scale arched window openings and orders of columns and pilasters between them, strict in proportions and details, resting on a heavy rusticated plinth. The heavy attic floor crowning the building gives the palace a monumental and representative appearance.

In contrast to the architecture of the palace facades, which are somewhat baroque representative, as well as the interiors, which are overloaded with decorations and gilding, the layout of the Versailles Park, which is the most outstanding example of a French regular park, made by Andre Le Nôtre, is distinguished by its amazing purity and harmony of forms. In the layout of the park and the forms of its “green architecture,” Le Nôtre is the most consistent exponent of the aesthetic ideal of classicism. He saw the natural environment as an object of intelligent human activity. Le Nôtre transforms the natural landscape into an impeccably clear, complete architectural system based on the idea of ​​rationality and order.

General form It opens onto the park from the side of the palace. From the main terrace, a wide staircase leads along the main axis of the ensemble composition to the Latona Fountain, then the Royal Alley, bordered by trimmed trees, leads to the Apollo Fountain with a vast oval pool.

The composition of the Royal Alley ends with the huge water surface of the cross-shaped canal stretching far to the horizon and the perspectives of the alleys, framed by topiary trees and bosquets, either converging towards the main ray or diverging from it. Le Nôtre gave the park a west-east orientation, making it seem especially magnificent and radiant in the rays of the rising sun, reflected in the large canal and pools.

In organic unity with the layout of the park and the architectural appearance of the palace is the rich and varied sculptural decoration of the park.

The park sculpture of Versailles actively participates in the formation of the ensemble. Sculptural groups, statues, herms and vases with reliefs, many of which were created by outstanding sculptors of their time, close the vistas of green streets, frame squares and alleys, and form complex and beautiful combinations with a variety of fountains and pools.

The Park of Versailles, with its clearly defined architectural structure, richness and variety of forms of marble and bronze sculptures, foliage of trees, fountains, pools, geometrically clear lines of alleys and shapes of lawns, flower beds, bosquets, resembles a large “green city” with enfilades of various squares and streets . These “green enfilades” are perceived as a natural continuation and outward development of the internal space of the palace itself.

The architectural ensemble of Versailles was complemented by the building of the Grand Trianon (1687 - 1688), an intimate royal residence, built in the park according to the design of Hardouin-Mansart. The peculiarity of this small, but monumental in appearance, one-story structure is its free asymmetrical composition; formal living rooms, galleries and living spaces are grouped around small landscaped courtyards with fountains. The central entrance part of the Trianon is configured as a deep loggia with paired columns of the Ionic order supporting the ceiling.

Both the palace and especially the park of Versailles, with its wide promenades, abundance of water, easy visibility and spatial scope, served as a kind of magnificent “stage area” for the most diverse, unusually colorful and magnificent spectacles - fireworks, illuminations, balls, ballet divertissements, performances, masquerade processions, and the canals for strolls and festivities of the pleasure fleet. When Versailles was under construction and had not yet become the official center of the state, its “entertainment” function prevailed. In the spring of 1664, the young monarch, in honor of his favorite Louise de La Vallière, established a series of festivities under the romantic name “The Delights of the Enchanted Island.” In the beginning, there was still a lot of spontaneity and improvisation in these peculiar eight-day festivals, which included almost all types of arts. Over the years, the celebrations took on an increasingly grandiose character, reaching its apogee in the 1670s, when a new favorite reigned at Versailles - the wasteful and brilliant Marquise de Monttespan. In the stories of eyewitnesses, in many engravings, the fame of Versailles and its holidays spread to other European countries.

In the park of the Vaux-le-Vicomte castle, A. Le Nôtre is developing a variant of the axial organization of flat parterres, compositionally subordinate to the palace building, located perpendicular to the axis of the park. At Versailles, it is this idea of ​​a grandiose through axis that will receive ideological comprehension, permeating not only the entire ensemble, but also the entire space from horizon to horizon and thus setting the rules of absolute symmetrical organization for the entire universe. The barrier in the form of the king's palace located perpendicularly will become the only point of reference in this universal coordinate system (in the Vaux-le-Vicomte ensemble, this ideal logic was interfered with by the transversely located pool at the end of the garden).

Such remarkable elements of the Versailles Park, such as large gentle staircases, huge flat mirrors of swimming pools, terraces with statues, are already present in the Vaux-le-Vicomte Park, albeit on a smaller scale. In Versailles, the very increase in their scale will lead to a semantic change in their functions and imagery. Their abstract planes will become a sign of the absolute power of the mind that orders nature.

Le Nôtre was an adherent of the so-called classical style in park art. In this regard, he became a faithful follower of the traditions laid down by the Moley dynasty (Jacques, Claude and Andre Moley) - garden artists and at the same time theorists who formulated the basic principles of the French regular park. When creating the park ensemble of Versailles, Le Nôtre took into account their experience of working on the Tuileries and Fontainebleau parks, as well as the plans of Jacques Boisseau, the first planner of Versailles Park.

The general urban planning concept of the city of Versailles, based on the idea of ​​three avenues connecting the Palace of Versailles with Paris, Saint-Cloud and Sceaux, was borrowed by Le Nôtre from L. Bernini, who first applied the “trident” principle in the ensemble of streets converging on Piazza del Popolo (Rome) (2). This technique of likening the area of ​​a theatrical set with breakthroughs in perspective on the plane of spectacular decorations of building facades quickly gained popularity and became one of the characteristic techniques of Baroque architecture. In the Versailles ensemble, however, it received some new interpretation in the spirit of the classicist “cult of the unit” (A.L. Yastrebov). Subsequently, a similar urban planning technique was used in St. Petersburg.

In the classicist paradigm, which proceeds from the principle of the dominance of the general over the diversity of life, recognizes one God as the main axiom of the logical constructions of science, and postulates the existence of a single classical model in the field of art, the singularity of the king was quite naturally elevated to an absolute. This was incredibly clearly embodied in the plastic formula found by Zh.A. Mansart, who brought Le Nôtre's plan to its logical conclusion by installing an equestrian statue of Louis X IV at the vanishing point of the trident of roads - space itself, its main vectors, seem to flow out from under the feet of the absolute ruler of the world.

The construction expressed the ideas of a centralized monarchy that was progressive for its time, ending the feudal fragmentation of states and uniting France. Social restructuring was also associated with its economic development. These economic successes of France, an advanced country of the 17th century, were reflected in the very technique of building Versailles.

For example, the Mirror Gallery of the palace was not only an expression of the search for new spatial and lighting solutions, it was supposed to demonstrate the achievements of the French glass industry, its first victories over Venice. The three upper avenues are not only the completion of the palace perspective, but also a monument to road construction.

Finally, the fountains and pools of the Versailles Park should be recognized as a significant technical achievement of the era, as well as the digging of the famous Languedon Canal. The idea of ​​unity, order, and system is what French absolutism contrasted with the fragmentation of feudal princes.

In art forms this was signified: a sense of proportion, tectonic clarity, representativeness, overcoming the intimacy characteristic of French architecture of the 16th and early 17th centuries.

Interesting details of the Garden and Park Ensemble. In 1661, construction began on Versailles Park, which lasted almost 50 years and cost 200 million louis. the space was quite consistent with the royal scale (more than 8 thousand hectares). Louis XIV and his gardener, in full agreement with each other, were inspired by dreams of the future of the grandiose park, which contributed to the successful progress of the work.

And a lot had to be done: drain the entire area, replace the woodlands with bosquets surrounded by high, trimmed walls made of hornbeams, build a system of fountains and other water structures, and much, much more. By the way, all the symbolism of the park was supposed to glorify the Sun God Apollo, and therefore, allegorically, the Sun King Louis XIV. Therefore, the statues of Versailles reflect the four seasons and the elements of the four elements associated with the sun. The central composition is the fountain of Apollo. He swiftly rushes on a chariot accompanied by the trumpets of tritons in the direction of the palace. The second fountain, associated with Apollo's mother, Latona, is also located on the central axis of the palace. This multi-level pool illustrates the legend according to which an angry god turned the inhabitants of Lycia, who did not worship Latona, into frogs and lizards. Three more sculptural groups depicting the bathing of Apollo are located on the northern side of the palace. Besides, a large number of The vase bears symbolism associated with Helios. By the way, almost two generations of sculptors worked on the decoration of Versailles.

Le Nôtre very skillfully used a harmonious combination of straight and winding lines, various proportions and optical illusions. He, who certainly subordinated nature to art, shaped trees so that they took the correct conical, spherical or pyramidal shape, but did not allow any sculptures or images of animals. Andre created majestic effects and grandiose splendor in the greenery, worthy of the Sun King. Rare plants were imported from Normandy and Flanders.

The groves of Versailles were created by the so-called “quincons”, in which trees are placed in groups of 5. And the free, natural rural nature, no matter how beautiful it was, was not considered worthy of the Sun King and therefore was deliberately “hidden” so as not to “offend his gaze "

Le Nôtre treated flower beds very delicately, since flowers are not permanent. On the parterres, along with the boxwood pattern, he often used inert materials: colored sand, broken porcelain, glass bead mosaics. Real flowers were grown in greenhouses and displayed in flowerpots in the summer.

3.Modern regular garden: receptions, decoration . Garden geometry

Often interesting design suburban area is based on a combination of simple geometric shapes. The static and completeness of a circle, the dynamics and emotional tension of a triangle, the pure logic of right angles, the eternal principle of the golden ratio, the rules of perspective - all this helps to bring into the appearance modern garden special noble beauty.

A statue placed at a focal point visually increases the length of the path. Alley of clipped linden trees - a classic of a regular garden

The zigzag gravel path follows the broken lines of the cotoneaster hedge.

A low yew hedge, as well as screens made from various modern materials, are used to visually delimit the main areas of this garden.

IN middle lane Such an interesting effect can be achieved if a trimmed cotoneaster hedge is bordered with forest briar

In the design of this recreation area, partitions are made of wood, transparent and frosted glass goes well with hedges

In this way, you can design paths leading to utility rooms, or create narrow passages around the perimeter of the site

Plain hedges and low borders serve as a good backdrop for bright or more subdued compositions of perennials.

In the design of regular gardens, “game” compositions of stone and plant figures can be used.

The rectangle shape is universal and practical, as it fits into various compositional solutions. The layouts of the most famous regular gardens and green labyrinths were created on the basis of right angles

The principles of landscape organization, based on a geometrically correct layout (development of the composition along the central axis of the garden, dominance of straight lines) and mandatory pruning of trees and bushes, are called regular or French (French parc régulier). They arose in ancient times - in Egypt, Babylonia, Assyria, Persia, China, as well as in Ancient Rome. The Renaissance was marked by the flourishing of landscape gardening art. It was then that regular gardens appeared in many countries of Western Europe: Italy, France, England. Most of the most famous formal gardens (for example, Villa D'Este, Versailles or Hampton Court) are recognized as true masterpieces.

Regular motifs in landscape organization are extremely relevant today. They are ideal for the front area of ​​a suburban area, giving a respectable and strict sound to the driveway, main path and main facade of the house.

Perspective path

The authors of the famous gardens skillfully combined various techniques of park architecture, painting and sculpture. Today landscape designers successfully use this experience. One special technique is to enhance the effect of perspective. It allows you to emphasize the depth of space and the size of the garden. Even a short path, designed in a special way, can create the illusion of a long alley. To do this, it is enough to plant plants on both sides of it strictly in a straight line. Moreover, at the far end there should be lower specimens than at the beginning. Interestingly, this technique works the other way around - in cases where it is necessary to change the perception of too long alleys or disproportionately elongated transitions from one part of the garden to another. Then, at the far end of the path, larger plants are planted than at the beginning.

There is another way to emphasize the depth of perspective. Let's say, by placing at the end of the track (at the so-called focal point) an object whose scale is comparable to human height. In this case, it makes sense to turn to historical motives and choose a suitable decorative flowerpot, a classic fountain in the form of a bowl, or even a sculpture in an antique style. An object at the focal point attracts the eye and enhances the sense of depth in perspective.

Hedges

One of the simplest and at the same time effective options is a traditional trimmed hedge of a regular rectangular shape. In central Russia, brilliant cotoneaster, common barberry and Amur barberry are suitable for its formation. various varieties Thunberg barberry, blood-red and white turf, small-leaved elm. Depending on the shape and size of the plants, they can be used to create hedges different heights and density, in one or two rows. For example, proper care behind the white tree will allow you to get a green wall up to 3 m high in our climate zone. At the same time, Thunberg barberry - varieties "Kobold" and "Aureya" - can reach a maximum of 0.5-0.7 m.

As for maintenance, hedges need to be trimmed at least 2-3 times a season, as the bush outgrows a given height. The last time of the season the haircut is carried out in mid-August. Watering of hedges is planned depending on the relationship of plants to water. You can save time and effort if you use flat perforated hoses for watering. They are placed under the plants so that water falls directly onto the entire area of ​​the root system.

Green rooms and labyrinths

Another important principle for planning regular gardens is dividing the landscape into “green rooms” of different designs. Moreover, high hedges allow you to create not only separate “rooms”, but also entire labyrinths. By the way, in our time, when there are many relatively small areas and the question of the functional use of space is acute, this is very relevant.

Arrays of hedges will allow you to carefully separate from each other a strict front area, a corner with beds of strawberries or salad, and a place for secluded relaxation. Their shape can be very diverse, even images chess pieces or animals.

Vegetable borders

Low plant borders also came to us from classic regular gardens. They are formed from shrubs and perennial herbaceous species. Borders allow you to divide the area into functional zones and at the same time add some intrigue to its appearance (by analogy with theatrical scenery). This technique is often used by professional landscape designers.

In addition, you can combine hedges and picturesque borders of plants with different foliage textures and cutting methods. One of the interesting options is to play on the contrast between an evenly trimmed hedge and a curly, deliberately “disheveled” green area. For example, in front of a hedge of brilliant cotoneaster, you can plant a decorative border of Hosta Fortune white-edged. Against the background of white deer (variety "Elegantissima"), blood-red heuchera foliage contrasting in color and texture (variety "Purple Castle") will look quite impressive.

Decorative partitions

To create them you can use the most different materials: wooden planks connected in the form of a frame, rectangular structures made of stone, brick or even metal and glass. The most important thing is to plan the overall structure and size of the “garden rooms”. The experience of professionals suggests that you should treat this as a game with space. So, if you plan to separate some part of the garden (for example, a secluded recreation area), you can do this using a partition made of translucent materials (glass, plastic). Another option is a partially permeable design. This approach will help maintain balance between the garden as a whole and its individual parts.

Geometry in the garden

It is important that free communication is maintained between different areas of the garden. This is easy to achieve if only the outlines of geometric shapes, for example, right angles or parallel lines (location of walls), serve as boundaries. Decorative plant borders and hedges are not limited to just the role of improvised partitions, but can successfully act as a background for flower arrangements and individual bright accents (garden sculptures, fountains, decorative vases). As for the principles of designing a regular garden, they are primarily based on a combination of various geometric and abstract shapes, both on a plane and in three-dimensional space.

Cones. They can safely be classified as the most mysterious figures, bringing tension and dynamics, captivating the eye. Various variations on this theme resemble magic crystals or chess. If we go further, then for most of us this form is a hint of the Egyptian pyramids, a symbol of eternity and mystery.

Undoubtedly, use in landscape design pyramidal outlines gives the appearance of the site a very strong emotional sound. When creating a stylized regular garden, you have to choose from a huge variety of evergreen plants with the so-called pyramidal shape crowns These include, for example, yews, cypresses, junipers, thujas, spruces, and fir. The shape of their crown in some cases is of natural origin, while in others it is cut figuratively and subsequently maintained.

It is worth noting that plants with a pyramidal crown always dominate in compositions and attract attention. Therefore, it is especially important that they look neat and well-groomed. By the way, about the compositions. Green cones look impressive in combination with contrasting shapes (for example, spherical) or next to flat surfaces (lawns, pools or ponds, stone-paved paths or platforms).

Ball-shaped figures. No less impressive than cones are figures such as a ball and a hemisphere (and on a plane, a circle and an ellipse). They also belong to the characteristic elements of a regular garden. Moreover, one of their main advantages is that they help smooth out and soften its right angles and clear lines. You can implement similar ideas on your own site using plants with a natural or specially created spherical shape. Here it is better to choose western thuja "Globosum" and "Danika", Canadian spruce "Alberta Globe" or Thunberg barberry "Kobold". Design elements such as rounded outlines of lawns, paved areas and ponds are often used. Note that such figures are quite static - they do not tend to move, which means they are perceived as more stable and calm.

There are other techniques that play with this form. For example, with the help of rhythmically repeating (planted at regular intervals) spherical shrubs, you can create very impressive compositions in regular gardens. In particular, in this way it would be appropriate to emphasize the lines of individual paths or make accents at turning points.

Harmonious combinations

The basis of the layout of classical and modern formal gardens consists primarily of various combinations of straight lines, rectangles and squares. Thanks to the use of a right angle (this also applies to plants trimmed in the shape of a cube), a strong-willed, courageous element appears in the appearance of the site. On the contrary, rounded outlines smooth out the clear proportions of the garden and make its image softer and more feminine. A similar shape can be given to almost any element of the landscape: a lawn, a paved recreation area, an artificial pond. At the same time, the main task is to organically include them in the overall structure of the lines and figures of the garden. In addition, do not forget about the traditional trimmed rectangular hedges. With their help, it is easy to highlight the most important paths or alleys, divide the common area into functionally different zones, and hide part of the garden from prying eyes. And if you vary the width and height of such hedges, you can create interesting three-dimensional compositions - real works of garden art. The combination of these geometric shapes remains the most popular regular motif to this day.

4. Marking regular flower beds

The basic rule when laying out flower beds and edgings should be the following: do not overuse flower beds and place them too often. Flower plantings, be they flower beds, edgings or single specimens, are only good and attractive to the eye when they are located sparsely, standing out as spots on the bright green of the lawn. It's better to plant fewer plants, but selected with taste and exemplarily grown.
In the included drawings you can see how to reproduce various geometric figures, from which regular flower beds are made. For a better idea of ​​how to use techniques for drawing out planned patterns, it is better to divide the drawings made on paper into squares and, according to the selected scale, divide the surface of the area into squares. Using pegs different color or they mark out the main points at different heights, connecting them by eye to get drawings on the spot. You may need to mark more complex patterns of the correct geometry; this will be discussed below.

The figure shows how to draw a perpendicular line to a given straight line (constructing a right angle). A straight line AB is drawn on the ground, in the place where the perpendicular should be restored, a peg C is installed, from which on both sides they measure along an arbitrary equal line, these points are also marked with pegs DE. Taking these last two points as the centers of two circles, two arcs are described with a radius equal to DE so that they intersect. The intersection point F is connected to a straight line at point C. This line CF will be the original perpendicular (Fig. 1).

Rice. 1. How to restore the perpendicular

Another way. Having drawn line bc and marking the point from which a perpendicular should be lowered onto line bc (in this case, point a), taking it as the center, describe an arc of radius of such length as to intersect line bc at two points; the line de connecting the intersection points is divided in half, the midpoint between points d and e is marked with the letter f and, by connecting this last point with point a, the original perpendicular is obtained (Fig. 2).

Rice. 2. Construction of a perpendicular

Drawing parallel lines. To the drawn line AB, you need to draw a parallel line through point a. On line AB, mark some point d and connect it with a straight line to point a. On line ad, from point d, describe an arc of arbitrary radius df; Exactly the same radius fg describes a circle around point a as the center. On this circle, from point a, measure an arc equal in length to arc ef, and mark point h. By connecting this point with point a and continuing this straight line in both directions, we obtain a line parallel to de (Fig. 3).

Rice. 3. Drawing parallel lines

Drawing circles and ovals. A stake is driven into the center of the future circle; At one end of the marking thread, make a loop, such a size that it can be completely freely put on the stake. Having measured the length of the radius of the circle that needs to be described, make a second loop at the end into which a pointed stake is inserted, with which they trace the circle, being careful not to wrap the rope around the stakes.

Ovals are most easily obtained in the following way. Having outlined the position of the oval, determine the line av, which divided it in half along its length, and draw it on the ground. On this line, the extreme points of the oval are accurately measured, from which equal distances are measured to points c and d, called the foci of the oval. The closer these points are to the outer line of the oval, the more elongated the oval itself will be; in other words, by bringing points c and d closer and further away, we can get either a more rounded or more elongated oval. At points c and d, two pegs are driven in; the third peg is driven in at point e, which would be approximately at the outermost point of the oval line if this latter were divided in half along its width. A string is put on these three stakes, in the form of a triangle, which could rotate freely around all the stakes. Having taken out the peg e, use it to describe the oval line in the direction of the arrow, and the string should always be under tension (Fig. 4).

Plan of a garden combining landscape with regularity, from Batty Langely's book "New Principles of Gardening or the laying out and planning of parteres" (London, 1728)

Rice. 4. Drawing ovals

Drawing spiral lines is also not particularly difficult. A straight line hn is drawn along which the centers of the semicircles that make up the spiral should be located. Mark the point c and draw a semicircle em from it. Drive a peg at point e, take it as the center and draw a semicircle mf. Then again take point c as the center and describe a semicircle with radius cf. After this, the center is transferred to point e and a semicircle of radius en is described (Fig. 5).

Rice. 5. Drawing spiral lines

5.Topiary plants

Topiary (topiary) - decorative, figuredly trimmed trees and shrubs. To create topiary, upright evergreen shrubs or subshrubs with many small dense leaves or needles are used. Topiaries look very impressive and will always be the center of attention, whether they are growing in the garden or placed in planters, decorating a patio, entrance or terrace

History of topiary

Topiary has its origins in the gardens of the Roman Empire. In Pliny the Elder's massive work Natural History (the most valuable source of information about the culture, history and natural science of ancient Rome surviving from the 1st century), the credit for creating the first neatly trimmed tree is attributed to Caesar's courtier named Calvena. Topiary plants quickly became widespread in the atriums of Roman villas, where they were used to create bizarre landscapes of geometric shapes and animals. Gardeners responsible for creating such landscapes were called topiaries. With the expansion of the Roman Empire, the tradition of topiary spread throughout Europe.

In medieval European sources illustrating church life, there are often images of neatly trimmed plants and hedges of varying heights surrounding flower beds and vegetable gardens in monastery gardens. In the subsequent era of the Italian Renaissance, gardening and landscape art began to flourish. The sophisticated formal designs of the time sought to replicate in the garden the designs of domestic tapestries, rugs, prints, etc. Topiaries were an absolutely integral part of these designs and were widely used to create long promenades and labyrinths popular at the time, as tapeworms, and also in the form of endless hedges of different heights bordering a variety of flower beds and potagers ( decorative vegetable gardens). Examples of such gardens have been perfectly preserved and are still maintained in their original form (for example, Versailles and its numerous imitations, the gardens of the Hampton Court ensemble in England and others).

With the rise of classicism, the art of topiary began to fade and fell into complete decline by the middle of the 18th century. The English park style, for which topiary is a completely alien element, is coming into fashion, and the artistic trimming of trees and shrubs is disappearing from landscape practice for a whole century. It is curious that at this time in Britain topiary continued to be cultivated by “common people” in practical and natural cottage gardens, where they represented a rather unusual and striking decorative object among vegetables, fruit trees, aromatic herbs and simple “country” flowers.

At the beginning of the 20th century, pragmatic Americans made a simple but very useful invention. They came up with a curly woven wire frame that fits over the young plant. In this frame, the shrub grows and develops, and when young shoots begin to extend beyond the frame, trimming is done along its borders.

Nowadays, the art of topiary has become a classic of garden design and is no longer subject to the “fashionable” criterion. In modern informal garden designs, with their naturalness, asymmetry and slight clutter, topiaries add structure and add eye-catching contrast.

The most popular form of topiary at all times remains, undoubtedly, standard trees and saplings. In standard culture, not only plants are grown - traditional favorites for topiary, but also any subshrubs. Elegant standard trees are not at all easy to grow and require close attention for several years until they reach the desired state. This explains their high price in stores.

Evergreen boxwood (Buxus sempervirens) is an undemanding shrub that grows to 2m or more under suitable conditions. Grows well in both sun and partial shade. There are variegated forms (Variegata). Boxwood needs haircuts twice a year. In colder climate zones (zone 5 and further north) it needs light winter cover to maintain its decorative appearance. Be careful, the plant is poisonous!

Holly, or holly (Ilex spp.) - frost-resistant and slow-growing, hollies need to be trimmed no more than once a year (which can be both an advantage and a disadvantage of a plant for creating topiary). Additional benefits of holly: it tolerates partial shade and even full shade, there are especially beautiful shapes with colorful leaves, showy berries in red, black or yellow color, there are self-pollinating forms. The difficulties of the work include the fact that the plant is very prickly.

Yew (Taxus spp.) is a frost-resistant shrub with dense needles and round red berries that look great against a background of dark greenery. The most popular type used for creating hedges is the berry (T. baccata). There are forms with yellow needles. Yews are renowned for their longevity and hardiness: they can grow in full shade and tolerate transplanting well. The plant grows quite quickly, so it will require two trimmings per year. Be careful, many parts of the plant are extremely poisonous!

Privet (Ligustrum spp.). A fast-growing shrub that requires regular pruning - a couple of times per warm season. Most common in Europe b. oval-leaved (L. ovalifolium), called here Privet, in central Russia needs winter shelter when grown in open ground, because she may freeze. The most cold-resistant type of privet is b. common (L. vulgare).

Cotoneaster (Cotoneaster spp.) – There are both evergreen and deciduous species. Additional attractiveness to cotoneasters is given by the red berries that ripen in autumn, the shades that the leaves of deciduous cotoneasters acquire, as well as the growth characteristics of different species (there are almost recumbent, arched, upright, highly branched varieties), which can be used for interesting ideas. Many cotoneasters are frost-resistant, unpretentious, tolerate haircuts well and grow back quickly.

Barberry (Berberis spp) are evergreen or deciduous thorny shrubs. Many barberries are very decorative, especially in the fall, when their berries ripen and their leaves turn purple. Barberries are unpretentious, grow well and tolerate haircuts easily.

Laurel (Laurus nobilis) and other species are a popular plant for container topiary. Root system The laurel is located high in the soil, so care for the plant should be carried out carefully and it is advisable to use mulching.

6. Hedges

An integral part of a regular garden are hedges; their formation and creation is one of the most difficult gardens.

Hedges can be shaped or free-growing, evergreen or deciduous, single-species or combined, single-row or multi-row, prickly or soft. The choice of one type of fence or another depends on the tasks you set for yourself.

Evergreen hedges look quite strict and are an excellent backdrop for “solo plants” - floral or decorative foliage. In addition, an evergreen fence serves as a good sound insulator and will reliably protect your garden from prying eyes even in winter time. The disadvantages of such a fence include a relatively limited range of suitable plants that can grow in the climate of central Russia (arborvitae, spruce, common juniper, dwarf mountain pine), as well as the lack of seasonal dynamics (such a fence always looks the same).

In fairness, it is worth noting that deciduous hedge can also be opaque even in winter if composed of thorny bushes or correctly shaped densely branched rocks. To enhance the effect of opacity, a deciduous hedge can be decorated coniferous plants, for example, Cossack juniper or inserts from vines, which can quickly create dense or openwork walls without taking up much space. The list of plants for a deciduous hedge is quite large: acacias, chokeberries, barberries, euonymuses, hawthorns, elderberries, cherries, elms, turf, honeysuckle, willows, viburnum, bladderwort, lilac, currants, snowberry, spirea, chaenomeles, mock orange, etc.

Molded hedges are good for areas designed in a formal style, with many lawns, flower beds, paths and other garden features. They introduce clear lines into the landscape design structure, create perspective, give the site optical completeness, and allow you to change the spatial perception of the landscape. With age, such hedges become impenetrable and invisible, successfully performing a protective function. Such hedges are created from densely leafed trees and shrubs (both deciduous and coniferous), which are easy to trim, have a dense crown and relatively slow growth. They are compact in width and therefore ideal for small gardens. The choice of plants for them is quite large: these are different types of barberry, hawthorn, bladdercarp, brilliant cotoneaster, alpine currant, caragana tree (yellow acacia), European euonymus, common privet, western thuja and others. The alternation of two or three different species or decorative forms with contrasting foliage colors can give a hedge a special flavor.

When choosing a cutting shape (rectangular, triangular, trapezoidal, reverse trapezoidal, ovoid or curly), you should take into account the plants' light requirements. A rectangular haircut is only suitable for shade-tolerant species (for example, cotoneaster, hornbeam, elm); light-loving species will be unattractively exposed below. Trapezoidal (with a slope of the sides of at least 10 degrees) and triangular (with a slope of 60-80 degrees) are suitable for any shrubs, since enough light penetrates into the lower part of the fence. Round and curly haircuts are used less frequently, as they require more space and cutting skill. If the garden area is large enough, then forming a hedge will take a lot of effort. Perhaps it is for this reason that trimmed hedges are not so popular in our country.

Free-growing hedges look more natural in a garden designed in a natural style. They require significant space in the garden, because their width can range from 50 cm to 3 m. Most often, such hedges are created from species that do not respond well to pruning and have naturally compact crowns. They can include beautifully flowering and beautifully fruited shrubs that can transform the monotonous appearance of the “green wall” (rose hips, different types of spirea, Hungarian lilac, mock orange). This type of hedge is perfectly suitable for a person who does not want to burden himself with tedious trimming of plants. For such a hedge in central Russia, you can use different types of hawthorn, common elderberry, Maak and Tatarian honeysuckle, viburnum pride (the common one often suffers from the leaf beetle), as well as different types of bladdercarp and barberry, mountain ash and some other plants. If the fence is given a protective function, then it is made 2- or multi-row.

By height, hedges are divided into high, or living walls (over 2 meters), medium - actual hedges (1 - 2 meters) and low or borders (from 0.5 to 1 meter). High and medium-sized hedges are usually planted along the fence, while low-growing ones serve to visually separate different functional zones on the site (front part, vegetable garden, playground, flower garden, etc.).

Border hedges have a decorative value and usually consist of several shrubs or subshrubs, not exceeding the height of the bordered plants. For such hedges, not only shrubs are used - dwarf honeysuckle, dwarf mock orange, Thunberg barberry, meadowsweet and Van Hutta, Japanese spirea, Japanese quince, holly-leaved mahonia, cinquefoil bush, miniature roses, dwarf conifers, subshrub hyssop, but also herbaceous perennials - for example, bush or heather asters, hosts.

Actually, hedges have protective, sanitary, hygienic, architectural and artistic significance. Can be molded or free-growing. For molded ones, the best are shade-tolerant species with relatively slow growth, good branching and small leaves densely located on the shoots. For free-growing plants, plants that differ decorative features– beautifully flowering, beautifully fruiting, decorative deciduous, with brightly colored bark. In addition to shrubs - mock -ups, ordinary barbaris, turquoils, felt cherries, tattleness of the Tatar, brilliant canine, lilacs, rosehips, golden currants, white snowy, spirea and ordinary juniper, grassy perennials - Late chamomile, New English asters, as well as Zlaki - Migules - Migules - Migules - Physics , spartina.

Living walls protect from dust, wind, noise, and views. They are created from shade-tolerant species that tolerate shearing well, preferably slow-growing ones - hornbeam, hazel, small-leaved linden, small-leaved elm, pear, apple tree. You can also use prickly, blood-red and plum-leaved hawthorns, Ussuri pear, blood-red derain, basket willow, brittle and holly, oval-leaved serviceberry, Ginnala and Tatarian maples, Amur lilac, prickly plum, gray spruce, Canadian and common spruce, western thuja . For very high walls, species and decorative forms with a narrow conical, pyramidal, oval or other compact crown shape are used - pyramidal poplar, fastigiate forms of pedunculate oak and mountain ash, some maples, hawthorn.

According to the method of planting, hedges can be:

bottom row - from densely planted densely branched shrubs. They are usually planned along fences, paths or to delimit functional areas of the site.

double-row – most fully meeting architectural, artistic and protective requirements. They are composed of one or different plant species, usually in a two-level planting.

double-row – used most often near roads. The most labor-intensive and expensive, requiring large spaces. Plants are arranged in tiers: shorter ones are planted in the foreground, and taller ones are planted in the second and third (for example, turf, hazel, linden). It is promising to use hairy lilacs in the middle row, creating a barrier to dust and gases.

In multi-tiered hedges, a combination of contrastingly colored plants (light green and dark purple foliage, yellow-leaved species against the background of dark conifers, etc.) looks impressive. Moreover, it is quite appropriate to combine deciduous and coniferous species here. Trees planted in a row as a second or third tier also look natural in such hedges.

According to the complexity of the construction of fences, they are distinguished:

bottom-species - consisting of one type of plant planted in 1, 2, 3 rows.

combined - from 2-3 or more species, freely growing in a multi-tiered planting. Protective properties and decorative effect hedges are significantly enhanced in such hedges - with a combination of non-thorny forms with prickly ones, large-leaved with small-leaved ones, with light and dark foliage, with different leaf shapes, molded and unshaped (for example, trimmed privet bushes and untrimmed mock oranges; trimmed golden currants and untrimmed lilacs).

The most complex and beautiful are espalier hedges (cordons, palmettes, trellises), which are single-row plantings with shoots formed in the same plane. They can be created from willows, hawthorns and even fruiting apple or pear trees with a height of 1 m and above. To create a trellis, a support in the form of a lattice is installed, and plants are planted along it quite tightly (every 15-20 cm). After a year, they undergo a molding cut in the form of a wall. To create a completely opaque hedge, branches can be fused. In this case, rhombus-shaped weaves are formed from the shoots and tied at the points of contact, after first cutting off the bark. The branches grow together and after a few years you get a magnificent hedge of green diamonds that no longer needs support. Sometimes, to decorate terraces, patios, and open areas, mobile trellis fences (1.5-1.9 m high) are used, which are more convenient to move when installed on rollers. They are usually created from hornbeam, thuja, vines - clematis, girl's grapes, climbing roses, from apple trees, raspberries, blackberries or other fruit and berry crops.

A shady alley - a road or walking path lined with trees on both sides - will add special charm to a large, spacious garden. The alley can be single-row, double-row or multi-row, depending on the tasks of garden architecture, the size of the garden, and the width of the roads. It is usually created from large-sized planting material(birch, oak, linden, chestnut, spruce, pine, larch, rowan).

The most complex type of alleys are berso (bundage, curved roads) - alleys covered with intertwining trees. Birch trees and hornbeams are suitable for their creation, but linden trees are best. Trees planted on both sides of the path, as they grow, bend around special wire arched frames, forming a vaulted alley. The entrances and exits of berso are often decorated with arches, and gazebos are placed at the intersections.

Sources

www.ru.wikipedia.org

Based on materials from the magazine “GARDENS”, late 19th century

Article from www.countrysideliving.net

www.sadinfo.net.

Alpatov M. “Architecture and layout of Versailles Park” from the collection edited by A.I. Lebedev “Questions and Answers of Architecture”, 1935

Based on materials from the book by L.U. Uleyskaya "Hedges")

The history of the creation of various kinds of garden and park ensembles goes back far into the past. At all times, it was customary to decorate and plant landscaping, beautifying the area in accordance with one’s tastes.

However, the canons of gardening art were defined not so long ago, namely, in the middle of the 17th century. At this time, the first parks were created, called French regular parks. History says that the first French landscape park, which marked the beginning of its victorious march across Europe, was created for the Minister of Finance Fouquet during the construction of the castle of Vaux-le-Vicomte. Following this, at the direction of the Sun King Louis XIV, landscape architect André Le Nôtre built a masterpiece of world architecture - the country residence of the French kings, the Palace of Versailles, and a regular French landscape park was built on the territory in front of it. To this day, the park has been preserved and maintained in perfect order, despite the historical cataclysms of past centuries.

What distinguishes the French park style from others?

The main feature of a French park is its strict geometric, symmetrical layout, where there is a main line (perspective) located perpendicular to the facade of the building, relative to which the general layout of the park is built. The perspective is intersected by secondary alleys. In the center of the park, on the main axis, as a rule, there is a large reservoir with a fountain, which is a decoration and a prerequisite for the complete design of the park. On the water surface of the pools, visitors can watch decorative waterfowl that fit into the landscape in an original way.

In the park, in accordance with the layout, there are separate groups of trees and bushes, trimmed in accordance with the general idea of ​​​​building the park. A group of plants located close to each other and forming a single composition is called bosquets. Right in front residential building there are parterres - areas with low-growing ornamental bushes planted on them (closer to the house), as well as areas with lawn grass, forming intricate geometric shapes that look very picturesque, especially when viewed from above.

Trees are reduced to the same height, tree crowns to spherical, cone-shaped and other shapes. The taller rows of bushes are also given a wide variety of shapes. Often in parks you can see bushes and trees trimmed in the shape of birds, animals, fairy-tale figures, depending on the tastes of the gardeners who create these masterpieces. Overgrown trimmed bushes can form labyrinths, alleys, and can also frame individual areas of the park and be located along the perimeter.

French landscape parks are still popular today, being a true decoration of many modern cities.

To imagine a regular style garden, think of Peterhof, Versailles, the Royal Garden in Hanover and other similar landscape structures with clear, symmetrical lines and neat shapes, regular geometric lines and many gazebos. In a regular garden style, fountains and shady alleys are welcomed and all sorts of newfangled elements with extravagant design are rejected.

What is a regular style in landscape design and its photos

Regular style - order and sophistication, clarity and neatness of lines, beauty of a symmetrical pattern. The beauty of the landscape style is best admired in large parks, but it is also possible in a small garden. open plan. Much has been written about the contrast between landscape and regular styles in European landscape architecture. Now no one will see in a pruned tree a “slave with a golden chain” (Karamzin), a victory of reason over nature or a symbol of absolute monarchy; we will admire the correct geometry of the crown and the exquisite ornamentation of the parterre. We use elements of both styles in our gardens, trying to influence the nature that “belongs” to us in such a way as to turn it into a work of garden art.

Caring for a regular garden is not easy, but perhaps not much more difficult than caring for a landscaped or natural garden, although gardeners have different methods of work. In a regular garden, you need to trim hedges and trees, cut out fancy shapes, grow and plant annuals in parterres, pull out weeds, but if you don’t take care of mixborders or free-growing natural flower beds, they also quickly cease to create the impression for which they were planted. The feeling of wildness and neglect of a garden in a natural style is only an illusion; it requires special, but also careful, care; no garden can take care of itself, although in a regular garden the flaws in care are especially noticeable and immediately noticeable.

It’s good to imagine such a regular style in landscape design, the photos below will help:

Versailles is considered an example of a regular style in landscape design. Grandiose in scale, unsurpassed in its pompous beauty, it was worthy of a great ruler. Many crowned heads tried to create something similar; our famous Peterhof, a brilliant example of the regular style in Russia, was conceived as a magnificent work of garden art, not inferior to Versailles. One cannot help but admire its palaces, fountains, and the complex pattern of the parterres.

Attributes of a regular style in landscape design

What are the attributes of the regular style and its distinctive features? The design of such a garden is impossible without hedges of different heights and fancy topiary shapes created with the help of skillful pruning, and, of course, parterres. A yew hedge is impossible in St. Petersburg and Moscow; the role of the French boxwood in Russia is played by the linden tree, the “linden trellis.”

Another necessary attribute of a site in a regular style, its compositional center is a residential building. In some places it is a manor house, and in others it is a real palace. In front of it is the parterre - a flat, level part of the garden (from the French par terre - on the ground).

As you can see in the photo, in a regular style, all garden paths are straight, best form flower garden - rectangle. Most Russian estates had small formal gardens; a regular French parterre (front part) adjoined the house, which turned into an English landscape park. Maybe this is an image of a Russian garden?

Such a miracle garden in a regular landscape style was planted and grown in the village of Bogdanikha near the city of Ivanovo by Nikolai Pavlovich Dementyev. After completing the construction of the house, he planned to improve the 60 acres around it. Technical education accustomed to independent learning, he studied the literature on landscape design and decided to make a garden in a regular style. The house in the style of Russian manor classics pushed him to create a garden in this spirit.

To create a harmonious garden, you need to have knowledge, imagination and taste. Caring for it is an even more complex and time-consuming task, requiring daily work, knowledge, patience and, of course, love and talent. This garden can be admired in any weather; its appearance changes from season to season.