Milwaukee's Anthony Mitchell (1817-1887) became the wealthiest man in Wisconsin according to the census of…
I just finished reading a wonderful new book on the history of the American garden.
The book, Everything for the Garden, is not thick but is filled with many engrossing photos and illustrations.
The book is based on the collection of garden books, catalogues, and related ephemera in Historic New England’s Library and Archives. The time frame is the nineteenth into the early twentieth century.
Five excellent essays by prominent garden historians, writers, archivists, and designers make up the volume.
Garden historian Judith Tankard writes about our long dependence on the written word, especially garden books.
She says, “Even though today’s information is readily available on the Internet, the old-fashioned pleasures of thumbing through catalogues and how-to-publications still exist.” There is something that still attracts us to the printed word in the form of a garden book or garden magazine. We want to hold it in our hands.
Late nineteenth century catalogues from seed companies included vegetables depicted as humans in an effort to sell their seeds. That whimsical artwork is still fun to see.
Any history of the garden must of course include statuary. Here archivist Richard Nylander reminds the reader how different the gardener’s choice of such statuary can be, depending on the decade. He highlights three such garden ornaments.
The first garden accessory he mentions is the sculpture Bird Girl (1936) which also appeared on the cover of the 1994 book Midnight in the Garden of Good and Evil.
I found his second statue, that of St. Francis, one that I had never thought of but certainly one that I have seen in many gardens. Francis, after all, is now the patron saint of ecology with his love of animals and nature.
Finally, he reminds the reader of the ever-popular, ever-repulsive, Pink Flamingo craze from the 1950s. What fun.
The idea that the garden is subject to fashion and style appears over and over in the book as the writers discuss the time and place of a particular form of the American garden. For example, the Colonial Revival movement in the early twentieth century stimulated interest in old-fashioned flowers and gardens. It was an interpretation of what people thought the Colonial garden might have looked like.
Alan Emmet includes many images of period gardens like Hunnewell’s in Wellesley, Mass. and Celia Thaxter’s off the coast of New Hampshire. He admits the difficulty in preserving a garden. Emmet writes, “A garden is probably the most fragile, the most perishable form of art.”
The final essay by Virginia Lopez Begg presents an overview of the Garden Club movement in America. She spells out the importance of the movement for women. The movement also changed our views of horticulture and landscape design.
The book ends with a listing on the inside of the back cover of some of the many properties, with their fabulous gardens, that Historic New England manages. Now, as spring approaches, we need to visit these gardens and enjoy them once again in person.