History of creation various kinds landscape gardening ensembles are a thing of 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 mid-17th century 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 his 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. The park has survived to this day and is maintained 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 it is being built general layout parka. 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 prerequisite completeness of the park design. On the water surface of the pools, visitors can observe decorative waterfowl, which fit originally into the landscape.
In the park, in accordance with the layout, there are separate groups trees, bushes, trimmed according to general idea construction of the park. A group of plants located close to each other and forming a single composition is called bosquets. Directly in front of the residential building there are parterres - areas with low-growing plants planted on them. decorative bushes(closer to home), as well as sites 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.
Each stylistic direction in landscape design it has basic, unique features that cannot be confused with any others. Seeing, for example, regular geometric shapes in a garden or park, you can be sure that this is a garden in a regular style.
However, the geometricity of shapes is not the only criterion of regularity. What a real regular garden should be like, what are its typical features - let's look at it.
First, a little history
Regular park is also called geometric, formal and French. Well, geometric is understandable why, formal comes from the word form. And they call it French because it reached its highest popularity in France in the 17th-18th centuries (Baroque era). The most striking example is the beautiful park of Versailles, which was created by landscape architect Andre Le Nôtre for Louis XIV.
France has always been a trendsetter. If something becomes fashionable in France, it means that it will soon become fashionable throughout the world. This happened with regular gardens - other European countries quickly adopted the new style of landscape art.
This is where the name French Park came from. However, from a historical point of view it is incorrect. Because the regular trend was originally formed in Italy during the Renaissance.
What does the word regular mean?
In general, regularity is a synonym for orderliness, structure, and correctness. Most likely, the emergence of a regular style was facilitated by the eternal human desire to control nature, to subjugate it. And such parks are a unique way to realize your desire, to organize nature. After all, they have the opportunity to contrast the man-made with the natural, the geometric with the formless.
Typical signs of a formal direction
In a formal garden:
There are strict, straight lines
there is a main compositional axis
geometry is used in the creation of all compositions, including the garden layout
decorative and functional elements are arranged symmetrically
there is no variety of elements, many of them are repeated many times
the center of the garden is a building, a house
trees and shrubs are given a geometric or artistic shape
there are clear boundaries between the garden and its surrounding area
Mostly flat surfaces are used for layout, and with a more pronounced topography, the garden is designed in the form of terraces connected by stairs.
Essential elements
Throughout the history of development in the formal direction, a set of characteristic elements has been formed that are recommended when creating parks of this type. And every element of a regular park speaks of its man-made and artificial nature. Let's talk about them in more detail.
Parterre
This is a decorative planting ridge, often square shape(but can also be in the shape of a circle or oval), along the perimeter of which trimmed low-growing plants are planted. The ridge is filled with a patterned ornament of ornamental plants, gravel of various shades or flowers (parterre flower garden). The stalls are separated by sandy paths.
Lace parterre
The lace parterre differs from the usual one with a highly curly, twisted pattern. The pattern can be formed by trimmed yew or boxwood, or colored gravel or sand.
This is an ornamental flower garden, where plants specially selected for color and flowering time form a complex pattern. In its center there can be a fountain, a small sculpture or a flowerpot.
It is usually used as a background for parterre flower beds and tapeworms. However, the lawn can be independent decorative element. Then the grass seeds are planted in a clearly marked pattern. In this case, it may be framed in the form of a ribbon of colored gravel or a vegetable border.
This is an area where a small group of trees or shrubs that have been trimmed decoratively is planted. Such areas were artificial groves on a flat lawn or clearing. And if the trees were located along the perimeter, then such bosquets were called green cabinets.
Alley
This element is familiar to everyone and does not need any special introduction. This is a straight path, along the edges of which trees are planted.
A bush or tree that has been given a specific, often geometric, shape by pruning.
Hedges
This is an indispensable attribute of a regular garden. Hedges act not only as decorative elements, they also divide the territory into zones. They are often used to create labyrinths and borders.
Goose foot
This is the name for 3-5 paths or alleys that converge at one point, usually in the center of the composition.
Water
Garden ponds in a regular style can be round, oval, square, rectangular, with a clear coastline. IN coastal zone Plants are planted in rows. On large areas create cascades.
Sculpture
Sculptural compositions are used to animate the garden, as well as to enhance perspectives.
When creating a garden, it is not necessary to use all of the above elements. You can take some of them, those that are more suitable for a specific topography, the size of the territory, and create a decent composition. The main thing is to follow the rules of formal direction.
In city squares you can still see parks very similar to those that were created in Ancient Greece and in Ancient Rome. What is a regular garden, what are its features, and why did the architects of hoary antiquity observe all proportions with mathematical precision when laying out the garden?
- Axial symmetry, figures of regular shape and straight lines are clearly visible in such landscape composition.
- Boxwood, yew, and holly are evergreen plants that make the park attractive throughout the year.
- For flower beds, choose annuals whose flowering period is long. It is important that the lighting is uniform, otherwise asymmetry of growth and flowering will be observed.
- A pool or fountain is an indispensable attribute of a regular style. Its geometric shape can be different, but must be symmetrical. Vegetation is planted around the pond.
- Arches, pergolas and “green” hedges are used to zone space. Topiary figures are also appropriate in such a park.
- Since these gardens were originally created in the area around the castles and took up a lot of space, in a small summer cottage a regular park will not look very good.
- There is no such thing as too much luxury. Marble, bronze, and ceramics are used to create decorative elements. The Royal Garden is not a place to save money.
The main idea of the park: the desire to place all the elements in such a way that the lines and planes seem elegant and graceful
The very first regular park
The oldest known parks were created in Egypt; they were also built on the principle of a regular garden. The ancient Greeks reasoned very logically and rationally. Strict forms and precise calculation can be traced not only in their architecture, but also in gardening art. Order in everything - no contradictions or dynamics, only calm, classical forms.
There is an opinion that architecture is influenced by politics, history and philosophy. Classical architecture is perfect - nothing can be added to it, there is nothing superfluous in it. Classic is ideal.
For politicians, such a system was beneficial, because it promoted stability. Classicism became the official style of architecture of the empire of Catherine II and the monarchy of Louis XIV. Cold superiority and detachment from real problems - this is what the strict forms, precise calculation and absolute symmetry actually expressed.
A walk through such a garden can take a long time, with new views around every turn.
Symmetry and asymmetry
Proportionality and symmetry are the harmony between the individual parts of the whole structure. The ancient Greeks had no doubts about an object that did not have symmetry - it was considered imperfect and ugly. The concept of symmetry itself is broader; it is applied not only to figures, but also to phenomena and processes.
Asymmetry is disorder resulting from movement. We can say that symmetry is a state of rest, asymmetry is a state of movement. A moving system cannot be symmetrical. It follows from this that absolute symmetry is characteristic only of inanimate objects.
There was a whole “code of aesthetics for symmetrical installations.”
- Correct shapes enhance impressions.
- Each detail is presented in the most favorable light, it occupies exactly the place allotted to it, but does not stand out so much that the remaining elements are “lost” against its background.
Snowflake - an example of symmetry in nature
History of the creation of parks
During the Baroque era in France, parks were created at the palace of King Louis XIV, the design of which corresponded to the regular style. This is where the name “French regular garden” came from, although the fashion for such parks originated in Italy. English gardeners introduced their own innovations. They began to practice trimming bushes and trees complex shape. Bushes in the shape of birds, animals and geometric shapes now decorate parks all over the world.
The park at Versailles is a typical example that characterizes the regular style in landscape design. Solemn, pompous, majestic - this is exactly the kind of park that was supposed to serve as a walking place for kings and their nobles. André Le Nôtre was the gardener of Louis XIV who worked on the creation of parks in the regular style.
Parks were not built with the goal of unity with nature, but rather with the goal of subjugating it. The entire ensemble of Versailles (the park with the palace) is subordinated to the idea of autocracy. The alleys, which radiate from the center, symbolized the absolute power of the king. Russian regular gardens and parks arose thanks to Peter I, who saw an example of landscape gardening art at Versailles in 1717.
The gardens in Florence and Fiesole are also examples of landscape gardening art. Their features:
- symmetrical planting beds;
- fountains with cascades;
- labyrinths, grottoes, sculptures of mythological creatures.
The illusion of large spaces
The terrace that was built over the garden served convenient place for review. Flower beds, lawns, and shrub plantings were limited with borders or colored sand. All the trees were the same height, and the bushes were also trimmed. In the middle of the garden, as a rule, there was a residential building, and there were no trees next to it, only low bushes. Along the main axis of the composition, a pond was built or a lawn framed by trees was laid out. The main axis of the park was located opposite the central entrance, while it was always perpendicular to the facade of the house.
- A garden in a regular style was created like a building. So green lawns were called rooms, rows of bushes were called walls, cascading fountains were called stairs. Performances and fireworks, ballets and comedies were often staged here. In the 18th century, the fashion for landscape gardens came, and the role of architecture here ceased to be the main one.
- Graceful lace parterres in the shape of a square, circle, or oval were created right next to the house.
- The trees were trimmed so that the trees further away from the center of the garden seemed shorter. This perspective made the gardens appear larger than they actually were.
Topiary figures were first created in England
Some terms
- The ground floor is a part of the garden with lawns, ponds, and flower beds. All elements of the composition form one whole. The stalls are decorated with multi-colored sand. They have a particularly impressive view from the height of the building's windows.
- Bosquet is a group of trees that serves as a background.
- Topiar is a decoratively trimmed bush.
- Arabesques are a complex ornament made on a parterre made of short-cropped bushes.
- Akha ditch is a way to camouflage enclosing structures.
- “Crow's foot” is a pattern of 3 or 5 alleys emerging from one point.
Regular style tricks
Landscape architecture uses living Construction Materials, namely: plants, water, soil, stones.
Two gardens in the new style were created at the Château de Chenonceau - one in 1551 for Diane de Poitiers, and the second in 1560 for Catherine de Medici.
Despite the fact that the gardens of the French Renaissance were already significantly different in character and appearance from the gardens of the Middle Ages, they were still an architectural composition separate from the castle and, as a rule, were framed by a wall. There was no harmonious relationship between different parts of the garden and gardens were often built in inappropriate areas. land plots, which corresponded more to the goals of defending the castle than to the goals of creating beauty. Everything changed in the middle of the 17th century after the establishment of the first real French regular gardens.
Vaux-le-Vicomte
The first significant garden and park complex of the regular style appeared in France at the Vaux-le-Vicomte Palace. The construction of the estate by Nicolas Fouquet, superintendent of finances under King Louis XIV, began in 1656. Fouquet entrusted the design and construction of the castle to the architect Louis Leveau, the creation of sculptures for the park to the artist Charles Lebrun, and Andre Le Nôtre was entrusted with the arrangement of the gardens. For the first time in France, the gardens and the palace were conceived and executed as a single garden-architectural complex. From the steps of the palace there was a wonderful perspective 1500 meters in the distance, right up to the statue of Hercules of Farnese; In the park, parterres were built using evergreen shrubs in ornamental patterns, bordered with colored gravel, and the alleys were decorated with sculptures, ponds, fountains and elegantly made topiaries. “The symmetry arranged in Vaud is brought to a perfection and integrity that is rarely found in classical gardens. The palace is placed at the center of this demanding spatial organization, personifying strength and success."
Gardens of Versailles
Theorists and practitioners of French regular gardens
To a French composition regular garden Italian gardens of the Renaissance had a great influence, and its principles were consolidated by the middle of the 17th century. As a rule, a regular garden has the following typical features: 
Garden as a manifestation of architecture
The organizers of regular style gardens considered their work a kind of work of an architect, expanding the space of a building beyond its walls and arranging nature in accordance with the laws of geometry, optics and perspective. Gardens were created like buildings, with a suite of rooms through which the viewer passed, following a given route, with corridors and lobbies. In their drawings they used the terminology of architects; the sites were called halls, rooms and green theaters. The “walls” were made using trimmed bushes, and the “stairs” using water. There were on earth bedspreads or carpets of grass, decorated with plants, and trees formed curtains along the alleys. Like the architects who designed water supply systems for chateau buildings, landscape architects designed hydraulic systems to supply water to garden fountains and ponds. Large pools filled with water replaced mirrors, and jets of water from fountains replaced candelabra. IN bosquet "Zavod" gardens of Versailles, Andre Le Nôtre placed tables of white and red marble to serve food on. Flowing water in pools and fountains imitated the filling of jugs and crystal glasses. The dominance of architecture in gardens existed until the 18th century, when English landscape parks came to Europe, and romantic painting began to serve as a source of inspiration for the design of gardens instead of architecture.
Garden as a manifestation of theater
IN formal gardens staged plays, musical performances and fireworks displays were often staged. In 1664, Louis XIV staged a seven-day celebration in the renovated gardens of Versailles, with ceremonial passages, comedies, ballets and fireworks. In the gardens of Versailles there was a water theater decorated with fountains and statues of young gods (destroyed between 1770 and 1780). Full-size ships were built for cruises along the Grand Canal, and a dance hall was installed in the garden. open air, surrounded by trees; a water organ, a special labyrinth and a grotto were also built.
Perspective manipulation
Landscape architects, when creating regular parks, were not limited to simply observing the laws of geometry and perspective - already in the first published treatises on gardening, in the 17th century, they devoted entire sections to aspects of correcting or improving perspective, usually creating the illusion of increased distances. This was often achieved by gradually narrowing the alleys or bringing the rows of trees to one point. Trees were also trimmed in such a way that their height seemed smaller as they moved away from the center of the garden or from a residential building. All of these methods created a feeling of a longer perspective, and the size of the gardens seemed larger than they actually were.
Another trick of the French masters was the special aha ditch. This method was used to camouflage fences that crossed long alleys or vistas. In the place where the fence crossed the view panorama, they dug a wide and deep ditch with a vertical stone wall on one side. Also, the fence could be placed at the bottom of the ditch, and thus it was invisible to spectators.
As gardens became more elaborate and grandiose throughout the 17th century, they ceased to serve as decoration for a castle or palace. Using the example of the Chantilly chateau and the Saint-Germain Palace, one can see how the castle becomes a decorative element of the garden, which occupies a much larger area.
New technologies in regular parks
The emergence and development of French regular parks in the XVII and XVIII centuries made possible by the development of many new technologies. Firstly, this is the ability to move significant volumes of soil (fr. geoplasty). This skill comes from several technological developments that came into gardening from the military. Important role The appearance of artillery pieces and new mechanisms for conducting siege warfare played a role, since it became necessary for them to quickly dig trenches and erect walls and ground fortifications. As a result, baskets for carrying soil on the back, handcarts, carts and wagons were invented. These technologies were used by Andre Le Nôtre in the construction of multi-level terraces and in the large-scale digging of canals and pools.
Secondly, great importance had hydrology(fr. hydrology) - technology for supplying gardens with water for watering green spaces and for numerous fountains. These developments were not particularly successful in the Versailles domain, which was located on high ground; Even the construction of 221 pumps, the laying of a system of canals to raise water from the Seine and the construction of a giant pumping mechanism in Marly in 1681 did not make it possible to achieve the water pressure in the pipes necessary for the simultaneous operation of all the fountains of the Versailles Park. Plumbers They were placed along the entire route of the king’s walk, and their task was to turn on fountains in those areas of the park where the king approached.
Received significant development hydroplasia(fr. hydroplasie), technology for imparting fountain jets various forms. The shape of the jet depends on the water pressure and the shape of the tip. This technology made it possible to create new forms, including tulipe(tulip), double gerbe(double bun), Girandole(girandole), candelabre(chandelier), corbeille(bouquet), La Boule en l'air(ball in the air) and L'Evantail(fan). In those days, this art was closely intertwined with the art of fireworks, where they sought to achieve similar effects using fire rather than water. The play of fountains and fireworks were often accompanied by musical compositions and they symbolized how the human will tames and gives shape to natural phenomena (fire and water).
Also big step The science of plant cultivation has made progress in terms of the ability to grow plants from warmer climatic zones in northern Europe, protecting them indoors and exposing them to open areas in flower pots. The first greenhouse in France was built in the 16th century after orange trees appeared in France as a result of the Italian wars. The thickness of the walls in the Versailles greenhouse reached 5 meters, and double walls made it possible to maintain a temperature between 5 and 8 degrees in winter. Today it can accommodate 1,200 trees.
Trees, flowers and shades of regular parks
Decorative flowers were extremely rare in French gardens of the 17th century, and the range of their color shades was small: blue, pink, white and purple. More bright shades(yellow, red, orange) appeared only after 1730, when world achievements in the field of botany became available in Europe. Tulip bulbs and other exotic flowers came from Turkey and Holland. A very important decorative element in Versailles and other gardens was topiary, a tree or bush that was cut into a geometric or grotesque shape. Topiaries were placed in rows along the main axis of the garden, alternating them with vases and sculptures. At Versailles flower beds were built only in the Trianon and in the Northern parterre directly next to the palace (it is on the Northern parterre that the windows of the Great Royal Apartments face). Flowers were usually shipped from Provence, kept in pots and changed 3 or 4 times a year. The financial statements of Versailles for 1686 show that 20,050 yellow jonquil bulbs, 23,000 cyclamen and 1,700 lilies were used in the gardens.
Most of the trees at Versailles were moved from the forests; hornbeams, elms, lindens and beeches were used. Chestnuts brought from Turkey and acacia also grew there. Adults big trees dug up in the forests of Compiegne and Artois and re-landed at Versailles. Many trees died after transplantation and were replaced regularly.
The trees in the park were trimmed horizontally and aligned at the tops, giving them the desired geometric shape. It was only in the 18th century that trees were allowed to grow naturally.
The decline of French regular parks
André Le Nôtre died in 1700, but his ideas and his students prevailed in the landscape art of France throughout the reign of Louis XV. His nephew Dego created gardens in Bagnols (department of Seine-Saint-Denis) by order of the regent Philip II of Orleans (1717) and in Champ-sur-Marne (department of Seine-et-Marne), and another relative, Claude Dego's son-in-law, Garnier Diehl created gardens for the Marquise de Pompadour in Crecy (Eure et Loire department) in 1746 and at the Bellevue chateau (Hauts-de-Seine department) in 1748-1750. The main source of inspiration for the gardens continued to be architecture, not nature - it was the architect by profession Ange Jacques Gabriel who designed elements of the gardens in Versailles, Choisy (Val-de-Marne department) and Compiegne.
Still, over time regular parks slight deviations from strict laws geometry. Graceful lace parterres with their curls and reverse curves began to be replaced with lawn parterres, framed flower plantings, which were much easier to maintain. The circles became ovals, and the alleys radiated outwards in the shape of a sign X and figures in the form of an irregular octagon began to appear. Gardens began to be built on plots of land with a natural landscape, instead of leveling the surface, forming artificial terraces.
In the middle of the 18th century, the era of symmetrical regular parks due to the spread of new landscape parks organized by English aristocrats and large landowners, as well as due to the growing popularity chinese style , brought to France by Jesuit monks, a style that rejects symmetry in favor of nature and rural paintings. On many French estates, gardens directly adjacent to residential building tried to maintain the traditional regular style, but the rest of the park was arranged in accordance with the new style, which had different names - English park, English-Chinese, exotic And picturesque. This marked the end of the French period in France. regular park and the period of the landscape park began, the source of inspiration for which was not architecture, but painting, literature and philosophy.
Currently, new large-scale implementations of “regular parks” very rarely appear. An example of such a successful project is the regular park created by the famous French designer Jacques Garcia in his Norman estate Champ de Bataille (fr. Chateau du Champ de Bataille). This garden has an ascending perspective, with levels increasing as one moves away from the palace, similar to the gardens of the Spanish La Granja Palace. The final stage of the “ascent” along the main perspective of the garden is a large rectangular swimming pool. Like classic regular parks, the Champ de Bataille gardens have an important place for a system of symbols, which Jacques Garcia slightly modified by adding Masonic and allegorical motifs. The gardens of Champ de Bataille are distinguished by a wide range of plants used, some exotic, but they are not intrusively presented. This formal French garden clearly demonstrates how proportion and theatrics can dominate the minds of visitors, especially when the authors have carefully thought out the meaning of every small detail of the garden.
Chronology of the emergence of outstanding regular parks
Predecessors - parks in the style of the Italian Renaissance
- Chateau Villandry (1536, destroyed in the 19th century, restoration began in 1906)
- Chateau Fontainebleau (1522-1540)
- Château Chenonceau, gardens of Diane de Poitiers and Catherine de' Medici (1559-1570)
Gardens designed by André Le Nôtre
- Palace of Vaux-le-Vicomte (1658-1661)
- Gardens and park of Versailles (1662-1700)
- Palace of Chantilly (1663-1684)
- Palace of Fontainebleau (1645-1685)
- Palace of Saint-Cloud (1664-1665)
- Grand Canal in the park of Versailles (1668-1669)
- Saint-Germain Palace (1669-1673)
- Chateau Dampierre (1673-1783)
- Grand Trianon at Versailles (1687-1688)
- Chateau Clagny (1674-1680)
Gardens attributed to André Le Nôtre
Gardens of subsequent periods
- Chateau Breteuil (1730-1784)
Regular parks of the 19th-21st centuries
- Parc Magalon, in Marseille, by Edouard André, 1891.
- Nemours Mansion and Gardens - estate of Alfred Dupont, early 20th century.
- Galun Pavilion in Kyukuron, established in 2004.
- Gardens of the Château Champ de Bataille near the Norman town of Le Nebourg; estate of French designer Jacques Garcia.
Regular gardens outside French territory
- Peterhof Gardens, St. Petersburg, Russia (1714-1725)
- Summer Garden, St. Petersburg (1712-1725)
- Old garden in Tsarskoe Selo, Pushkin, Russia (1717-1720)
- Kuskovo Estate, Moscow, Russia (1750-1780)
- Blenheim Palace, UK (1705-1724)
- Herrenhausen Gardens, Hanover, Germany (1676-1680)
- Racconigi Castle, Italy (1755)
- Branicki Palace, Poland (1737-1771)
see also
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Notes
- Eric Mension-Rigau, Les jardins témoins de leur temps V Historia, n° 7/8, 2000
- Kurbatov V. Ya. General history of landscape art. Gardens and parks of the world. - M.: Eksmo, 2008. - ISBN 5-669-19502-2.
- Wenzler, Architecture du jardin, page 12
- Philippe Prevot, Histoire des jardins, page 107
- Prevot, Histoire des Jardins, page 114
- Bernard Jeannel Andre Le Nôtre, Éd. Hazan, page 17
- Prevot, History of the gardens, page 146
- Alain Baraton. Walks in the gardens of Versailles. - Artlys, 2010. - P. 11. - 80 p. - ISBN 978-2-85495-398-5.
- Prevot, History of Gardens, p. 152
- Lucia Impelluso, , page 64.
- See Harrap Dictionary, 1934 edition.
- Jacques Boyceau de La Barauderie, Traité du jardinage selon les raisons de la nature et de l’art, Paris, Michel Vanlochon, 1638.
- "Il est à souhaiter que les jardins soient regardés de haut en bas, soit depuis des bâtiments, soit depuis des terrasses rehaussées à l'entour des parterres", Olivier de Serres in Theater d'architecture ou Mesnage des champs, 1600, quoted by Bernard Jeannel, Le Notre, Éd. Hazan, page 26
- Claude Wenzler, Architecture du Jardin, page 22
- Wenzler, page 22.
- Wenzler page 24
- Jean-Marie Constant, Une nature domptée sur ordre du Roi Soleil in Historia, n° 7/8, 2000, p. 39
- L'art des jardins en Europe, page 234
- Philippe Prévôt, Histoire des jardins, page 167
- Philippe Prévôt, Histoire des jardins, page 155
- Philippe Prévôt, Histoire des jardins, page 156
- Philippe Prévôt, Histoire des jardins, page 164
- Philippe Prévôt, Histoire des jardins, page 166
- Philippe Prévôt, Histoire des jardins, page 165
- Wenzer, Architecture du jardin, page 27
- Wenzel, page 28.
- According to the chronology of Yves-Marie Allian, Janine Christiany, L'art des jardins in Europe, page 612
Literature
- Yves-Marie Allain and Janine Christiany, L'art des jardins en Europe, Citadelles et Mazenod, Paris, 2006
- Claude Wenzler, Architecture du Jardin, Editions Ouest-France, 2003
- Lucia Impelluso, Jardins, potagers et labyrinthes, Hazan, Paris, 2007.
- Philippe Prevot, Histoire des jardins, Editions Sud Ouest, 2006
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An excerpt characterizing the Regular Park
The princess quickly stood up to meet him and extended her hand.“Yes,” she said, peering into his changed face after he kissed her hand, “this is how you and I meet.” “He’s often talked about you lately,” she said, turning her eyes from Pierre to her companion with a shyness that struck Pierre for a moment.
“I was so glad to hear about your salvation.” This was the only good news we received for a long time. - Again, the princess looked back at her companion even more restlessly and wanted to say something; but Pierre interrupted her.
“You can imagine that I knew nothing about him,” he said. “I thought he was killed.” Everything I learned, I learned from others, through third hands. I only know that he ended up with the Rostovs... What a fate!
Pierre spoke quickly and animatedly. He looked once at the face of his companion, saw a carefully, affectionately curious gaze fixed on him, and, as often happens during a conversation, for some reason he felt that this companion in a black dress was a sweet, kind, nice creature who would not disturb him. intimate conversation with Princess Marya.
But when he said the last words about the Rostovs, the confusion in Princess Marya’s face was expressed even more strongly. She again ran her eyes from Pierre’s face to the face of the lady in a black dress and said:
– Don’t you recognize it?
Pierre looked again at the pale, thin face of his companion, with black eyes and a strange mouth. Something dear, long forgotten and more than sweet looked at him from those attentive eyes.
“But no, this can’t be,” he thought. – Is this a stern, thin and pale, aged face? It can't be her. This is just a memory of that.” But at this time Princess Marya said: “Natasha.” And the face, with attentive eyes, with difficulty, with effort, like a rusty door opening, smiled, and from this open door it suddenly smelled and doused Pierre with that long-forgotten happiness, which, especially now, he did not think about. It smelled, engulfed and swallowed him all up. When she smiled, there could no longer be any doubt: it was Natasha, and he loved her.
In the very first minute, Pierre involuntarily told both her, Princess Marya, and, most importantly, himself a secret unknown to him. He blushed joyfully and painfully. He wanted to hide his excitement. But the more he wanted to hide it, the clearer - clearer than the most certain words, - he told himself, and her, and Princess Marya that he loved her.
“No, it’s just out of surprise,” thought Pierre. But just as he wanted to continue the conversation he had begun with Princess Marya, he looked at Natasha again, and an even stronger blush covered his face, and an even stronger emotion of joy and fear gripped his soul. He got lost in his words and stopped mid-speech.
Pierre did not notice Natasha, because he did not expect to see her here, but he did not recognize her because the change that had happened in her since he had not seen her was enormous. She lost weight and became pale. But this was not what made her unrecognizable: she could not be recognized in the first minute when he entered, because on this face, in whose eyes before there had always shone a hidden smile of the joy of life, now, when he entered and looked at her for the first time, there was no there was a hint of a smile; there were only eyes, attentive, kind and sadly questioning.
Pierre's embarrassment did not affect Natasha with embarrassment, but only with pleasure, which subtly illuminated her entire face.
“She came to visit me,” said Princess Marya. – The Count and Countess will be there one of these days. The Countess is in a terrible situation. But Natasha herself needed to see the doctor. She was forcibly sent with me.
– Yes, is there a family without its own grief? - Pierre said, turning to Natasha. – You know that it was on the very day we were released. I saw him. What a lovely boy he was.
Natasha looked at him, and in response to his words, her eyes only opened more and lit up.
– What can you say or think for consolation? - said Pierre. - Nothing. Why did such a glorious one die? full of life boy?
“Yes, in our time it would be difficult to live without faith...” said Princess Marya.
- Yes Yes. “This is the true truth,” Pierre hastily interrupted.
- From what? – Natasha asked, looking carefully into Pierre’s eyes.
- How why? - said Princess Marya. – One thought about what awaits there...
Natasha, without listening to Princess Marya, again looked questioningly at Pierre.
“And because,” Pierre continued, “only that person who believes that there is a God who controls us can endure such a loss as hers and ... yours,” said Pierre.
Natasha opened her mouth, wanting to say something, but suddenly stopped. Pierre hastened to turn away from her and turned again to Princess Marya with a question about the last days of his friend’s life. Pierre's embarrassment had now almost disappeared; but at the same time he felt that all his former freedom had disappeared. He felt that over his every word and action there was now a judge, a court that was dearer to him than the court of all people in the world. He spoke now and, along with his words, reflected on the impression that his words made on Natasha. He did not deliberately say anything that might please her; but, no matter what he said, he judged himself from her point of view.
Princess Marya reluctantly, as always happens, began to talk about the situation in which she found Prince Andrei. But Pierre's questions, his animatedly restless gaze, his face trembling with excitement little by little forced her to go into details that she was afraid to recreate for herself in her imagination.
“Yes, yes, so, so...” said Pierre, bending forward with his whole body over Princess Marya and eagerly listening to her story. - Yes Yes; so has he calmed down? softened? He always sought one thing with all the strength of his soul; be quite good that he could not be afraid of death. The shortcomings that were in him - if there were any - did not come from him. So has he relented? - said Pierre. “What a blessing that he met you,” he said to Natasha, suddenly turning to her and looking at her with eyes full of tears.
Natasha's face trembled. She frowned and lowered her eyes for a moment. She hesitated for a minute: to speak or not to speak?
“Yes, it was happiness,” she said in a quiet chesty voice, “for me it was probably happiness.” – She paused. “And he... he... he said that he wanted this, the minute I came to him...” Natasha’s voice broke off. She blushed, clasped her hands on her knees and suddenly, apparently making an effort on herself, raised her head and quickly began to say:
– We didn’t know anything when we drove from Moscow. I didn't dare ask about him. And suddenly Sonya told me that he was with us. I didn’t think anything, I couldn’t imagine what position he was in; I just needed to see him, to be with him,” she said, trembling and gasping for breath. And, not allowing herself to be interrupted, she told what she had never told anyone before: everything that she experienced in those three weeks of their journey and life in Yaroslavl.
Pierre listened to her with his mouth open and without taking his eyes off her, full of tears. Listening to her, he did not think about Prince Andrei, nor about death, nor about what she was telling. He listened to her and only pitied her for the suffering she was now experiencing as she spoke.
The princess, wincing from the desire to hold back her tears, sat next to Natasha and listened for the first time to the story of these last days love of his brother with Natasha.
This painful and joyful story was apparently necessary for Natasha.
She spoke, mixing the most insignificant details with the most intimate secrets, and it seemed that she could never finish. She repeated the same thing several times.
Behind the door, Desalles' voice was heard asking if Nikolushka could come in to say goodbye.
“Yes, that’s all, that’s all...” said Natasha. She quickly stood up just as Nikolushka was entering, and almost ran to the door, hit her head on the door covered with a curtain, and with a groan of either pain or sadness burst out of the room.
Pierre looked at the door through which she went out and did not understand why he was suddenly left alone in the whole world.
Princess Marya called him out of his absent-mindedness, drawing his attention to his nephew, who entered the room.
Nikolushka’s face, similar to his father, in the moment of spiritual softening in which Pierre was now, had such an effect on him that he, having kissed Nikolushka, hastily stood up and, taking out a handkerchief, went to the window. He wanted to say goodbye to Princess Marya, but she held him back.
– No, Natasha and I sometimes don’t sleep until three o’clock; please sit. I'll give you dinner. Go down; we'll be there now.
Before Pierre left, the princess said to him:
“This is the first time she spoke about him like that.”
Pierre was led into the large, illuminated dining room; a few minutes later steps were heard, and the princess and Natasha entered the room. Natasha was calm, although a stern, without a smile, expression was now again established on her face. Princess Marya, Natasha and Pierre equally experienced that feeling of awkwardness that usually follows the end of a serious and intimate conversation. It is impossible to continue the same conversation; It’s shameful to talk about trifles, but it’s unpleasant to remain silent, because you want to talk, but with this silence you seem to be pretending. They silently approached the table. The waiters pushed back and pulled up chairs. Pierre unfolded the cold napkin and, deciding to break the silence, looked at Natasha and Princess Marya. Both, obviously, at the same time decided to do the same: contentment with life and recognition that, in addition to grief, there are also joys, shone in their eyes.
- Do you drink vodka, Count? - said Princess Marya, and these words suddenly dispersed the shadows of the past.
“Tell me about yourself,” said Princess Marya. “They tell such incredible miracles about you.”
“Yes,” Pierre answered with his now familiar smile of gentle mockery. “They even tell me about such miracles as I have never seen in my dreams.” Marya Abramovna invited me to her place and kept telling me what had happened to me, or was about to happen. Stepan Stepanych also taught me how to tell things. In general, I noticed that being an interesting person is very peaceful (I now interesting person); they call me and they tell me.
Natasha smiled and wanted to say something.
“We were told,” Princess Marya interrupted her, “that you lost two million in Moscow.” Is this true?
“And I became three times richer,” said Pierre. Pierre, despite the fact that his wife’s debts and the need for buildings changed his affairs, continued to say that he had become three times richer.
“What I have undoubtedly won,” he said, “is freedom...” he began seriously; but decided against continuing, noticing that this was too selfish a subject of conversation.
-Are you building?
- Yes, Savelich orders.
– Tell me, did you not know about the death of the Countess when you stayed in Moscow? - said Princess Marya and immediately blushed, noticing that by making this question after his words that he was free, she ascribed to his words a meaning that they, perhaps, did not have.
“No,” answered Pierre, obviously not finding the interpretation that Princess Marya gave to his mention of her freedom awkward. “I learned this in Orel, and you can’t imagine how it struck me.” We were not exemplary spouses,” he said quickly, looking at Natasha and noticing in her face the curiosity about how he would respond to his wife. “But this death struck me terribly.” When two people quarrel, both are always to blame. And one’s own guilt suddenly becomes terribly heavy in front of a person who no longer exists. And then such death... without friends, without consolation. “I’m very, very sorry for her,” he finished and was pleased to notice the joyful approval on Natasha’s face.
“Yes, here you are again, a bachelor and a groom,” said Princess Marya.
Pierre suddenly blushed crimson and tried for a long time not to look at Natasha. When he decided to look at her, her face was cold, stern and even contemptuous, as it seemed to him.
– But did you really see and talk with Napoleon, as we were told? - said Princess Marya.
Pierre laughed.
- Never, never. It always seems to everyone that being a prisoner means being a guest of Napoleon. Not only have I not seen him, but I have also not heard of him. I was in much worse company.
Dinner ended, and Pierre, who at first refused to talk about his captivity, gradually became involved in this story.
- But is it true that you stayed to kill Napoleon? – Natasha asked him, smiling slightly. “I guessed it when we met you at the Sukharev Tower; remember?
Pierre admitted that it was true, and from this question, gradually guided by the questions of Princess Marya and especially Natasha, he became involved in detailed story about your adventures.
At first he spoke with that mocking, meek look that he now had at people and especially at himself; but then, when he came to the story of the horrors and suffering that he had seen, he, without noticing it, became carried away and began to speak with the restrained excitement of a person experiencing strong impressions in his memory.
Princess Marya looked at Pierre and Natasha with a gentle smile. In this whole story she saw only Pierre and his kindness. Natasha, leaning on her arm, with a constantly changing expression on her face, along with the story, watched, without looking away for a minute, Pierre, apparently experiencing with him what he was telling. Not only her look, but the exclamations and short questions she made showed Pierre that from what he was telling, she understood exactly what he wanted to convey. It was clear that she understood not only what he was saying, but also what he would like and could not express in words. Pierre told about his episode with the child and the woman for whose protection he was taken in the following way:
“It was a terrible sight, children were abandoned, some were on fire... In front of me they pulled out a child... women, from whom they pulled things off, tore out earrings...
Pierre blushed and hesitated.
“Then a patrol arrived, and all those who were not robbed, all the men were taken away. And me.
– You probably don’t tell everything; “You must have done something…” Natasha said and paused, “good.”
Pierre continued to talk further. When he talked about the execution, he wanted to avoid the terrible details; but Natasha demanded that he not miss anything.
Pierre started to talk about Karataev (he had already gotten up from the table and was walking around, Natasha was watching him with her eyes) and stopped.
- No, you cannot understand what I learned from this illiterate man - a fool.
“No, no, speak up,” said Natasha. - Where is he?
“He was killed almost in front of me.” - And Pierre began to tell the last time of their retreat, Karataev’s illness (his voice trembled incessantly) and his death.
Pierre told his adventures as he had never told them to anyone before, as he had never recalled them to himself. He now saw, as it were, a new meaning in everything that he had experienced. Now, when he was telling all this to Natasha, he was experiencing that rare pleasure that women give when listening to a man - not smart women who, while listening, try to either remember what they are told in order to enrich their minds and, on occasion, retell it or adapt what is being told to your own and quickly communicate your clever speeches, developed in your small mental economy; but the pleasure that real women give, gifted with the ability to select and absorb into themselves all the best that exists in the manifestations of a man. Natasha, without knowing it herself, was all attention: she did not miss a word, a hesitation in her voice, a glance, a twitch of a facial muscle, or a gesture from Pierre. On the fly she caught an unspoken word and brought it directly into her open heart, guessing secret meaning all Pierre's spiritual work.
Princess Marya understood the story, sympathized with it, but now she saw something else that absorbed all her attention; she saw the possibility of love and happiness between Natasha and Pierre. And for the first time this thought came to her, filling her soul with joy.
It was three o'clock in the morning. Waiters with sad and stern faces came to change the candles, but no one noticed them.
Pierre finished his story. Natasha, with sparkling, animated eyes, continued to look persistently and attentively at Pierre, as if wanting to understand something else that he might not have expressed. Pierre, in bashful and happy embarrassment, occasionally glanced at her and thought of what to say now in order to shift the conversation to another subject. Princess Marya was silent. It didn’t occur to anyone that it was three o’clock in the morning and that it was time to sleep.
“They say: misfortune, suffering,” said Pierre. - Yes, if they told me now, this minute: do you want to remain what you were before captivity, or go through all this first? For God's sake, once again captivity and horse meat. We think how we will be thrown out of our usual path, that everything is lost; and here something new and good is just beginning. As long as there is life, there is happiness. There is a lot, a lot ahead. “I’m telling you this,” he said, turning to Natasha.
“Yes, yes,” she said, answering something completely different, “and I would like nothing more than to go through everything all over again.”
Pierre looked at her carefully.
“Yes, and nothing more,” Natasha confirmed.
“It’s not true, it’s not true,” Pierre shouted. – It’s not my fault that I’m alive and want to live; and you too.
Suddenly Natasha dropped her head into her hands and began to cry.
- What are you doing, Natasha? - said Princess Marya.
- Nothing, nothing. “She smiled through her tears at Pierre. - Goodbye, time to sleep.
Pierre stood up and said goodbye.
Princess Marya and Natasha, as always, met in the bedroom. They talked about what Pierre had said. Princess Marya did not speak her opinion about Pierre. Natasha didn't talk about him either.
“Well, goodbye, Marie,” Natasha said. – You know, I’m often afraid that we don’t talk about him (Prince Andrei), as if we are afraid to humiliate our feelings and forget.
Princess Marya sighed heavily and with this sigh acknowledged the truth of Natasha’s words; but in words she did not agree with her.
- Is it possible to forget? - she said.
“It felt so good to tell everything today; and hard, and painful, and good. “Very good,” said Natasha, “I’m sure he really loved him.” That's why I told him... nothing, what did I tell him? – suddenly blushing, she asked.
- Pierre? Oh no! How wonderful he is,” said Princess Marya.
“You know, Marie,” Natasha suddenly said with a playful smile that Princess Marya had not seen on her face for a long time. - He became somehow clean, smooth, fresh; definitely from the bathhouse, do you understand? - morally from the bathhouse. Is it true?
“Yes,” said Princess Marya, “he won a lot.”
- And a short frock coat, and cropped hair; definitely, well, definitely from the bathhouse... dad, it used to be...
“I understand that he (Prince Andrei) did not love anyone as much as he did,” said Princess Marya.
– Yes, and it’s special from him. They say that men are friends only when they are very special. It must be true. Is it true that he doesn't resemble him at all?
- Yes, and wonderful.
“Well, goodbye,” Natasha answered. And the same playful smile, as if forgotten, remained on her face for a long time.
Pierre could not fall asleep for a long time that day; He walked back and forth around the room, now frowning, pondering something difficult, suddenly shrugging his shoulders and shuddering, now smiling happily.
He thought about Prince Andrei, about Natasha, about their love, and was either jealous of her past, then reproached her, then forgave himself for it. It was already six o'clock in the morning, and he was still walking around the room.
“Well, what can we do? If you can’t do without it! What to do! So, this is how it should be,” he said to himself and, hastily undressed, went to bed, happy and excited, but without doubts and indecisions.
“We must, strange as it may be, no matter how impossible this happiness is, we must do everything in order to be husband and wife with her,” he said to himself.
Pierre, a few days before, had set Friday as the day of his departure for St. Petersburg. When he woke up on Thursday, Savelich came to him for orders about packing his things for the road.
“How about St. Petersburg? What is St. Petersburg? Who's in St. Petersburg? – he asked involuntarily, although to himself. “Yes, something like that a long, long time ago, even before this happened, I was planning to go to St. Petersburg for some reason,” he remembered. - From what? I'll go, maybe. How kind and attentive he is, how he remembers everything! - he thought, looking at Savelich’s old face. “And what a pleasant smile!” - he thought.
- Well, don’t you want to go free, Savelich? asked Pierre.
- Why do I need freedom, Your Excellency? We lived under the late count, the kingdom of heaven, and we see no resentment under you.
- Well, what about the children?
“And the children will live, your Excellency: you can live with such gentlemen.”
- Well, what about my heirs? - said Pierre. “What if I get married... It could happen,” he added with an involuntary smile.
“And I dare to report: a good deed, your Excellency.”
“How easy he thinks it is,” thought Pierre. “He doesn’t know how scary it is, how dangerous it is.” Too early or too late... Scary!
- How would you like to order? Would you like to go tomorrow? – Savelich asked.
- No; I'll put it off a little. I'll tell you then. “Excuse me for the trouble,” said Pierre and, looking at Savelich’s smile, he thought: “How strange, however, that he does not know that now there is no Petersburg and that first of all it is necessary for this to be decided. However, he probably knows, but he’s only pretending. Talk to him? What does he think? - thought Pierre. “No, someday later.”
At breakfast, Pierre told the princess that he had been to Princess Marya yesterday and found there - can you imagine who? - Natalie Rostov.
The princess pretended that she did not see anything more extraordinary in this news than in the fact that Pierre had seen Anna Semyonovna.
- Do you know her? asked Pierre.
“I saw the princess,” she answered. “I heard that they were marrying her to young Rostov.” This would be very good for the Rostovs; They say they are completely ruined.
- No, do you know Rostov?
“I only heard about this story then.” Very sorry.
“No, she doesn’t understand or is pretending,” thought Pierre. “It’s better not to tell her either.”
The princess also prepared provisions for Pierre's journey.
“How kind they all are,” thought Pierre, “that now, when they probably couldn’t be more interested in this, they are doing all this. And everything for me; That’s what’s amazing.”
On the same day, the police chief came to Pierre with a proposal to send a trustee to the Faceted Chamber to receive the things that were now being distributed to the owners.
“This one too,” thought Pierre, looking into the police chief’s face, “what a nice, handsome officer and how kind!” Now he deals with such trifles. They also say that he is not honest and takes advantage of him. What nonsense! But why shouldn’t he use it? That's how he was raised. And everyone does it. And such a pleasant, kind face, and smiles, looking at me.”
Pierre went to dinner with Princess Marya.
Driving through the streets between the burned-out houses, he was amazed at the beauty of these ruins. Chimneys houses, fallen-off walls, picturesquely reminiscent of the Rhine and the Colosseum, stretched, hiding each other, along the burnt blocks. The cab drivers and riders we met, the carpenters who cut the log houses, the traders and shopkeepers, all with cheerful, beaming faces, looked at Pierre and said as if: “Ah, here he is! Let's see what comes out of this."
Upon entering the house of Princess Marya, Pierre was filled with doubt as to the justice of the fact that he was here yesterday, saw Natasha and spoke with her. “Maybe I made it up. Maybe I’ll walk in and not see anyone.” But before he had time to enter the room, in his entire being, after the instant deprivation of his freedom, he felt her presence. She was wearing the same black dress with soft folds and the same hairstyle as yesterday, but she was completely different. If she had been like this yesterday when he entered the room, he could not have failed to recognize her for a moment.
She was the same as he had known her almost as a child and then as the bride of Prince Andrei. A cheerful, questioning gleam shone in her eyes; there was a gentle and strangely playful expression on her face.
Pierre had dinner and would have sat there all evening; but Princess Marya was going to the all-night vigil, and Pierre left with them.
The next day Pierre arrived early, had dinner and sat there all evening. Despite the fact that Princess Marya and Natasha were obviously pleased with the guest; despite the fact that the whole interest of Pierre’s life was now concentrated in this house, by the evening they had talked everything over, and the conversation constantly moved from one insignificant subject to another and was often interrupted. Pierre stayed up so late that evening that Princess Marya and Natasha looked at each other, obviously waiting to see if he would leave soon. Pierre saw this and could not leave. He felt heavy and awkward, but he kept sitting because he couldn’t get up and leave.
Princess Marya, not foreseeing an end to this, was the first to get up and, complaining of a migraine, began to say goodbye.
– So you’re going to St. Petersburg tomorrow? – said oka.
“No, I’m not going,” Pierre said hastily, with surprise and as if offended. - No, to St. Petersburg? Tomorrow; I just don't say goodbye. “I’ll come for the commissions,” he said, standing in front of Princess Marya, blushing and not leaving.
Natasha gave him her hand and left. Princess Marya, on the contrary, instead of leaving, sank into a chair and looked sternly and carefully at Pierre with her radiant, deep gaze. The fatigue she had obviously shown before was now completely gone. She took a deep, long breath, as if preparing for a long conversation.
All of Pierre's embarrassment and awkwardness, when Natasha was removed, instantly disappeared and was replaced by excited animation. He quickly moved the chair very close to Princess Marya.
“Yes, that’s what I wanted to tell you,” he said, answering her glance as if in words. - Princess, help me. What should I do? Can I hope? Princess, my friend, listen to me. I know everything. I know I'm not worthy of her; I know it's impossible to talk about it now. But I want to be her brother. No, I don't want to... I can't...
He stopped and rubbed his face and eyes with his hands.
“Well, here,” he continued, apparently making an effort on himself to speak coherently. “I don’t know since when I love her.” But I have loved only her, only one, all my life and love her so much that I cannot imagine life without her. Now I don’t dare ask her hand; but the thought that maybe she could be mine and that I would miss this opportunity... opportunity... is terrible. Tell me, can I have hope? Tell me what should I do? “Dear princess,” he said, after being silent for a while and touching her hand, since she did not answer.
“I’m thinking about what you told me,” answered Princess Marya. - I'll tell you what. You’re right, what should I tell her about love now... - The princess stopped. She wanted to say: it is now impossible to talk to her about love; but she stopped because for the third day she saw from Natasha’s sudden change that not only would Natasha not be offended if Pierre expressed his love to her, but that this was all she wanted.
“It’s impossible to tell her now...,” Princess Marya still said.
- But what should I do?
“Entrust this to me,” said Princess Marya. - I know…
Pierre looked into Princess Marya's eyes.
“Well, well...” he said.
“I know that she loves... will love you,” Princess Marya corrected herself.
Before she had time to say these words, Pierre jumped up and, with a frightened face, grabbed Princess Marya by the hand.
- Why do you think so? Do you think I can hope? You think?!
“Yes, I think so,” said Princess Marya, smiling. - Write to your parents. And instruct me. I'll tell her when it's possible. I wish this. And my heart feels that this will happen.
- No, this cannot be! How happy I am! But this cannot be... How happy I am! No, it can not be! - Pierre said, kissing the hands of Princess Marya.
– You go to St. Petersburg; it is better. “And I’ll write to you,” she said.
- To St. Petersburg? Drive? Okay, yes, let's go. But can I come to you tomorrow?
The next day Pierre came to say goodbye. Natasha was less animated than in previous days; but on this day, sometimes looking into her eyes, Pierre felt that he was disappearing, that neither he nor she was any more, but there was only a feeling of happiness. “Really? No, it can’t be,” he said to himself with every look, gesture, and word that filled his soul with joy.
Federal Agency for Education of the Russian Federation
Moscow State University Forests
Faculty of Landscape Architecture
Department of LA and SPS
Abstract on the discipline of small garden design
"French regular garden style"
1. Introduction
Main features of the style
1 Basic landscape techniques
2 Plot size
3 Layout
5 Ground lawn
6 Parterre flower garden
8 Hedges
9 Topiaries
10 Plants
11 Materials
1 Selection of plants for the garden
2 Hardwood: selection of plants
3 Conifers: selection of plants
4 Parterre lawns
Examples of French regular style parks
1French regular park - modern solutions
2 French regular style in Russia
3 ...and in the world
3.1 Vaux-Les-Viscounts
3.2 Versailles
Conclusion
Introduction
Expression " french style garden" has now become a household word. This is quite often the name given to all regular gardens that have an axial structure. But this use of the term is incorrect, since in different countries Very special features of the regular style were formed.
The French garden style, also called the regular, geometric or formal landscape design style, developed actively from the 17th to the 18th centuries. Such gardens were very popular during the time of Louis XIV, but the historical name of the style is not accurate, since ideas for creating regular gardens appeared during the Renaissance in Italy. The style reached its apogee in the 19th century in England, where gardeners learned to grow plants in exotic shapes (such as geometric shapes, animals, birds, etc.). The main idea of formation French garden in landscape design - clear order and symmetry in one.
The French regular park has its roots in Italian Renaissance gardens<#"justify">1. the presence of large spaces and the opening of distant prospects;
Placement on flat terrain;
The symmetry of the composition with respect to the central axis;
The individuality of a single tree is lost in the massif;
Use of topiary art: green walls of corridors, gazebos, halls and offices, balls, cubes, pyramids;
The use of trellis structures, gazebos, arches, fences;
Intensive flooding, in which channels and flat reservoirs have the character of mirrors, are located at the same level with the surface of the earth and are separated only by a small border;
The central part of the garden is the parterre, which is framed by trimmed walls of bosquets;
The use of parterres - embroidery or “cut-out” lawns with rare inclusion of natural flower beds;
10. moderation in the use of sculpture, in contrast to Italian formal gardens<#"justify">Regular gardens and parks were created at palaces and castles and were an integral part of the landscape gardening ensemble. Regular gardens were designed to emphasize the splendor and monumentality of the palace architecture.
Some may think that formal gardens are a relic of the past; they are all boring and devoid of imagination. However these are not the case. Straight paths and alleys are combined with water elements that enchant with their melodic tints, evergreen plantings contrast with carpeted flower beds, and a strict, geometric layout has room for cozy gazebos and recreation areas. A competent approach to garden planning and a sense of proportion are important components in creating gardens, and, perhaps, this is most important for a regular garden.
Nowadays, regular gardens are not very common; many are limited to only a few elements of a regular style or are decorated in a formal style of some kind. separate plot garden In general, creating a regular garden is a rather expensive process that requires large quantity work and maintenance of each element.
It is believed that the French regular garden is the choice of people who prefer the classical architecture of the past. A regular garden will be an excellent addition to old-style mansions with terraces, balustrades, and sculptural groups. The main emotional feature of the style is solemnity, wealth, grandeur.
List of used literature
www.wikipedia.org
Bogovaya I.O., Fursova L.M. Landscape art: Textbook for universities. M.: Agropromizdat, 1988. - 223 p.
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