Using a rich assortment of illustrations and biographical sketches, Peter Martin relates the experiences of colonial gardeners who shaped the natural beauty of Virginia's wilderness into varied displays of elegance. He shows that ornamental gardening was a scientific, aesthetic, and cultural enterprise that thoroughly engaged some of the leading figures of the period, including the British governors at Williamsburg and the great plantation owners George Washington, Thomas Jefferson, William Byrd, and John Custis. In presenting accounts of their gardening efforts, Martin reveals the intricacies of colonial garden design, plant searches, experimentation, and the problems in adapting European landscaping ideas to local climate. These writings also bring to life the social and commercial interaction between Williamsburg and the plantations, together with early American ideas about cultured living. While placing Virginia's gardening in the larger context of the colonial South, Martin tells a very human story of how this art both influenced and reflected the quality of colonial life. As Virginia grew economically and culturally, the garden became a projection of the gardener's personal identity, as exemplified by the endeavors of Washington and Jefferson at Mount Vernon and Monticello. In order to recapture the gardens as they existed in colonial times, Martin brings together paintings, drawings, and the findings of modern archaeological excavations. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Chanticleer, a forty-eight-acre garden on Philadelphia's historic Main Line, is many things simultaneously: a lush display of verdant intensity and variety, an irreverent and informal setting for inventive plant combinations, a homage to the native trees and horticultural heritage of the mid-Atlantic, a testament to one man's devotion to his family's estate and legacy, and a good spot for a stroll and picnic amid the blooms. In Chanticleer: A Pleasure Garden, Adrian Higgins and photographer Rob Cardillo chronicle the garden's many charms over the course of two growing cycles. Built on the grounds of the Rosengarten estate in Wayne, Pennsylvania, Chanticleer retains a domestic scale, resulting in an intimate, welcoming atmosphere. The structure of the estate has been thoughtfully incorporated into the garden's overall design, such that small gardens created in the footprint of the old tennis court and on the foundation of one of the family homes share space with more traditional landscapes woven around streams and an orchard. Through conversations and rambles with Chanticleer's team of gardeners and artisans, Higgins follows the garden's development and reinvention as it changes from season to season, rejoicing in the hundred thousand daffodils blooming on the Orchard Lawn in spring and marveling at the Serpentine's late summer crop of cotton, planted as a reminder of Pennsylvania's agrarian past. Cardillo's photographs reveal further nuances in Chanticleer's landscape: a rare and venerable black walnut tree near the entrance, pairs of gaily painted chairs along the paths, a backlit arbor draped in mounds of fragrant wisteria. Chanticleer fuses a strenuous devotion to the beauty and health of its plantings with a constant dedication to the mutability and natural energy of a living space. And within the garden, Higgins notes, there is a thread of perfection entwined with whimsy and continuous renewal.

Summers at the Vauxhall pleasure garden in London brought diverse entertainments to a diverse public. Picturesque walks and arbors offered a pastoral retreat from the city, while at the same time the garden's attractions indulged distinctly urban tastes for fashion, novelty, and sociability. High- and low-born alike were free to walk the paths; the proximity to strangers and the danger of dark walks were as thrilling to visitors as the fountains and fireworks. Vauxhall was the venue that made the careers of composers, inspired novelists, and showcased the work of artists. Scoundrels, sudden downpours, and extortionate ham prices notwithstanding, Vauxhall became a must-see destination for both Londoners and tourists. Before long, there were Vauxhalls across Britain and America, from York to New York, Norwich to New Orleans. This edited volume provides the first book-length study of the attractions and interactions of the pleasure garden, from the opening of Vauxhall in the seventeenth century to the amusement parks of the early twentieth. Nine essays explore the mutual influences of human behavior and design: landscape, painting, sculpture, and even transient elements such as lighting and music tacitly informed visitors how to move within the space, what to wear, how to behave, and where they might transgress. The Pleasure Garden, from Vauxhall to Coney Island draws together the work of musicologists, art historians, and scholars of urban studies and landscape design to unfold a cultural history of pleasure gardens, from the entertainments they offered to the anxieties of social difference they provoked.

""The Gardens of Colonial Williamsburg" features twenty gardens in Colonial Williamsburg's Historic Area. Stunning photography complements the text and detailed garden plans identify the plantings in each garden. Experience the sights, colors, and textures found in Colonial Williamsburg's gardens each season of the year."--Book jacket.