In keeping with the grandeur of the magnificent house, the grounds at Castle Howard are designed on a heroic scale. First laid out in the early years of the 18th century, the 1,000 acres of gardens are dotted with statues, lakes, and fountains, and delightful walks reveal hidden glades and breathtaking views. With many terrace walks and lakeside paths, memorable sights include the Atlas Fountain and the Temple of the Four Winds. Set within the walled gardens, the rose garden contains 2,000 modern roses of all types, including David Austin's English roses, making this one of England's most comprehensive collections. Set on the site of an ancient woodland, Ray Wood -- a rare combination of the planter's art and botanical science -- holds one of the most extensive plant collections in private hands in Europe. A more recent development is Castle Howard's Ornamental Vegetable Garden, known as the Potager, on the site of the House's original kitchen garden. This book of the extraordinary 18th-century gardens of one of England's finest historic houses through the seasons features a foreword by the Hon. Simon Howard, who lives at Castle Howard.

A collection of Hunt's essays, many previously unpublished, dealing with the ways in which men and women have given meaning to gardens and landscapes, especially with the ways in which gardens have represented the world of nature "picturesquely".

This book is the first complete study of the circumstances which led to the building of Castle Howard, one of the greatest and best-known English country houses. It describes how and why Charles Howard, third earl of Carlisle, decided to build it; how the architect Sir John Vanbrugh received his first commission; how the building was paid for and where the money came from; what the original interiors looked like; how the gardens and park were laid out; and the decision taken to build the first classical mausoleum in England, designed by Nicholas Hawksmoor. It relates the physical appearance of the architecture to the hopes, desires and personalities of those involved in the building and makes it possible to look at the house in the way that it was intended to be seen by visitors in the eighteenth century. The Building of Castle Howard should appeal to anyone who is interested in eighteenth-century architecture, in the history of gardens, in country houses, and in a historical detective story of a house which Sir John Vanbrugh was determined should be 'the top seat and garden of England.'

Although the integration of sculpture in gardens is part of a long tradition dating back at least to antiquity, the sculptures themselves are often overlooked, both in the history of art and in the history of the garden. This collection of essays considers the changing relationship between sculpture and gardens over the last three centuries, focusing on four British archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park. Through a series of case studies exploring the contemporaneous audiences of gardens, the book uncovers the social, political and gendered messages revealed by sculpture's placement and suggests that the garden can itself be read as a sculptural landscape.

This volume brings together the papers presented at a conference entitled 'Experiencing the Garden in the Eighteenth Century', held at the Institute of Romance Studies, Senate House, University of London on 13 March 2004. Speakers came from Europe, the United States and New Zealand, and each gave a very different perspective on the eighteenth-century landscape garden in England, France and elsewhere in Europe. The papers focused on the theme of experience, an especially important aspect of eighteenth-century garden design. Landscape gardens were created for visitors to move through on a journey from one place to the next: the garden would not be seen all at once, but would be experienced as a story unfolding. The visitor would follow a circuit around the garden, moving from light to shade, being given suggestive prompts with statues, temples and viewpoints, as if on a sensory, emotional and intellectual journey.

Reprint of the original, first published in 1858. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.