A critical, illustrated Flora of Guyana, Suriname and French Guiana, designed to treat phanerogams as well as cryptogams of the area. Publication takes place in fascicles, each treating a family or group of related families. Treatments provide fundamental and applied information, covering, when possible, wood anatomy, chemical analysis, economic uses, vernacular names and data on endangered species. Hernandiaceae, Chloranthaceae, Piperaceae.

A descriptive account of the Begoniaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Hypoxidaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Potamogetonaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Restionaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Santalaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Liliaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

Are gardens works of art? What is involved in creating a garden? How are gardens experienced by those who stroll through them? In What Gardens Mean, Stephanie Ross draws on philosophy as well as the histories of art, gardens, culture, and ideas to explore the magical lure of gardens. Paying special attention to the amazing landscape gardens of eighteenth-century England, she situates gardening among the other fine arts, documenting the complex messages gardens can convey and tracing various connections between gardens and the art of painting. What Gardens Mean offers a distinctive blend of historical and contemporary material, ranging from extensive accounts of famous eighteenth-century gardens to incisive connections with present-day philosophical debates. And while Ross examines aesthetic writings from the seventeenth and eighteenth centuries, including Joseph Addison's Spectator essays on the pleasures of imagination, the book's opening chapter surveys more recent theories about the nature and boundaries of art. She also considers gardens on their own terms, following changes in garden style, analyzing the phenomenal experience of viewing or strolling through a garden, and challenging the claim that the art of gardening is now a dead one. Showing that an artistic lineage can be traced from gardens in the Age of Satire to current environmental installations, this book is a sophisticated account of the myriad pleasures that gardens offer and a testimony to their enduring sensory and cognitive appeal. Beautifully illustrated and elegantly written, What Gardens Mean will delight all those interested in the history of gardens and the aesthetic and philosophical issues that they invite.

A descriptive account of the Goodeniaeae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Pontederiaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of the Sphenocleaceae native and naturalised in Kenya, Tanzania and Uganda, together with information on exotic ornamental and crop plants. At least one species per genus is illustrated, and the bibliography and synonymy are sufficiently detailed to explain the nomenclature and taxonomic circumscriptions within a broad regional context.

A descriptive account of Butomaceae-Orchidaceae in west tropical Africa.

Explore Britain's spellbinding and spectacular ruins. From haunting standing stones to atmosphere abbeys, from abandoned country houses to crumbling mines and deserted military defences, this guide reveals strange beauty and dramatic history hidden in Britain s landscape.

Some of the featured include the dramatic Botallick Mine and Corfe Castle, and prehistoric Stonehenge in the South West. The fabulous keep of Rochester Castle, the extravagant Racton Monument and the remote shingle spit of Orford Ness are just some of the ruins that can be seen in the South East and East. Much of The Midlands and the North is dominated by Hadrian s Wall but there is still much to see, including Lyveden New Bield in Northamptonshire a protected Grade I-listed building and a stark reminder of the impact of religious turmoil in the 16th and 17th centuries. And we mustn't forget the beautifully preserved Neolithic village of Skara Brae the oldest ruin in the whole of the United Kingdom, which can be found in Scotland.

Organised by region and including overview maps, plot your own journey around Britain's remarkable ruins.

Heidi Schoni and Karl Steffen went on a seven-week journey through Japan in the fall of 2010. Thanks to funding from the canton Thurgau, the artist couple, known under the name of steffenschoni, was able to make a long-time plan a reality. The media artists, whose work has had a focus on notions of plants and gardening for years, seized the opportunity to deepen their photographic research on Japanese kitchen gardens (hatake). They took over 3000 photographs on their journey from the urban sprawl of Tokyo, via the rural island Shikoku, to Kyushu, Hiroshima and Naoshima. A selection of 30 garden pictures is now being published as a portfolio that is reminiscent of Japanese paper art. The book is number 14 of the facetten series and features texts by Christoph Neidhardt and Martin Preisser.

The gardens made on the fringes of Central Asia in the past 5000 years form a great arc. From the Fertile Crescent, it runs west to Europe and east to China and Japan. Asia's fringe was a zone of interchange: a vast landscape in which herders encountered farmers and the design of symbolic gardens began. It appears that as they became settlers, nomads retained a love of mobility, hunting and the wild places in which their ancestors had roamed. Central Asian and Indian ideas influenced the garden culture of China, Japan and South East Asia.
?
In West Asia, Aryan settlers made hunting parks known as paradises. They were walled enclosures stocked with exotic plants and animals. In East Asia, great landscape parks were used for similar purposes and had a sacred role. Across Asia, gardens were influenced by religious and other beliefs: polytheist, Hindu, Buddhist, Muslim, Daoist, Shinto and Modernist. Early parks and gardens symbolized wild and civilized nature, sometimes conceived as the realms of the Sky God and the Earth Mother. Asian Gardens: History, Beliefs and Design explores the ways in which designs were guided by beliefs.
?
Tom Turner has been researching and teaching the theory and history of garden design for some forty years. His visits, research, drawings and photographs are brought together in detailed studies of West Asia, South Asia and East Asia. The period covered extends from the earliest gardens to the present. Using maps, diagrams and photographs, the author explores how and why Asian gardens developed their characteristic forms and functions. Treating garden design as a 'word and image' subject, the account is coherent, comparative and readable. Further details of all the gardens are available on the gardenvisit.com website, which the author edits.

Hawai'i is home to some of the rarest plants in the world, many of them now threatened by extinction. Despite a benign and nurturing climate, native species are declining almost everywhere in the Islands. Human-introduced pests, the spread of competing alien plants, wildfires, urban and agricultural development, and other disturbances of modern life are eliminating native species at an alarming pace. In fact, 38 percent of all plants on the U.S. endangered species list are native Hawaiian plants. A Native Hawaiian Garden is an effort to help stem the tide. Until recent years, few people attempted to raise native plants in their gardens, in schoolyards and parks, or around public buildings. But this situation is changing as essential information about raising native plants becomes more readily available. A Native Hawaiian Garden offers the most in-depth treatment yet on cultivating and propagating native Hawaiian plants. Following an overview of Hawaiian natural history and conservation, the book treats 63 species (many for the first time), giving detailed information on all stages of gardening: from preparing seeds for germination to the care and tending of the young plants in the landscape. Habitats where the plants are most likely to thrive are also described, as well as the uses that native Hawaiians made of the plants. Over 90 color photographs enhance the book. A Native Hawaiian Garden has much to offer professional horticulturists, landscapers, and botanists, and gives reason to hope that more spaces around housing developments, shopping malls, and other commercial buildings will soon include native plants. But the book will prove especially valuable to those gardeners who wish to grow and nurture something truly Hawaiian in their own backyards. Among the many rewards of growing natives, the authors make clear, is the opportunity to contribute your own experiences and findings to a vital preservation effort.

Hawaii is the home of the world's greatest collection of tropical and subtropical plants. The Islands' benign and varied microclimates have accepted plants from many different places, ranging from the humid jungle rain forests to arid deserts, and from seacoasts sprayed with salt to mountainsides of almost Andean heights. With the enormous variety of plants that have made Hawaii one great botanical garden, comes also a great curiosity and search for knowledge about them. This volume features more than 100 striking plants, grown for their colorful or exotic flowers and foliage. All of these exotics have proved successful for the amateur gardener in Hawaii, including several unusual new varieties and cultivars, only recently made available commercially. Among these are the Hawaiian butterfly anthurium, the jewel of Burma ginger, ice-blue calathea, and a rare ginger from Tahiti.

This beautifully illustrated volume examines the garden as an enduring and evolving cultural resource, in two hundred works by more than one hundred artists. Prints, drawings, photographs, and paintings illuminate the changing aesthetics and uses of gardens from sixteenth-century Italian villas and Louis XIV's Versailles to such democratic urban parks as New York City's Central Park and San Francisco's Crissy Field, adapted from a former military base. Artists' representations of gardens have been organized first to highlight design concepts and individual features, then to focus on historic gardens and parks, and finally to survey the activities within those settings. Among the earliest works included is an engraving of a drawing made in 1570 by Pieter Bruegel the Elder of a garden being vigorously cultivated by many workers. Two centuries later, Giovanni Battista Piranesi and Jean-Honore Fragonard represented the Villa d'Este at Tivoli in a state of neglected grandeur; Hubert Robert's painting of Mereville depicted a garden he helped design. By 1900 Eugene Atget's photographs of Versailles and Camille Pissarro's paintings of the Tuileries convey the enduring structure of French formal gardens. In contrast, American artists Maurice Prendergast, John Singer Sargent, and James McNeill Whistler depicted the pleasures of social activities in that setting. Photographs by Michael Kenna and Bruce Davidson offer contemporary perspectives on these issues.

Lord Fairhaven had a vision for his garden. To create a modern version of the grand 18th-century landscape gardens, such as Stourhead and Stowe. With a keen eye, Lord Fairhaven put together one of the largest classical sculpture collections of its time, picking up works at a time when the costly Victorian country house was in decline. Pieces from Wanstead House, Stowe, Chesterfield House and many more have found a superb home at Anglesey.

Worcestershire is particularly rich in great gardens from the last 250 years, such as: Madresfield Court, the inspiration for Evelyn Waugh's "Brideshead Revisited" and the restored early eighteenth-century Hanbury Hall, both near Malvern in the south of the county; Hagley Hall of the mid-eighteenth century and William Shenstone's Arcadian masterpiece The Leasowes, both near Halesowen in the north; Croome Park by Capability Brown and the Victorian extravaganza of Witley Hall with its magnificent restored fountains.

The garden means more to Americans than simply the plants it contains: It is a gathering place, a retreat from the demands of daily life, and an extension of the family home. The history of the American home garden is fundamentally intertwined with our national culture and character, and Christopher Grampp reveals this fascinating story through engaging text and numerous images.
In the early 1800s, Americans employed their home grounds for agriculture, sustenance, and domestic activities. Grampp takes this as the starting point for his narrative, from which he tracks the evolution of the American front and back yards as the nation evolved from an agrarian to an industrial economy. He connects the emergence of the modern home garden to the rise of suburbanization, the growth of city services and the post-World War II baby boom, which established the single-family home and its grounds as the ideal American dwelling. "From Yard to Garden" argues that the home garden is best understood as an expression of "habitability," or the ways in which Americans have collectively and individually transformed their home grounds into functional outdoor living areas. Grampp analyzes the gardens of California homes as quintessential examples, revealing that the mild climate, demographics, land costs, and media influences of the region have led many California homeowners to create beautiful outdoor family rooms.
A captivating and vibrantly illustrated study, "From Yard to Garden" digs up the broader historical reasons why we seek to create personal Edens in our own yards.

The mid-Atlantic region is fortunate to have an abundance of houses and buildings that date to the eighteenth century. Fine examples of the furniture, paintings, and other objects that filled these houses survive in museums and private collections. But what of the gardens that surrounded these early homes? Virtually all of them have been reclaimed by wilderness or altered by later residents.

In "Gardens and Gardening in the Chesapeake," Barbara Wells Sarudy recovers this lost world using a remarkable variety of sources--historic maps, travelers' accounts, diaries, paintings (some on the backs of Baltimore painted chairs), account ledgers, catalogues, and newspaper advertisements. She offers an engaging account of the region's earliest gardens, introducing us to the people who designed and tended these often elaborate landscapes and explaining the forces and finances behind their creation.

Many of Sarudy's stories concern the gentry and their great estates. She tells of Charles Carroll of Annapolis, who spent the 1770s fretting about revolutionary politics and designing geometric landscapes for his home--and who died in 1783, the result of a fall in his beloved garden. She describes Charles Ridgely's terraced garden at Hampton, one of more than seventy geometric gardens that dotted the hills around Baltimore in the 1800s. And she recalls Rosalie Stier Calvert's quest for beauty and utility in her garden at Riversdale, where at great expense she ordered the installation of an ornamental lake to improve the view while also providing ice for the kitchen and fish for the table.

Beyond the gentry, Sarudy tells the less familiar stories of the gardeners, laborers, nurserymen, and seed dealers whose skills and efforts transformed the Chesapeake landscape. In Virginia, royal gardeners arrived from England to maintain the grounds of the Governor's Palace and the College of William and Mary. In Maryland, the Jesuits paid independent garden contractors to maintain their kitchen and medicinal-botanical gardens. Most Chesapeake gardeners, of course, relied on indentured servants or slaves to install and maintain their gardens--or did the work themselves--and Sarudy tells their stories, as well.

Throughout, she relates gardens and gardening to the larger forces that lay behind them. During the Revolution, for example, attempts to demonstrate republican simplicity and independence helped to create a distinctly American garden style. William Faris, an Annapolis watchmaker and innkeeper, went so far as to describe his improved varieties of tulips as symbols of the new nation--and took particular pride in naming them to honor national heroes such as President Washington.

From the favorite books of early gardeners to the republican balance between table and ornamental gardens, Sarudy includes details that give us an unprecedented understanding of Chesapeake gardening from settlement through the early national period. Her postscript describes the ultimate fate of the region's eighteenth century gardens--some of which survive (in more or less authentic form) and can still be visited and enjoyed.

Are gardens works of art? What is involved in creating a garden? How are gardens experienced by those who stroll through them? In What Gardens Mean, Stephanie Ross draws on philosophy as well as the histories of art, gardens, culture, and ideas to explore the magical lure of gardens. Paying special attention to the amazing landscape gardens of eighteenth-century England, she situates gardening among the other fine arts, documenting the complex messages gardens can convey and tracing various connections between gardens and the art of painting. What Gardens Mean offers a distinctive blend of historical and contemporary material, ranging from extensive accounts of famous eighteenth-century gardens to incisive connections with present-day philosophical debates. And while Ross examines aesthetic writings from the seventeenth and eighteenth centuries, including Joseph Addison's Spectator essays on the pleasures of imagination, the book's opening chapter surveys more recent theories about the nature and boundaries of art. She also considers gardens on their own terms, following changes in garden style, analyzing the phenomenal experience of viewing or strolling through a garden, and challenging the claim that the art of gardening is now a dead one. Showing that an artistic lineage can be traced from gardens in the Age of Satire to current environmental installations, this book is a sophisticated account of the myriad pleasures that gardens offer and a testimony to their enduring sensory and cognitive appeal. Beautifully illustrated and elegantly written, What Gardens Mean will delight all those interested in the history of gardens and the aesthetic and philosophical issues that they invite.