Courts and societies across the early modern Eurasian world were fundamentally transformed by the physical, technological, and conceptual developments of their era. Evolving forms of communication, greatly expanded mobility, the spread of scientific knowledge, and the emergence of an increasingly integrated global economy all affected how states articulated and projected visions of authority into societies that, in turn, perceived and responded to these visions in often contrasting terms. Landscape both reflected and served as a vehicle for these transformations, as the relationship between the land and its imagination and consumption became a fruitful site for the negotiation of imperial identities within and beyond the precincts of the court. In Landscape and Authority in the Early Modern World, contributors explore the role of landscape in the articulation and expression of imperial identity and the mediation of relationships between the court and its many audiences in the early modern world. Nine studies focused on the geographical areas of East and South Asia, the Islamic world, and Europe illuminate how early modern courts and societies shaped, and were shaped by, the landscape, including both physical sites, such as gardens, palaces, cities, and hunting parks, and conceptual ones, such as those of frontiers, idealized polities, and the cosmos. The collected essays expand the meaning and potential of landscape as a communicative medium in this period by putting an array of forms and subjects in dialogue with one another, including not only unique expressions, such as gardens, paintings, and manuscripts, but also the products of rapidly developing commercial technologies of reproduction, especially print. The volume invites a deeper and more nuanced understanding of the complexity with which early modern states constructed and deployed different modes of landscape for different audiences and environments. Contributors: Robert Batchelor, Seyed Mohammad Ali Emrani, John Finlay, Caroline Fowler, Katrina Grant, Finola O’Kane, Anton Schweizer, Larry Silver, Stephen H. Whiteman.

Historical Ground investigates how contemporary landscape architecture invokes and displays the history of a site. In the light of modernism's neglect of history, these essays by John Dixon Hunt explore how, in fact, designers do attach importance to how a location manifests its past.

The process involves, on the one hand, registering how geography, topography and climate determine design and, on the other, how history discovered or even created for a site can structure its design and its reception. History can be evident, exploited, invented or feigned - it can be original or a new history which becomes part of how we view a place.

Landscapes discussed in this book come from across Europe and the United States, highlighting the work of designers who have drawn from site history in their design, or have purposefully created their own historical account of the location. The author explores not just the historical past, but how new ground can be given a life and a future.

Italian gardens vary widely according to their historical date and geographic location. This collection approaches Italian gardens of all periods, from the middle ages to modern times, and it ranges widely throughout the peninsula, from Genoa to Sicily, the Veneto to Liguria, and Ferrara to Florence. The authors are a distinguished group of Italian, American, English and German scholars, with different backgrounds in art history, literature, architecture, planning, and cultural history. The explorations of the subject from these different perspectives illuminate not only their own disciplines, but are concerned to make many fresh connections between garden art and the politics of nationalism, between the art of gardens and urban infrastructure, between cultural movements like freemasonry and site planning, between design and planting materials. The book offers therefore a narrative of the garden by selecting ten high points of its history, which are introduced with a consideration by the volume editor of the fresh challenges to contemporary Italian garden history.

The gardens and estate of La Foce constitute one of the most important and best kept early twentieth-century gardens in Italy. Amid 3,500 acres of farmland in the countryside near Pienza, with sweeping views of the Tuscan landscape, La Foce was the childhood dream garden of the late writer Marchesa Iris Origo. Passionate about the order and symmetry of Florentine gardens, Origo and her husband, Antonio, purchased the dilapidated villa in 1924, soliciting the help of English architect and family friend Cecil Pinsent to reawaken the natural magic of the property. Pinsent designed the structure of simple, elegant, box-edged beds and green enclosures that give shape to the Origos' shrubs, perennials, and vines, and created a garden of soaring cypress walks, native cyclamen, lawns, and wildflower meadows. It is, by all accounts, a remarkable achievement.Today the garden is a place of unusual and striking beauty, a green oasis in the barren Siena countryside. Situated in the Val d'Orcia, a wide valley in southeastern Tuscany that seems to exist on a larger, wilder scale than the rest of the Tuscan landscape, it is run by Benedetta and Donata Origo, and is open to the public one day a week."La Foce: A Garden and Landscape in Tuscany" is a contemplative, multifaceted study of the house, gardens, and estate of La Foce. It includes a historical essay and memoir by the daughter of La Foce's creators, Antonio and Iris Origo, along with photographs, sketches, and a critical analysis of the gardens. The volume not only focuses on the beauty of the gardens themselves and their indisputable merit as fascinating works of landscape architecture but also sees them within the context of both the larger Tuscan topography and the wider landscape of geography and history. The book will be a delight to armchair travelers, trade and landscape architects, gardeners, and those interested in Tuscan culture.

Between 1937 and 1938, garden designer Christopher Tunnard published a series of articles in the British Architectural Review that rejected the prevailing English landscape style. Inspired by the principles of Modernist art and Japanese aesthetics, Tunnard called for a "new technique" in garden design that emphasized an integration of form and purpose. "The functional garden avoids the extremes both of the sentimental expressionism of the wild garden and the intellectual classicism of the 'formal' garden," he wrote; "it embodies rather a spirit of rationalism and through an aesthetic and practical ordering of its units provides a friendly and hospitable milieu for rest and recreation." Tunnard's magazine pieces were republished in book form as Gardens in the Modern Landscape in 1938, and a revised second edition was issued a decade later. Taken together, these articles constituted a manifesto for the modern garden, its influence evident in the work of such figures as Lawrence Halprin, Philip Johnson, and Edward Larrabee Barnes. Long out of print, the book is here reissued in a facsimile of the 1948 edition, accompanied by a contextualizing foreword by John Dixon Hunt. Gardens in the Modern Landscape heralded a sea change in the evolution of twentieth-century design, and it also anticipated questions of urban sprawl, historic preservation, and the dynamic between the natural and built environments. Available once more to students, practitioners, and connoisseurs, it stands as a historical document and an invitation to continued innovative thought about landscape architecture.

Book of Ruins offers a survey - not encyclopedic, but substantial - of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film Requiem for Detroit), it provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an attractive indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.

For Romans, genius loci was literally 'the genius of the place', the presiding divinity who inhabited a site and gave it meaning; while we are less attuned to divinity today, we still sense that a place has significance. In this book, eminent garden historian John Dixon Hunt explores genius loci in many settings, including contemporary land art, the paintings of Paul and John Nash, the work of the travel writers such as Henry James, Paul Theroux and Lawrence Durrell on Provence, Mexico and Cyprus, and landscape architects who invent new meanings for a site. This is a nuanced, thoughtful exploration of how places become more significant to us through the myriad ways we see, talk about and remember them.

A Japanese garden is immediately distinct to the eye from the traditional gardens of an English manor house, just as the manicured topiaries of Versailles contrast with the sharp cacti of the American Southwest. Though gardening is beloved the world over, the style of gardens themselves varies from region to region, determined as much by culture as climate. In this series of illustrated essays, John Dixon Hunt takes us on a world tour of different periods in the making of gardens. Hunt shows here how cultural assumptions and local geography have shaped gardens and their meaning. He explores our continuing responses to land and reworkings of the natural world, encompassing a broad range of gardens, from ancient Roman times to early Islamic and Mughal gardens, from Venetian gardens to Chinese and Japanese gardens, as well as the invention of the public park and modern landscape architecture. A World of Gardens looks at key chapters in garden history, reviewing their significance in past and present and tracing the recurrence of different themes and motifs in the design and reception of gardens throughout the world. A World of Gardens celebrates the idea that similar experiences of gardens can be found in many different times and places, including sacred landscapes, scientific gardens, urban gardens, secluded gardens and symbolic gardens. Well illustrated and wide-ranging, this book is a treasure trove of ideas and inspiration.

Historical Ground investigates how contemporary landscape architecture invokes and displays the history of a site. In the light of modernism's neglect of history, these essays by John Dixon Hunt explore how, in fact, designers do attach importance to how a location manifests its past. The process involves, on the one hand, registering how geography, topography and climate determine design and, on the other, how history discovered or even created for a site can structure its design and its reception. History can be evident, exploited, invented or feigned - it can be original or a new history which becomes part of how we view a place. Landscapes discussed in this book come from across Europe and the United States, highlighting the work of designers who have drawn from site history in their design, or have purposefully created their own historical account of the location. The author explores not just the historical past, but how new ground can be given a life and a future.

Site, Sight, Insight presents twelve essays by John Dixon Hunt, the leading theorist and historian of landscape architecture. The collection's common theme is a focus on sites, how we see them and what we derive from that looking. Acknowledging that even the most modest landscape encounter has validity, Hunt contends that the more one knows about a site and one's own sight of it (an awareness of how one is seeing), the greater the insight. Employing the concepts, tropes, and rhetorical methods of literary analysis, he addresses the problem of how to discuss, understand, and appreciate places that are experienced through all the senses, over time and through space. Hunt questions our intellectual and aesthetic understanding of gardens and designed landscapes and asks how these sites affect us emotionally. Do gardens have meaning? When we visit a fine garden or designed landscape, we experience a unique work of great complexity in purpose, which has been executed over a number of years-a work that, occasionally, achieves beauty. While direct experience is fundamental, Hunt demonstrates how the ways in which gardens and landscapes are communicated in word and image can be equally important. He returns frequently to a cluster of key sites and writings on which he has based much of his thinking about garden-making and its role in landscape architecture: the gardens of Rousham in Oxfordshire; Thomas Whately's Observations on Modern Gardening (1770); William Gilpin's dialogues on Stowe (1747); Alexander Pope's meditation on genius loci; the Desert de Retz; Paolo Burgi's Cardada; and the designs by Bernard Lassus and Ian Hamilton Finlay.

English art critic John Ruskin was one of the great visionaries of his time, and his influential books and letters on the power of art challenged the foundations of Victorian life. He loved looking. Sometimes it informed the things he wrote, but often it provided access to the many topographical and cultural topics he explored--rocks, plants, birds, Turner, Venice, the Alps. In The Art of Ruskin and the Spirit of Place, John Dixon Hunt focuses for the first time on what Ruskin drew, rather than wrote, offering a new perspective on Ruskin's visual imagination. Through analysis of more than 150 drawings and sketches, many reproduced here, he shows how Ruskin's art shaped his writings, his thoughts, and his sense of place.

Eighteenth-century England saw the rise of a "peculiarly English" art form -- landscape gardening -- and a corresponding change in attitudes toward the natural world. While the French, who lived under tyranny, had tightly organized, restrictive gardens, the "free" English enjoyed gardens where they were at liberty to wander. John Dixon Hunt examines eighteenth-century letters, literary and critical works, biographies, paintings, prints, and drawings to trace the gradual movement from formal regularity toward a carefully calculated naturalness.

In 1988-89 the three hundredth anniversary of an important historical event, the ascension of William and Mary to the thrones of England and Scotland, was celebrated in the Netherlands, the United Kingdom, and the United States of America. The symposium on Dutch garden art held at Dumbarton Oaks in May 1988 was the only scholarly event during the anniversary year that focused wholly upon gardens.

This wide-ranging collection of essays charts the history, scope, and spread of Dutch garden art during the seventeenth century. A group of scholars, mostly Dutch, surveys what has been called the golden age of Dutch garden design. Essays discuss the political context of William's building and gardening activities at his palace of Het Loo in the Netherlands; the development of a distinctively Dutch garden art during the seventeenth century; country house poetry; and specific estates and their gardens, such as those of Johan Maurits van Nassau-Siegen at Cleves or Sorgvliet, the estate of Hans Willem Bentinck, later the Earl of Portland. Other contributions concern typical Dutch planting and layouts, with a focus upon Jan van der Green's much-circulated Den Nederlandtsen Hovenier; the designs of Daniel Marot, the Huguenot refugee from France, who worked for William III in both the Netherlands and England; and the attitudes of the English toward Dutch gardening as it was observed in practice and mythologized through the distorting lens of national cooperation and rivalries.

"Garden and Grove" is a pioneering study of the English fascination with Italian Renaissance gardens. John Dixon Hunt studies reactions of English visitors in their journals and travel books to the exciting world of Italian gardens: its links with classical villas, with Virgil and farming, with Ovid and metamorphosis, its association with theater, its variety, its staged debates between art and nature. Then he looks at what English visitors made of these Italian garden experiences upon their return home and at how they created Italianate gardens on their estates, on their stages, and in their poems.With a wealth of literary and visual materials previously untapped, Hunt provides a new history of an intriguing and vital phase of English garden history. Not only does he suggest the centrality of the garden as a focus for many social, aesthetic, political, and philosophical ideas but he argues that the so-called English landscape garden before "Capability" Brown, in the late eighteenth century, owed much to a long and continuing emulation of Italian Renaissance models.

Landscape architecture and garden-making have witnessed huge changes during the twentieth-century, and the impact of these will continue to be discussed and interpreted in the twenty-first. New materials and responses to different social conditions, along with new attitudes to how gardens are perceived and interpreted and above all the relationship of built work to the larger landscape of territory and society - all have challenged long-held practices of garden-making, even while those same traditions continue to be at the center of both designers and users. A Cultural History of Gardens in the Modern Age presents an overview of the period with essays on issues of design, types of gardens, planting, use and reception, issues of meaning, verbal and visual representation of gardens, and the relationship of gardens to the larger landscape.

Landscape architecture and garden-making have witnessed huge changes during the twentieth-century, and the impact of these will continue to be discussed and interpreted in the twenty-first. New materials and responses to different social conditions, along with new attitudes to how gardens are perceived and interpreted and above all the relationship of built work to the larger landscape of territory and society - all have challenged long-held practices of garden-making, even while those same traditions continue to be at the centre of both designers and users.

There have been poems about gardens for as long as there have been gardens. Gardens have been all things to all men and women: paradoxical sites of pleasure and pain, of safety and danger, art and nature, public spaces and private retreats, places of physical labour and metaphysical reflection. This diversity and versatility have always attracted poets, whose repertory of garden themes on the page matches what garden makers have achieved on the ground.

In this anthology successive historical periods of gardening - from enclosed garden and landscape park to Victorian flower-garden and modern patio - are mirrored in verse from the Middle Ages to the present day. While poets have eagerly seized upon the metaphorical associations gardens inspire, they have also been attracted to the opportunities they offer for description, both romantic and robust. As well as being microcosms of society, either perfectly maintained or ill-kempt and overrun, where love can blossom alongside the flowers, or withering and decay may presage death, they are sites of real human labour. The gardener is here celebrated as much as his creation, as are his mundane tasks of weeding and making compost, mowing lawns and tending the allotment.

In his Introduction John Dixon Hunt identifies certain themes that recur throughout a selection that ranges from Chaucer to Pope, Marvell to Tennyson, Coleridge to Fleur Adcock, W. B. Yeats to Anthony Hecht, and Rudyard Kipling to Anne Sexton. Particularly fertile in modern examples, this anthology is a riot of literary talent to match the most abundant of gardens.