1. See Charlotte Gere and Lesley Hoskins, The House Beautiful: Oscar Wilde and the Aesthetic Interior (London: Lund Humphries, 2000).
2. Mark Girouard, Sweetness and Light: The Queen Anne Movement, 1860–1900 (New Haven: Yale University Press, 1984), explores the ramifications of the style in architecture, interiors, and garden design.
3. Ernest Newton, “Domestic Architecture of To-Day,” in Lawrence Weaver, ed., The House and Its Equipment (London: Country Life, 1911), 1.
4. Margaret Richardson, The Craft Architects (New York: Rizzoli, 1983), 11.
5. Judith B. Tankard and Martin A. Wood, Gertrude Jekyll at Munstead Wood (London: Pimpernel Press, 2015), 77–79.
6. For more on these offices, see Richardson, The Craft Architects.
7. Hermann Muthesius, Das Englische Haus (Berlin: Wasmuth, 1908–1910), Vol. 2, 168. Muthesius’s three-volume work, originally published in 1904–05, was translated into English in an abridged volume in 1979.
8. Helen Allingham and Marcus B. Huish, Happy England (London: Adam and Charles Black, 1903).
9. Mary Greensted, The Arts and Crafts Movement in the Cotswolds (Stroud: Alan Sutton, 1993), 1–2.
10. The founders were Gerald Horsley, William Lethaby, Mervyn Macartney, Ernest Newton, and Edward Prior.
11. Muthesius, Das Englische Haus, Vol. 1, 218.
1. For a detailed discussion of Edwardian garden design and the principal architects, see David Ottewill’s The Edwardian Garden (New Haven: Yale University Press, 1989).
2. Reginald Blomfield, The Formal Garden in England (London: Macmillan, 1892), x.
3. Muthesius, Das Englische Haus, Vol. 1, 218.
4. Ernest Newton, “Domestic Architecture of To-Day,” in Lawrence Weaver, ed., The House and Its Equipment (London: Country Life, 1911), 1.
5. The other partners in Kenton and Company (1890–92) were Sidney Barnsley, Ernest Gimson, William Lethaby, and Mervyn Macartney, all from Shaw’s office.
6. George S. Elgood and Gertrude Jekyll, Some English Gardens (London: Longmans, Green, 1904), 56.
7. For the career of F. Inigo Thomas, see Ottewill, The Edwardian Garden, 13–21.
8. Robert Nathan Cram, “Athelhampton Hall,” House Beautiful, June 1926, 789. In the 1920s, Thomas Mawson made further improvements to Athelhampton.
9. John Sedding, Garden-Craft Old and New (London: John Lane, 1890), vi–vii.
10. Walter Crane, A Floral Fantasy in an Old English Garden Set Forth in Verses of Coloured Designs (London: Harper and Brothers, 1899).
11. “A Garden in Westmoreland,” Gardening Illustrated, 22 November 1884, 459.
12. Elgood and Jekyll, Some English Gardens, 63.
13. In 1914, Walter Hindes Godfrey (1881–1961), a former pupil of Devey’s architectural partner, wrote a modest book that served to reintroduce Devey nearly thirty years after his death. Ignoring the great strides in garden design that had transpired since the publication of Sedding’s and Blomfield’s books, Gardens in the Making continued to champion their basic tenets.
14. Elgood and Jekyll, Some English Gardens, 87–89.
15. Some English Gardens, 24.
16. Muthesius, Das Englische Haus, Vol. 1, 217.
17. William Robinson, Garden Design and Architects’ Gardens (London: John Murray, 1892), ix–xi.
18. Robinson, Garden Design and Architects’ Gardens, 66.
19. Muthesius, Das Englische Haus, Vol. 1, 218.
1. J. W. Mackail, The Life of William Morris (1899, reprinted in 1968 by Benjamin Blom), Vol. 1, 143.
2. For an excellent discussion of Morris’s flowers and gardening interests, see Derek Baker, The Flowers of William Morris (London: Barn Elms, 1996), and Jill Hamilton, Penny Hart, and John Simmons, The Gardens of William Morris (New York: Stewart, Tabori & Chang, 1998).
3. The founders were William Morris, Edward Burne-Jones, Philip Webb, Dante Gabriel Rossetti, Ford Madox Brown, Charles Faulkner, and Peter Paul Marshall. In 1875, Morris reorganized the firm, naming it Morris and Company, and in 1881 he moved it from London to Merton Abbey.
4. May Morris, ed., The Collected Works of William Morris (London: Longmans, Green, 1910–15), Vol. 22, 77.
5. Examples of the firm’s furnishings can be seen at Standen, Wightwick Manor, and Red House, all National Trust properties. Additionally, the William Morris Gallery, Kelmscott Manor, and Victoria and Albert Museum have collections of the firm’s work.
6. William Morris, letter to Emma Lazarus, 21 April 1884, in “A Day in Surrey with William Morris,” Century 32 (July 1886), 397. Emma Lazarus (1849–87) was a social reformer and poet whose poem, “The New Colossus,” is mounted on a plaque at the base of the Statue of Liberty in New York Harbor. Lazarus visited Merton Abbey in 1886.
7. William Morris, “Making the Best of It,” Hopes and Fears for Art (London: Longmans, Green, 1908), 124–25. This was originally presented as a paper for the Birmingham Society of Artists in 1879.
8. Morris, Hopes and Fears for Art, 126–27.
9. Hopes and Fears for Art, 128.
10. Mackail, The Life of William Morris, 143–44.
11. Fiona MacCarthy, William Morris: A Life for Our Time (New York: Alfred A. Knopf, 1995), 164.
12. May Morris and George Bernard Shaw, William Morris: Artist, Writer, Socialist (1936, reprinted by Russell and Russell in 1966), Vol. 1, 12.
13. The account, possibly by Georgiana Burne-Jones, appears in Aymer Vallance, William Morris: His Art, His Writings, and His Public Life (London: George Bell and Sons, 1897), 49.
14. Hermann Muthesius, The English House (abridged version of Das Englische Haus, 1904–05; New York: Rizzoli, 1979), 17–18; MacCarthy, William Morris: A Life for Our Time, 144.
15. Mackail, The Life of William Morris, 144.
16. Jill Hamilton, in “Morris’s Garden of Inspiration,” Country Life 196 (19 September 2002), 166–69, suggests that the lavish plantings were at variance with the austerity of the interior and the symmetry of the garden contrasts with the irregularity of the house.
17. Some of Webb’s drawings for Red House (now housed at the Victoria and Albert Mus-eum) are reproduced in Edward Hollamby, Red House, Bexleyheath, 1859: Phillip Webb (New York: Van Nostrand Reinhold, 1991).
18. For a detailed history of the house, see Corona More, “Kelmscott Manor, Oxfordshire: The Home of William Morris,” Country Life 50 (20 August 1921), 224–29; 27 August 1921, 256–62.
19. After Morris’s death in 1896, his widow, Jane, bought the lease in 1913 and lived there until her death in 1938. After May Morris’s death, the house was acquired by the Society of Antiquaries in 1962.
20. William Morris, “Gossip About an Old House on the Upper Thames,” The Quest (Birmingham Guild of Handicraft), November 1895.
21. Morris, “Gossip About an Old House.”
22. Rossetti, letter to his mother, 1871, cited in Vallance, William Morris, 191.
23. William Morris, News from Nowhere (1891, reprinted by Longmans, Green, 1910), 264–65.
24. Morris, “Gossip About an Old House.”
25. Lazarus, “A Day in Surrey,” 394.
1. Norman Jewson, By Chance I Did Rove (1951, reprinted privately in 1973), 26.
2. W. R. Lethaby, Alfred H. Powell, and F. L. M. Griggs, Ernest Gimson: His Life and Work (Stratford-upon-Avon: Shakespeare Head Press, 1924), 7.
3. Robert Weir Schultz (1860–1951), who worked in the offices of Norman Shaw and later George and Peto, where he overlapped Edwin Lutyens, designed in the vernacular style, but he was also fascinated with Byzantine architecture.
4. Liberty and Company, the popular shop on Regent’s Street, London, was founded in 1895 by Arthur Lasenby Liberty, who commissioned decorative arts (especially metalwork and textiles) from all the leading designers of the day. See Martin Wood, Liberty Style (London: Frances Lincoln, 2014).
5. The Cheltenham Museum has an extensive collection of their work, including drawings for executed and unexecuted architectural projects.
6. H. Avray Tipping, “Daneway House, Gloucestershire,” Country Life 25 (6 March 1909), 347.
7. Tipping, “Pinbury, Gloucestershire,” Country Life 27 (30 April 1910), 634–36.
8. Tipping, “A House at Sapperton by Mr. A. Ernest Barnsley,” Country Life 25 (10 April 1909), 522–27. The house, gardens, and stable cost £1,700 (about $250,000 in 2018), proof that careful architectural alterations can cost more than building from scratch.
9. Lethaby et al., Ernest Gimson: His Life and Work, 9.
10. Tipping, “A House at Sapperton Designed by Mr. Ernest Gimson,” Country Life 25 (6 March 1909), 348–54. The thatch roof burned in 1941.
11. Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses (London: Country Life, 1912), 165–66. Stoneywell Cottage, which Gimson built as a rural retreat for his brother Sydney in 1898, was nestled in among the rough boulders on the site. Gimson’s superb placement of the cottage in the natural landscape is an excellent example of the “organic” approach to architecture that many other architects failed miserably at. See Mary Comino, Gimson and the Barnsleys (New York: Van Nostrand Reinhold, 1982), 138–39.
12. Judith B. Tankard and Martin A. Wood, Gertrude Jekyll at Munstead Wood, 145–46.
13. Planting plans and correspondence for Combend Manor are included in the Jekyll Collection, Environmental Design Archives, University of California, Berkeley.
14. For a detailed discussion of the plantings, see David Wheeler and Simon Dorrell, Over the Hills from Broadway: Images of Cotswold Gardens (Stroud: Alan Sutton, 1991), 111–16.
15. Jewson, By Chance I Did Rove, 13–14.
16. Today, Owlpen Manor is a small hotel and is furnished with many pieces designed and created in the Sapperton workshops.
17. James Lees-Milne, Some Cotswold Country Houses (Stanbridge, Dorset: Dovecote Press, 1987), 119.
18. Jekyll and Weaver, Gardens for Small Country Houses, 2nd ed. (1913), xix.
19. Harold D. Eberlein, “Owlpen Manor House, Gloucestershire,” Architectural Forum, August 1927, 192.
20. An enigmatic figure, Milne went on to great acclaim for his artful house and garden at Coleton Fishacre, in Devon, for Rupert D’Oyly Carte in 1925. See Christopher Hussey, “A Modern Country House, Coleton Fishacre, Devonshire,” Country Life 67 (31 May 1930), 782–89.
21. Lawrence Weaver, Small Country Houses of To-Day, Vol. 2 (London: Country Life, 1919), 76.
22. Christopher Hussey, “A Modern Country House,” 784.
23. C. R. Ashbee, journal entry, 1914, as cited in Simon Biddulph, Rodmarton Manor (Gloucestershire, privately printed, 2001), 5.
24. Ernest Barnsley worked on Rodmarton from 1909 until his death in January 1926 (with a suspension between 1914 and 1917 during the First World War), when the project was taken over by his brother Sidney until his death later that year. Rodmarton was completed by Norman Jewson in 1929.
25. Illustrations from 1931 show the Portuguese laurels and other developed parts of the garden. See Arthur Oswald, “Rodmarton, Gloucestershire,” Country Life 69 (4 April 1931), 422–27.
26. Tipping, “Hidcote Manor, Gloucestershire,” Country Life 67 (22 February 1930), 286.
1. Charles Holme (1848–1923) lived at Red House from 1876 until 1902, when he purchased the Manor House at Upton Grey in Hampshire.
2. Its content was “tailored to the preferences and tastes of the middle-class art lover and amateur [who avoided] the stale academicism of the Royal Academy and its aging mentors,” according to Clive Ashwin, in High Art and Low Life: The Studio and the Fin de Siècle, London: Victoria and Albert Museum, 1993, 7.
3. Holme’s editorial team included editor Gleeson White (who wrote many of the early articles) and art editor C. Lewis Hind (the author of numerous monographs on artists). When Holme retired in 1919, he was succeeded by his son Geoffrey Holme, a brilliant businessman to whom credit should be given for the longevity of the magazine. See The Studio: A Bibliography, the First Fifty Years, 1893–1943 (London: Sims and Reed, 1978) for a detailed history of the magazine.
4. Bryan Holme, “Introduction,” The Studio, 1.
5. William Henry Ward was a protégé of architect Arthur Blomfield (the uncle of Reginald Blomfield) and the author of two books on French architecture of the Renaissance period. He worked for the firms of George and Peto, Dan Gibson, and Edwin Lutyens.
6. Lawrence Weaver, in Small Country Houses of To-Day, 71–75, praised High Moss as a success, but he failed to mention the garden. The house still exists, but the gardens are not as shown in the rendering.
7. Hermann Muthesius, The English House (abridged version of Das Englische Haus, 1904–05; New York: Rizzoli, 1979), 51.
8. Gleeson White, “Some Glasgow Designers,” The Studio 11 (July 1897), 86–100.
9. Muthesius suggests that their work was initially ridiculed in England, but modern scholarship has begun to dispute this notion.
10. Mackintosh’s watercolors are held at the Hunterian Art Gallery, University of Glasgow. See Roger Billcliffe, ed., Mackintosh Watercolours (London: John Murray, 1978) and Architectural Sketches and Flower Drawings by Charles Rennie Mackintosh (New York: Rizzoli, 1977).
11. James Macaulay, Hill House: Charles Rennie Mackintosh (London: Phaidon, 1994), 15.
12. For the site plan, see Wendy Kaplan, ed., Charles Rennie Mackintosh (New York: Abbeville Press, 1996), 179.
13. J. J. Joass, “On Gardening: With Descriptions of Some Formal Gardens in Scotland,” The Studio 11 (August 1897), 167–68.
14. Robert Lorimer, cited in Sir Herbert Maxwell, Scottish Gardens (London: Edward Arnold, 1908), 188.
15. Margaret Richardson, The Craft Architects (New York: Rizzoli, 1983), 45.
16. See Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses, 89–91, for a critique of Home Place.
17. Edward S. Prior, “Garden-Making,” The Studio 21 (October 1900), 28, 31.
18. Prior, “Garden-Making III: The Conditions of Material,” The Studio 21 (December 1900), 176.
19. Prior, “Garden-Making II: The Conditions of Practice,” The Studio 21 (November 1900), 95.
20. A partial list of Mallows’s commissions includes Joyce Grove, Nettlebed, Oxon (1911); Dalham Hall, Suffolk; Canons Park, Edgware, Middlesex; Crocombe, Happisburgh, Norfolk (1909); Brackenston, Pembury, Kent (1904); Tirley Garth, Taporley, Cheshire (1912); and Craig-y-Parc, Pentyrch, Wales (1913).
21. Jekyll and Weaver, Gardens for Small Country Houses, xvii.
22. For the life and work of Griggs, see Jerrold Northrop Moore, F. L. Griggs: The Architecture of Dreams (Oxford: Clarendon Press, 1999).
23. Griggs illustrated E. V. Boyle’s Seven Gardens and a Palace (1900), Harry Roberts’s The Chronicle of a Cornish Garden (1901), and Mary Pamela Milne-Home’s Stray Leaves from a Gorder Garden (1901) as well as more than a dozen volumes of Macmillan’s popular Highways and Byways series.
24. C. E. Mallows, “Architectural Gardening,” The Studio 44 (August 1908), 181–82.
25. Mallows, “Architectural Gardening IV,” The Studio 46 (March 1909), 120–21.
26. Jekyll and Weaver, Gardens for Small Country Houses, 64.
27. Clive Aslet, “Tirley Garth,” Country Life 171 (18 March 1982), 702.
28. Janet Waymark, “Mallows, Charles Edward (1864–1915),” Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2008).
1. Studio Year Book of Decorative Art 1909 (London: The Studio, 1909), 28; C. F. A. Voysey, Individuality (London: Chapman and Hall, 1915).
2. John Betjeman, “Charles Francis Annesley Voysey, the Architect of Individualism,” The Architectural Review, October 1931, 93.
3. For more on Voysey’s life and career, consult Wendy Hitchmough, C. F. A. Voysey (New York: Phaidon, 1995). There is a large archive of Voysey’s architectural work in the Drawings Collection at the Royal Institute of British Architects, London, and an archive of his textiles and wallpapers at the Victoria and Albert Museum, London.
4. M. H. Baillie Scott, “On the Characteristics of Mr. C. F. A. Voysey’s Architecture,” The Studio 42 (October 1907), 19.
5. Sir Edwin Lutyens, “Foreword,” The Architectural Review, October 1931, 91.
6. T. Raffles Davison, Modern Homes: Selected Examples of Dwelling Houses (London: George Bell, 1909), 119.
7. Betjeman coined the term “Metro-land” for the bedroom communities ringing London where Voysey built many of his houses.
8. “An Interview with Mr. C. F. A. Voysey, The Studio 1 (September 1893), 232.
9. Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses, 162, fig. 220.
10. Examples of his garden architecture can be seen at Greyfriars, Lowicks, Norney Grange, Littleholme, Priors Garth, and New Place. A discussion of Littleholme is included in Jekyll and Weaver, Gardens for Small Country Houses, 76–80.
11. W. Duggan, “The Gardens at New Place, Haslemere,” The Garden 85 (6 August 1921), 388.
12. “Some Recent Work of C. F. A. Voysey, an English Architect,” House and Garden 3 (May 1903), 256.
13. See Hermann Muthesius, Das Englische Haus, Vol. 2, 113, 114, for photographs of these garden houses. Voysey designed summerhouses for Lowicks, which also sports a similar weathercock, and Norney Grange.
14. See planting plan in Jane Brown, “The Garden of New Place,” The Garden 108 (June 1983), 232, based on files in the Gertrude Jekyll Collection, Environmental Design Archives, University of California, Berkeley.
15. See Alan Powers, “Blackwell, Cumbria,” Country Life 195 (12 July 2001), 86–91.
16. Betjeman, “Mackay Hugh Baillie Scott,” Journal of the Manx Museum, 1968, cited in Diane Haigh, Baillie Scott: The Artistic House (London: Academy, 1995), 116.
17. “An Ideal Suburban House,” The Studio 4 (January 1895), 127–32; “The Decoration of the Suburban House,” The Studio 5 (April 1895), 15–21.
18. Baillie Scott, Houses and Gardens (London: George Newnes, 1906), 1.
19. Baillie Scott and A. Edgar Beresford, Houses and Gardens (London: Architecture Illustrated, 1933), 32.
20. Houses and Gardens (1906), 81, 84.
21. Houses and Gardens (1906), 82.
22. Houses and Gardens (1906), 3, 85.
23. The three projects were Greenways, Sunningdale (1907); Runton Old Hall, Norfolk (1908); and Garden Corner, Guildford (1915).
24. Letter, M. H. Baillie Scott to Gertrude Jekyll, 12 August 1907, Gertrude Jekyll Collection, Environmental Design Archives, University of California, Berkeley.
25. “Recent Designs in Domestic Architecture,” The Studio 51 (December 1910), 222.
26. Judith B. Tankard and Martin A. Wood, Gertrude Jekyll at Munstead Wood, 146.
27. “The Studio Prize Competitions,” The Studio 41 (June 1907), 86.
28. Gervase Jackson-Stops, An English Arcadia 1600–1990 (Washington, D.C.: AIA Press/The National Trust, 1990), 147; A. E. Richardson, in “Snowshill Manor, Gloucestershire,” Country Life 62 (1 October 1927), 470–77, attributes the design of the garden to Wade.
29. Haigh, Baillie Scott: The Artistic House, 69.
1. In The Art and Craft of Garden Making, Mawson designated himself “garden architect”; his autobiography is entitled The Life & Work of an English Landscape Gardener in Britain, while the American edition is entitled The Life & Work of an English Landscape Architect.
2. Ken Lemmon, “Landscaper of the World: Thomas H. Mawson, a Self-Help Victorian,” Country Life 175 (10 May 1984), 1318.
3. Thomas H. Mawson, The Life & Work of an English Landscape Architect (New York: Scribner’s, 1927), 41–42.
4. Geoffrey Beard, Thomas H. Mawson: A Northern Landscape Architect (University of Lancaster, 1978), 11.
5. His four most significant gardens are Thornton Manor, Cheshire (1905); Rivington Pike, Bolton (1906); Roynton Cottage, Bolton (1906); and The Hill, Hampstead, London (1906).
6. “Since the appearance of The Formal Garden by Reginald Blomfield, we have seen no work on the fascinating subject of artistic gardens to be compared in interest with the one under review” (The Studio 20 [July 1900], 135.)
7. Mawson, Life & Work, 164.
8. Mawson, The Art and Craft of Garden Making (London: Batsford, 1901), xi. Unless otherwise noted, all citations are taken from this edition.
9. Mawson worked with Voysey at Moor Crag (1898) and Baillie Scott at Blackwell (1902), both in Windermere.
10. Mawson, The Art and Craft of Garden Making, 222.
11. The Art and Craft of Garden Making, 224.
12. Dyffryn Gardens, with its magnificient collection of specimen trees, is currently undergoing a full-scale restoration by the National Trust. The layout of the grounds is basically unaltered.
13. Reginald Cory (1871–1934), a longtime benefactor to the Royal Horticultural Society, where he bequeathed his extensive horticultural library, was renowned for his work in hybridizing plants. His collection of dahlias, for example, numbered 600 varieties. Cory was also interested in town planning and had Mawson design a projected model village, Glyn Cory, near Dyffryn.
14. Thomas H. Mawson and E. Prentice Mawson, The Art and Craft of Garden Making, 5th ed. (London: Batsford, 1926), 386–89.
15. Within three months of the book’s initial publication in October 1912, a second, revised edition, was printed, with an expanded introduction that included measured drawings that were not completed in time for the first edition. All citations are taken from this edition.
16. Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses, xxxiii.
17. Gardens for Small Country Houses, 55–59.
18. Mawson, The Art and Craft of Garden Making, 69.
19. Gardens for Small Country Houses, 99.
20. The Art and Craft of Garden Making, 118–19.
21. Gardens for Small Country Houses, 147, 158.
1. Among William Robinson’s books, the most important are The Parks, Promenades, and Gardens of Paris (1869), Alpine Flowers for English Gardens (1870), The Wild Garden (1870), The Subtropical Garden (1871), The English Flower Garden (1883), Garden Design and Architects’ Gardens (1892), The Garden Beautiful (1907), Gravetye Manor (1911), The Virgin’s Bower (1912), and Home Landscapes (1914), all published in London by John Murray.
2. For the history of some of Robinson’s books, see Judith B. Tankard, “A Perennial Favourite: ‘The English Flower Garden’,” Hortus 17 (Spring 1991), 74–85, and “William Robinson and the Art of the Book,” Hortus 27 (Autumn 1993), 21–30.
3. Tankard, “A Perennial Favourite,” 74–85.
4. Like Robinson, Wilhelm Miller (1869–1938) founded or wrote for several magazines, including Country Life in America. His book, What England Can Teach Us about Gardening (Garden City: Doubleday, Page, 1911), reflects his travels in England in 1908.
5. The Studio 32 (15 July 1904), 174.
6. Robinson’s original “Tree and Garden Books,” containing plant lists and other information omitted from Gravetye Manor, are held in the Lindley Library, London.
7. Robinson thought that Devey’s remodeling of Gravetye Manor, undertaken between August 1885 and September 1886 and one of his last commissions, was carelessly done. See Jill Allibone, George Devey Architect, 1820–1886 (Cambridge: Lutterworth Press, 1991).
8. Letter, Edwin Lutyens to Emily Lutyens, 24 August 1903, cited in Clayre Percy and Jane Ridley, eds., The Letters of Edwin Lutyens to His Wife Lady Emily (London: Collins, 1985), 106.
9. Robinson, “In the Garden,” Country Life 34 (4 October 1913), 452.
10. Robinson, Gravetye Manor, 96.
11. Robinson, “The Flower Garden at Gravetye Manor,” Country Life 32 (28 September 1912), 409.
12. Henry James, Pictures and Text (New York: Harper and Brothers, 1893), 88–89.
13. Robinson, “The Flower Garden at Gravetye Manor,” 411.
14. Robinson, Gravetye Manor, 95.
15. Tankard, “Moonscape,” Country Life 190 (9 May 1996), 72–73.
16. Last Will and Testament of William Robinson, 17 January 1928, 7, H. M. Probate Registry, London.
17. Peter Herbert, “Foreword,” The Wild Garden, new ed. (New York: Sagapress, 1994), and in conversation with the author.
18. Peter Savage, Lorimer and the Edinburgh Craft Designers (Edinburgh: Paul Harris, 1980), 25.
19. See Tankard, “The Garden Before Munstead Wood,” Hortus 20 (Winter 1991), 17–26, for a description. See also Tankard and Wood, Gertrude Jekyll at Munstead Wood (London: Pimpernel Press, 2015), for a detailed discussion of Munstead Wood.
20. William Goldring, “Munstead, Godalming,” The Garden 22 (26 August 1882), 191–92.
21. Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses, 36.
22. Jekyll, Colour in the Flower Garden (London: Country Life, 1908), 55.
23. See Tankard, “Miss Jekyll’s True Colours,” Country Life 191 (15 May 1997), 140–43, for period views of these gardens in color.
24. Herbert Baker, Architecture and Personalities (London: Country Life, 1944), 16.
25. Jekyll, Home and Garden (London: Longmans, Green, 1900), 1.
26. Despite the simplicity of Jekyll’s house, it cost her almost £4,000 (about $600,000 in 2018), a considerable sum in 1897.
1. Judith B. Tankard, “Gardening with Country Life,” Hortus 30 (Summer 1994), 72–86. See also Tankard, Gertrude Jekyll and the Country House Garden: From the Archives of Country Life (London: Aurum Press; New York: Rizzoli, 2011).
2. See Fenja Gunn, “Jekyll’s Country Life Style,” Country Life 187 (26 August 1993), 46–49, for a discussion of Lutyens’s commissions for Hudson.
3. Christopher Hussey, The Life of Sir Edwin Lutyens (London: Country Life; New York: Charles Scribner’s, 1950), 95.
4. Hussey, The Life of Lutyens, 96.
5. [H. Avray Tipping], “A House and a Garden,” Country Life 13 (9 May 1903), 602–11. In his discussion of Deanery Garden, T. Raffles Davidson, in Modern Homes (London: George Bell, 1909), gives credit to Jekyll’s role: “It is a signal tribute to the ability of its architect, Mr. E. L. Lutyens, to create a house, and to Miss Gertrude Jekyll to create a garden which are so entirely in sympathy with each other.”
6. Lawrence Weaver, Houses and Gardens of E. L. Lutyens (London: Country Life, 1913), 58.
7. Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses, 26.
8. After being in continuous private ownership, Goddards became the headquarters of the Lutyens Trust in 1991 and is now under the management of the Landmark Trust.
9. Weaver, Houses and Gardens of E. L. Lutyens, 39.
10. Weaver, “Marshcourt, Hampshire,” Country Life 33 (19 April 1913), 562.
11. Jekyll and Weaver, Gardens for Small Country Houses, 158.
12. Tipping, “Millmead, Bramley,” Country Life 21 (11 May 1907), 677.
13. Jekyll and Weaver, Gardens for Small Country Houses, 1–2. The property had experienced an unglamorous history, with pigs being kept there at one time. The Jacobean cottages were demolished in 1898.
14. Tipping, “Millmead, Bramley,” 676.
15. Jekyll and Weaver, Gardens for Small Country Houses, 2–3.
16. Gardens for Small Country Houses, 2–3.
17. Unlike many of the earlier Lutyens and Jekyll projects, there are ample working drawings and notes pertaining to the gardens at Folly Farm in the Gertrude Jekyll Collection at the University of California, Berkeley. Curiously, most of the plans relate to the 1906 scheme and little information exists for the later, more important, scheme of 1912. Handwritten notes on the drawings, such as “Steps up to the Croquet Court?,” confirm Jekyll’s involvement in design decisions as well as the planting.
18. The one at Westbury Court, Gloucester-shire, is one of the few remaining examples of this type of water feature. Most were destroyed by “Capability” Brown in the eighteenth century, when the landscape style replaced formality in garden design.
19. Hussey, “Folly Farm,” Country Life 51 (28 January 1922), 114.
20. In the 1970s, American landscape architect Lanning Roper simplified the plantings, replacing high-maintenance flowers with perennials, giving Folly Farm an updated look. See Lanning Roper, “A Garden of Vistas,” Country Life 157 (15 May 1975), 1230–32.
21. Tipping, “Hestercombe, Somerset II,” Country Life 14 (17 October 1908), 528.
1. Lawrence Weaver, “Ardkinglas,” Country Life 29 (27 May 1911), 746.
2. The 27 September 1912 issue of Country Life contains a special supplement devoted to Lorimer’s work.
3. Gertrude Jekyll designed Whinfold, Hascombe, Surrey (1898); High Barn, Hascombe, Surrey (1901); Brackenburgh, Penrith, Cumberland (1901); and Barton Hartshorn, Buckingham, Oxfordshire (1902).
4. Jekyll and Weaver, Gardens for Small Country Houses, xliii; see also Weaver, “The Walled Garden at Edzell Castle,” Country Life 32 (14 December 1914), 859–62.
5. Christopher Hussey, The Work of Sir Robert Lorimer (London: Country Life, 1931), 7, 17, 18.
6. Robert Lorimer, “On Scottish Gardens,” The Architectural Review, November 1899, 194–205, as cited in Peter Savage, “Lorimer and the Garden Heritage of Scotland,” Garden History, Journal of the Garden History Society 5 (Summer 1977), 30.
7. Hussey, The Work of Robert Lorimer, 24.
8. Hew Lorimer, Kellie Castle and Garden (National Trust for Scotland, 1985), 4.
9. Hussey, The Work of Robert Lorimer, 15.
10. George Elgood and Gertrude Jekyll, Some English Gardens, 48, 50.
11. Kathleen Sayer, “Kellie Castle Garden in Spring,” Hortus 29 (Spring 1994), 46–52.
12. “Earlshall, Fifeshire, the Seat of Mr. R. W. Mackenzie,” Country Life 17 (1 July 1905), 942–50.
13. Hussey, The Work of Robert Lorimer, 24; Peter Verney, The Gardens of Scotland (London: B. T. Batsford, 1976), 77.
14. Peter Savage, Lorimer and the Edinburgh Craft Designers (Edinburgh: Paul Harris, 1980), 11.
15. All four properties are owned by The National Trust.
16. Hussey, “Gardener and Antiquary,” Country Life 74 (25 November 1933), 567.
17. Lady Congreve, “The Late H. Avray Tipping, a Personal Recollection,” Country Life 74 (25 November 1933), 566–67.
18. [H. A. Tipping], “Mathern Palace, Monmouthshire,” Country Life 28 (19 November 1910), 725.
19. Tipping, English Gardens (London: Country Life, 1925), 219.
20. Tipping, The Garden of To-Day (London: Martin Hopkinson, 1933), 44.
21. See Tipping, English Gardens, 225–38, for garden plan and photographs of Mounton House.
22. Tipping, “High Glanau, Monmouthshire” Country Life 65 (8 June 1929), 829.
23. Tipping, “High Glanau II, Monmouthshire,” Country Life 65 (15 June 1929), 856.
24. David Wheeler, “A Corner of Wales That Is Forever England,” Country Life 192 (16 July 1998), 61.
25. C. H. Reilly, Representative British Architects of the Present Day (London: Batsford, 1931), 93.
26. In 1919, Williams-Ellis published a book on Cottage Building in Cob, Pisé, Chalk and Clay.
27. See Richard Haslam, Clough Williams-Ellis: RIBA Drawings Collection Monographs (London: Academy, 1996) for examples of his work.
28. England and the Octopus (London: Geoffrey Bles, 1928). Williams-Ellis also wrote (with his wife, Amabel) The Pleasures of Architecture (London: Jonathan Cape, 1924), and his autobiography, Architect Errant (London: Constable, 1971).
29. Jekyll and Hussey, Garden Ornament (London: Country Life, 1927), 365.
30. Hussey, “Plas Brondanw, Merionethshire,” Country Life 69 (31 January 1931), 136.
31. Gertrude Knoblock, whose studio was located in London, designed fountain figures with cherubs and small children that were popular in American as well as British gardens in the 1930s.
1. See Jens Jensen, Siftings (1939, reprinted by Johns Hopkins Press, 1990), and O. C. Simonds, Landscape Gardening (1920, reprinted by University of Massachusetts Press, 2000).
2. Mabel Tuke Priestman, “History of the Arts and Crafts Movement in America,” House Beautiful, October and November 1906, as reprinted in History of the Arts and Crafts Movement in America (Berkeley: The Arts and Crafts Press, 1996), 21.
3. Mark Alan Hewitt, Gustav Stickley’s Craftsman Farms: The Quest for an Arts and Crafts Utopia (Syracuse: Syracuse University Press, 2001), 1.
4. Natalie Curtis, “The New Log House at Craftsman Farms: An Architectural Development of the Log Cabin,” The Craftsman 21 (November 1911), 201.
5. “Craftsman Farms: Its Development and Future,” The Craftsman 25 (October 1913), 8–15.
6. “The Growing Individuality of the American Garden,” The Craftsman 20 (April 1911), 54–62.
7. As Baillie Scott explained in Houses and Gardens (1933), “The house in America is one of those for which we merely supplied the drawings.” It was built by an architect associated with the firm of McKim, Mead and White.
8. See David Cathers, “The Close: Old England in New Jersey,” American Bungalow 29 (Spring 2001), 9–14.
9. Judith B. Tankard, “Pleasant Days: A Millionaire’s Dream Castle,” The Magazine Antiques, June 2005, 58–64.
10. Alan Crawford, C. R. Ashbee: Architect, Designer and Romantic Socialist (New Haven: Yale University Press, 1985), 407.
11. Frank Lloyd Wright, “Concerning Landscape Architecture,” Frank Lloyd Wright Collected Writings, 1894–1939. Courtesy of John Arthur, who provided this reference.
12. Virginia A. Green, The Architecture of Howard Van Doren Shaw (Chicago: Chicago Review Press, 1998), 13.
13. See Suzanne Turner, The Landscape of Ragdale, Home of the Howard Van Doren Shaw Family and the Ragdale Foundation (Cultural Landscape Report, privately printed, 2002) and Alice Hayes and Susan Moon, Ragdale, A History and Guide (Berkeley: Open Books/Ragdale Foundation, 1990).
14. Ragdale has always been the home of artists, first with members of Shaw’s family, and now it is an artists’ retreat. One of his daughters, Sylvia Shaw Judson, was a renowned sculptor, whose sculptural pieces enhance the site today.
15. See Diana Balmori, “Saarinen House Garden,” in Saarinen House and Garden: A Total Work of Art (New York: Harry N. Abrams, 1995).
16. Charles Keeler, The Simple Home (1904, reprinted by Peregrine Smith, 1979), 15.
17. They may have visited the Japanese pavilion at the World’s Columbian Exposition in Chicago in 1893. See Edward R. Bosley, “Greene and Greene: The British Connection,” The Tabby: A Chronicle of the Arts and Crafts Movement 3 (July–August 1997), 7.
18. Bosley, “Greene and Greene,” 16–17.
19. David C. Streatfield, “Echoes of England and Italy ‘On the Edge of the World’: Green Gables and Charles Greene,” Journal of Garden History 2 (October–December 1982), 380.
20. Thaisa Way, Arts and Crafts Gardens in California (master’s thesis, University of Virginia, 1991), 1.
21. Streatfield, California Gardens: Creating a New Eden (New York: Abbeville Press, 1994), 83.
1. Louise Shelton, Beautiful Gardens in America (New York: Scribners, 1915), 7.
2. For a comprehensive history, see May Brawley Hill, Grandmother’s Garden: The Old-Fashioned American Garden, 1865–1915 (New York: Harry N. Abrams, 1995).
3. See Virginia Lopez Begg, “Mabel Osgood Wright: The Friendship of Nature and the Commuter’s Wife,” Journal of the New England Garden History Society 5 (1997), 35–41, for the role of women in garden literature.
4. Mariana Griswold Van Rensselaer, Art Out-of-Doors (New York: Scribners, 1893), 8.
5. Judith B. Tankard, “Defining Their Turf: Pioneer Women Landscape Designers,” Bard Studies in Decorative Arts 8 (Fall–Winter 2000–2001), 31–53.
6. Tankard, “Henry Davis Sleeper’s Gardens at Beauport,” Journal of the New England Garden History Society 10 (2002), 30–43.
7. Frances Duncan, “The Gardens of Cornish,” The Century Magazine, May 1906, 3–19.
8. Alma Gilbert and Judith Tankard, A Place of Beauty: The Artists and Gardens of the Cornish Colony (Berkeley: Ten Speed Press, 2000), 69–75.
9. Rose Standish Nichols, English Pleasure Gardens (Boston: David R. Godine, 2003), 255.
10. Nichols designed approximately seventy gardens, but little is known about most of her commissions because her office records were discarded after her death.
11. Duncan, “A Cornish Garden,” Country Life in America, March 1908, 507.
12. Tankard, “Nellie B. Allen,” in Birnbaum and Karson, eds., Pioneers of American Landscape Design (New York: McGraw-Hill, 2000).
13. Reuben Rainey, “Biography of Charles Freeman Gillette,” The Culural Landscape Foundation, tclf.org.
14. Louise Beebe Wilder, Adventures in a Suburban Garden (Garden City: Doubleday, 1931), 53.
15. The other commissions were for a woodland garden in Greenwich, Connecticut, and an elaborate terraced garden (unbuilt) near Cincinnati, Ohio.
16. In the 1920s, Jekyll received the Old Glebe House commission from Standard Oil heiress Annie Burr Jennings, in much the same spirit as Americans today who mistakenly look to English designers for their inspiration.
17. Notebooks, 1909–1912, Henry Francis duPont Winterthur Museum Archives, Delaware. See also Denise Magnani, The Winterthur Garden (New York: Harry N. Abrams, 1995).
18. Tankard, “Shelburne Farms, the Family Gardens,” Old-House Interiors, Fall 1998, 66–73.
19. See Tankard, Beatrix Farrand: Private Gardens, Public Landscapes (New York: Monacelli Press, 2009) for an overview of Farrand’s life and career.
20. Lamar Sparks, “A Landscape Architect Discusses Gardens,” Better Homes and Gardens, November 1930, 20.
21. Ellen Shipman, “Garden Notebook,” unpublished manuscript, author’s collection, 38. See also Tankard, Ellen Shipman and the American Garden (Athens: University of Georgia Press/LALH, 2018).
1. The famous painting, featuring two young girls at twilight holding lighted paper lanterns among the lilies and carnations, is at the Tate Gallery in London.
2. Henry James, “Our Artists in Europe,” Harper’s New Monthly Magazine 79 (June 1889), 58.
3. Luggers Hall, now a private home, has fully restored gardens.
4. Even though Parsons’s career as a garden designer is elusive, he is known to have designed gardens for Percy’s Wyndham at Philip Webb’s Clouds, Wiltshire (now demolished); Great Chalfield Manor, Wiltshire; Hartpury House, Gloucestershire (with Thomas Mawson); and others. See Diana Baskervyle-Glegg, “Bulbs Shine Bright in Broadway,” Country Life 192 (29 January 1998), 40–43; Nicole Milette, Parsons, Partridge, Tudway: An Unsuspected Garden Design Partnership, 1884–1914 (York: Institute of Advanced Architectural Studies, 1995); and Marian Mako, “Painting with Nature in Broadway, Worcestershire,” Garden History, 34 (Summer 2006).
5. Giles Edgerton, “Mary Anderson ‘At Home’ in the Cotswolds,” Arts & Decoration, March 1937, 12–15.
6. See Bryan N. Brooke, “Willmott, Parsons, and Genus Rosa,” The Garden 112 (October 1987), 455–58. Parsons’s original watercolors were presented to the Royal Horticultural Society’s Lindley Library through the Reginald Cory Bequest.
7. Willmott shared her bounty with her younger sister, Rose, who married Robert Berkeley of Berkeley Castle, Gloucestershire, U.K., and was also an accomplished gardener. For biographical details, see Audrey Le Lièvre, Miss Willmott of Warley Place: Her Life and Her Gardens (London: Faber and Faber, 1980).
8. Norah Lindsay, “The Manor House, Sutton Courtenay, Berks.,” Country Life 69 (16 May 1931), 610.
9. Nellie B. Allen, an American garden designer, noted these colors on the back of her framed photograph of Lindsay’s Long Garden, in the author’s collection.
10. To learn more about the recent restoration, see Rosamund Wallinger, Gertrude Jekyll’s Lost Garden: The Restoration of an Edwardian Masterpiece (Woodbridge, Suffolk. U.K.: Garden Art Press, 2000).
11. Graham Stuart Thomas, “Foreword,” Tankard and Wood, Gertrude Jekyll at Munstead Wood, 6–9.
12. Penelope Hobhouse, ed., Gertrude Jekyll on Gardening (Boston: David R. Godine, 1984), 281.
13. Hobhouse, “My Tenure at Tintinhull,” Horticulture, October 1988, 42.
14. Tim Richardson, “Lost Heroes of Gardening,” The Telegraph, 24 June 2011.
15. Christopher Lloyd and Charles Hind, A Guide to Great Dixter (Angel Design, 1995).
16. Helen Dillon, Garden Artistry (New York: Macmillan, 1995), 9.
17. Gertrude Jekyll, Colour in the Flower Garden, (London: Country Life, 1908), vi.
18. Dillon, Garden Artistry, 13.
19. Jekyll, Colour in the Flower Garden, 90.
20. Dillon, Garden Artistry, 65.
1. Barbara Segall, “A Family Affair: Wyken Hall,” The English Garden, July 2017, 45–50.
2. Sir Roy Strong is the former director of the Victoria and Albert Museum and the National Portrait Gallery, London. He has written more than two dozen books on art, historic gardens, and other subjects, including several memoirs.
3. Patsy Dallas, Roger Last, and Tom Williamson, Norfolk Gardens and Designed Landscapes (Oxford: Windgather Press, 2013), 146–49.
4. Graham Robeson and Alan Gray, A Guide to East Ruston Old Vicarage (East Ruston, privately printed, n.d.), 6.
5. A Guide to East Ruston Old Vicarage, 17.
6. “Coton Manor,” The English Garden, June/July 2017, 41.
7. David Wheeler, “High Summer: A Trip to Wollerton Old Hall,” Gardens Illustrated, July 2010, 36.
8. Jodie Jones, “Jinny Blom,” Gardens Illustrated, December 2012, 64. See also Anna Pavord, “Golden Touch,” Gardens Illustrated, June 2010, 44–47, and Jinny Blom, The Thoughtful Gardener (London: Jacqui Small, 2017).
9. As of 2017, the garden is closed because of an invasive boxwood blight that necessitated the removal of all the plantings. No doubt Ridler will welcome this as an opportunity to redevelop the garden and unleash even more creative ingenuity.
10. Page Dickey, ed., Outstanding American Gardens: A Celebration: 25 Years of the Garden Conservancy (New York: Stewart, Tabori & Chang, 2015).
11. Francis H. Cabot, The Greater Perfection: The Story of the Gardens at Les Quatre Vents (New York: W. W. Norton, 2001).
12. Robert Dash, Notes from Madoo: Making a Garden in the Hamptons (Boston: Houghton Mifflin, 2000).
13. George Schoellkopf, “Our Story: History,” Hollister House Garden (hollisterhousegarden.org).
1. Gertrude Jekyll and Lawrence Weaver, Gardens for Small Country Houses (London: Country Life, 1912), i.
2. Thomas Mawson, The Art and Craft of Garden Making (London: Batsford, 1901). 16.
3. The Art and Craft of Garden Making, 17.
4. The Art and Craft of Garden Making, 18.
5. Judith B. Tankard, “Bishopsbarns, York,” Gertrude Jekyll and the Country House Garden (London: Aurum Press; New York: Rizzoli, 2011), 150–51; Martin Wood, “One Vision,” The Garden, June 1996, 328–31.
6. Jekyll and Weaver, Gardens for Small Country Houses, 105.
7. Gardens for Small Country Houses, 171, 176,
8. Gardens for Small Country Houses, 209.
9. Mawson, The Art and Craft of Garden Making, 69.
10. Tankard, Gertrude Jekyll and the Country House Garden, 158–61.
11. Mawson, Art and Craft of Garden Making, 77.
12. Jekyll and Weaver, Gardens for Small Country Houses, 238.
13. Gardens for Small Country Houses, 157.
14. Jekyll, Colour in the Flower Garden (London: Country Life, 1908), v.
15. See Fenja Gunn’s watercolor depiction of Walsham House, Surrey, in Lost Gardens of Gertrude Jekyll (New York: Macmillan, 1991), 93–98.
16. Jekyll and Weaver, Gardens for Small Country Houses, 111.
17. Mawson, The Art and Craft of Garden Making, 167.
18. The Art and Craft of Garden Making, 125.