The plant-lore & garden-craft of ShakespeareEllacombe, Henry Nicholson
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The plant-lore & garden-craft of Shakespeare
Ellacombe, Henry Nicholson
Gardens in literature; Plants in literature; Shakespeare, William, 1564-1616 -- Knowledge -- Botany
But this is a digression: I must return to the Elizabethan garden, which
I have hitherto only described as a great square, surrounded by wide,
covered, shady walks, and with other similar walks dividing the central
square into four or more compartments. But all this was introductory to
the great feature of the Elizabethan garden, the formation of the
"curious-knotted garden." Each of the large compartments was divided
into a complication of "knots," by which was meant beds arranged in
quaint patterns, formed by rule and compass with mathematical precision,
and so numerous that it was a necessary part of the system that the
whole square should be fully occupied by them. Lawn there was none; the
whole area was nothing but the beds and the paths that divided them.
There was Grass in other parts of the pleasure grounds, and apparently
well kept, for Lord Bacon has given his opinion that "nothing is more
pleasant to the eye than green Grass kept finely shorn," but it was
apparently to be found only in the orchard, the bowling-green, or the
"wilderness;" in the flower-garden proper it had no place. The "knots"
were generally raised above the surface of the paths, the earth being
kept in its place by borders of lead, or tiles, or wood, or even bones;
but sometimes the beds and paths were on the same level, and then there
were the same edgings that we now use, as Thrift, Box, Ivy, flints, &c.
The paths were made of gravel, sand, spar, &c., and sometimes with
coloured earths: but against this Lord Bacon made a vigorous protest:
"As to the making of knots or figures with divers coloured earths, that
they may lie under the windows of the house on that side on which the
garden stands they be but toys; you may see as good sights many times in
tarts."
Public-domain text, read in full here on John Shaqi.
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