Cottage garden

The cottage garden is a distinct garden style that uses informal design, traditional materials, dense plantings, and a mixture of ornamental and edible plants. English in origin, it depends on grace and charm rather than grandeur and formal structure. Homely and functional gardens connected to cottages go back centuries, but their stylized reinvention occurred in 1870s England as a reaction to the more structured, rigorously maintained estate gardens with their formal designs and mass plantings of greenhouse annuals.

The earliest cottage gardens were more practical than today's, with emphasis on vegetables and herbs, fruit trees, perhaps a beehive, and even livestock. Flowers, used to fill spaces, gradually became more dominant. The traditional cottage garden was usually enclosed, perhaps with a rose-bowered gateway. Flowers common to early cottage gardens included traditional florists' flowers such as primroses and violets, along with flowers with household use such as calendula and various herbs. Others were the richly scented old-fashioned roses that bloomed once a year, and simple flowers like daisies. In time, cottage-garden sections were added to some large estate gardens as well.

Modern cottage gardens include countless regional and personal variations and embrace plant materials, such as ornamental grasses or native plants not seen in the rural gardens of cottagers. Traditional roses, with their full fragrance and lush foliage, continue to be a cottage-garden mainstay - along with modern disease-resistant varieties that retain traditional attributes. Informal climbing plants, whether traditional or modern hybrids, are also common, as are the self-sowing annuals and freely spreading perennials favoured in traditional cottagers' gardens.

History

Origins

Cottage gardens, which emerged in Elizabethan times, appear to have originated as a local source for herbs and fruits. One theory is that they arose out of the Black Death of the 1340s, when the death of so many laborers made land available for small cottages with personal gardens. According to the late 19th-century legend of origin, these gardens were originally created by the workers that lived in the cottages of the villages, to provide them with food and herbs, with flowers planted in for decoration. Helen Leach analysed the historical origins of the romanticised cottage garden, subjecting the garden style to rigorous historical analysis, along with the ornamental potager and the herb garden. She concluded that their origins were less in workingmen's gardens in the 19th century and more in the leisured classes' discovery of simple hardy plants, in part through the writings of John Claudius Loudon. Loudon helped to design the estate at Great Tew, Oxfordshire, where farm workers were provided with cottages that had architectural quality set in a smallholding or large garden—about an acre—where they could grow food and keep pigs and chickens.

Authentic gardens of the yeoman cottager would have included a beehive and livestock, and frequently a pig and sty, along with a well. The peasant cottager of medieval times was more interested in meat than flowers, with herbs grown for medicinal use and cooking, rather than for their beauty. By Elizabethan times there was more prosperity, and thus more room to grow flowers. Even the early cottage garden flowers typically had their practical use—violets were spread on the floor (for their pleasant scent and keeping out vermin); calendulas and primroses were both attractive and used in cooking. Others, such as sweet william and hollyhocks, were grown entirely for their beauty.

Development

The "naturalness" of informal design began to be noticed and developed by the British leisured class. Alexander Pope was an early proponent of less formal gardens, calling in a 1713 article for gardens with the "amiable simplicity of unadorned nature". Other writers in the 18th century who encouraged less formal, and more natural, gardens included Joseph Addison and Lord Shaftesbury. The evolution of cottage gardens can be followed in the issues of ''The Cottage Gardener'' (1848–61), edited by George William Johnson, where the emphasis is squarely on the "florist's flowers", carnations and auriculas in fancy varieties that were originally cultivated as a highly competitive blue-collar hobby.

William Robinson and Gertrude Jekyll helped to popularise less formal gardens in their many books and magazine articles. Robinson's ''The Wild Garden'', published in 1870, contained in the first edition an essay on "The Garden of British Wild Flowers", which was eliminated from later editions. In his ''The English Flower Garden'', illustrated with cottage gardens from Somerset, Kent and Surrey, he remarked, "One lesson of these little gardens, that are so pretty, is that one can get good effects from simple materials." From the 1890s his lifelong friend Jekyll applied cottage garden principles to more structured designs in even quite large country houses. Her ''Colour in the Flower Garden'' (1908) is still in print today.

Robinson and Jekyll were part of the Arts and Crafts Movement, a broader movement in art, architecture, and crafts during the late 19th century which advocated a return to the informal planting style derived as much from the Romantic tradition as from the actual English cottage garden. The Arts and Crafts Exhibition of 1888 began a movement toward an idealised natural country garden style. The garden designs of Robinson and Jekyll were often associated with Arts and Crafts style houses. Both were influenced by William Morris, one of the leaders of the Arts and Crafts Movement—Robinson quoted Morris's views condemning carpet bedding; Jekyll shared Morris's mystical view of nature and drew on the floral designs in his textiles for her gardening style. When Morris built his Red House in Kent, it influenced new ideas in architecture and gardening—the "old-fashioned" garden suddenly became a fashion accessory among the British artistic middle class, and the cottage garden esthetic began to emigrate to America.

In the early 20th century the term "cottage garden" might be applied even to as large and sophisticated a garden as Hidcote Manor, which Vita Sackville-West described as "a cottage garden on the most glorified scale"Vita Sackville-West, "Hidcote Manor", ''Journal of the Royal Horticultural Society'' 74 (1949:476-81), as noted by Brent Elliott in "Historical Revivalism in the Twentieth Century: A Brief Introduction" ''Garden History'' 28.1, Reviewing the Twentieth-Century Landscape (Summer 2000:17–31) but where the colour harmonies were carefully contrived and controlled, as in the famous "Red Borders". Sackville-West had taken similar models for her own "cottage garden", one of many "garden rooms" at Sissinghurst Castle—her idea of a cottage garden was a place where "the plants grow in a jumble, flowering shrubs mingled with Roses, herbaceous plants with bulbous subjects, climbers scrambling over hedges, seedlings coming up wherever they have chosen to sow themselves". The cottage garden ideal was also spread by artists such as water-colourist Helen Allingham (1848–1926). Another influence was Margery Fish (1892–1969), whose garden survives at East Lambrook Manor.ODNB entry for Margery Fish by Catherine Horwood
Retrieved 1 December 2012. (Pay-walled)

The cottage garden in France is a development of the early 20th century. Monet's garden at Giverny

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