How did Europeans produce Images & Text before the Invention of the Printing Press?

 

Illuminated Manuscripts - Parchment Sellers scrubbing & stretching the parchment 15th century Bologna, University Library. Cod. Bonon. 963, f. 4.

European manuscript Illuminations began at end of the 4C, as Christianity was spreading.  The need to illustrate books usually developed with a style specific to the region & civilization. In Western Europe, from the 6C until the 12C, the illustrated manuscript was mainly religious, created by Christian monks copyists (usually the scholars of their area) in abbeys. Towards the 13C with the development & growth of European universities & administrations, the demand for books was increasing & lay workshops were created.  During the 10 centuries of illuminations in Europe, several styles emerged : Island style (British Isles) & Merovingian (before the 9C), Carolingian style (9-10C), Romanesque style (10-12C), Transitional period (13C), Gothic style (14-16C). At the end of the 15C the invention of printing greatly reduced the production of  books painted by the human hand.

Manuscripts were hand-written & illustrated during the medieval era (A.D. 500-1500), before the invention of printing presses. They were time-consuming & expensive to make; but obviously, the method was quicker & much more portable than carving language symbols in stone or wood.

Illuminated Manuscripts - Scribe buying parchment Copenhagen, Royal Library. Ms. 4, 2o f. 183v.

Manuscripts were usually written parchment or vellum made from the skins of sheep, calves, or goats. Parchment & vellum are often used interchangeably, although sometimes vellum refers to a finer quality of writing material.  Parchment was eventually replaced by paper. Some manuscripts were written on paper made from linen rags. Sometimes lines were ruled on the pages of manuscripts to guide the script writer.

Illuminated Manuscripts - Santa Catalina de Bolonia  

Some manuscripts were written on papyrus, a fragile Egyptian reed material, which continued to be used for manuscripts until the 7-8th-centuries. Papyrus plantations came to Sicily during the papacy of Gregory I (590-604) & so loved that papyrus was used for papal correspondence until the 11th century.

Illuminated Manuscripts - Biblical Matthew ruling parchment 12th cent Dinant Gospels Manchester, John Rylands University Library. Rylands Latin Ms. 11, f. 14.

In the Early Middle Ages, the majority of manuscripts produced served as the liturgical books used by priests & monks in churches & monasteries.

Illuminated Manuscripts - Biblical Mark sharpening his quill in French Renaissance Book of Hours as a scribe Waddesdon Manor, Aylesbury, The National Trust. Ms 20, f. 13v.

As the church expanded & new monesteries were built, more liturgical books were needed. At new venues, the abbot or the monks initially came from an already established monastic community, which provided the most urgent books for the new site.  Immediately the monks began to copy necessary books for themselves.

Illuminated Manuscripts - Biblical Paul sharpens his quill, assistant rubs parchment with pumice stone  Colegio Santa Catalina de Bolonia

Medieval copyist monks, often called scribes, were responsible for copying the existing works of authors by hand. 
Illuminated Manuscripts - Jean Miélot, also Jehan, (d. 1472) scribe for Philip the Good, Duke of Burgundy from 1449-1467. Paris, Bibliothèque nationale de France Ms. Fr. 9198, f. 19.

As early as the 1100s, books began to be produced for wealthy individuals as well as religious institutions. There began to be a growing secular, well-to-do reading public demanding an increase in manuscript production.

Illuminated Manuscripts - Detail from the Codex Caesareus Upsaliensis Emperor's Bible Matthew Uppsala University Library (c 93)

Because manuscripts were very expensive to make, they often served as status symbols for the upper classes. Most families who owned manuscripts held privileged positions in society.

Illuminated Manuscripts - Initial letter G, from a manuscript produced in northern Italy during the early 1400s.

The major themes of manuscripts became more diversified as the secular readership grew and included the traditional religious (particularly Christianity) books plus new art & how-to-do subjects such as courtly activities, the hunt, decorative & medicinal gardening, & literature.

Illuminated Manuscripts -  sprytny mebel. Gabriel Mälesskircher - św. Mateusz - 1478

Illuminated Manuscripts - Bookbinder. Landauer Twelve Brothers House manuscript 1400s

Illuminated Manuscripts -  Scribe at Work. circa 1160-70. Eadwine Psalter. Christ Church. Canterbury (England) UK.

Illuminated Manuscripts - 1150-1200 Manuscript Koninklijke Bibliotheek, The Hague

 Illuminated Manuscripts - Hague mmw 10 a 15pts - 

Illuminated Manuscripts - 1Le copiste-enlumineur Giovanni Colonna, Mare historiarum, ouest de la France (Angers ), milieu XVe siècle

Illuminated Manuscripts - Biblical John the Evangelist with his eagle. Gabriel Mälesskircher

Illuminated Manuscripts - Biblical Mark with his lion. Gabriel Mälesskircher

Illuminated Manuscripts - Scribe Jean Jean Miélot, 1400s, Brussels Royal Library, MS 9278, fol. 10r

Illuminated Manuscripts - Biblical John (depicted as a scribe) from Bodleian Library MS Auct. D. 1.17

Illuminated Manuscripts - Laurence before 1149 as a scribe Durham, University Library. Ms. Cosin V. III. 1. f. 22v.

Illuminated Manuscripts - Josephus and Scribe Samuel Canterbury 1130 Cambridge, St, John’s College. Ms. A. 8, fol. 103v.

Illuminated Manuscripts - Biblical John with a few helpers depicted recording Book of Revelation Book of Hours c 1480

Illuminated Manuscripts - Domenico Ghirlandaio Portrait of Jerome writing in his Study 1480

Illuminated Manuscripts -  G. Tory (1480-1533) Scribe with a little divine guidance Book of Hours, Ms. Library of Congress. Rosenwald ms. 10 (1533)

Illuminated Manuscripts - Apparently harried scribe writing & holding his ink. Biblical Matthew, from the Gospel Book of Archbishop Ebbo of Reims, Hautvilliers near Reims, c. 816 - 35. Bibliotheque Nationale, Paris.

Illuminated Manuscripts - This scribe appears to have very little power. Augustine De Civitate Dei 1100s Apprentice Everwinus + Master Hildebertus Prague, The Metropolitan Chapter Library. Ms. A XXI-1. f. 153v.

Illuminated Manuscripts - Organized scribe Ezra rewriting the Sacred Records with storage cabinet, from the Codex Amiatinus, Jarrow, early 8C. Biblioteca Medicea-Laurenziana, Florence.

Illuminated Manuscripts - A leaf from the Skevra Evangeliary (Lviv Evangeliary)  1198

Illuminated Manuscripts - A leaf from the Skevra Evangeliary (Lviv Evangeliary)  1198

Illuminated Manuscripts - A scribe reportedly copying Gospels of Kildare. The British Library

Illuminated Manuscripts - A scribe writing. The British Library

Illuminated Manuscripts -  Nationale de France, Dossier pédagogique - Jean Fouquet

Illuminated Manuscripts - It's always nice to have an Angel helping you. British Library

Illuminated Manuscripts - British Library Netherlands Manuscript 1479

Illuminated Manuscripts - British Library

Illuminated Manuscripts - Christine de Pizan at work guarded by Lady Justice with her Sword and Sheild 15C  Between 1410-15, Christine de Pizan presented the Queen of France, Isabeau de Bavière, with a lavishly illustrated copy of her collected works. Christine de Pizan was attempting "to establish & to authorize her new identity as a woman writer."  Christine, born in Venice in 1364, was the daughter of Thomas de Pizan, a respected astrologer. While still a child, she left her native Italy with the rest of her family to join her father who had taken a position as the astrologer & physician in the court of Charles V. At the age of 15, she married Etienne Castel, a young nobleman who served as a secretary in the royal chancery. With the deaths of her father & husband, Christine's "secure" position was gone. Later in her Livre de la Mutacion de fortune (The Book of the Change of Fortune), she was to describe her situation as being adrift on a ship during a storm. With the loss of her husband, she had to take the helm. She chose the role of the husband in the family. Christine resisted the usual solutions of remarriage or entry into a convent. Instead she began a career as a writer.

Illuminated Manuscripts - Christine de Pizan, 1st woman in western literature known to make a living from her work, writing a book.

Illuminated Manuscripts - Codex Manesse Schulmeister

Illuminated Manuscripts - Gallica  Bibliothèque nationale de France, Jacques de Voragine , Légende dorée, 15e siècle

Am Illuminated manuscript in the Musée Marmottan's

Illuminated Manuscripts - Biblical Mark the Evangelist Artist - Grigor Tatevatsi, 1378 Gospel, 1297

Illuminated Manuscripts - Siena, Biblioteca Communale degli Intronati, I.V.25-26, 1399

Illuminated Manuscripts - Dunstan Writing, Extracted From A Commentary On The Rule Of St. Benedict 1170

Illuminated Manuscripts - Biblical John writing at desk. MS. Laud Lat. 9, France, Ca. 1220-1230.

Illuminated Manuscripts - Biblical Matthew. Image from the Lindisfarne Gospels. The British Library

14C A Man (& his Bird!) as the Mythical Month of May

 

Month of May (detail) Pee. Brugge (Belgium), 14C. Illuminated latin manuscript on parchment. Origin: Benedictine Abbey of Notre Dame of Montebourg. now at Getty Center, Los Angeles, CA

European manuscript Illuminations began at end of the 4C, as Christianity was spreading.  The need to illustrate books usually developed with a style specific to the region & civilization. In Western Europe, from the 6C until the 12C, the illustrated manuscript was mainly religious, created by Christain monks copyists (usually the scholars of their area) in abbeys. Towards the 13C with the development & growth of European universities & administrations, the demand for books was increasing & lay workshops were created.  During the 10 centuries of illuminations in Europe, several styles emerged : Island style (British Isles) & Merovingian (before the 9C), Carolingian style (9-10C), Romanesque style (10-12C), Transitional period (13C), Gothic style (14-16C). At the end of the 15C the invention of printing greatly reduced the production of  books painted by the human hand.

For more information, see the next posting.

17C Mythical Goddess Flora - Spring by Jean Leblond 1605-1666

Flora holding a wreath of spring flowers by Jean Leblond 1605-1666 

The Floralia was a public festival to honor the goodwill of the goddess Flora. Created in the 6th century BC by the Romans, it took place in spring  & lasted 6 days, the last 3 days of April  & the first 3 days of May. The festival consisted of games  & theatrical performances. Chariot races  & circus games took place  & everywhere were the symbols of Flora. It was traditional to have goats & hares scampering about the landscape where flowers of lupines, beans, & vetch were scattered about. The Romans held bouquets of flowers & often wore wreaths of flowers around their necks or in their hair.

See:

 Ovid, Fasti, Book 4; T.P. Wiseman, The Myths of Rome (University of Exeter Press, 2004).

 Robert Turcan, The Gods of Ancient Rome (Routledge, 2001; originally published in French 1998)

 H.H. Scullard, Festivals and Ceremonies of the Roman Republic (Cornell University Press, 1981)

 William Warde Fowler, The Roman Festivals of the Period of the Republic (London, 1908)

Spring 2022 at Longwood Gardens in Pennsylvania

By the mid-1930s, Longwood had grown from the original 202 acres to 926 due to Pierre’s purchase of 25 contiguous properties over the years. In addition to horticulture, agriculture had always been important at Longwood, which started out, after all, as a farm.

Longwood’s agricultural & horticultural operations slowed considerably during World War II. Many employees served in the Armed Forces, & a 72-bed emergency hospital was set up in rooms above the Ballroom just in case the community needed it. Pierre du Pont was a “gentlemen farmer” who sought to create a self-sustaining model farm that used the latest techniques & methods. In reality, the farm was more an expansive, expensive hobby than a business, but it did produce food for the du Ponts & their employees.

As early as 1914 with the formation of Longwood, Inc., Pierre was thinking about the eventual fate of the property after his death. In 1944, Mrs. du Pont died, & Pierre initially retreated to his apartment in Wilmington during weekdays, visiting Longwood only on weekends. But he was more concerned than ever about Longwood's future, particularly since he had no children but considered the Gardens part of the du Pont family legacy.  

In 1913, the US government enacted personal income tax. In response, Pierre incorporated Longwood in 1914. He always tried to stay one step ahead of the IRS to keep his farm & gardens in the best possible tax situation, & in 1937 the Longwood Foundation was created to handle his charitable giving. Finally, in 1946, the government gave approval for the Foundation to operate Longwood Gardens as a public garden with tax-exempt status “for the sole use of the public for purposes of exhibition, instruction, education & enjoyment.”   See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321) 

Spring 2022 at Longwood Gardens in Pennsylvania

Pierre du Pont’s love for fountains stretched back to when he was mesmerized at the age of six by the huge display of water pumps at the 1876 Centennial Exposition in Philadelphia. With his indoor Conservatory now a reality, Pierre turned his full attention outdoors, where Longwood’s hydraulic splendors were already underway. Never mind that the property didn't have an abundant water supply; with electricity, anything was possible.

From 1925 to 1927, Pierre constructed  a Water Garden in a low-lying, marshy site northeast of Longwood’s Large Lake. The inspiration was the Villa Gamberaia, near Florence, Italy. The original did not have many fountains, but Longwood’s version had 600 jets in nine separate displays that shot from six blue-tiled pools & 12 pedestal basins.

At the same time, Pierre installed a 40-foot tall jet fountain at the end of the central allée in Peirce’s Park. It is said that Mrs. du Pont could turn the fountain on for her house guests with a switch. Pierre next decided to enlarge the Open Air Theatre & replace the old waterworks with 750 illuminated jets that continue to elicit thrills today.

Pierre’s hydraulic masterpiece was the Main Fountain Garden in front of the Conservatory: 10,000 gallons a minute shot as high as 130 feet & illuminated in every imaginable color. Its complex engineering didn't faze him. "The fountains themselves are of simple design...," he noted. "It is the landscape effect that adds to the total bill."

The completion of the fountains in the mid-1930s marked an end to major construction during Pierre’s lifetime, although he did build a 30-by-36-foot oval analemmatic sundial in what is now the Topiary Garden in the late 1930s.

In 1929-30, Pierre  constructed Longwood’s 61-foot-tall stone Chimes Tower based on a similar structure he had seen in France. In 1956, the original chimes were replaced with a 32-note electronic carillon. In 2000, a new 62-bell carillon was crafted in The Netherlands.

The Longwood Steinway Grand Piano was purchased by Pierre du Pont from Steinway & Sons in 1923. Du Pont was an amateur pianist & had a great love of music & all the performing arts. He wanted the world‘s most finely crafted instrument that he, his family, friends, & visiting artists could use to play music of the highest quality sound.

Located in the Ballroom, Pierre S. du Pont constructed the largest residence organ in the world—Longwood's 10,010 pipe Aeolian organ, in 1930. These resident instruments remain cornerstones of Longwood's performing arts programming, which presents world-class artists in unparalleled settings.

 See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Scarlet Tanager in White Hall, Maryland on May 7, 2022

 

From Matthew Heinecke  Maryland Bird Watchers' And Identification Group

Holding on to the Sweet Divine - “The Lord God took man & put him in the Garden of Eden to work it & to keep it.”  Genesis 2:15. 

Mother's Day!

Thank you for loving me & for always being there! Miss you daily...

The Dear Surprise Personification in the Spring Garden!

1645 Joachim von Sandrart (After) Joachim von Sandrart (Published by) Jonas Suyderhoef Dutch - April

Spring 2022 at Longwood Gardens in Pennsylvania

Ten years after purchasing Longwood, Pierre du Pont was just getting warmed up. By 1916 he was contemplating grand indoor facilities “designed to exploit the sentiments & ideas associated with plants & flowers in a large way.”

The result was the stunning Conservatory, a perpetual Eden that opened in 1921. The latest technology was used to heat, water, & power the complex, but the systems were hidden in tunnels so as not to detract from the grandeur of the glass-covered peristyle & surrounding rooms.

Pierre chose to fill his new garden not with the usual jungle of exotic tropical foliage as was then the fashion but rather with fruits & flowers used in a decorative, horticultural way. One observer termed his greenhouses “floral sun parlors.”

A staff of eight gardeners oversaw this perpetual indoor flower show, aided by three boiler operators. Outdoors there were 11 gardeners & groundskeepers, & the entire Horticultural Department of 29 was headed by old-school English gardener William Mulliss.

It would be hard to imagine a more theatrical setting for the display of plants, unless it would be to the music of a massive, 3,650-pipe Aeolian. In 1923, an elegant Music Room with walnut paneling, damask-covered walls, teak floors, & a molded plaster ceiling was built opening onto the central axis of the main greenhouse.

The public came in droves to see these wonders under glass, fulfilling Pierre’s childhood dream of building a greenhouse open to the public. The du Ponts also had the perfect place for grand entertainment hosting innumerable civic & educational groups as well as family & friends. The guests’ reactions were always the same: a place beyond compare.   See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Spring 2022 at Longwood Gardens in Pennsylvania

"I have recently experienced what I would formerly have diagnosed as an attack of insanity; that is, I have purchased a small farm,” Pierre du Pont wrote to a friend soon after purchasing the Peirce farm in 1906. However, he added, “I expect to have a good deal of enjoyment in restoring its former condition & making it a place where I can entertain my friends.”

It didn’t take Pierre long before he started making his mark on what he called Longwood. The name came from the nearby Longwood Meeting House, which in turn was named for a neighboring Longwood Farm. “Longwood” probably derives from a nearby stretch of forest known locally as The Long Woods.

In 1907, Pierre laid out his first garden—the 600-foot-long Flower Garden Walk, which is today one of Longwood’s most popular gardens. Longwood’s first fountain—a simple pool with a single jet of water—was constructed in the center of the walk.

The springtime effect of the Flower Garden Walk was so successful that in 1909 Pierre began hosting June garden parties that quickly became highlights of the summer social season. Their success encouraged him to look for ever more wonderful ways to delight his guests.

The Open Air Theatre debuted five years later. His inspiration was an outdoor theatre near Siena, Italy. Within a year, he equipped it with “secret” fountains that shot out of the stage floor to drench visiting nieces & nephews.

To combat dreary winters, Pierre built an extension onto the original Peirce house & connected the new & old wings with a conservatory – Longwood’s first “winter garden.” Its courtyard was planted with exotic foliage & graced with a small marble fountain, a wedding gift to mark Pierre’s marriage in 1915 to Alice Belin.    See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

17C Le Printemps by Grégoire Huret (French, 1606-1670)

Le Printemps by Grégoire Huret (French, 1606-1670) published by Pierre Mariette

Spring is the perfect time to celebrate Earth's Beauty & Bounty.  Flowers gave beauty & inspiration to mankind's basic struggle to live & to populate & to protect his home-base, The Earth.  Holding on to The Sweet Divine - The Lord God took man & put him in the Garden of Eden to work it & to keep it...Genesis 2:15.

Stop & Smell the Flowers

Spring 2022 at Longwood Gardens in Pennsylvania

Pierre S. du Pont was born in 1870 in a DuPont Company house overlooking the Brandywine Creek just north of Wilmington, Delaware. His early years were influenced by the area’s natural beauty & by the du Pont family’s long tradition of gardening. But not even Pierre himself could have predicted that he would someday become one of the country’s most influential gardeners.

While he always preferred to live amid the quiet, familiar beauty of the Brandywine Valley, Pierre was greatly influenced by his frequent travels around the globe. He attended several world’s fairs & expositions, where he was astounded by grand architecture & the latest technology, including the huge display of water pumps at the 1876 Centennial Exposition in Philadelphia & illuminated fountains at the 1893 World's Columbian Exposition in Chicago.

While traveling, he was also exposed to a wide variety of garden settings, including Horticultural Hall at the 1876 Centennial, England's Sydenham Crystal Palace, the Royal Botanic Gardens at Kew & the flora of South America, the Caribbean, Florida, California & Hawaii. Visits to Italian villas & French châteaux focused on the architectural qualities & water effects of those gardens.

In addition to his travels, Pierre also built an impressive record of success in corporate America. This success brought great wealth & he felt great responsibility to use it wisely. Pierre & his wife Alice gave generously to public schools, universities, & hospitals. But gardening remained his lifelong passion.

At the age of 36, Pierre bought the Peirce farm & soon began creating what would become Longwood Gardens. He followed no grand plan; rather, he built the gardens piecemeal, beginning with the “old-fashioned” Flower Garden Walk. His later gardens would draw heavily on Italian & French forms.

Many generations helped create Longwood Gardens, but Pierre du Pont – industrialist, conservationist, farmer, designer, impresario, & philanthropist – was to make the most enduring contribution.

When du Pont died in 1954, he left most of his estate to the Longwood Foundation to preserve & maintain & improve the gardens. Today, nearly 70 years after du Pont’s death, his gardens continue to delight & inspire visitors from around the world.   See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

17C Ver etched by Claes Visscher (1586-1652) II

Ver Anonymous, etched by Claes Visscher (1586-1652) II. Amsterdam. Artist began as a draughtsman & engraver from 1605, but turned publisher from 1606, & became the largest dealer of his day, specializing in buying & reprinting older plates. 

Spring & Summer are the perfect time to celebrate the rebirth of Earth's Beauty & Bounty.  Flowers gave beauty & inspiration to mankind's basic struggle to live & to populate & to protect his home-base, The Earth.  Holding on to The Sweet Divine - The Lord God took man & put him in the Garden of Eden to work it & to keep it...Genesis 2:15.

Spring 2022 at Longwood Gardens in Pennsylvania

There have been many stewards of the land that is now called Longwood Gardens. For centuries, the native Lenni Lenape tribe fished the streams, hunted its forests, & planted its fields. Evidence of tribe's existence is found in quartz spear points that have been discovered on & around the property.

In 1700, a Quaker farmer named George Peirce purchased 402 acres of this English-claimed land from William Penn’s commissioners. Over the next several years, George & his descendants cleared & farmed the rich land that would one day become Longwood Gardens. In 1730, one of George’s sons, Joshua, built a brick farmhouse that, now enlarged, still stands today.

Known as Peirce’s Park, the land became a popular destination for visitors. However, due to declining interest by the family, the trees came under threat of being cut down by a local lumber company. Pierre du Pont stepped in & bought the land to preserve it.

In 1798, George’s twin great-grandsons, Samuel & Joshua, actively pursued an interest in natural history & began planting an arboretum that eventually covered 15 acres. The collection included specimens from up & down the Eastern seaboard & beyond. By 1850, the land had become one of the best collections of trees in the country. The arboretum boasted one of the finest collections of trees in the nation & had become a place for the locals to gather outdoors – a new concept that was sweeping America at the time. Family reunions & picnics were held at Peirce's Park in the mid to late 19C.

As the 19C US fought its way to the 20C, the heirs to the land lost interest in property & allowed the arboretum to deteriorate. The property passed through several hands in quick succession, until a lumber mill operator was contracted to remove the trees from a 41-acre parcel within the original lands in early 1906. 

It was this threat that moved one man to take action. In July 1906, 36-year-old Pierre du Pont purchased the farm primarily to preserve the trees. But he didn’t stop there. Much of what guests see today – the beauty & majesty & magic of the Earth that is Longwood Gardens – was shaped by the remarkable vision & versatility of Pierre du Pont.    See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Mythical Gardens - Expulsion of Adam and Eve from the Garden - Illuminated Manuscripts

Diebold Lauber, Vol 1 Old Testament  St Gallen, Canton Library, Vadianische collection, Vad Slg Ms. 343c Expulsion of Adam and Eve from the Garden Mid 15C.  There are a few colorful trees here.

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam & Eve, the original lovers thrown out of paradise for tasting forbidden fruit, & cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts & early depictions of landscapes in portrayals of Biblical gardens give us a glimpse of gardens familiar & imagined during the periods the images were created. 

Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.

Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."

Mythical Gardens - Adam & Eve in The Garden of Eden at Creation - Illuminated Manuscripts

 Adam and Eve in Paradise” Egerton Manuscript 912, f. 10, c. 1415.  British Library

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam & Eve, the original lovers thrown out of paradise for tasting forbidden fruit, & cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts & early depictions of landscapes in portrayals of Biblical gardens give us a glimpse of gardens familiar & imagined during the periods the images were created. 

Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.

Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."

Mythical Gardens - Adam & Eve in The Garden of Eden by Lucas Cranach (1472-1553) & His Workshop

Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop painting of Adam and Eve in the Garden of Eden

Paradise Gardens usually depict the biblical Garden of Eden, often referred to as “paradise,” a word that evoked the notion of an untouched & primal landscape, or pleasurable space in a lush landscape of greenery. Cranach, who was a close friend of Martin Luther, worked at the court of Saxony. 

The artist's friend Martin Luther (1483-1546) was a German priest, theologian, author, & hymnwriter. A former Augustinian friar, he is best known among Christians as the seminal figure in the Protestant Reformation & as the namesake of Lutheranism. 

The artist, who was famous for his landscapes, representations of animals & nudes, found Adam & Eve a subject which was ideally suited to his gifts & to which the Lutherans did not object. He & his workshop treated it many times in paintings & prints.

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam & Eve, the original lovers thrown out of paradise for tasting forbidden fruit, & cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts & early depictions of landscapes in portrayals of Biblical gardens give us a glimpse of gardens familiar & imagined during the periods the images were created. 

Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.

Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."

Spring 2022 at Longwood Gardens in Pennsylvania

By the mid-1930s, Longwood had grown from the original 202 acres to 926 due to Pierre’s purchase of 25 contiguous properties over the years. In addition to horticulture, agriculture had always been important at Longwood, which started out, after all, as a farm.

Longwood’s agricultural & horticultural operations slowed considerably during World War II. Many employees served in the Armed Forces, & a 72-bed emergency hospital was set up in rooms above the Ballroom just in case the community needed it. Pierre du Pont was a “gentlemen farmer” who sought to create a self-sustaining model farm that used the latest techniques & methods. In reality, the farm was more an expansive, expensive hobby than a business, but it did produce food for the du Ponts & their employees.

As early as 1914 with the formation of Longwood, Inc., Pierre was thinking about the eventual fate of the property after his death. In 1944, Mrs. du Pont died, & Pierre initially retreated to his apartment in Wilmington during weekdays, visiting Longwood only on weekends. But he was more concerned than ever about Longwood's future, particularly since he had no children but considered the Gardens part of the du Pont family legacy.  

In 1913, the US government enacted personal income tax. In response, Pierre incorporated Longwood in 1914. He always tried to stay one step ahead of the IRS to keep his farm & gardens in the best possible tax situation, & in 1937 the Longwood Foundation was created to handle his charitable giving. Finally, in 1946, the government gave approval for the Foundation to operate Longwood Gardens as a public garden with tax-exempt status “for the sole use of the public for purposes of exhibition, instruction, education & enjoyment.”   See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

17C Spring Allegory with Flowers & a Garden by Wenceslaus Hollar 1607-1677

1641 Wenceslaus Hollar (Czech, 1607-1677) Spring

Wenceslaus Hollar was born in 1607, the son of an upper middle-class civic official. Very little is known about his early life, but he evidently learned the rudiments of his craft by age eighteen, left his native Prague at age twenty, and likely studied in Frankfurt under Matthaus Merian. His first book of etchings was published in 1635, in Cologne when Hollar was twenty-eight. The following year he came to the attention of the renowned art collector the Earl of Arundel who was making an official visit to the continent, and Hollar subsequently became a part of his household, settling in England early in 1637. He remained in England during the beginning of the English Civil War period, but left London for Antwerp in 1642, where he continued to work on a variety of projects. In 1652 he returned to England, working on a number of large projects for the publisher John Ogilby and for the antiquary Sir William Dugdale. Hollar was in London during the Great Fire of 1666, and remains most famous for his scenes of the city before and after the fire. He was one of the most skilled etchers of his or any other time, which is all the more remarkable given that he was almost blind in one eye. Hollar died in London on 25 March 1677. By his life's end, he had produced some 2700 separate etchings.

Mythical Gardens - God Creating Eve - Illuminated Manuscripts

God Creating Eve. Saint Beatus of Liébana, Spain  (c. 730 - c. 800) New York Public Library 

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam & Eve, the original lovers thrown out of paradise for tasting forbidden fruit, & cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts & early depictions of landscapes in portrayals of Biblical gardens give us a glimpse of gardens familiar & imagined during the periods the images were created. 

Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.

Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."

17C Time to Stop & Smell the Flowers

1638 L'Odorat by Abraham Bosse (French, c 1602-04–1676)

Spring & Summer are the perfect time to celebrate the rebirth of Earth's Beauty & Bounty.  Flowers gave beauty & inspiration to mankind's basic struggle to live & to populate & to protect his home-base, The Earth.  Holding on to The Sweet Divine - The Lord God took man & put him in the Garden of Eden to work it & to keep it...Genesis 2:15.

The expression came into popular modern use in the 1960s & is a rephrasing of a sentiment found in an autobiography written by the golfer Walter Hagen: “Don’t hurry. Don’t worry. And be sure to smell the flowers along the way.”

Spring 2022 at Longwood Gardens in Pennsylvania

Pierre du Pont’s love for fountains stretched back to when he was mesmerized at the age of six by the huge display of water pumps at the 1876 Centennial Exposition in Philadelphia. With his indoor Conservatory now a reality, Pierre turned his full attention outdoors, where Longwood’s hydraulic splendors were already underway. Never mind that the property didn't have an abundant water supply; with electricity, anything was possible.

From 1925 to 1927, Pierre constructed  a Water Garden in a low-lying, marshy site northeast of Longwood’s Large Lake. The inspiration was the Villa Gamberaia, near Florence, Italy. The original did not have many fountains, but Longwood’s version had 600 jets in nine separate displays that shot from six blue-tiled pools & 12 pedestal basins.

At the same time, Pierre installed a 40-foot tall jet fountain at the end of the central allée in Peirce’s Park. It is said that Mrs. du Pont could turn the fountain on for her house guests with a switch. Pierre next decided to enlarge the Open Air Theatre & replace the old waterworks with 750 illuminated jets that continue to elicit thrills today.

Pierre’s hydraulic masterpiece was the Main Fountain Garden in front of the Conservatory: 10,000 gallons a minute shot as high as 130 feet & illuminated in every imaginable color. Its complex engineering didn't faze him. "The fountains themselves are of simple design...," he noted. "It is the landscape effect that adds to the total bill."

The completion of the fountains in the mid-1930s marked an end to major construction during Pierre’s lifetime, although he did build a 30-by-36-foot oval analemmatic sundial in what is now the Topiary Garden in the late 1930s.

In 1929-30, Pierre  constructed Longwood’s 61-foot-tall stone Chimes Tower based on a similar structure he had seen in France. In 1956, the original chimes were replaced with a 32-note electronic carillon. In 2000, a new 62-bell carillon was crafted in The Netherlands.

The Longwood Steinway Grand Piano was purchased by Pierre du Pont from Steinway & Sons in 1923. Du Pont was an amateur pianist & had a great love of music & all the performing arts. He wanted the world‘s most finely crafted instrument that he, his family, friends, & visiting artists could use to play music of the highest quality sound.

Located in the Ballroom, Pierre S. du Pont constructed the largest residence organ in the world—Longwood's 10,010 pipe Aeolian organ, in 1930. These resident instruments remain cornerstones of Longwood's performing arts programming, which presents world-class artists in unparalleled settings.

 See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Mythical Gardens - Adam & Eve in The Garden of Eden at Creation - Illuminated Manuscripts

The Garden of Eden, Paradise Garden, The Temptation of Adam and Eve (detail) in Concerning the Fates of Illustrious Men and Women, about 1415, Boucicaut Master. J. Paul Getty Museum, Ms. 63, fol. 3  Adam & Eve are surely not alone as they are tempted & expelled in this enclosed garden hortus conclusus.

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam & Eve, the original lovers thrown out of paradise for tasting forbidden fruit, & cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts & early depictions of landscapes in portrayals of Biblical gardens give us a glimpse of gardens familiar & imagined during the periods the images were created. 

Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.

Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."

17C Personification of Spring with a Garden! by Wenceslaus Hollar (Czech artist, 1607-1677)

Personification of Spring by Wenceslaus Hollar (Czech artist, 1607-1677)  Spring with a view of a 17C walled garden with people, beds, & two gates!

Wenceslaus Hollar was born in 1607, the son of an upper middle-class civic official. He left his native Prague at age 20, and likely studied in Frankfurt under Matthaus Merian. His 1st book of etchings was published in 1635, in Cologne, when Hollar was 28. The following year he came to the attention of the art collector the Earl of Arundel who was making an official visit to the continent, & Hollar subsequently became a part of his household, settling in England early in 1637. He remained in England during the beginning of the English Civil War period; but left London for Antwerp in 1642, where he continued to work on a variety of projects. In 1652, he returned to England, working on a number of large projects for the publisher John Ogilby & Sir William Dugdale. Hollar was in London during the Great Fire of 1666, & remains famous for his scenes of the city before & after the fire. He a skilled etcher, which is remarkable given that he was almost blind in one eye. Hollar died in London on 25 March 1677. By his life's end, he had produced nearly 3000 separate etchings.

USE Mythical Gardens - Adam & Eve in The Garden of Eden - Illuminated Manuscripts

 Adam and Eve in The Garden pf Edem Eating the Forbidden Fruit (detail), by Willem Vrelant, early 1460s

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam and Eve, the original lovers thrown out of paradise for tasting forbidden fruit, and cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts and early depictions of landscapes in portrayals of Biblical gardens give a glimpse of gardens familiar & imagined during the periods the images were created. Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.
Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."

See:

Creation of Adam

Michaelangelo. Creation of Adam. Fresco. Vatican, Sistine Chapel. Pietrangeli et al. The Sistine Chapel. New York: Harmony Books, 1986. P. 139

Creation of Adam. Sculpture,13th century. Chartres, North Porch. Kraus, The Living Theatre of Medieval Art, pl. 30

Boucicaut Master and Workshop. God gives Adam a soul. 15th C. Illumination. Paris, Bibl. Nat., fr. 9141, f. 29v. Meiss, Millard. French Painting in the Time of Jean de Berry: The Boucicaut Master. London: Phaidon, 1968. Pl. 448

Creation of Eve

The Creation of Eve. Biblium Pauperum, 14th Century. Lee, Laurence. Stained Glass. London: Artists House, 1982. P. 26.

The Creation of Eve. Early 13th C. Illumination. Psalter of Saint Louis and Blanche of Castille. Paris, Bibliotheque de l'Arsenal, MS 1186, f. 10. P. D'Ancona & E. Aeschlimann. The Art of Illumination. London: Phaidon, 1969. plate 73

Michaelangelo. The Creation of Eve.Vatican, Sistine Chapel. Pietrangeli et al. The Sistine Chapel. New York: Harmony Books, 1986. Pp. 144 45.

Creation of Adam and Eve. Mid 14th C. Illumination. Holkham Bilble Picture Book. London, British Library, MS Add. 47682, f. 3. P. D'Acona & E. Aeschlimann. The Art of Illumination. London: Phaidon, 1969. Plate 90.

God presents Eve to Adam. 15th C. Illumination. Cambridge, Fitzwilliam Museum, ms. 251, f. 16. Meiss, Millard. French Painting in the Time of Jean de Berry: The Boucicaut Master. London: Phaidon, 1968. Pl. 457

Adam and Eve.15th C. Illumination.Paris, Bibl. de l'Arsenal, ms. 5193, f. 8v. Meiss, Millard. French Painting in the Time of Jean de Berry: The Boucicaut Master. London: Phaidon, 1968. Pl. 381

Adam and Eve in the Garden of Eden. ca 1460. Illumination,17 1/8 x 12 in. Les sept ages du monde. Department of Manuscripts, Royal Library of Belgium, MS 9047, f. 1v,L.M.J. DeLaisse. Medieval Miniatures. London: Thames and Hudson, 1965. Plate 35.

Jean Colombe. Adam and Eve.1480-85. Illumination. Hours of Anne of France. New York, Morgan Library. Gill, D. M.Illuminated Manuscripts. New York: Brockhampton Press and Barnes and Noble, 1996. p. 47

The Fall

The Creation and Fall. The Bedford Book of Hours, ca. 1423. The British Library. Postcard, museum shop.

Masolino. The Fall of Man. Florence, Brancacci Chapel.Casazza, Ornella. Masaccio. Florence: Scala, 1990. pl. 40

Michaelangelo: The Fall of Man. Rome, Vatican, Sistine Chapel. Pietrangeli et al. The Sistine Chapel. New York: Harmony Books, 1986. Pp. 146-47

John Thornton of Coventry. The Fall of Man. Stained glass. York Minster, Great East Window. Lee, Laurence. Stained Glass. London: Artists House, 1982. p. 87

The Fall of Man. Norwich Cathedral, wood carving (ceiling boss). Card, cathedral shop.

The Fall of Man. Illumination, late 13th century. British Library, Hebrew MS. Add. 11638, f. 520v. Postcard, museum shop.

The Limbourg Brothers. The Fall. Chantilly, Muse Cond. Tres Riches Heures du Duc de Berry.Cazelles. Illuminations of Heaven and Earth. New York: Abrams. p. 70-71

Guilio Clovio. The Fall of Man Illumination, The Hours of Cardinal Alesssandro Farnese, 1546. New York, The Morgan Library, MS 69, f. 28. Harthan, John. The Book of Hours. New York: Park Lane, 1977. p. 163

The Expulsion from the Garden

Masaccio. The Expulsion. Florence: Brancacci Chapel. Casazza, Ornella. Masaccio. Florence: Scala, 1990. Pl. 21.

God creates Adam and Eve, the Fall and Expulsion. 834 843, Tours. Illumination. Moutier-Grandval Bible. London, British Library, MS Addit. 10546, f. 5v. Beckwith, John. Early Medieval Art. London: Thames and Hudson, 1964. Pl. 46.

Boucicaut Workshop. Adam and Eve, Eve addressed by angel as she spins, Adam delving. Early 15th C, before 1413. Illumination. Paris, Bibliotheque Nationale, fr. 3810, f. 157v. Millard Miess. French Painting in the Time of Jean de Berry: The Boucicault Master. London: Phaidon, 1968. Plate 94.

Adam Delving. Late 12th C. Stained glass. Canterbury Cathedral, west window, nave. Keates, Jonathan. Canterbury Cathedral. London: Scala/Philip Wilson, 1980. p. 60

Spring 2022 at Longwood Gardens in Pennsylvania

Ten years after purchasing Longwood, Pierre du Pont was just getting warmed up. By 1916 he was contemplating grand indoor facilities “designed to exploit the sentiments & ideas associated with plants & flowers in a large way.”

The result was the stunning Conservatory, a perpetual Eden that opened in 1921. The latest technology was used to heat, water, & power the complex, but the systems were hidden in tunnels so as not to detract from the grandeur of the glass-covered peristyle & surrounding rooms.

Pierre chose to fill his new garden not with the usual jungle of exotic tropical foliage as was then the fashion but rather with fruits & flowers used in a decorative, horticultural way. One observer termed his greenhouses “floral sun parlors.”

A staff of eight gardeners oversaw this perpetual indoor flower show, aided by three boiler operators. Outdoors there were 11 gardeners & groundskeepers, & the entire Horticultural Department of 29 was headed by old-school English gardener William Mulliss.

It would be hard to imagine a more theatrical setting for the display of plants, unless it would be to the music of a massive, 3,650-pipe Aeolian. In 1923, an elegant Music Room with walnut paneling, damask-covered walls, teak floors, & a molded plaster ceiling was built opening onto the central axis of the main greenhouse.

The public came in droves to see these wonders under glass, fulfilling Pierre’s childhood dream of building a greenhouse open to the public. The du Ponts also had the perfect place for grand entertainment hosting innumerable civic & educational groups as well as family & friends. The guests’ reactions were always the same: a place beyond compare.    See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Mythical Gardens - The Garden of Eden at Creation - Illuminated Manuscripts

God Creating the Birds and Animals in the Garden of Eden   Vatican Library Collection

In Western iconography the early Christian garden is usually defined by the Biblical story of Adam & Eve, the original lovers thrown out of paradise for tasting forbidden fruit, & cast into the wilderness to define their own lives & gardens. Before the Western printing press, illustrated manuscripts & early depictions of landscapes in portrayals of Biblical gardens give us a glimpse of gardens familiar & imagined during the periods the images were created. 

Gardens are often mentioned in the Bible. In the language of the Hebrews, every place where plants & trees were cultivated with greater care than in the open field, was called a garden. Fruit & shade trees, with aromatic shrubs, sometimes constituted the garden; though roses, lilies, & various gardens were used only for table vegetables, Genesis 2:8-10 15:1-21; 1 Kings 21:2; Ecclesiastes 2:5,6.

Genesis 2:8 “And the Lord God planted a garden eastward in Eden, and there He put the man whom He had formed...And the Lord God took the man, and put him into the Garden of Eden to dress it and to keep it."