The Book of Topiary [antikvár]

PUBLISHER'S FOREWORDTopiary has a surprisingly long history, tracing a course from ancient Greece, through the courtyards of the Roman empire and the inner castle gardens of medieval Europe, to the magnificent palace grounds of the seventeenth century. During this latter period, the art reached its zenith; but, as with most fashions, it rapidly degenerated into extravagant excess. The butt of eighteenth century critics, most notably Addison and Pope, it was assailed as a "monument to perverted taste."Whatever one's aesthetic viewpoint, it cannot be denied that topiary held a powerful spell over horticulture for more than a hundred and fifty years. It at least lays claim to our attention as one of the most important influences on Western landscape gardening. Versailles stands as a splendid example of its perfection, but its legacy can also be seen in trimly kept cottage gardens in rural England. There, topiary enthusiasts diligently shear hedges, shrubs, and trees into shapes and designs of their fancy. Some translate their skill into simple, straight-edged privet borders or geometric arches of box; others unleash their imaginations and pursue globes, pyramids, spirals, and serpentine columns topped by peacocks.Topiary lies in sharp contrast to the gardening arts of the East, which seek to humor nature and emulate her form. In modeling mathematical figures, topiary loves to deviate from it as much as possible. Despite this gulf, the two approaches are not completely disparate. Both demand the greatest discipHne, both submit to the rule of time, only achieving