XXll. 



INTRODUCTION. 



grewhoundes, fyve harttes, fowre Innycornes, serving 

 to stand abowght the ponddes in the pond yerd at 

 26s. the pece ^ 8. o." The Queen in this case was 

 Anne Boleyn, but next year the shields had to be 

 altered. As all the beasts, whether of wood or 

 stone, were painted and gilt, no doubt the heraldry 

 was not carved, but the arms were emblazoned on 

 the flat a practice which must have saved a good 

 deal of trouble and expense in view of King Henry's 

 matrimonial habits. The pillars that these stone 

 beasts stood on were of stone also, and there was 

 probably no woodwork or flower-bed in this garden, 

 and Wynegaarde was, in that case, inexact when he 

 placed, in the enclosure which must represent this 

 section, the same sort of posts and rails as in the 

 Privy, or King's New Garden. Here they are 

 undoubtedly correct, and Henry Blankston of 

 London was paid for painting " wyth white and 

 green, and in oyle, wrought wyth fyne antyke," 

 1 80 posts, and 960 yards run of rails for this 

 particular garden. The rails surrounded the flower- 

 beds at a certain height, and seem to have been 

 supported by " puncheons " independently of the 

 posts on to which wooden beasts were fixed, often 

 bearing vanes, while a very large number of sun- 

 dials (twenty are paid for for this garden and seven 

 more for the privy orchard) were also set about. 

 The wooden beasts are in somewhat greater variety 

 than the stone ones, bulls, griffins and leopards also 

 appearing. It was not a random zoological collection, 

 but was confined to such animals as formed the badges 

 or supporters of the King and his predecessors. 

 Henry VIII. 's shield was generally supported by the 

 lion and the dragon, his father as a Welshman having 

 introduced the latter and generally accompanied 

 it with a greyhound, while Edward IV. used, among 

 other beasts, the bull and the hart. For the flower- 

 beds, roses at 4d. the hundred and sweet Williams at 3d. 

 the bushel were obtained, besides violets, primroses, 

 gilliflowers, mints and other sweet flowers. Yews, 

 cypresses, junipers and bays, cherries, pears and 

 apples, quicksets, thorn and woodbine were for the 

 orchard and also for the " Tryangell at the Mount." 

 This section clearly shows in Wyaegaarde's view 

 (reproduced in Mr. Law's first volume facing 

 page 271) between the privy garden and the 

 river, and to the right of it, behind the great 

 water-gate building, appears the circling suc- 

 cession of posts and beasts marking the 

 curved ascent to the Mount, while the pagoda 

 roof belongs to the three-storeyed and many- 

 windowed "Great Arbour" which occupied its 

 summit. The Mount, often (like this one) " writhen 

 about with degrees like the turnings of Cokil Shelles," 

 as Leland describes them, had long been a favourite 

 expedient for getting a view beyond the confines of 

 the high-walled gardens of the period, and they did 

 not die out until the claifboyee and the ha-ha began 

 to take the place of the wall. They were always 

 architectural and generally surmounted by a building, 

 and such was originally the character of the present 

 shapeless tree-clad lump in the gardens of New College, 

 Oxford. The most characteristic and original feature 

 of the Tudor gardens was, however, the gallery. 

 This was not a pleached alley of " perplexed twining 

 of the trees," such as still remains at Hampton 

 Court, and is known as Queen Mary's Bower ; 

 nor the open lattice-work corridors, covered with 

 creepers, such as were figured by Crispin de Passe, 



the Dutch engraver, and of which a fine modern 

 adaptation has been recently erected at Easton 

 Lodge (page 339). At Hampton Court they 

 were buildings of considerable solidity, and were 

 survivals of the old defensive idea modified by new 

 views as to Italian porticoes. They formed almost 

 a complete cincture to the gardens, as may be 

 seen in Wynegaarde's view, and by means of them 

 the various outlying buildings so freely scattered in 

 the gardens could be reached under cover from the 

 main palace. A small but very complete galleried 

 garden of this kind had been one of the finished 

 portions of the Duke of Buckingham's great works 

 at Thornbury, begun in 1511 and left very incom- 

 plete at the time of his sudden arrest, trial and 

 execution in 1521. To the south of his new 

 building here, as at Hampton Court, the south 

 was chosen for the garden we still find the old 

 enclosure. Great crenellated walls of stone, pierced 

 with mullioned windows, separate it from the outer 

 court and from the churchyard, and these walls 

 formed the outer side of a two-storeyed gallery, ot 

 which the inner side was of timber, and which was 

 entered from both the ground floor and the first floor 

 of the mansion. The side of the gallery facing the 

 new building was of the same length as that building 

 some 1506. and the return galleries were about 

 looft. long. One of these return galleries opened 

 on to a larger garden, also enclosed by walls, and 

 was therefore wholly of timber, and has, with all the 

 rest of the woodwork of the garden, disappeared ; 

 but, by means of the remaining stone walls and other 

 small indications, together with the description given 

 by the escheators in 1521, we can fairly well picture 

 the scene at that date. " On the South Side of the 

 said ynner warde is a proper garden, and about the 

 same a goodly Galery conveying above and beneath 

 from the principall loggings booth to the Chapell and 

 P'ishe Churche, the utter part of the said gallery 

 being of stoon imbattled and the ynner parte of 

 tymbre covered w' Slate." Next came " a goodly 

 gardeyn to walk ynne closed with high walles 

 imbattled." As already in 1502, before these gardens 

 were made, we find the Duke employing a gardener 

 : ' diligent in making knots" the intricately-patterned 

 box-edged rtower-beds which remained so long in 

 fashion we may be certain that the lay-out in 

 this garden was elaborate. Beyond it was a 

 " large and a goodly orcharde full of younge grafftes 

 well loden w' frute, many rooses and other 

 pleasures ; and in the same orcharde are many 

 goodly alies to walke ynne oppenly ; and rounde 

 aboute the same orcharde is conveyed on a good height 

 other goodly alies with roosting places coverde 

 thoroughly with whitethorn and hasill." Of this 

 largest of the enclosures, surrounded as it was merely 

 with a fencing of sawn pales, no trace remains. But 

 its system of pleached whitethorn arbours, raised on 

 mounds and embanked alleys, is typical of garden 

 design throughout the century, though with increased 

 expenditure and experience, and fuller study of 

 foreign models, greater sumptuousness and completer 

 classicism was attained. Such progress will be 

 realised if Henry VIII. 's earlier efforts at Hampton 

 Court are compared with his later achievements at 

 Nonsuch, where we not only hear of groves orna- 

 mented with trellis- work, cabinets of verdure, and 

 walks embowered by trees, but " in the pleasure and 

 artificial gardens arc many columns and pyramids of 



