French formal garden
The French formal garden, also called the, is a style of "landscape" garden based on symmetry and the principle of imposing order on nature. Its epitome is generally considered to be the Gardens of Versailles designed during the 17th century by the landscape architect André Le Nôtre for Louis XIV and widely copied by other European courts.
Classicism was also expressed in horticulture. Jean-Baptiste de La Quintinie introduced an art of fruit pruning and bedding techniques that were to have a lasting impact on production gardens. But the term ‘classical garden’ was only used for pleasure gardens.
History
Renaissance influence
The jardin à la française evolved from the French Renaissance garden, a style which was inspired by the Italian Renaissance garden at the beginning of the 16th century. The Italian Renaissance garden, typified by the Boboli Gardens in Florence and the Villa Medici in Fiesole, was characterized by planting beds, or parterres, created in geometric shapes, and laid out symmetrical patterns; the use of fountains and cascades to animate the garden; stairways and ramps to unite different levels of the garden; grottos, labyrinths, and statuary on mythological themes. The gardens were designed to represent harmony and order, the ideals of the Renaissance, and to recall the virtues of ancient Rome. Additionally, the symmetry of French gardens was a continuation of the Renaissance themes of harmony. French gardens were symmetrical and well manicured to represent order, and this idea of orderliness extended to French society at the time.File:Chenonceau02.jpg|thumb|left|View of the Catherine de' Medici's garden at Château de Chenonceau
Following his campaign in Italy in 1495, where he saw the gardens and castles of Naples, King Charles VIII brought Italian craftsmen and garden designers, such as Pacello da Mercogliano, from Naples and ordered the construction of Italian-style gardens at his residence at the Château d'Amboise and at Château Gaillard, another private résidence in Amboise. His successor Henry II, who had also travelled to Italy and had met Leonardo da Vinci, created an Italian-style garden nearby at the Château de Blois. Beginning in 1528, King Francis I created new gardens at the Château de Fontainebleau, which featured fountains, parterres, a forest of pine trees brought from Provence, and the first artificial grotto in France. The Château de Chenonceau had two gardens in the new style, one created for Diane de Poitiers in 1551, and a second for Catherine de' Medici in 1560.
In 1536 the architect Philibert de l'Orme, upon his return from Rome, created the gardens of the Château d'Anet following the Italian rules of proportion. The carefully prepared harmony of Anet, with its parterres and surfaces of water integrated with sections of greenery, became one of the earliest and most influential examples of the classic French garden. Today, water remains a key garden design in the form of round pools and long ponds.
While the gardens of the French Renaissance were much different in their spirit and appearance than those of the Middle Ages, they were still not integrated with the architecture of the châteaux, and were usually enclosed by walls. In French garden design, the chateau or home was supposed to be the visual focal point. The different parts of the gardens were not harmoniously joined, and they were often placed on difficult sites chosen for terrain easy to defend, rather than for beauty. All this was to change in the middle of the 17th century with the development of the first real garden à la française.
Vaux-le-Vicomte
The first important garden à la française was the Chateau of Vaux-le-Vicomte, created for Nicolas Fouquet, the Superintendent of Finances to Louis XIV, beginning in 1656. Fouquet commissioned Louis Le Vau to design the chateau, Charles Le Brun to design statues for the garden, and André Le Nôtre to create the gardens. It was for the first time that the garden and the chateau were perfectly integrated. A grand perspective of 1500 meters extended from the foot of the chateau to the statue of the Farnese Hercules, and the space was filled with parterres of evergreen shrubs in ornamental patterns, bordered by coloured sand, and the alleys were decorated at regular intervals by statues, basins, fountains, and carefully sculpted topiaries. "The symmetry attained at Vaux achieved a degree of perfection and unity rarely equalled in the art of classic gardens. The chateau is at the center of this strict spatial organization, which symbolizes power and success."Gardens of Versailles
The Gardens of Versailles, created by André Le Nôtre between 1662 and 1700, were the greatest achievement of the garden à la française. They were the largest gardens in Europe, with an area of 15,000 hectares, and were laid out on an east–west axis followed the course of the sun: the sun rose over the Court of Honor, lit the Marble Court, crossed the Chateau and lit the bedroom of the King, and set at the end of the Grand Canal, reflected in the mirrors of the Hall of Mirrors. In contrast with the grand perspectives, reaching to the horizon, the garden was full of surprises – fountains, small gardens filled with statuary, which provided a more human scale and intimate spaces.The central symbol of the garden was the sun; the emblem of Louis XIV, illustrated by the statue of Apollo in the central fountain of the garden. "The views and perspectives, to and from the palace, continued to infinity. The king ruled over nature, recreating in the garden not only his domination of his territories, but over the court and his subjects."
Decline
André Le Nôtre died in 1700, but his pupils and his ideas continued to dominate the design of gardens in France through the reign of Louis XV. His nephew, Claude Desgots, created the garden at Château de Bagnolet for Philippe II, Duke of Orléans and at Champs, and another relative,, created gardens for Madame de Pompadour at Crécy in 1746 and Bellevue in 1748–50. The major inspiration for gardens continued to be architecture, rather than nature – the architect Ange-Jacques Gabriel designed elements of the gardens at Versailles, Choisy, and Compiègne.Nonetheless, a few variations in the strict geometry of the garden à la française began to appear. Elaborate parterres of broderies, with their curves and counter-curves, were replaced by parterres of grass bordered with flowerbeds, which were easier to maintain. Circles became ovals, called rotules, with alleys radiating outward in the shape of an 'x', and irregular octagon shapes appeared. Gardens began to follow the natural landscape, rather than moving earth to shape the ground into artificial terraces. Limited colors were available at the time as well. Traditionally, French gardens included blue, pink, white, and mauve.
The middle of the 18th century saw spread in popularity of the new English landscape garden, created by British aristocrats and landowners, and the Chinese style, brought to France by Jesuit priests from the Court of the Emperor of China. These styles rejected symmetry in favor of nature and rustic scenes and brought an end to the reign of the symmetrical garden à la française. In many French parks and estates, the garden closest to the house was kept in the traditional à la française style, but the rest of the park was transformed into the new style, called variously jardin à l'anglaise, "anglo-chinois", exotiques, or "pittoresques". This marked the end of the age of the garden à la française and the arrival in France of the jardin paysager, or landscape garden, which was inspired not by architecture but by painting, literature and philosophy.
Theorists and gardeners
, sieur de la Barauderie the superintendent of royal gardens under Louis XIII, became the first theorist of the new French style. His book, Traité du jardinage selon les raisons de la nature et de l'art. Ensemble divers desseins de parterres, pelouzes, bosquets et autres ornements was published after his death in 1638. Its sixty-one engravings of designs for parterres and bosquets made it a style book for gardens, which influenced the design the Palais du Luxembourg, the Jardin des Tuileries, and the gardens of Saint Germain-en-Laye.Claude Mollet, was the chief gardener of three French kings: Henry IV, Louis XIII, and the young Louis XIV. His father was head gardener at the Château d'Anet, where Italian formal gardening was introduced to France and where Claude apprenticed. His son was André Mollet, who took the French style to the Netherlands, Sweden and England.
André Le Nôtre was the most important figure in the history of the French garden. The son of the gardener of Louis XIII, he worked on the plans of Vaux-le-Vicomte, before becoming the chief gardener of Louis XIV between 1645 and 1700, and the designer of the Gardens of Versailles, the greatest garden project of the age. The gardens he created became the symbols of French grandeur and rationality, setting the style for European gardens until the arrival of the English landscape park in the 18th century.
Joseph-Antoine Dezallier d'Argenville wrote Théorie et traité de jardinage, laid out the principles of the garden à la française, and included drawings and designs of gardens and parterres. It was reprinted many times, and was found in the libraries of aristocrats across Europe.
| Term | English translation | Definition |
| Allée | Alleyway | A straight path, often lined with trees |
| Bosquet | Grove | A small group of trees, usually some distance from the house, designed as an ornamental backdrop |
| Broderie | Embroidery | A very curling decorative pattern within a parterre, created with trimmed yew or box or made by cutting the pattern out of a lawn and filling it with colored gravel |
| Jeux d'eau | Water games | An umbrella term for water features |
| Patte d'oie | Goose foot | Three or five paths or allées which spread outward from a single point |
| Parterre | On the ground | A planting bed, usually square or rectangular, containing an ornamental design made with low closely clipped hedges, colored gravel, and sometimes flowers. Parterres were usually laid out in geometric patterns, divided by gravel paths. They were intended seen from above from a house or terrace. A parterre de gazon was made of turf with a pattern cut out and filled with gravel. |
| Saut de loup | Wall | A recessed landscape design element that creates a vertical barrier |
| Topiary | Ornamental gardening | Trees or bushes trimmed into ornamental shapes. In French gardens, they were usually trimmed into geometric shapes |