Longwood Reimagined: A New Garden Experience

Interior View, West Conservatory. Image by Ngoc Minh Ngo. Courtesy of Reed Hilderbrand.

By Jourdan Cole, Longwood Gardens

Longwood Gardens, America’s greatest center for horticultural display, will unveil Longwood Reimagined: A New Garden Experience to the public on November 22, 2024, celebrating the final stage of the most ambitious revitalization in the Garden’s 100-year history. Led by the acclaimed architecture practice WEISS/MANFREDI in collaboration with eminent landscape architecture firm Reed Hilderbrand, Longwood Reimagined expands the public spaces of the renowned central grounds adding new buildings and new landscapes across 17 acres. 

The grand opening will be celebrated with two weeks of festivities, including member-only preview days and special events. Longwood Reimagined debuts in conjunction with the Gardens’ renowned holiday spectacular, A Longwood Christmas, featuring more than half a million twinkling lights across hundreds of acres and festive fountain shows, which will be on view from November 22, 2024 through January 12, 2025. 

Exterior View, West Conservatory View from the Main Fountain Garden. Image by Albert Vecerka/Esto. Courtesy of WEISS/MANFREDI.

Paul Redman, President and CEO of Longwood Gardens said "The unveiling of Longwood Reimagined marks not only a milestone for Longwood Gardens but also a bold leap into the future of defining what it means to be a great garden of the world whose foundation is based upon horticultural excellence. This project honors our legacy by embracing innovations and sustainability practices that define 21st century garden artistry. We’re excited to invite our guests to experience the newest addition to our collection of world-class gardens with the unparalleled beauty and creativity that WEISS/MANFREDI and Reed Hilderbrand have brought to life through this transformational journey. With new spaces to explore and dynamic landscapes that evolve with the seasons, Longwood Reimagined ensures that every visit will offer a fresh, immersive experience."

Exterior View, West Conservatory. Image by Albert Vecerka/Esto. Courtesy of WEISS/MANFREDI.

A GLASSHOUSE FOR THE 21ST CENTURY
In keeping with Longwood’s tradition of blending fountain gardens and horticultural display, the centerpiece and largest single element of Longwood Reimagined is a new 32,000-square-foot glasshouse, designed by WEISS/MANFREDI. Inside is an immersive Mediterranean Garden featuring planted islands, pools, canals, and low fountains, designed by Reed Hilderbrand. The new West Conservatory with its asymmetrical, crystalline peaks appears to float on a pool of water, while inside, a unique garden under glass evokes the character of the Mediterranean, where both wild landscapes and cultivated gardens express an inseparable relationship between water, stone, and plants. 

Marion Weiss and Michael Manfredi, principals of WEISS/MANFREDI and lead designers of Longwood Reimagined, whose involvement began over a decade ago, said: “We’re inspired by the sense of discovery and innovation that are defining signatures of Longwood Gardens. We envisioned this transformation of 17 acres as a cinematic journey, a sequence of experiences that range from intimate to grand, reshaping the western grounds into a cultural campus that brings Longwood into a new century. With the West Conservatory as the centerpiece of this newly conceived crystalline ridge, the pleated roof, branching columns, and tapered perspectives extend the marriage of architecture and horticulture that is intrinsic to Longwood's identity.”

Building on the great 19th-century tradition of glasshouses through new sustainable technologies, the West Conservatory is a living, breathing building. Prioritizing sustainability, 128 geothermal wells have been drilled approximately 315 feet deep and are connected to a ground-source, multi-stage heat exchanger that provides heating and cooling to the lower level of the new conservatory, administration building, and the lower reception suite. The main level of the West Conservatory relies on year-round passive tempering of fresh air provided by 10 earth ducts, which are 300-foot long, three-foot diameter tubes, buried under the south slope of the gardens. As fresh air is drawn through the earth ducts, it is warmed or cooled by the earth depending on the season. The earth-tempered air is introduced to the space at the pedestrian pathway to provide passive thermal comfort for occupants and visitors. This innovative design means that the building increases the effectiveness of natural ventilation and reduces the dependence on mechanical cooling in hot weather and supplemental heating in cold weather. 

Interior View, West Conservatory. Image by Ngoc Minh Ngo. Courtesy of Reed Hilderbrand.

A MEDITERRANEAN TAPESTRY
Inspired by the gardens and landscapes of the six global Mediterranean ecozones (the Mediterranean Basin, South Africa's Cape Region, coastal California, Central Chile, and Southwestern and South Australia), the West Conservatory garden incorporates three planted islands set on an expansive sheet of water.

Sixty species of plants compose the tapestry of the permanent garden. Drifts of low shrubs and perennials carpet the islands, many with tufty, billowy forms and small leaves that reflect the plants’ response to the scarcity of water, infertile soils, and windswept conditions of this ecozone. The composition includes a range of iconic plants: Agaves (Agave), Aloes (Aloe 'Johnson’s Hybrid’), Blueblossom (Ceanothus griseus var. horizontalis ‘Yankee Point’), and the tiny pink flowers of Deltoid-leaved Dewplant (Oscularia deltoides) that hug the ground. A slightly taller shrub layer expands the garden’s texture and includes the evergreen pincushion shrub (Leucospermum ‘Brandi Dela Cruz’); the dense Egg-and-Bacon plant (Eutaxia myrtifolia), which is known for its two-toned yellow and red-brown flowers; and the aromatic Prostanthera rotundifolia known for its fragrant purple flowers. 

Rows of Cypress (Cupressus sempervirens) and Bay Laurel (Laurus nobilis) move through the drifts, framing spaces and gradually disclosing the garden. Trellis structures covered in espaliered citrus define each end of the garden. Vine structures cantilever over and shade the south walk. Canopy trees, including acacia (Acacia salicina) and palm (Bismarckia nobilis), take advantage of the conservatory's height, providing shade for visitors below. Above the east and west entrances, more than 60 baskets of the trailing succulent Baby Burro’s Tail Sedum (Sedum burrito) hang like blue-green clouds, drawing visitors’ eyes to the soaring supports and arched roof of the conservatory. Throughout the year, a series of 90 seasonal plant species will be introduced throughout the permanent plant collection, expanding bloom and diversity within the garden.
     
Kristin Frederickson, Principal at Reed Hilderbrand said, “Designing the landscapes for Longwood Reimagined has been a deeply rewarding experience. We approached this project with a commitment to creating immersive gardens that both celebrate the richness of Longwood’s existing collections and expand them for the next century. The high ridge of the property, home to Longwood’s conservatories, is now extended west to the iconic Brandywine Valley landscape. Visitors are drawn to the new West Conservatory and Bonsai Courtyard and the restored Cascade Garden along generously scaled promenades and shaded overlooks that highlight the changing seasons and Longwood’s origin as an arboretum. The pools, fountains, and planted islands of the West Conservatory’s Mediterranean Garden honor P.S. du Pont’s fascination with water in the landscape in an entirely new kind of garden within Longwood’s set of conservatories. With a focus on a permanent collection of plants, the garden celebrates the particular beauty of species that thrive in the Mediterranean’s dry climate, expanding understanding of one of our planet’s most diverse ecozones — its beauty, mutability, and resilience.”

Interior View, West Conservatory. Image by Ngoc Minh Ngo. Courtesy of Reed Hilderbrand.

THE CASCADE GARDEN
The relocation, preservation, and reconstruction of the Cascade Garden, designed by celebrated Brazilian landscape architect Roberto Burle Marx (1909-1994) and first opened in 1992, is another key element of Longwood Reimagined. The Cascade Garden is Burle Marx’s only surviving design in North America and significantly showcases all of the signature elements of his design expression. This is the first time that a historic garden has been relocated as a whole and now occupies a more prominent position in the Longwood experience. 

A new 3,800 square foot, WEISS/MANFREDI-designed glasshouse has been created for the garden, which was formerly installed in a retrofitted space in the Main Conservatory. The new, bespoke space recreates exactingly the vertical rock walls, cascading waterfalls, and clear pools designed by Burle Marx. They form the framework for a dense ensemble of plants found in a tropical rainforest, including palms, bromeliads, philodendrons, and more. The new glasshouse also features updated mechanical systems to improve climate control and sustainability. Adjustments to the garden path were meticulously calibrated to meet accessibility standards without compromising the garden’s design, resulting in a more inclusive and now-ADA-compliant experience. A new courtyard entrance includes an arcing path to the garden’s upper entrance through a grove of magnolias.

AN OUTDOOR GALLERY FOR BONSAI 
Longwood is home to one of the best assemblages of bonsai in the nation, with a few specimens in training for more than 110 years. This growing collection is receiving a new, dedicated space as part of the Longwood Reimagined transformation. Designed by Reed Hilderbrand, the Bonsai Courtyard is a 12,500 square-foot outdoor gallery for the display and interpretation of this distinguished collection. The design employs a series of clipped hornbeam hedges to define the space and to develop rooms within it to display bonsai for contemplative viewing. The focused expression of craft in the garden’s details references both Japanese traditions and the artistry of the bonsai themselves. A grove of ten Yoshino cherry trees animate the garden, providing shade and intimacy to the experience of the bonsai.

Among the bonsai on view when Longwood Reimagined opens will be key examples from the Kennett Collection, which gifted more than 50 superlative specimens to Longwood in 2022. The Kennett Collection is the finest and largest private collection of bonsai and bonsai-related objects outside of Asia and its specimens are notable for their lineage, including examples from many of Japan’s most famous nurseries, including the Chinsho-en nursery run by the Nakanishi family in Takamatsu. There are also bonsai trained by world-renowned bonsai artists, including Kimura Masahiko, who is known as "The Magician;" Suzuki Shinji of Japan; and Suthin Sukosolvisit of Boston. 

Exterior View, Fountain Room. Image by Ngoc Minh Ngo. Courtesy of Reed Hilderbrand.

NEW LANDSCAPES ENRICH VISITOR EXPERIENCE
The 17 acres of Longwood Reimagined also enrich the relationships between the Conservatories, new and old, and the wider landscape beyond, elevating the visitor experience throughout. In the character of Longwood’s historic landscape, trees provide the armature for moving to and among these new destinations in a variety of ways. 

The Central Grove
This new grove lies between the Main Conservatory and the West Conservatory, featuring an allée of ginkgo trees and understory of Lenten Rose and Christmas fern. Guests stroll this inviting space to access the Cascade Garden, the Bonsai Courtyard, and the Waterlily Court.

The Waterlily Court and Arcade
The revitalized Waterlily Court, first opened in 1957 and renovated in 1989 by Sir Peter Shepheard, is now restored and framed by a new arcade designed by WEISS/MANFREDI, bringing renewed focus to this unique collection. This central haven brings together the collection of tropical gardens including the Orchid House, Waterlily Court and Cascade Garden, bridging both the historic and contemporary gardens.

Conservatory Overlook     
A new Conservatory Overlook opened in May 2024 offers sweeping views of the Main Fountain Garden and its summer fountain shows from the broad stone step seating. A 700-foot-long promenade follows an allée of Yellowwood and Elm trees that stretch along the ridge, leading guests to the West Conservatory Plaza, where century-old London plane trees frame views of the iconic Brandywine Valley landscape.      

Orchid House
In February 2022, Longwood reopened its beloved, historic Orchid House, revealing stunning new floral displays within a hundred-year-old structure that has been thoroughly restored. Returned to its original configuration, a gracious new vestibule welcomes visitors and keeps temperatures steady while seamlessly integrating into the Main Conservatory. The Orchid House now exhibits 50 percent more orchids throughout the year from Longwood’s collection, which is recognized as one of the most important in the world.

A NEW HOME FOR THE 1906 RESTAURANT  
Longwood’s popular fine-dining restaurant, 1906, has a new, larger space hidden in plain sight that will elevate Longwood’s offerings in culinary arts to the same level of excellence as its horticultural displays. WEISS/MANFREDI has created a gracious new space by carving behind the historic Main Conservatory’s original retaining wall, creating a vaulted space with generous windows looking out on the iconic Main Fountain Garden. Antique Bronze vaulted mirrors on the opposite side of the room ensure that all guests enjoy views of the Garden wherever they are seated. Outside, a 500-foot-long flowering herb garden attracts pollinators and celebrates the culinary program of the 1906 restaurant and event space beyond.

WEISS/MANFREDI’s thoughtfully designed details include custom furniture that creates an elegant space and atmosphere throughout 1906. The vaulted ceiling, which features a basketweave design, was inspired by the water jets of the Main Fountain Garden. Bespoke rugs installed throughout the space evoke the color and textures seen beneath Longwood's tree canopy, and a custom design mural on the west wall translates the soft morning light in Longwood's Meadow Garden. Selected furnishings were built by hand from wood harvested from fallen trees at Longwood by the Challenge Program, a nonprofit organization located in Wilmington, Delaware. 

THE GROVE: EDUCATION AND ADMINISTRATION
Longwood Gardens’ new administrative office hub, The Grove, is built from the foundation of an obsolete building. Now an illuminated nexus of activity and programming, the Grove includes classrooms, office spaces, conference rooms, library, and archive.

ABOUT LONGWOOD GARDENS
In 1906, industrialist Pierre S. du Pont (1870-1954) purchased a small farm near Kennett Square, PA, to save a collection of historic trees from being sold for lumber. Today, Longwood Gardens is one of the world’s great horticultural displays, welcoming 1.6 million guests annually and encompassing 1,100 acres of dazzling gardens, woodlands, meadows, fountains, a 10,010-pipe Aeolian organ, and grand conservatory. Expanding on its commitment to conservation, in 2024 Longwood Gardens acquired the 505-acre Longwood at Granogue, a cultural landscape in nearby Wilmington, Delaware. Longwood Gardens is the living legacy of Pierre S. du Pont, bringing joy and inspiration to everyone through the beauty of nature, conservation, and learning. Open daily during the holiday seasons and every day except Tuesday during the rest of the year, Longwood is one of more than 30 gardens in the Philadelphia region known as America’s Garden Capital. For more information, visit longwoodgardens.org.

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The Met Cloisters Gardens

The Met Cloisters is one of the gardens profiled in The Garden Tourist’s Mid-Atlantic.

A branch of The Metropolitan Museum of Art, The Cloisters is the only museum dedicated to the art of the Middle Ages in the United States. Incorporating five medieval cloisters, the museum evokes the architecture of the Middle Ages and displays medieval metalwork, painting, sculpture, stained glass, and textiles. It is also renowned for its three cloister gardens, which were designed as an integral part of the museum when it was built in 1938.

The Romanesque Cuxa Cloister was originally part of a 12th-century Benedictine monastery in the northeast Pyrenees. Its columns and octagonal fountain are carved from a mottled pink-and-white marble found in Languedoc. The Judy Black Garden within this cloister is divided into quadrants by crossed paths. Each quadrant features a grass plot with a pollarded apple tree bordered by ornamental flowers and herbs that add beauty and fragrance. Medieval plants are supplemented with modern varieties to provide a long season of bloom, beginning with early crocuses and snowdrops, followed by columbines, pinks, bellflowers, foxgloves, daisies, poppies, and many other flowers that bloom until late fall. In winter the arcades are glassed in, and the interior walkways are filled with pots of citrus, jasmine, rosemary, and bay.

The Gothic Bonnefont Cloister comes from a Cistercian abbey in southwest France and dates back to 1300. This is a medieval herb garden with garden beds arranged symmetrically around a 15th-century Venetian wellhead. It features more than 400 species of plants and herbs used in the Middle Ages. Some were grown in gardens while others were collected from the wild or imported in dried form.

Plants are grown in raised beds enclosed with wattle fences and grouped according to their medieval use: cooking, medicine, art, industry, housekeeping, love, fertility, and magic. Tender plants such as turmeric, ginger, frankincense, and cardamom are grown in terra-cotta pots that can be moved inside in winter. Adjacent to the Bonnefont Garden is an orchard of lady apples and other medieval fruits such as medlar, quince, currants, and elderberries. The trees are underplanted with a meadow of spring bulbs and colorful summer flowers and herbs.

The Gothic Trie Cloister is from the Trie-en-Bigorre region of southwest France. It dates to the late 15th century, and its exuberant carvings portray biblical scenes and saints’ legends as well as grotesques and coats of arms. Of The Cloister’s three gardens, this one is the most informal. It is a colorful fantasy garden of flowers and fruits based on the Unicorn Tapestries. It features more than 50 species of plants found in the famous tapestries, including many varieties of pinks, violets, primroses, bellflowers, and wild strawberries.

The Met Cloisters, 99 Margaret Corbin Rd., Fort Tryon Park, New York, NY metmuseum.org

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Delaware Botanic Gardens at Pepper Creek

photo by ray bojarksi

I first heard of the Delaware Botanic Gardens in 2017 when a fellow Massachusetts landscape designer mentioned that she was traveling to Delaware to volunteer her time planting a new meadow. This meadow was to be the central feature of a fledgling botanic garden in southern Delaware, and was designed by the internationally renowned Dutch designer Piet Oudolf. Oudolf is a “rock star” in the landscape design community, who championed a romantic, sustainable, prairie style of grasses and perennials that are woven in soft drifts. I was immediately intrigued, and visited the garden when it opened a couple of years later.

Below is an excerpt from The Garden Tourist’s Mid-Atlantic: A Guide to 90 Beautiful Historic and Public Gardens, available here.

Located close to the Delaware beaches, the Delaware Botanic Gardens at Pepper Creek is the newest public garden in the state. It was founded in 2012 by a group of Sussex County residents who share a passion for horticulture and it opened to the public in 2019. Situated on 37 acres along Pepper Creek, the garden is an oasis of flowers and grasses, natural wetlands, and woods that are home to birds, pollinators, and other wildlife.

photo courtesy delaware botanic gardens

photo courtesy delaware botanic gardens

The half-acre Rhyne Garden welcomes you in the parking lot with ‘Brandywine’ red maple trees underplanted with 300 native shrubs, 12,000 flowering plants, and 86,000 spring bulbs. Beautiful in design, this garden serves an important function in stormwater management. Its central swale collects water runoff from the parking lot, and the plant roots of water-tolerant rose mallows and soft rush serve as natural rain filters that clean the water as it is absorbed. Pollinator plants including coneflower, wild indigo, bee balm, and phlox stabilize the soil on the slopes.

photo by ray bojarski

Above: Piet oudolf’s designs for the garden. marking out the flower beds: photo courtesy delaware botanic gardens

piet oudolf during installation. photo courtesy delaware botanic gardens

photo courtesy delaware botanic gardens

Sited on an upland plateau, the spectacular two-acre meadow garden is the jewel of the property. Designed by internationally acclaimed Dutch plantsman Piet Oudolf in his signature prairie meadow style, this garden begins blooming with alliums, achilleas, baptisias, and penstemons in spring and provides a stunning display through late fall. Peak bloom time is in late summer, when coneflowers, heleniums, milkweeds, phloxes, and liatrises provide a myriad of textures and colors. Originally planted with 85% native plants, the meadow has matured into a vibrant ecosystem. As flourishing plants self-seeded, they have created a beautiful tapestry that provides food and habitat for bees, butterflies, and birds.

photo by stephen pryce lea

Adjacent to the meadow is the Folly Garden built on the site of a former 20th-century farmhouse. Planters, old fences, and retaining walls recall residents who once called this garden home. Drifts of spring bulbs, hellebores, columbines, and ferns create an intimate garden space. The Learning Garden serves as an outdoor wetland classroom encircling a small pond.

The Woodland Garden is a 12.5 -acre riparian forest with freshwater wetlands on the banks of Pepper Creek. Mosses, ferns, and spring ephemerals flourish under the canopy of sweet gums, oaks, loblolly pines, American hollies, and sassafras. A walkway leads to the Knoll Garden, the highest point on the property, with a splendid view of Pepper Creek and the animals that call it home.

photo courtesy delaware botanic gardens

The Delaware Botanic Gardens continues to grow and mature. Not only are thousands of bulbs and plants added each year, but the Gardens now offer guided tours and educational programs. A true community endeavor, fifteen volunteers form its governing board and hundreds of volunteers plant, weed, and maintain the gardens. From Girl Scout troops to college students, professors, local nurseries, and corporate sponsors, this is a unique, inspirational garden that is supported and cherished by its community.

To learn more about the garden’s founding, see this article in Flower magazine.

Deputy Executive Director stephen pryce lea hosts a garden tour of the piet oudolf meadow. photo courtesy delaware botanic gardens

volunteers in the garden. photo courtesy delaware botanic gardens

Delaware Botanic Gardens at Pepper Creek

30220 Piney Neck Rd., Dagsboro, DE 19939, 302-321-9061, delawaregardens.org

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Heather Garden in Fort Tryon Park

The three-acre Heather Garden is the crown jewel of Fort Tryon Park with a stunning 600-foot perennial border punctuated with heaths and heathers as well as other flowering trees and shrubs. It began as the vision of John D. Rockefeller who collaborated with the Olmsted Brothers to create a picturesque park overlooking the Hudson River.

During the 19th and early 20th centuries, Fort Tryon was home to several beautiful estates. Rockefeller began acquiring these estates as they came up for sale, gradually assembling 67 acres that he gave to the city for a public park. Rockefeller hired the illustrious Olmsted Brothers firm to design Fort Tryon Park in their signature picturesque landscape style that would preserve the spectacular vistas of the Hudson River and the Palisades. The Heather Garden was to be a distinct area of beauty within the park, built into the side of a rocky ridge. Low-growing heather was chosen as the predominant plant so it would not obscure the views. The site provided many challenges with its steep, rocky topography and thin soil. It took four years to transform it into a manicured landscape with promenades, stone retaining walls, terraced wooded slopes, lush gardens, and eight miles of paths for pedestrians.

Since its completion in 1935, the park has been restored several times. The latest renovation of the Heather Garden was completed in 2010 by landscape designers Lynden B. Miller and Ronda M. Brands. The result is a spectacular flower garden with 550 varieties of plants.

The garden is bisected by a central path. On one side is the perennial border with old-world roses, historic azaleas, hydrangeas, and other flowering shrubs that provide year-round structure for the ever-changing tapestry of perennials. On the other side of the path is the heather bed, anchored by several historic yews and a massive Siberian elm. More than 30 varieties of heaths and heathers hark back to the garden’s original design. They are set amidst companion plantings of perennials, conifers, and ornamental trees. The topography and plantings vary from rocky slopes hosting delicate alpines to meadow-style plantings of sun-loving perennials.

In the spring, flowering dogwoods, rhododendrons, and azaleas complement peonies, candytuft, Siberian irises, poppies, and salvias. Summer brings on yarrows, hibiscus, globe thistles, roses, catmint, and astilbes. Butterfly weeds, red hot pokers, black-eyed Susans, and coneflowers provide food for pollinators. In the fall, dramatic color arrives with spectacular fall foliage and the blooms of asters, anemones, stonecrops, and hydrangeas. Throughout the seasons, foliage plants like purple smoke bush and heuchera provide long-lasting pops of color while clematis, hyacinth bean, and other vines trained on teepees add vertical interest.

Featured in The Garden Tourist’s Mid-Atlantic.

Heather Garden, Fort Tryon Park, Center Path, New York, NY 10040, 212-795-1388, forttryonparktrust.org

Hours: Daily 6 am–1 am Admission: Free

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Winterthur: A Glorious du Pont Garden

An excerpt from The Garden Tourist’s Mid-Atlantic: A Guide to 90 Beautiful Historic and Public Gardens by Jana Milbocker. Publication date: April 2024

Nestled in 1,000 acres of rolling hills and meadows in the Brandywine Valley, Winterthur is a historic estate with a magnificent 60-acre garden and a museum of American decorative arts. The collection of 90,000 objects made or used in America since 1640 is displayed in a 175-room museum that was once the home of Henry Francis du Pont. Accompanying graduate degree programs and an extensive research library make Winterthur the leading center of decorative arts in the country.

When Henry Francis du Pont inherited Wintherthur in 1927, he had already been responsible for its garden for almost 20 years. The estate had been his family home, in the du Pont family since 1816. The du Ponts had a shared interest in horticulture and farming. At its height, Winterthur was its own town, with 2,500 acres of farms, vegetable and flower gardens, a sawmill, railroad station, a post office and its own zip code. Henry earned a degree in practical agriculture and horticulture so that he could successfully manage the family estate.

Photo courtesy of Winterthur

Henry had a life-long passion for gardens and plants. Influenced by the theories of William Robinson and Gertrude Jekyll as well as his visits to gardens throughout Europe, Henry spent almost 60 years working on his gardens. The estate had second-growth oak-chestnut forests, typical of the Brandywine area. American chestnuts, tulip poplars, red maples, hickories, oaks and American beech grew in groupings in the woodlands. A trip to England with his father inspired them to add a pinetum of unusual conifers. In 1909 he began ordering spring bulbs by the tens of thousands and having them planted in large drifts throughout the property. When chestnut blight attacked the native trees in 1917, Henry began planting the newly available Japanese karume azaleas. This grew into the eight-acre Azalea Woods that fill the woodlands with dazzling color in early May. Adjacent to the house, the March Bank was planted a carpet of Glory-of-the-snow, crocus, snowdrops, Siberian squill, Winter aconite and Amur Adonis that greet early spring. The du Ponts used Winterthur primarily in spring and fall, so these were the important seasons for flowering displays.

Photo courtesy of winterthur

When he added a massive nine-story addition to the house to display his collection of antiques and decorative arts, Henry hired his lifelong friend and landscape designer Marian Cruger Coffin to design a new garden that would integrate the house with the landscape. Marian created a series of terraces and a grand central staircase that descend to a rectangular pool with two charming changing pavilions. Shaded by ancient tulip trees, the hillside plantings include dogwoods, viburnums, azaleas and handkerchief trees. Twenty years later she also designed the Sundial Garden as a spring collection of lilacs, quinces, and cherry, crabapple and dogwood trees.

Azalea Woods was a garden that he worked on for 40 years. He was the artist, and this garden was his painting. Underneath the canopy of tall trees with their leaves unfurling in chartreuse green were waves of pastel colored azaleas in shades of pink, white, salmon and red. These in turn were underplanted with Spanish bluebells, white trilliums and Italian windflowers. Henry was fascinated with color, and would move mature blooming azaleas to achieve his ideal color harmonies. He also incorporated a few discordant plants in a grouping to “chic it up” or enliven the composition with an unexpected hue.

During the last part of his life, Henry focused on achieving a succession of bloom in his garden. As more and more visitors came to the museum that opened to the public in 1950 and toured the gardens, Henry added plantings to existing gardens to ensure that the flower display continued through all seasons. He kept meticulous notes with the bloom times of all of his plants, and adjusted accordingly. He added lilies to Azalea Woods, wildflowers to the March Bank, and more flowering shrubs throughout the gardens. Henry continuously sought out new varieties of trees, shrubs and flowers, and tested them for several years before incorporating them in the garden. He formed strong relationships with Charles Sprague Sargent and other prominent plant collectors, breeders, and botanical gardens, and consulted with them on plant cultivation and new plant varieties.

Other gardens of interest at Winterthur include a peony garden that is spectacular in late May and the Quarry Garden with its spring display of Japanese candelabra primrose and other damp-loving perennials. The newest garden is the three-acre Enchanted Woods on a site once occupied by the children’s play set. With its thatched Faerie Cottage, Troll Bridge, whimsical Tulip Tree House, giant Bird’s Nest and a Forbidden Fairy Ring with misting mushrooms, it is a fantasy garden for kids of all ages. A garden tram tour is available at Winterthur which provides a history of the property as well as an overview of the gardens and grounds.

Photo courtesy of winterthur

Winterthur is featured on The Garden Tourist’s Spring in Brandywine Valley Tour, May 2024.

Winterthur Museum, Garden & Library

5105 Kennett Pike, Wilmington, DE 19807, 800-448-3883, winterthur.org

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Longwood’s Chrysanthemum Festival: Horticultural Artistry at its Finest

As part of the Garden Bloggers Fling in September, our group of 100 garden writers were treated to a behind-the-scenes tour of the propagation greenhouses at Longwood Gardens. What a treat! I have been to Longwood Gardens many times in the past 10 years, and always wished to see the magic behind the beautiful displays.

Longwood’s annual Chrysanthemum Festival, held in October and early November, celebrates fall’s favorite flower in its many forms, hues, and varieties. During previous visits, I had marveled at the beautiful chrysanthemum displays, so was happy to see how they are created by Longwood’s designers and growers.

Chrysanthemum Festival is a distinct “season” in the Conservatory, when the Orangery, Exhibition Hall, and East Conservatory undergo a nearly complete transformations with an autumn color palette and thousands of mums. Preparations for the Festival begin more than a year in advance, when the designers finalize the  appearance of the displays and choose the Chrysanthemum varieties that will be grown. The team is led by Jim Sutton, who has been at Longwood Gardens for more than 20 years. In addition to fall colors, Jim tries to incorporate Asian aesthetic touches since mums are native to Japan and China.

Photo: Longwood gardens

While most of us are familiar with the potted mums sold at nurseries and grocery stores, modern chrysanthemums are actually divided into 13 classifications based on their flower form. In the floral trade, the decorative, pompon, daisy, spider, and football mum are some of the more common types seen in floral arrangements. The Chrysanthemum Festival includes all of these varieties in amazing displays that require labor-intensive grafting techniques developed more than 400 years ago in Japan and China. To learn these techniques, Longwood’s growers traveled to Asia to train with specialty chrysanthemum growers who are skilled in this dying art form.

Jim considers the Chrysanthemum Festival to be the most horticulturally challenging exhibit presented each year. The special hybrids that are grown for the Festival are not the regular garden mums or hardy outdoor mums that we are all familiar with, and require a lot of attention. We met Jason who has been the Chrysanthemum grower for the past 20 years. With the assistance of 6 seasonal employees and 6 volunteers, he cultivates that hundreds of mums that amaze visitors each year.

The process begins more than a year in advance with cuttings from stock plants. Some cuttings are grafted on two different stocks—either on chrysanthemum stock or Artemisia (Artemisia annua) stock. Artemisia is used because it has strong root system for summer heat, disease and insect resistance. Others are grown on their own roots. Once rooted, these young plants are potted in mid- to late-summer, depending on when they are scheduled to bloom. From then on, plants are fertilized, pruned, pinched, trained, and grown under lights to create various forms that are needed for the displays. Some are trained to be “single stems,” so that side buds are continuously pinched off to produce one giant flower. Others are disbudded to produce plants with five medium-sized blooms. The mums that require the least amount of work are the spray-style mums, which are allowed to retain all of their buds.

Cascade chrysanthemums have long been at the heart of the Chrysanthemum Festival. Longwood grows specialty mums (Chrysanthemum x moriflorum) that originated in China and Japan and are selected for their ability to create beautiful and lasting forms. These amazing plants can grow six feet in a season, are extremely flexible, can be adapted to many shapes and forms, and produce an abundance of small anemone-type blooms. They are used in the three-dimensional pieces such as columns, globes, swags,  and cones. We saw them trained into spirals, on v-shaped supports and obelisks, which have been fabricated by Longwood’s in-house welders.  These mums are capable of being grown down a metal frame, and then removed from the frame, brought into the Conservatory and hung from their pots down the columns.

An interesting training method is stem-breaking, which is used for creating spirals and cascade curtains. This ultra-meticulous method requires nerves of steel, because it is easy to snap the plant in half.  First, the pants are wilted, and then, using both hands, the stems are broken in multiple locations without rupturing the surface layers. The stems are then bent in the desired directions, wired to their frame and the plants are watered. Within hours the plants have mended with no lasting damage! Stem breaking is used throughout the entire vegetative growing season to create the incredible forms that you see on display.

A star feature of the Chrysanthemum Festival is the Thousand Bloom Chrysanthemum. This is always a show-stopper, and takes more than 1,800 labor hours of growing, pruning, pinching and training. The plant reaches a diameter of 12-1/2 feet, barely able to fit through the Main Conservatory’s doorway. We did not get to see this plant during our tour, but you can read more about its cultivation on Longwood’s blog.

The Chrysanthemum Festival is definitely worth a visit! This year, it runs from September 30–November 12. Visit longwoodgardens.org for more information.

Autumn Splendor at Stonecrop

Stonecrop Gardens has become a destination for gardeners and students of landscape design since it opened to the public in 1992. I have visited several times in different seasons, and find it particularly striking in the fall.

Its founder was Frank Cabot, a financier and self-taught horticulturalist who began gardening to relieve the pressures of venture capitalism and ended up creating two of the most celebrated gardens in North America—Stonecrop in New York, and Les Quatre Vents in Quebec. He also founded the Garden Conservancy, and served as chairman of the New York Botanical Garden and advisor to botanic gardens in Brooklyn and Ontario.

the gravel garden with alpines and dwarf conifers

Stonecrop began as a private garden in 1958, when Frank and his wife, Anne, built their home on 60 acres in the Hudson Highlands at an elevation of 1,100 feet. They began to garden on the rocky site and soon developed a passion for alpine plants. Since choice alpines were hard to come by, they started their own alpine mail-order nursery. Although the nursery no longer operates, you will see many alpines in Stonecrop’s gardens and greenhouses, that available for sale. 

Tufa troughs with alpines and dwarf conifers

Over the years the Cabots’ garden grew to 12. In the mid-1980s, they began planning for Stonecrop to become a public garden that would inspire and educate other gardeners. They engaged English horticulturist Caroline Burgess, who had studied at Kew Gardens and worked for Rosemary Verey. Under Caroline’s direction, Stonecrop’s gardens have expanded in scope and diversity and now contain an encyclopedic collection of plants. Caroline continues to serve Stonecrop as its director today.

Caroline Burgess in the systematic garden

A visit to Stonecrop is a serious immersion in plants and design ideas. Plan to spend several hours with a plant list in hand. Some of the highlights include a cliff rock garden, woodland, and water gardens, an enclosed English-style flower garden, and systematic order beds representing over 50 plant families. 

Asters, dahlias and persicaria in bloom in the flower garden

The flower garden is an english-style cottage garden with color-themed beds

Inspiration may be found in all seasons, from the spring show of bulbs and the explosion of color on the cliff ledge, to summer’s profusion in the flower garden and the subtleties of fall foliage and fruit in the woodland. In late September when I visited, the flower garden was bursting with tall dahlias, asters, love-lies-a-bleeding, persicarias and other perennials and annuals.

The rock ledge was built from stone on the property as well as blasted rock from a road construction project. A lovely stone bridge lies across the pond, which is surrounded by weeping katsuras and cherries and a grove of metasequoias. Rock crevices are planted with dianthus, dwarf Lady’s Mantle, bergenia and sedums. A wisteria-covered pergola offers beautiful views of the pond and woodland.

The woodlands are carpeted with ferns, hostas, Goat’s Beard, Solomon’s Seal and sedges. In autumn, the acteas are lovely. Rodgersia frames a second pond with a 2,000-square-foot conservatory housing tender specimens, and display greenhouses of alpines, tropicals, and succulents.

Stonecrop, 81 Stonecrop Ln., Cold Spring, NY 10516 (845) 265-2000 www.stonecrop.org

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Bartram's Garden: The Home of America’s First Botanist

John Bartram was America’s first botanist, plant explorer, and collector. He compiled a stunning selection of flora at his home garden and nursery from plant collecting expeditions across eastern America, as well as through his trades with European collectors. Located on the west bank of the Schuykill River, Bartram’s Garden covers 45 acres. It includes his 1728 home and the historic botanical garden and arboretum that showcases North American plant species collected by three generations of Bartrams.

Bartram was a Quaker, a denomination that produced many naturalists at that time. He taught himself about plants through books and his own observations. His curiosity fueled a desire to collect plants from all over New England, as far south as Florida, and west to Lake Ontario. He collected seeds and plant specimens and established a relationship with another plant collector—London merchant Peter Collinson. Their plant swaps led to a burgeoning business. Prominent patrons and scholars in Britain were fascinated by the native American species, and were eager to purchase from Bartram’s Garden. In 1765 King George III appointed Bartram Royal Botanist. At home in Philadelphia, Bartram received both George Washington and Thomas Jefferson.

Bartram’s international plant trade and nursery business thrived under his descendants. Son William accompanied his father on most of his expeditions and became an important naturalist, author, and artist. William’s drawings of birds and turtles were used in publications in 1758. He transformed the garden into an educational center that trained a new generation of botanists and explorers. Granddaughter Ann Bartram Carr built a successful nursery business that introduced Asian plants to the American public.

The Bartram garden has many distinct areas to explore. In front of the house is the Ann Bartram Carr garden, which celebrates her Asian plant introductions such as peonies and dahlias. Behind the house are the kitchen, flower, and medicinal plant gardens. And beyond those are woodlands of trees and shrubs that were collected, grown, and studied by the Bartrams from 1728 to 1850. These are primarily native plants of eastern North America: flame azaleas, highbush cranberry, Carolina allspice, sweetbay magnolia, and more. A bog garden illustrates the Bartrams’ fascination with carnivorous plants. A separate area is devoted to plants William Bartram collected in the South, including bottlebrush buckeye and oakleaf hydrangea.

The garden also contains three especially notable trees:

Franklinia alatamaha: John and William Bartram discovered a small grove of these trees in October 1765 while camping by Georgia's Altamaha River. William eventually brought seeds to the garden, where they were planted in 1777. The species, named in honor of John Bartram’s friend Benjamin Franklin, was last seen in the wild in 1803. All Franklinia growing today are descended from those propagated and distributed by the Bartrams, who saved this tree from extinction.

Cladrastis kentukia (Yellowwood): A notably old tree, possibly collected by French plant explorer Andre Michaux in Tennessee and sent to William Bartram in 1796.

Ginkgo biloba: The Bartrams’ is believed to be one of three original ginkgos introduced to the United States from China in 1785.

The property continues to the edge of the river, where there are opportunities for water recreation. Native plants and those discovered by the Bartram family are available for purchase year-round in the Welcome Center.

Bartram’s Garden 5400 Lindbergh Blvd., Philadelphia, PA 19143 (215) 729-5281 bartramsgarden.org

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Gilded Age Splendor in the Hudson River Valley

In 1895 Cornelius Vanderbilt’s grandson Frederick and his wife, Louise, bought the Hudson River estate known as Hyde Park to use as their spring and fall country estate. Frederick Vanderbilt was a quiet man, active in the business of directing 22 railroads, while Louise was a wealthy socialite. They built a Neoclassical Beaux Arts mansion furnished with European antiques, and outfitted with all the latest innovations: electricity, indoor plumbing, and central heating. The final cost totaled $2.25 million—about $60.5 million in today’s dollars.

Hyde Park was a self-sustaining estate, providing food and flowers for the family’s needs there and at their other homes. The grounds had been shaped by several previous owners with horticultural interests. In the early 1800s, Dr. Samuel Bard planted exotic plants and trees in the European Picturesque style.

The next owner, Dr. David Hosack, had a passion for botany and established the first formal gardens on the estate, as well as extensive greenhouses to hold his exotic plants. He also hired André Parmentier, the most renowned landscape architect of that time, to design the landscape. Roads, bridges, and lawns were laid out to compliment natural features, while large areas were left wild. Today, much of Parmentier’s original design remains and continues to be admired for its grace and beauty. In the late 1800s, owner Walter Langdon, Jr., laid out the first formal gardens. He built the gardener’s cottage, tool house, and garden walls, which remain and are in use today.

The Vanderbilts added many amenities to the property to make it accessible, practical and beautiful. They installed their own railroad station (he was a railroad tycoon, after all), boat docks, a coach house, two new bridges over Crum Elbow Creek, a power station, and extensive landscaping.

A large, formal garden was common to most Gilded Age estates, and Frederick Vanderbilt, who had a horticulture degree from Yale University, established the Italian-style, terraced garden that we see today. An esplanade of cherry trees leads to a walled perennial garden, which opens up to a long reflecting pool and a brick loggia decorated with the statue of an odalisque in mid-dance. The path continues to a two-tier rose garden with a charming summerhouse.

The upper garden features formal beds, while the lower garden was planted in the Victorian “bedding out style” of annuals that swept through the country in the late 1800s. This garden exhibits a mélange of curvilinear shapes—crescents, hearts, and circular beds, all planted with bright annuals.

The Vanderbilts were part of a new wave of urban elite that moved to the Hudson River Valley to enjoy relaxed country living, the sporting life, farming, and outdoor recreation. Hyde Park saw lavish weekend parties with horseback riding, golf, tennis, and swimming, followed by formal dinners and dancing. When not hosting guests, the Vanderbilts strolled through the gardens and greenhouses twice daily and visited the farm.

These greenhouses were operational during the Vanderbilt era. When the Vanderbilts were in residence, the greenhouse staff began each day by gathering cut flowers from the carnation and rose houses, bringing them to the mansion, and arranging them in the service area of the basement. The parlor and chamber maids placed them in designated locations on the upper floors. The butler ordered flowers from the greenhouses daily, and created all of the arrangements for the Dining Room himself. If the Vanderbilts were in New York, the greenhouse staff boxed the cut flowers and shipped them to the city.

After Frederick Vanderbilt’s death in 1938, the federal government purchased the estate, thanks to the intervention of President Franklin Roosevelt. While the grounds, landscaping, and buildings were preserved, there were no funds to maintain the gardens, which suffered years of neglect. Today the landscape is restored to its 1930s appearance, thanks to the Frederick William Vanderbilt Garden Association—a group of volunteers who have worked tirelessly to bring the gardens to their former glory. The formal gardens were replanted with 3,200 perennials and 2,000 roses. An additional 6,500 annuals are planted every year. The restored gravel paths, shady arbors, ornate statues, and bubbling fountains give the visitor a glimpse of life in the Gilded Age. The mansion is also beautifully decorated and open for tours for the holidays.

Vanderbilt Mansion, 119 Vanderbilt Park Rd., Hyde Park, NY 12538, (845) 229-7770 nps.gov/vama/index.htm

Excerpted from The Garden Tourist: 120 Destination Gardens and Nurseries in the Northeast

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Innisfree: A Garden for Contemplation

Innisfree garden is the result of a deep friendship and collaboration among three people: owners Walter and Marion Beck and landscape designer Lester Collins. In the late 1920s, artist Walter and his avid gardener wife, Marion, bought their country residence, which they named Innisfree, and began to study garden design and philosophy. Walter Beck discovered the work of eighth-century Chinese poet, painter, and gardener Wang Wei. Studying scroll paintings of Wang’s famed garden, Walter was drawn to the carefully defined, inwardly focused gardens sited within a larger, naturalistic landscape that Wang created. Wang’s technique influenced centuries of Chinese and Japanese garden design, and the gardens of Innisfree. Drawing on Wang’s approach, the Becks created vignettes in the garden, which Walter called “cup gardens,” incorporating rocks from the site with trees and plantings. Unlike Wang Wei, the Becks focused more on individual compositions. Relating these to one another and to the landscape as a whole was the role of Lester Collins. 

““Western gardens are usually designed to embrace a view of the whole. Little is hidden. The garden, like a stage set, is there in its entirety, its overall design revealed in a glance.… The traditional Chinese garden is usually designed so that a view of the whole is impossible. The Chinese Garden requires a stroll over serpentine, seemingly aimless arteries. The observer walks into a series of episodes, like Alice through the looking glass….” ”

— — Lester Collins, in his book, Innisfree: An American Garden

The Becks met Collins early in 1938 and began their creative collaboration. He spent several years in Asia, and was dean of Harvard’s landscape architecture department before starting his own private practice. His study of Chinese and Japanese garden design jived perfectly with the Becks’ aesthetic. In his 20-year association with the Becks, Collins was able to create a magical garden that brought the Becks’ “cup gardens” into a unified whole.

Having no children, the Becks decided to endow a foundation for the “study of garden art at Innisfree” that would make it into a public garden. Collins became the estate’s manager, orchestrated its transition to a public garden, and continued to design and expand the landscape according to his and the Becks’ vision. As funds allowed, he cleared portions of the densely wooded site, carefully editing existing vegetation to leave magnificent trees and swaths of natives, including blueberries, iris, and ferns. He created the first route around the lake; added new cup gardens; designed such memorable water features as the Mist, the Water Sculpture, the Air Spring, and the Fountain Jet; sculpted fanciful berms like those along the Entrance Drive, and added new plantings of native and Asian varieties to create a garden that is natural, unpretentious, and sustainable. His involvement with the garden continued for 55 years until his death in 1993. Today, the garden is run by the Innisfree Foundation. 

Innisfree is unlike other gardens, in that it is a naturalistic stroll garden in which the hand of the designer is almost invisible. The design comes from the study of the natural site. The gardens at Innisfree are based around the 40-acre lake framed by wooded hills and rocky cliffs. Rocks are an important element—from stone walls and staircases to single monolithic stones creating a strong vertical in the landscape. Most of the stones were collected on the property and carefully placed in their current location. Dramatic water features provide movement and energy within the garden. Innisfree is a unique combination of Asian and American aesthetics. It is a garden of quiet beauty, serenity, and contemplation.

Innisfree, 362 Tyrrel Rd., Millbrook, NY 12545, (845) 677-8000, innisfreegarden.org 

Hours: May–Oct: Wed.–Fri. 10–4, Sat.–Sun. 11–5

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Greenwood Gardens: an Arts and Crafts Gem

The Teahouse

Although just forty-five minutes from Manhattan, Greenwood Gardens is totally removed from the sights and sounds of city life. The 28-acre garden, surrounded by 2,110 acres of forest and meadows of the South Mountain Reservation, was a private estate until 2003, when the Blanchard family decided to transform it into a public garden.

The front entrance

Entrance Garden

Two very different American families left their marks on Greenwood Gardens. In the early 1900s, Joseph P. Day, a real estate auctioneer and self-made multi-millionaire, built the mansion and gardens as a retreat from hectic city life. Architect William Whetten Renwick designed both home and garden in an exuberant, heavily ornamented style. The garden was influenced by both Italian and Arts and Crafts styles, and laid out with strict axes and vistas. A series of lavishly planted terraces descended from the house, and an extensive system of paths made from exposed aggregate pavers led through lush, colorful plantings and recreational areas. The family could enjoy a croquet lawn, a tennis pavilion, a nine-hole golf course, a wading pool, shady pergolas and grottoes, a summerhouse, and a teahouse. The gardens were decorated with statuary and rough local stone embellished with colorful Rookwood tiles of the Arts and Crafts period. 

The Summerhouse

In 1949 Peter P. Blanchard, Jr., purchased the property, and he and his wife, Adelaide Childs Frick, brought a more restrained classical formality to the estate. They replaced the flamboyant house with a Georgian brick mansion, and supplanted the extravagant flower beds with simple hedges of boxwood and yew and allées of London plane and spruce trees.

The Garden of the Gods

In 2000, following his father’s wishes, Peter P. Blanchard III and his wife, Sofia, began restoring the garden to its early 1900s appearance and converted it to a nonprofit conservation organization with assistance from the Garden Conservancy. The garden needed extensive work. The walls, terraces, stairs, pools, statuary, and colonnades all had to be repaired. Trees and hedges were pruned or removed, and 28  acres of plantings were recreated from old photographs and notes under the direction of Louis Bauer, formerly of Wave Hill. After more than a decade of planning, fundraising, and restoration, the garden opened to the public in 2013.

The main terrace

In 2020, the garden went through another extensive renovation, focusing on the main axis and fountains, and on the Garden of the Gods. Fountains were restored, walls were repaired, paving stones were reset, views were cleared, and new plantings were installed. When you visit the garden today, you are greeted by an allee of London plane trees. A towering, hand-wrought iron-grill gate, decorated with vines, ferns, parakeets, and birds of paradise is displayed at the entrance to the garden. The Main Terrace, complete with loggias, connects the house to the formal gardens, which descend downward on several more terraces. An elegant reflecting pool serves as a focal point of the first terrace. The Croquet lawn forms the next terrace, and and a bronze sculpture of a boy holding two geese holds center stage in the Garden of the Gods. As you stroll through the garden, you will find ceremonial granite hand-washing basins and whimsical oversized chess pieces that frame the stone Tea House, granite lanterns that adorn the walls of the Cascade terrace, and Chinese Fu dogs that flank the stairs.

The horticulturists at Greenwood Gardens are keen on educating the public about new and noteworthy plants, so you will see unusual trilliums, calycanthus, hellebores, viburnums, phlomis, and the newest varieties of beloved perennials such as rudbeckia, pulmonaria and baptisia, all labeled for visitors. The combination of interesting horticulture, strong classical design, and whimsical Arts and Crafts details make Greenwood Gardens a truly unique destination garden in the Northeast.

The D Shaped Pool

The main Terrace

Greenwood Gardens, 274 Old Short Hills Rd., Short Hills, NJ 07078, (973) 258-4026, greenwoodgardens.org 

Open May–Oct.: Thurs–Sun 10–5, select holidays

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Wethersfield: A Hudson Valley Treasure

Nestled in 1,000 acres of beautiful rolling hills in New York’s Dutchess County, Wethersfield is considered one of the best examples of a classic Italian Renaissance garden in America. 

 Wethersfield was built as a summer residence by Chauncey Deveraux Stillman (1907-1989), an heir to one of America’s great family banking fortunes. Educated at Harvard and the Columbia School of Architecture, Stillman had a distinguished career as director of the oil and mining enterprise Freeport-McMoRan, and as a naval intelligence officer during WWII. A 20th-century Renaissance man, he was interested in yachting, paintings, sculpture, architecture, religion, farming, wildlife, horticulture, and horses. In fact it was the Millbrook Hunt that brought him to Dutchess County, where he was struck by the amazing views and farming potential of the land. In 1937 Stillman purchased two abandoned farms, and expanded the property over the next 50 years. He named his estate Wethersfield in honor of Wethersfield, Connecticut, where his family first settled in 1705. 

The first buildings on the property were the stable and carriage house, which still house Stillman’s antique carriage collection and dozens of prize ribbons. The Georgian Colonial brick and brownstone residence was situated on the highest point of the property, with its main entrance to the west. It was designed by Bancel LaFarge, a Beaux Arts architect. Compared to the lavish summer homes of his contemporaries in Newport, this was a modest residence decorated with Baroque-style frescoes, antiques, sculpture, and paintings by Italian masters as well as French and American Impressionists.

Stillman with his grandson

Stillman was in intellectual, interested in all forms of natural sciences. With the assistance of a farm manager, Stillman continued to farm the property, and brought progressive soil and water conservation techniques to Dutchess County. He practiced contour farming—planting in rows that are perpendicular to slopes and thereby reduce soil erosion and water runoff by 50%. He also excavated 12 ponds to catch water runoff and use it for watering crops and his garden.

 He was also a deeply religious man who converted to Catholicism in midlife. His interest in the Catholic faith, philosophy, classics and history, can be found woven into the design of his home and garden, from the home’s chapel, to reliefs depicting scenes from the Bible, Latin inscriptions, and statuary referencing Greek and Roman mythology. 

 In 1947, Stillman commissioned Evelyn N. Poehler, a Connecticut landscape architect who had been trained at the Lowethorpe School for horticulture and landscape design in Groton, Massachusetts, to design a swimming pool. The commission grew into the design of a traditional Italianate garden and a wilderness garden whose design evolved over the next 25 years. 

Poehler and Stillman collaborated on a 10-acre portion of the property closest to the house, which was divided into a 7-acre Wilderness Gardens and a 3-acre classic Italian Renaissance Garden. Classic Italian gardens are green gardens with clipped hedges, a strong central axis, framed views, allées, terraces, enclosed garden rooms, arches, sculpture and water features. Pairs of shrubs, trees, statues or urns frame views and entrances. Flowers are usually used in pots as accents.

When you visit Wethersfield, your tour will begin at a visitor’s booth at the outer edge of the garden, and you will gradually approach through the garden to the house. You will first see the gorgeous views of rolling hills and woodlands that surround the formal gardens. The garden entrance is guarded by a pair of crouching lions. As you enter the terraced gardens, you will see garden rooms framed by clipped yews and weeping beeches in serene shades of green. To the right is the Belvedere, on a rise surrounded by white pine. A solid shale wall topped by a stone balustrade features a niche that encloses a cupid fountain with plantings of sedums, campanula and other delicate flowers spilling from the stones. The upper terrace forms the Peacock Walk, with a cage of these colorful birds at one end. To the left of the Lower Terrace is the Cutting Garden, traditionally used to supply flowers for the house. It is now used as a teaching garden for a staff of interns.

Belvedere

peacock walk

lower terrace with weeping beeches

cutting garden

The path through the Lower Terrace brings you to a stunning oval reflecting pool. This was originally the swimming pool that Poehler designed for Stillman. Notice the beautiful view to the south, with an ornamental haha wall borrowed from English gardens. To the north, a 190 foot long allee of tall arborvitae brings you to a fountain with a green and gold naiad, or water nymph, created by sculptor Carl Milles. 

reflecting pool

Naiad fountain

As you continue toward the house, you enter the Inner Garden, enclosed by the house, a beech tunnel, and a walled knot garden. This is the oldest garden at Wethersfield, designed by Bryan J. Lynch in 1941. A grape arbor on one side creates an extension of the dining room and was used for outdoor lunches. The rill evokes Persian gardens and brings the soothing sound of water to this lovely courtyard. Borders of perennials and annuals frame the keyhole lawn. Curved steps lead to the Victorian-style knot gardens outside the Grasshopper House, named for its whimsical weathervane. Inside are grisaille murals of Wethersfield scenes painted by American artist Hight Moore. 

inner garden. photo courtesy of tcfl.org

south terrace

A linden hedge leads to the South Terrace, whose lower level offers beautiful views of Wethersfield’s hay fields. Descending one more level to the Pine Terrace, you enter a lovely shady seating area with a rectangular pool stocked with goldfish, and adorned with pots of fuschias and agapanthus. Here you also view the Palladian Arch which will bring you to the Wilderness Garden.

palladian arch

The Wilderness Garden is a woodland garden with carriage drives and trails that weave through stands of sugar maples, beech, larch and white pine underplanted with rhododendrons, mountain laurels and other blooming shrubs. Drifts of Christmas ferns, maidenhair and hay scented ferns line the trails, which are punctuated with limestone and marble statuary. These statues of animals, nymphs, centaurs and Greek gods were carved in the late 1960s and 1970s by English sculptor Peter Watts and Polish sculptor Jozef Stachura.

Wethersfield is located at 257 Pugsley Rd., Amenia, NY. At this time, the garden is open Fridays, Saturdays and Sundays from noon to 5 pm and admission is temporarily waived. The trails are open daily from dawn to dusk. 

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Kykuit: The Rockefeller Esta

October is a lovely time to visit gardens that have strong architectural features and autumn leaf color. Kykuit in Westchester County, New York, offers beautiful architecture, stunning views, and world-class artwork.

photo from hudsonvalley.org

The Kykuit estate was home to four generations of the Rockefeller family and features a grand mansion, beautiful gardens, extraordinary art, and spectacular scenery. It has been meticulously maintained for more than 100 years, and is a site of the National Trust for Historic Preservation. Kykuit is accessible by formal tours only. There are four to choose from, ranging from 1-½  to 3 hours in length, depending on how much you would like to see of the mansion;, the Coach Barn, with its collections of classic automobiles and horse-drawn carriages; and the gardens. Only the Landmark Tour and Grand Tour offer access to all of the gardens.

Kykuit, Dutch for “lookout” and pronounced “kie-kit”, is situated on the highest point in the hamlet of Pocantico Hills, overlooking the Hudson River at Tappan Zee. It has a view of the New York City skyline, 25 miles to the south. The imposing mansion, built of local stone and topped with the Rockefeller emblem, is located centrally in a 250-acre gated inner compound within the larger Rockefeller family estate. 

The 40-room mansion was built in 1908 by John D. Rockefeller, founder of Standard Oil, and the richest man in America in his day. The initial plans for the property were developed by the company of Frederick Law Olmsted. Rockefeller was unhappy with their work, however, and assumed control of the design himself. He created several scenic winding roads and lookouts and transplanted mature trees to realize his vision. 

John D. Rockefeller with his family. John D. junior is standing in the back.

In 1906, the oversight of the house and grounds was given to son John, who hired landscape architect William Welles Bosworth. Kykuit is considered Bosworth’s best work in the United States. The design is loosely based on traditional Italian gardens, with strong axes, terraces, fountains, pavilions, and classical ornamentation. The terraced gardens include a Morning Garden, Grand Staircase, Japanese Garden, Italian Garden, Japanese-style brook, Japanese Teahouse, loggia, large Oceanus fountain, Temple of Aphrodite, and a semicircular rose garden. With stairways leading you from one level to the next, the garden invites movement and views.

John Rockefeller planned to use the house only in spring and fall, so trees were selected for their spring bloom, such as cherries and dogwoods, or for their autumn leaf color, such as the Japanese maples. Wisteria is one of the prevailing plants that ties the garden together—you first see it on the front façade of the house, and then it reappears on walls and pergolas throughout the garden. Fountains are another signature element, from the replica of a Boboli Gardens fountain with a 30-foot statue of Oceanus that greets you in the forecourt, to 39 other fountains that punctuate the garden rooms. The inner garden has a Moorish theme, with a canal and a small fountain featuring a sculpted fountainhead and bronze swans. The gardens, which took over seven years to install, were completed in 1915, and exceeded their budget of $30,000 by one million dollars. 

Governor Nelson Rockefeller, the last private owner of Kykuit, transformed its basement passages into a major private art gallery containing paintings by Picasso, Chagall, and Warhol, as well as extraordinary Picasso tapestries. Between 1935 and the late 1970s Governor Rockefeller added more than 120 works of abstract and modern sculpture to the gardens, including works by Picasso, Brancusi, Appel, Arp, Calder, Moore, and Giacometti. He precisely and skillfully sited the art to complement the classical formality of the garden and create stunning views. Their inclusion in the garden elevated it from a beautiful classic garden to an extraordinary experience of architecture, horticulture, and art.

Kykuit, 381 N. Broadway, Sleepy Hollow, NY 10591 , (914) 366-6900, hudsonvalley.org/historic-sites/kykuit

Hours: Oct: daily except Tues. Nov. 1–13: Thurs.–Sun., some holidays. Admission: Tours $25 and up

Presby Memorial Iris Garden: A Rainbow on the Hill

Van Gogh’s Irises

Cultivated in New England since early colonial times, irises have a long and revered history. The Greek goddess Iris was the messenger of the gods and the personification of the rainbow. The fleur-de-lis is derived from the shape of the iris and is the symbol of the royal family of France. In Japan, the rhizome was ground to create the white face makeup for the geisha. Iris flowers were a favorite subject of Impressionist painters. And in New Jersey, irises are the stars of this memorial garden.

Claude Monet, Iris Garden

Frank H. Presby (1857–1924) was a leading citizen of Montclair and an iris hybridizer, collector, and founder of the American Iris Society. It was his expressed wish to give a collection of his favorite flower to Montclair’s newly acquired Mountainside Park, however he passed away in 1924 before he could carry out his plan. The Presby Gardens were established thanks to local resident Barbara Walther, who led the effort and watched over the garden for 50 years. 

Located at the base of the 7.5-acre Mountainside Park, the gardens were designed in 1927 by John C. Wister, a Harvard University landscape architect. He designed the garden in a bow shape, and Presby Gardens is now referred to as the “rainbow on the hill.” The iris garden contains more than 10,000 irises of approximately 1,500 varieties, which produce more than 100,000 blooms over the course of the season.

Peak bloom time is mid-May through the first week of June. Many of these irises were donated from Presby’s and Wister’s gardens, as well as from private Montclair gardens, the American Iris Society, and hybridizers all over the world.

Every iris in the garden has a marker indicating the name of the iris, the hybridizer, and the year the iris was registered with the American Iris Society. Twenty-six beds contain bearded irises, each dedicated to a particular decade. Be sure to look for the Heirloom Iris bed (bed 5a & b) with plants dating from the 16th to 20thcentury. Also look for the dwarf irises, growing only to 8 inches in height. They are the earliest of the bearded iris to bloom, and are ideal for rock gardens and fronts of borders.

Beds running along the creek bed contain a collection of non-bearded Spuria, Siberian, Japanese, and Louisiana irises, which prefer a wetter setting. Purple weeping beeches, fringe trees, katsuras, stewartias, redbuds, and ginkgos provide an interesting border for the iris gardens. A bee sanctuary with seven hives was added in 2000.

Growing Bearded Irises

Irises can be planted in the spring, in early fall, or in July and August when they are dormant. Plant your irises at least four to six weeks before your first hard freeze so that their roots are well established before the end of the growing season. Plant rhizomes 12 to 24” apart to avoid overcrowding.

Irises require at least a half-day (6-8 hours) of direct sunlight. Provide your irises with good drainage: a raised bed or a slope are ideal. Keep beds free of weeds and leaves.

It is a common mistake to plant Irises too deeply. Plant your rhizomes at or just barely below the surface of the ground. The tops of the rhizomes should be visible and the roots should be spread out facing downwards in the soil. Tamp the soil firmly to anchor the rhizomes until new roots begin to grow, and water well. 

Divide and replant iris that have become overcrowded (usually after three to five years) in July or August when the plants are dormant.

For more information or to join a local Iris Society branch, visit the American Iris Society.

Presby Memorial Iris Gardens, 474 Upper Mountain Ave., Montclair, NJ, (973) 783-5974, presbyirisgardens.org. Hours: Daily dawn–dusk.

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Bamboo Brook—a Beaux Arts Beauty

Women landscape designers were a rarity in the early 1900s when Martha Brookes Hutcheson began her practice. I was fortunate to visit the Bamboo Brook Outdoor Education Center in Far Hills, New Jersey, which had once been known as Merchiston Farm—the home of Hutcheson and her husband from 1911 to 1959. Built in the late 18th century, the house was enlarged and remodeled by the Huchesons in 1927.

Hutcheson was one of America’s first female landscape architects and attended the School of Architecture and Planning at the Massachusetts Institute of Technology, along with Marion Coffin and Beatrix Farrand. She created landscape plans for dozens of estates in Massachusetts and Long Island. Hutcheson’s design for Merchiston Farm was completed shortly after the publication of her book The Spirit of the Garden, in 1923. 

Native white dogwood underplanted with green hostas and white daffodils in early May

Hutcheson’s European travels inspired her to design her own garden in the Beaux-Arts style popular in the early 20thcentury. Drawing on European Renaissance and Baroque gardens as well as those of Islamic-era Spain, Beaux-Art gardens used formal geometry, allées and hedges, long vistas, reflecting pools and fountains, and native plants and materials. You see these design principles immediately at Bamboo Brook when you come upon the circular drive at the front of the house, punctuated with white dogwoods underplanted with green hostas. Hutcheson used a restrained color palette of greens, blues and whites, and repeated the circle motif throughout her landscape. 

Sunken circular patio in front of the house

Circular motif repeated in the architecture, with deutzia and centaurea montana

The path from the driveway leads to the Upper Water—a pond designed to appear as a naturalized body of water. The pond has a practical use as well as an aesthetic one. It collects rain water runoff from the upper part of the property. It was placed to take advantage of both the topography and the architecture of the house, and, importantly, it reflects the plants, the house, and the sky. A winding stream leads from the Upper Water to the rest of the garden. Hutcheson was fascinated with water features and constructed an intricate system of cisterns, pipes, swales, and catch basins to supply her house, pools, and gardens with collected rainwater. 

Upper Water: a pond created to collect rainwater runoff and reflect the sky and plantings

Brook connecting the Upper Water to the circular pond

When Hutcheson bought the house, she remodeled it and changed the front entrance to what was originally the back of the house. In the new back yard, the East Lawn and Coffee Terrace were designed with formal axial geometry. Informal plantings circle the oval East Lawn, which connects to the Circular Pool—a slightly sunken reflecting pool with six paths radiating from it and plantings of iris, phlox, ferns, dogwoods, and vinca. The Circular Pool was originally a farm pond in a natural hollow, which provided water for livestock. 

Coffee Terrace with lilacs and centaurea Montana

Garden in back of the house with amsonia, lilacs, boxwood

Amsonia and boxwood create quiet beauty

the Circular reflecting pool was used by the family as a swimming pool. it is 5’ deep and lined with native stone.

Beyond the lawn lies an axial garden with a white cedar allée and parterres adjacent to a tennis court and the children’s playhouse. Hutcheson placed rustic wood benches and chairs at spots where views could be enjoyed. She was a big proponent of native plants, and adapted species such as dogwood, lilac, sweet pepperbush, and elderberry to an Italian Renaissance-inspired design, and used native stone to create walls, patios, and steps throughout the garden. 

this garden connects the circular pool to the east lawn and coffee terrace.

A semi-circular stone bench is built into the stone wall and repeats the circle motif.

The Little House was Hutcheson’s quiet getaway. It was built over a small stream, which Hutcheson embellished with spillways and a lily pool, providing a home for water lovers such as sweetfern and iris. 

Little House built over a small stream

Geranium, phlox and ferns

A straight road lined with elms and oaks extends from the house to a farm complex including a barn, garage, farmhouse, and various work yards set in an informal landscape of fields and woods. 

Buckeye in back garden

In 1972 Hutcheson’s heirs gave the property to the Morris County Parks Commission, and it has been restored to its 1945 appearance. In addition to the formal areas, there are numerous trails that wind through the fields and along Bamboo Brook, and connect to the Elizabeth D. Kay Environmental Center and Willowwood Arboretum. A self-guided cell phone tour provides valuable information. Bamboo Brook is located at 11 Longview Rd., Far Hills, NJ. It is open daily from 8 am to sunset.

For more gardens in New Jersey, see The Garden Tourist: 120 Destination Gardens & Nurseries in the Northeast.

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Spring Inspiration at the Leonard J. Buck Garden

If you are looking for a gorgeous garden to visit this spring, plan a trip to The Leonard J. Buck Garden in Far Hills, New Jersey.

The Leonard J. Buck Garden is one of the finest and largest rock gardens in the eastern United States. It consists of a series of alpine and woodland gardens situated in a 33-acre wooded stream valley. While most rock gardens are man-made and small in scale like the alpine plants they showcase, this rock garden is a series of huge natural rock outcroppings in a 500-foot-wide, 90-foot-deep gorge. The gorge was formed at the end of the Ice Age, about 12,000 years ago, when the water from melting glaciers carved out the valley of Moggy Hollow.

The rocky garden backbone was perfect for Leonard Buck, a geologist who made his fortune in mining. As he traveled the world on business, he collected rare plants. In the 1930s Buck was a trustee of the New York Botanical Garden, where he met and hired Swiss-born landscape architect Zenon Schreiber. Their goal was to develop a naturalistic woodland garden composed of many smaller gardens, each with its own character and microhabitat.

Buck and Schreiber worked by eye and proportion, without a formal plan on paper. Buck worked the rock—chiseling, picking, and shoveling to expose the rugged face. Schreiber worked the plants, tucking in rare and exotic specimens and planting azaleas and rhododendrons at the base of the valley walls to create a dazzling display in spring. He also established a backbone of dogwoods, crabapples, shadbush, fothergilla, viburnums, and other native trees and shrubs throughout the property.

The garden’s trails wind past two ponds and a rock-edged stream, through the woods, and up into the gorge. At its spring peak, the garden is a showcase for lady slippers, trilliums, woodland phlox, bergenia, iris cristata, tiarella, epimediums, and columbines, as well as Siberian squill, Spanish bluebells, winter aconite, grape hyacinths, and other miniature bulbs. Japanese primroses line the streambed and masses of azaleas dazzle in the valley. To help plan your visit, the website provides a weekly list of plants in bloom. There is something to see in every season. (For more information about these spring bloomers see the blog articles in the links above.) 

When Interstate 287 was being laid out, the original plans called for Interstate 287 to run directly through Buck’s property. However he invited the officials in charge to visit his garden and succeeded in having the highway rerouted. After his death in 1976, the family donated the garden to the Somerset County Park Commission and set up a trust to fund maintenance and renovations. 

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The Spring Glory of Chanticleer

To my family's chagrin, I always manage to find a nursery or public garden wherever our travels take us. So last week, when my daughter's college visit took us to the suburbs of Philadelphia, I was delighted to find that we were in the vicinity of the famous Chanticleer garden in Wayne, PA.

Chanticleer has been called the most romantic, imaginative and exciting public garden in America, and seeing it in its spring glory, I heartily agree with this description. The estate, with its 1913 mansion and themed gardens was once the country retreat of the Rosengarten family, whose Philadelphia-based pharmaceutical firm became part of Merck. The landscape was originally designed by Thomas Sears, and the 35 acres that are open to the public are now maintained by a staff of 12 gardeners and groundskeepers.

The terraces surrounding the main house are formally planted with thousands of spring-flowering bulbs.

The Teacup Garden's formal parterre gardens were a colorful tapestry of vegetables, herbs and flowers.

Dozens of lushly planted containers adorned the gardens around the home.

The estate's impressive lawns and trees were blooming with hundreds of daffodils. The saucer magnolias and cherries were magnificent.

The shady gardens of Bell's Woodland were massed with epimediums, ferns, hellebores, trilliums and spring bulbs.

The Gravel Gardens were ablaze with tiny species tulips, miniature daffodils and grape hyacinths.

Naturalized frittilarias adorned a remote, quiet part of the garden.

Chanticleer is open to the public from April through October, and more information can be obtained at www.chanticleergarden.org. It is well worth a visit, and I cannot wait to return someday!