Elysium Britannicum, or the Royal Gardens (Penn Studies in Landscape Architecture)

In a letter to Sir Thomas Browne about his proposed magnum opus on gardens, John Evelyn stated his purpose: “to refine upon some particulars, especially concerning the ornaments of Gardens, which I shal endeavor so to handle that persons of all conditions and faculties, which delight in Gardens, may therein encounter something for their owne advantage.”

In his Elysium Britannicum, or The Royal Gardens, Evelyn indeed produced a rich document, an assemblage of the horticultural knowledge and wisdom of the seventeenth century. An intriguing intellectual whom many have called a virtuoso, Evelyn was a garden designer, a noted author and translator of garden books, and a founding member of the Royal Society in 1660, where experimental science was at the heart of intellectual debate. Interlacing in his work practical, literary, and philosophical approaches to landscape architecture, Evelyn created the first large-scale encyclopedic work on the science and art of gardening.

Evelyn never saw his great work published. Until now, the entire Elysium Britannicum, or The Royal Gardens has never appeared in print. In an impressive transcription, John E. Ingram makes the document—of which only a single folio volume remains—accessible to a wide range of scholars. Complete with Evelyn’s extensive marginalia, interlineations, and tipped-in addenda, the manuscript is expertly organized by Ingram to preserve the meaningful complexity of Evelyn’s original.

The Elysium Britannicum, or The Royal Gardens was composed over a period of forty years, and Ingram’s transcription reveals the challenge Evelyn faced in writing in—and for—a rapidly evolving intellectual culture. The work also displays many of Evelyn’s own illustrations, including drawings of garden layouts, diagrams of inventions for plant and tree cultivation, and plans for the artificial and natural embellishment of the land, all of which were to contribute to the beauty and utility of the gardens.


Elysium Britannicum, or the Royal Gardens (Penn Studies in Landscape Architecture)

Country, Park & City: The Architecture and Life of Calvert Vaux

After beginning his career as an architect in London, Calvert Vaux (1824-1895) came to the Hudson River valley in 1850 at the invitation of Andrew Jackson Downing, the reform-minded writer on houses and gardens. As Downing’s partner, and after Downing’s death in 1852, Vaux designed country and suburban dwellings that were remarkable for their well-conceived plans and their sensitive rapport with nature. By 1857, the year he published his book Villas and Cottages, Vaux had moved to New York City. There he asked Frederick Law Olmsted to join him in preparing a design for Central Park. He spent the next 38 years defending and refining their vision of Central Park as a work of art. After the Civil War, he and Olmsted led the nascent American park movement with their designs for parks and parkways in Brooklyn, Buffalo, and many other American cities. Apart from undertakings with Olmsted, Vaux cultivated a distinguished architectural practice. Among his clients were the artist Frederic Church, whose dream house, Olana, he helped create; and the reform politician Samuel Tilden, whose residence on New York’s Gramercy Park remains one of the country’s outstanding Victorian buildings. A pioneering advocate for apartment houses in American cities, Vaux designed buildings that mirrored the advance of urbanization in America, including early model housing for the poor. He planned the original portions of the Metropolitan Museum of Art and the American Museum of Natural History and conceived a stunning proposal for a vast iron and glass building to house the Centennial Exhibition in Philadelphia. Especially notable are the many bridges and other charming structures that he designed for Central Park. Vaux considered the Park’s Terrace, decorated by J. W. Mould, as his greatest achievement. An active participant in the cultural and intellectual life of New York, Vaux was an idealist who regarded himself as an artist and a professional. And while much has been written on Olmsted, comparatively little has been published about Vaux. The first in-depth account of Vaux’s career, Country, Park, and City should be of great interest to historians of art, architecture, and urbanism, as well as preservationists and other readers interested in New York City’s past and America’s first parks.Ask the average New Yorker who designed Central Park, and those who know their history will probably say Frederick Law Olmstead–and they would be partially correct. But ask for the other half of the designing duo and watch for the blank stares. Notoriously introverted, Calvert Vaux left a legacy that, along with Central Park, includes Prospect Park in Brooklyn, original portions of both the Metropolitan Museum of Art and the American Museum of Natural History, as well as many other New York landmarks, yet most people outside of the architectural field have never heard of him. In Country, Park, & City: The Architecture and Life of Calvert Vaux, Francis R. Kowsky succeeds in rescuing Vaux from obscurity. In setting the record straight, Kowsky describes how Vaux originally approached Olmstead to join him in entering the design competition for Central Park in 1857, and after they won, the more charismatic Olmstead was recognized as the force behind the plan, while Vaux kept to the shadows. Kowsky also reveals Vaux as the originator of apartment-style urban dwellings, a concept that he applied to both upscale and low-rent complexes in New York, and which are now standard metropolitan domiciles. This richly detailed and often esoteric biography is a celebration of an artist who deserves recognition. Kowsky has colorfully put a face to the façade.


Country, Park & City: The Architecture and Life of Calvert Vaux

On Planet Earth: Travels in an Unfamiliar Land

On Planet Earth: Travels in an Unfamiliar Land collects Jan Staller’s strangely seductive photographs from locations across the United States and around the world.-from abandoned factories to military test sites, from high-tech water-purification plants to heavy machinery that looks like it fell from outer space. Staller’s square-format and panoramic photographs reveal bizarre and forgotten constructions of industrial society, set against a symphony of color and light.

A sense of mystery pervades Staller’s images: ordinary building devices and machine parts take on the aura of Surrealist sculptures, while common construction sites echo the sacred grounds of ancient civilizations. Using long exposures and a combination of light sources-often photographing at dawn or dusk-Staller produces photographs that are breathtakingly rich in color and intensity.

Complementing the images in On Planet Earth is a narrative by Luc Sante, who shares Staller’s fascination with urban and industrial wastelands, the history they contain, and the mysteries they conceal. Together, Staller’s photographs and Sante’s text offer a stimulating, Technicolor tour of the unknown at the edge of the contemporary landscape.


On Planet Earth: Travels in an Unfamiliar Land