Russian regular gardens and parks - the history and features of creation. Unity and struggle of opposites: regular and landscape styles Regular park style

The regular garden design was originally implemented in Persia and throughout Europe. Regular gardens are characterized by simple geometric shapes with clear edges. Plants, hedges and walkways are either arranged in a circle, rectangle or square, and they are always symmetrical. Read on to find out how to create your own regular garden.

Steps

Draw a plan

Assess the site's location. The design you choose for your garden will depend on the contours of the area you are using. You must also take into account its placement in relation to your home or other nearby buildings. Consider the following factors:

• Is the land being used hilly or flat? This will influence the final look of your regular garden. Regular gardens are easier to create on flat ground, so you may want to consider leveling out some of the hills in your area.
• What is the shape of the land? Are you working with a regular square or is it a more oblong shape? You must decide if you are going to grow your garden to the edge of the property, or if you want to create a more compact space within it.

1. Decide how you will use the garden. You may be designing a garden for visual enjoyment, or perhaps you want it to be more functional, i.e. a place for people to relax and play. This is an important decision as it will determine how much open space to leave in proportion to the area with plants and hedges.

   • If you want people to quietly walk through the garden and observe all its details, you probably want to make a lot of paths and complex plantings.
   • If you want your garden to be less structured, plan for only one or two paths and more open space.

2. Pick a center point. Regular gardens tend to be arranged around an impressive central point - think of a palace garden with a giant fountain in the center. In many cases, the focal point is in the center of the garden, but this is not required. Consider the following ideas:

   • Make a small version of the palace gardens by creating a center of meaning with a pretty fountain or even a birdbath.
   • Your meaning center may be beautiful tree which is already growing in the garden.
   • You can buy a wrought iron bench and place it in a free area as a compositional center.
   • Create a trellis arch in the center of the garden.
   • Use your patio or decking as an accent, instead of a single garden centerpiece.

3. Schedule tracks. Now that you have your meaning center, it's time to plan the paths that lead to it. A regular garden may have paved, brick, or stone paths. You can also leave carefully trimmed natural paths between hedgerows. You must carefully maintain the paths to create a sense of cleanliness and order, the main elements of a regular garden. Create a map that shows your composition center and the various paths that lead to it.

   garden landscaping

   1. Consider your climate. Maybe you've visited a garden in France, fell in love with its beauty, and want to recreate it in your own backyard. The first thing you should do is find out if your climate is suitable for growing plants you have seen elsewhere. It is important to choose plants that will thrive where you live, otherwise you will be dealing with diseased and dying plants instead of enjoying a healthy garden.

      • Find out which climate zone you live so that when you start looking for plant species, you can tell right away if they are suitable for planting.
      • Don't discount plants that are native to your area. Regular gardens can have many various options that change with climate. There are alpine, desert, tropical, temperate and Mediterranean styles. Look at the gardens in your area, they may inspire you with ideas.

   2. Choose the appropriate plants. Balance and unity are key in regular gardens. Choose plants with shapes that work well with each other and with other elements in your garden. For example, if your garden is predominantly square in shape, you can plant a hedge that can be trimmed into a square shape. Hydrangea flowers are a good choice for a predominantly round garden.

      Observe symmetry. Once you've chosen your plants, decide where to plant them. Your garden is divided by paths into several parts; evaluate each space individually, and within the entire garden when you decide what to plant where.

      • Plant one type of plant along the paths. It looks beautiful and will tie all parts of the garden together.
      • If you plant something in one area, plant the same thing on the opposite side. For example, if you have a group of tulips in the left corner of your garden, plant a similar group in the right corner for balance and symmetry.
      • Plant en masse. A classic characteristic of a regular garden is the striking appearance of a large group of plants. Square sections planted close to hyacinths, for example, could give your garden the look you want.
      • Create templates. Alternate the shapes and colors of the plants by planting a row of some flowers, a row of other flowers, and so on.

   3. Make sure the garden looks beautiful all year round. The term "good bone" is used by landscapers to describe a garden structure that is pleasing to the eye all year round, after the flowers have withered and the grass is not as green. Choose hedges that will stay green all year round, plant hardy plants. You can also use fences and other permanent structures to keep your garden design perfect.

      Create open spaces. Be sure to leave some areas open. Open spaces contrast with plantings, and they are also appropriate if you want people to be able to relax in the garden. Land on open spaces grass or fill them with gravel, depending on your preference.

   Adding details

   Use water features. Many regular gardens have fountains, small streams, and other water features to add interest to the layout. Consider installing water features in your garden, either as a focal point or simple decoration.

   1. Add stone vases and statues. Concrete is often used in the garden in the form of vases and statues. Another classic stone that can be used is marble or artificial marble if you are looking for a more affordable option.

      • One beautiful statue used as the centerpiece of your garden can make a huge difference. Visit garden shops and nurseries for outdoor statue options.
      • If you decide to use vases, buy even number and place them all over the garden. For example, if your garden is divided into four sectors, each must contain a vase, and all vases must contain the same plants or flowers.

   2. Add furniture. If your garden is in your backyard, chances are you'll be spending a lot of time there. You need garden furniture that matches the design of your garden.

      • Wrought iron is a good choice for this purpose. You can also choose another material and paint it dark green or black to match your garden design.
      • Avoid plastic furniture as a regular garden needs to look timeless.

Start planning your garden with a choice of garden style.

What is garden style

To decide on the choice of style, you must first understand this. In landscape design, garden style is the use of certain techniques and methods of garden planning, united by a common idea. In this case, small architectural forms(sculpture, fountains, lattices, pergolas), decorative compositions (ponds, rock gardens, flower beds), various types of coverings, fences, certain types of plants and their combinations, characteristic of each style.

There are currently two main style directions in landscape design, from which all the rest originated: regular and landscape. To make the right choice, you need to get acquainted with the features of each.

In a regular garden, everything is subordinated to geometry, which is the main source of beauty and harmony. The regular style is characterized by rigor, symmetry, solemnity, splendor, striving for a higher order. In such a garden, a person seeks to subjugate nature, to restore perfect order.

The main features of the regular style:

• the presence of an axis of symmetry in the garden;
• straight tracks;
• geometric shapes (circle, square, hexagon, rectangle) of lawns, flower beds, ponds;
• the use of antique sculpture and fountains;
• shorn forms of trees and shrubs.

Fountains and sculptural compositions are often bordered with borders.

from annuals or structural perennials such as hostas

The regular style in garden art has a rich history dating back more than one thousand years: it originated in Ancient Egypt and Babylon (hanging gardens of Babylon), was developed in ancient Greece and Rome. Even in the Middle Ages, regular gardens were in vogue, but they reached their heyday in the Renaissance: it was at this time that gardens were created with luxurious fountains and sculpture, as well as grottoes (Villa d'Este in Italy). Topiary art appeared - curly cutting of trees and shrubs.

Later, when the fashion for regular classicism came, such pearls of landscape art as Versailles in France, Peterhof in Russia and many other parks appeared. They are characterized by: the presence of water and flower parterres of geometric shape with sculptures, luxurious gilded fountains, the disclosure of a distant perspective, the use of diagonal radial roads, enclosed spaces bounded by high sheared hedges (“green halls”), curly cutting of trees and shrubs. At the same time, containers in the form of antique flowerpots or a strict cubic shape, standard trees, forged benches, as well as arches, pergolas, obelisks, berso, trellises for climbing plants are used. Arbors and small pavilions are installed in such park gardens.

Previously, when creating gardens in a regular style, a person sought to show his superiority over nature, emphasizing his power over it. Now there is no longer a need for this. Therefore, regular gardens are monuments of landscape art and serve as a source of inspiration for the creation of new styles. Is a regular style needed today in a modern garden and in modern life with its rapid rhythms? Tastes, as they say, do not argue. The regular style is often used where it is necessary to emphasize solemnity, splendor, monumentality - in front of public buildings and government residences, in the front part of parks, etc.

In private gardens, the regular style is much less common. The choice of garden style often depends on architectural style houses on the lot. If the house is built in classical style(with columns, flowerpots, sculpture), then the design of the area adjacent to it in a regular style will be quite justified and appropriate. A regular garden requires a lot of space to show perspective. But it will also be quite appropriate in a small garden: you can, for example, create a small parterre in it of four square flower beds, bordered by a low hedge, with a small fountain, a flowerpot, a sculpture or a sundial in the center. Sometimes, instead of flowers, aromatic herbs are planted in flower beds. In this case, it is good to cover the paths between the flower beds with fine gravel.

The regular style is often used to decorate the entrance area, even if the rest is made in a different style. A large rectangular or round parterre, or a flower bed with annuals or roses of the same height, or a lawn bordered by a narrow border of flowering plants would be appropriate here. Sometimes a sculpture is used in the front area in front of the house. Modular gardens are also often made in a regular style - they must have an axis of symmetry, and the paths between the modules must have solid paving (gravel, tiles, natural stone).

Unfortunately, the regular style arose in countries with a mild climate, where evergreens grow and winter well, suitable for hedges and topiary shearing (yews, boxwoods, laurels). In the gardens of St. Petersburg and its environs, they have been replaced with alternative plants. Linden is used for high hedges, to create pyramids, spirals, balls and garden sculpture- thuja western. For curly hedge - cotoneaster, hawthorn. Standard evergreen trees (laurels, ficuses) are used in substitution culture (they are removed for the winter in heated greenhouses).

The regular style uses antique sculpture, sundial, fountains in the form of bowls and shells, grottoes, drinking bowls for birds, various flowerpots classical form, as well as gazebos and various pavilions for recreation. For paving, fine gravel of light shades is most often used. Reservoirs have a strict geometric shape (circle, square, polyhedron) and are located symmetrically about the main axis.

landscape style

Everything in this world has its opposite, so there is nothing surprising in the appearance of a landscape direction different from the regular style in landscape gardening art. It arose and took shape at the beginning of the eighteenth century in England as a reflection of the socio-political and philosophical ideas of the Enlightenment. The idea of ​​returning man back to nature became very popular at that time and found many supporters. The onset of industrialization and the emergence of megacities led to the fact that most of the population of Western Europe was concentrated in major cities. All this contributed to the emergence and development of the landscape style, first in parks, and then in country estates.

It is generally accepted that the landscape style came to Europe from the East, from China and Japan, since in these countries gardens have always been created exclusively in landscape style. However, the Europeans rather borrowed outside oriental design: pavilions, pavilions, Chinese-style pagodas were installed in gardens and parks, gardens were decorated with Japanese bridges. The oriental garden with its philosophical meaning, deep symbolism and conciseness appeared in Europe much later - only at the beginning of the twentieth century. Therefore, the emergence of the landscape style was rather not an imitation Eastern traditions but a natural result of the development of society.

The creation of landscape parks was most widespread at first in England, because its natural conditions contributed to this: a mild humid climate, an abundance of fogs, vast meadows and pastures, low hills, hedges of tall shrubs separating gardens, fields, groups of trees. Later, landscape parks with elements of romanticism began to be created in other European countries (in France, Germany, Russia). Some of them have survived to this day as monuments of landscape art: Stowe Park in Great Britain, Petit Trianon in Versailles, Bagatelle and Buttes Chaumont parks in Paris, Wörtlitz Park in Germany, Catherine and Pavlovsk parks near St. Petersburg, Alexander Garden in Moscow and others. They are characterized by a pronounced relief, large water surfaces, cascades, bridges, alternation of open and closed spaces. Such parks included numerous various structures in the spirit of romanticism: temples, grottoes, pavilions, ruins, mausoleums, tombstones, obelisks.

In estates and country estates, alleys with smoothly curving paths were arranged, which were planted with coniferous and deciduous trees (linden, oak, ash, elm, maple, larch). Local species of shrubs were planted in groups. Such parks and estates fit well into the surrounding natural landscape, as if being its continuation.

Landscape style features:

• open plan;
• lack of symmetry in the arrangement of objects;
• close connection of the garden with the surrounding natural landscape;
• alternation of flat forms with hills and ravines;
• use of terrain features;
• winding paths;
• inclusion in the composition of such objects as rock gardens, natural or artificial reservoirs, cascades, hills, retaining walls;
• the gradual opening of the perspective of the garden as you move along the paths;
• arbitrary outlines of flower beds, reservoirs;
• the use of natural materials in the design (natural stone, bark, wood chips, gravel and pebbles, wooden saw cuts, etc.);
• lack of plants with an artificial crown shape;
• use of various natural forms of plants;
• the presence of mixborders - compositions, including trees, shrubs, perennials herbaceous plants;
• lack of magnificent sculpture, fountains.

The landscape-style garden is most often found in the design of modern sites. This is due to the desire of a person to have a piece of untouched nature near his home. In such a garden, "paradise" is created - compositions close to natural. Suitable for this as large spaces and small gardens. A person, as it were, slightly corrects and slightly ennobles nature, smoothing out its shortcomings and emphasizing its merits. A garden in a landscape style is not an exact copy of natural landscapes, but it allows a person to take a break from the intense rhythms of modern life, relieve tension, recuperate, get additional energy and aesthetic pleasure from communicating with nature.

There are many options for planning landscape-style gardens, it largely depends on the terrain, but usually this type of garden is better suited to family needs, because each family creates it “for itself”. Often, this technique is used: in the central part of the site a large lawn of free outlines is placed, along the perimeter of which groups of trees and shrubs, flower beds, rock gardens, ponds, gazebos are placed. Closer to the house they make hard-surface recreation areas, sometimes under sheds, where garden furniture is installed.

It is important to consider the location of objects of different sizes and paths in the garden - this will help to optically enlarge the space, enhance its depth. Then even a medium-sized garden will seem large and spacious.

A natural or landscape garden often includes various objects: a mowed lawn, a flowering lawn, a mixborder, a bathing pond, an ornamental pond with coastal aquatic plants, a stream or cascade, a terraced slope or ravine, a green hill, a rock garden, unformed hedges , groups of trees and shrubs, flower beds and winding borders. All this should harmoniously fit into the existing natural landscape.

Quite appropriate in a landscape style garden will be orchard and a garden, as well as a bathhouse, a greenhouse. But the placement of such objects must necessarily be carried out taking into account the functional zoning of the territory, that is, the allocation of the main functional zones (recreation area, children's area, garden area, household, etc.). Then a road and path network is laid, which connects these zones, separated from each other by trees, shrubs, gratings with climbing plants. The entrance (or front) part of the site can also be decorated in landscape style. Sometimes a mixborder of dwarf coniferous or highly ornamental shrubs (roses, rhododendrons) or a front flower garden with textured perennials is placed here.

Plants play an important role in a landscape garden. They create volumes, divide the garden into zones, form decorative compositions, act as accents, act as ground covers, link the garden into a single whole. At the same time, it is advisable to give preference to local tree and shrub species and herbaceous perennials. In such a garden, you should not plant lush varietal perennials (phloxes, dahlias, gladioli), as well as bright annuals - natural species and plants with textured leaves and small flowers are more suitable.

Text and photo: Natalia Yurtaeva, landscape designer

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Of all the styles of gardens, the regular one is rightfully considered the most conservative. The main rival of a regular or formal garden style is landscape or English style, which contrasts the rigor and geometricity of a regular garden with naturalness and unity with nature.

From the history of the regular style

The formal or regular garden style is also called French. And this is explained by the fact that this style reached its peak precisely in France, during the reign of Louis XIV, in the era of the apogee of absolutism. Then the regular proper gardens embodied the ideas of the absolute triumph of beauty, orderliness and the genius of architectural thought over nature. A man created a clear, thoughtful park, verified to every detail, demonstrating superiority and power, the conquest of the world around him.

regular style landscape design is associated, first of all, with the name of Andre Le Nôtre - architect, landscape designer and court gardener of Louis XIV, who became the author of stunningly beautiful garden and park ensembles. Andre Le Nôtre worked in the parks of Vaux-le-Vicomte, Fontainebleau, Chantilly; in the park of the Palace of Versailles. Later he was invited to England, where he continued to work on projects of garden ensembles (he became, in particular, the author of St. James and Greenwich parks in London).

Regular gardens and parks were created at palaces and castles and were an integral part of the garden and park ensemble. Regular gardens were designed to emphasize the splendor and monumentality of the architecture of the palace.

Regular gardens spread to many countries where they received further development and added new elements.

Regular garden nowadays

These days, regular gardens are not so common, many are limited to only a few elements of the regular style or decorate any particular section of the garden in a formal style. In general, the creation of a regular garden is a rather costly process, requiring a large amount of work and care for each element.

It is believed that the French regular garden is the choice of people who prefer the classical architecture of the past. A regular garden will be a great addition to old-style mansions with terraces, balustrades, and sculptural groups. The main emotional feature of the style is solemnity, wealth, grandeur.

Plot size

First of all, the size of the plot plays a role. According to historical tradition, a regular park is enough large area ; the whole garden is perceived as an alternation of picturesque paintings, striking in their grandeur. The regular garden was created for long walks, where at the end of each alley leading into the the new kind. In addition, all the elements in the summer cottage should be solid, squat, powerful, of impressive size, which is often difficult to do on a smaller plot.

It is also worth noting that a regular garden is a flat area with no relief drops. Therefore, it is often necessary to carry out a large number earthworks, install , screens and other special designs.

layout

As for the layout itself, it should be strictly geometric where house is the axis of symmetry. The main feature of a regular garden is its isolation from the surrounding nature, so the randomness and random arrangement of garden elements is unacceptable.

The main element in the regular park is parterre- an open part of the garden with lawns, ponds, flower beds, borders, divided into sections of the correct form.

Parterre lawn

No regular garden is complete without reservoir. The mirror surface of the water will be perfectly combined with the overall composition. The reservoir on the site is made in the form of a circle, oval, square, rectangle. The coastline must be clear; plants in coastal zone planted in strict order, in rows. On large areas, they often create - multi-stage structures made of stone or concrete, which serve to fall water jets. Also installed on the site, which can serve as the center of flower arrangements, for example.

Hedges

An indispensable element of a regular garden are and. In addition to decorative functions, they also have practical purposes (they serve to zone the garden). The creation of green rooms and corridors is another of the tricks of the French park. Look very nice berso- living walls, looking up. Creating green rooms and all sorts of will require the installation of support structures; it could be trellis.

It is difficult to imagine a regular garden without topiary figures. Many trees and shrubs (both deciduous and coniferous) lend themselves to topiary haircuts; topiaries are given the most different forms(ball, cube, pyramid, cone, spiral).

Plants for the regular garden

From plants for regular gardens choose evergreen rocks that remain decorative throughout the year. Arches often twine lianas and which form green vaults. A garden in a formal style is often decorated - areas where plants of the same species are cultivated (rose gardens, sirengaria, iridarium, etc.). Mulching is often used in flower beds; planting plants are shaded with white or colored gravel.

Materials for a regular garden choose expensive, high quality - valuable breeds wood, marble, ceramics, bronze. Accessories for a regular garden should also look rich, there should not be too many of them, but all of them should favorably emphasize other elements of the garden, be “out of place”. When decorating arbors, woodcarving and artistic forging are usually used. Railings in a formal garden are cast iron or cast iron with a classic trellis pattern.

In a regular garden, preference is given to calm tones, classic ornaments, and plant motifs.

It may seem to some that regular gardens are a relic of the past, they are all boring and devoid of imagination. However, these are not. Straight paths and alleys are combined with water elements, enchanting with their melodic overflows, evergreen plantings contrast with carpet flower beds, in a strict, geometric layout there is a place for cozy gazebos and recreation areas. A competent approach to garden planning and a sense of proportion are important components in creating gardens, and this is perhaps most relevant for a regular garden.

The Château de Chenonceau had two gardens in the new style, one in 1551 for Diane de Poitiers, and the other in 1560 for Catherine de' Medici.

Despite the fact that the gardens of the French Renaissance already differed significantly in their character and appearance from the gardens of the Middle Ages, they were still an architectural composition separate from the castle and, as a rule, were framed by a wall. There was no harmonious relationship between different parts of the garden and gardens were often arranged on unsuitable land plots, which corresponded more to the goals of the defense of the castle than to the goals of creating beauty. Everything changed in the middle of the 17th century after the construction of the first real French regular gardens.

Vaux-le-Vicomte

The first significant regular-style landscape gardening complex appeared in France at the Vaux-le-Vicomte Palace. The construction of the estate of Nicolas Fouquet , superintendent of finance under King Louis XIV , began in 1656 . Fouquet entrusted the design and construction of the castle to the architect Louis Levo, the creation of sculptures for the park - to the artist Charles Lebrun, and the arrangement of the gardens was entrusted to Andre Lenotre. For the first time in France, the gardens and the palace were conceived and executed as a single garden and architectural complex. From the steps of the palace, a beautiful perspective opened up 1500 meters into the distance, up to the statue of Hercules of Farnese; parterres were arranged on the territory of the park using evergreen shrubs in ornamental patterns, bordered with colored gravel, and the alleys were decorated with sculptures, ponds, fountains and elegantly made topiaries. “The symmetry arranged in Vaud is brought to perfection and integrity, which are rarely found in classical gardens. The palace is placed at the center of this exacting spatial organization, embodying strength and success.

Gardens of Versailles

Theorists and practitioners of French regular gardens

For a French composition regular garden Italian gardens of the Renaissance had a great influence, and its principles were consolidated by the middle of the 17th century. As a rule, a regular garden has the following typical features:

Garden as a manifestation of architecture

Regular style gardeners saw their work as a kind of architect's work, expanding the space of a building beyond its walls and ordering nature according to the laws of geometry, optics and perspective. Gardens were created like buildings, with a suite of rooms through which the viewer passed, following a given route, with corridors and vestibules. In their drawings, they used the terminology of the architects; sites were called halls, rooms and green theaters. "Walls" were made with trimmed shrubs, and "stairs" with water. On earth were bedspreads or carpets of grass adorned with plants, and the trees formed curtains along the alleys. Like the architects who designed the water supply systems in the château buildings, landscape architects arranged hydraulic systems to supply water to fountains and garden ponds. Large water-filled pools replaced mirrors, and jets of water from fountains replaced candelabra. IN bosquete "Zavod" gardens of Versailles, Andre Le Nôtre placed tables of white and red marble to serve treats on them. The flowing water in the pools and fountains imitated the filling of jugs and crystal glasses. The dominance of architecture in gardens lasted until the 18th century, when English landscape parks came to Europe, and Romantic painting instead of architecture became the source of inspiration for the arrangement of gardens.

The garden as a manifestation of the theater

IN regular gardens often staged plays, musical performances, and fireworks. In 1664, Louis XIV staged a seven-day celebration in the refurbished gardens of Versailles, with ceremonial aisles, comedies, ballets, and fireworks. In the gardens of Versailles there was a water theatre, adorned with fountains and statues of young gods (destroyed between 1770 and 1780). Full-size ships were built for the Grand Canal cruises, and an open-air dance hall surrounded by trees was set up in the garden; a water organ, a special labyrinth and a grotto were also arranged.

perspective manipulation

Landscape architects, when creating regular parks, were not limited to simple observance of the laws of geometry and perspective - already in the first published treatises on gardening, in the 17th century, they devoted entire sections to aspects of correcting or improving perspective, as a rule, forming the illusion of increased distances. Often this was achieved by gradually narrowing the alleys or bringing rows of trees to one point. Trees were also cut in such a way that their height seemed smaller as they moved away from the center of the garden or from residential building. All these ways allowed to create a sense of a longer perspective, and the dimensions of the gardens seemed larger than they really are.

Another trick of the French craftsmen was the special ditch akha. This method was used to mask fences that crossed long alleys or vistas. In the place where the fence crossed the view panorama, they dug a wide and deep ditch with a vertical stone wall on one side. Also, the fence could be placed at the bottom of the moat, and thus it was invisible to the audience.

As gardens became more elaborate and grandiose throughout the 17th century, they ceased to serve as decoration for a castle or palace. On the example of the Château Chantilly and the Saint-Germain Palace, one can see how the castle becomes a decorative element of the garden, which occupies a much larger area.

New technologies in regular parks

The emergence and development of French regular parks made possible in the 17th and 18th centuries by the development of many new technologies. Firstly, this is the ability to move significant volumes of soil (fr. geoplasty). This skill came about thanks to several technological developments that came to horticulture from the military. The advent of artillery pieces and new siege warfare mechanisms played an important role, since it became necessary for them to quickly dig trenches and erect walls and earthen fortifications. As a result, back-carry baskets, handcarts, wagons, and wagons were invented. These technologies were used by André Le Nôtre in the construction of multi-level terraces and in the large-scale digging of canals and pools.

Secondly, it was important hydrology(fr. hydrology) - a technology for supplying gardens with water for watering green spaces and for numerous fountains. These developments did not have much success in the Versailles possessions, located on a hill; even the construction of 221 pumps, the laying of a system of canals to raise water from the Seine, and the construction in 1681 of a giant pumping mechanism in Marly did not make it possible to achieve the water pressure in the pipes necessary for the simultaneous operation of all the fountains of the Versailles Park. Plumbers the king's walks were placed along the entire route, and their task was to turn on the fountains in those parts of the park where the king approached.

Significant development has been hydroplasia(fr. hydroplasia), a technology for giving various shapes to fountain jets. The shape of the jet depends on the water pressure and the shape of the tip. This technology has allowed the creation of new forms, among which tulipe(Tulip), double emblem(double beam), Girandole(girandol) candelabre(chandelier), corbeille(bouquet), La Boule en l'air(ball in the air) and L'Evantail(fan). In those days, this art was closely intertwined with the art of fireworks, where they sought to achieve similar effects with fire, not water. The play of fountains and fireworks were often accompanied by musical compositions and they symbolized how the human will tames and gives shape to natural phenomena (fire and water).

Also, the science of plant cultivation has made a big step forward in terms of the ability to grow plants of warmer climatic zones in northern Europe, protecting them indoors and exposing them to open areas in flower pots. The first greenhouse in France was built in the 16th century after orange trees appeared in France as a result of the Italian wars. The thickness of the walls in the greenhouse of Versailles reached 5 meters, and the double walls made it possible to maintain the temperature between 5 and 8 degrees in winter. Today it holds 1200 trees.

Trees, flowers and shades of regular parks

Ornamental flowers were extremely rare in French gardens of the 17th century, and the range of their color shades was small: blue, pink, white and purple. Brighter shades (yellow, red, orange) appeared only after 1730, when world achievements in the field of botany became available in Europe. Tulip bulbs and other exotic flowers came from Turkey and Holland. A very important decorative element in Versailles and in other gardens was the topiary, a tree or bush that was given a geometric or grotesque shape by shearing. Topiaries were placed in rows along the main axis of the garden, alternating with vases and sculptures. In Versailles, flower beds were arranged only in Trianon and in the Northern parterre directly near the palace (it is on the Northern parterre that the windows of the Great Royal Chambers open). The flowers were usually shipped from Provence, kept in pots and changed 3 or 4 times a year. Versailles' financial statements for 1686 show that 20,050 yellow jonquil bulbs, 23,000 cyclamens and 1,700 lilies were used in the gardens.

Most of the trees in Versailles were moved from the forests; hornbeams, elms, lindens and beeches were used. Also there grew chestnuts, imported from Turkey, and acacia. adults big trees dug in the forests of Compiègne and Artois and replanted at Versailles. Many trees died after transplantation and they were regularly changed.

The trees in the park were cut horizontally and aligned at the tops, giving them the desired geometric shape. It wasn't until the 18th century that trees were allowed to grow naturally.

The fading of French regular parks

André Le Nôtre died in 1700, but his ideas and his students dominated the landscape art of France throughout the reign of Louis XV. His nephew Dego created gardens in Bagnolet (department of Saint-Saint-Denis) by order of the regent Philip II of Orleans (1717) and in Champs-sur-Marne (department of Seine-et-Marne), and another relative, Claude Dego's son-in-law, Garnier Diehl created gardens for the Marquise de Pompadour at Crécy (Eure-et-Loire department) in 1746 and at the Château Bellevue (Hauts-de-Seine department) in 1748-1750. The main source of inspiration for the gardens was still architecture, not nature - it was the architect by profession Ange Jacques Gabriel who designed elements of gardens in Versailles, Choisy (Val-de-Marne department) and in Compiègne.

Yet, over time, regular parks slight deviations from the strict laws of geometry began to appear. Graceful lace parterres with their curls and reverse curves began to be replaced by lawn parterres framed flower plantings which were much easier to maintain. The circles became ovals, and the alleys radiated outward in the form of a sign. X and figures began to appear in the form of an irregular octagon. Gardens began to be arranged on plots of land with a natural landscape, instead of leveling the surface, forming artificial terraces.

In the middle of the 18th century, the era of symmetrical regular parks due to the spread of new landscape parks arranged by English aristocrats and large landowners, as well as due to the growth in popularity chinese style, brought to France by Jesuit monks, a style that rejects symmetry in favor of nature and rural paintings. In many French estates, they tried to keep the gardens directly adjacent to the residential building in the traditional regular style, but the rest of the park was arranged in accordance with the new style, which had different names - english park, English-Chinese, exotic And picturesque. Thus in France came the end of the period of the French regular park and the landscape park period began, which was inspired not by architecture but by painting, literature, and philosophy.

At present, new large-scale implementations of "regular parks" are very rare. An example of such a successful project is the regular park created by the famous French designer Jacques Garcia on his Norman estate Champs de Bataille (fr. Chateau du Champ de Bataille). This garden has an upward perspective, rising in levels the further away from the palace, similar to the gardens of the Spanish palace of La Granja. The final stage of the "ascent" along the main perspective of the garden is a large rectangular pool. Like classic regular parks, the gardens of Chang-de-Bataille have an important place in the system of symbols, which Jacques Garcia slightly modified by adding Masonic and allegorical motifs. The gardens of Chang-de-Bataille are distinguished by a wide range of plants used, sometimes exotic, but they are not intrusive. This regular French garden clearly demonstrates how proportion and theatricality can dominate the minds of visitors, especially when the authors have carefully considered the meaning of every small detail of the garden.

Timeline of prominent regular parks

Predecessors - parks in the style of the Italian Renaissance

• Chateau Villandry (1536, destroyed in the 19th century, restoration begun in 1906)
• Chateau Fontainebleau (1522-1540)
• Château Chenonceau, gardens of Diane de Poitiers and Catherine de Medici (1559-1570)

Gardens designed by André Le Nôtre

• Palace of Vaux-le-Vicomte (1658-1661)
• Gardens and park of Versailles (1662-1700)
• Chantilly Palace (1663-1684)
• Palace of Fontainebleau (1645-1685)
• Palais Saint-Cloud (1664-1665)
• Grand Canal in the park of Versailles (1668-1669)
• Saint-Germain Palace (1669-1673)
• Château Dampierre (1673-1783)
• Grand Trianon at Versailles (1687-1688)
• Chateau Clagny (1674-1680)

Gardens attributed to André Le Nôtre

Gardens of subsequent periods

• Château Breteuil (1730-1784)

Regular parks of the XIX-XXI centuries

• Park Magalon, in Marseille, by Édouard André, 1891
• Mansion and gardens of Nemours - estate of Alfred Dupont, early 20th century.
• Pavilion Galun in Kyukuron, established in 2004.
• The gardens of the Château de Chang-de-Bataille near the Norman town of Le Nebourg; estate of French designer Jacques Garcia.

Regular gardens outside French territory

• Gardens of Peterhof, Saint Petersburg, Russia (1714-1725)
• Summer Garden, St. Petersburg (1712-1725)
• Old garden in Tsarskoye Selo, Pushkin, Russia (1717-1720)
• Kuskovo Estate, Moscow, Russia (1750-1780)
• Blenheim Palace, UK (1705-1724)
• Gardens of Herrenhausen, Hannover, Germany (1676-1680)
• Racconigi Castle, Italy (1755)
• Branicki Palace, Poland (1737-1771)

see also

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Notes

1. Éric Mension-Rigau, Les jardins témoins de leur temps in Historia, n° 7/8, 2000
2. Kurbatov V. Ya. General history of landscape art. Gardens and parks of the world. - M .: Eksmo, 2008. - ISBN 5-669-19502-2.
3. Wenzler, Architecture du jardin, p. 12
4. Philippe Prevot, Histoire des jardins, p. 107
5. Prevot, Histoire des Jardins, page 114
6. Bernard Jeannel, André Le Nôtre, Ed. Hazan, page 17
7. Prevot, History of the gardens, page 146
8. Alain Barton. Walks in the gardens of Versailles. - Artlys, 2010. - S. 11. - 80 p. - ISBN 978-2-85495-398-5.
9. Prevot, History of Gardens, p. 152
10. Lucia Impelluso, , page 64.
11. See Harrap Dictionary, 1934 edition.
12. Jacques Boyceau de La Barauderie, Traite du jardinage selon les raisons de la nature et de l'art, Paris, Michel Vanlochon, 1638.
13. "Il est à souhaiter que les jardins soient regardés de haut en bas, soit depuis des bâtiments, soit depuis des terrasses rehaussées à l'entour des parterres", by Olivier de Serres in Theater d'architecture ou Mesnage des champs, 1600, quote by Bernard Jeannel, Le Nôtre, Ed. Hazan, page 26
14. Claude Wenzler, Architecture du Jardin, page 22
15. Wenzler, p. 22.
16. Wenzler Page 24
17. Jean Marie Constant, Une nature domptée sur ordre du Roi Soleil in Historia, n° 7/8, 2000, p. 39
18. L'art des jardins en Europe, page 234
19. Philippe Prevot, Histoire des jardins, page 167
20. Philippe Prevot, Histoire des jardins, page 155
21. Philippe Prevot, Histoire des jardins, page 156
22. Philippe Prevot, Histoire des jardins, page 164
23. Philippe Prevot, Histoire des jardins, page 166
24. Philippe Prevot, Histoire des jardins, page 165
25. Wenzer, Architecture du jardin, p. 27
26. Wenzel, page 28.
27. According to the chronology of Yves-Marie Allian, Janine Christiany, L'art des jardins in Europe, page 612

Literature

• Yves-Marie Allain and Janine Christiany L'art des jardins en Europe, Citadelles et Mazenod, Paris, 2006
• Claude Wenzler, Architecture du jardin, Editions Ouest-France, 2003
• Lucia Impelluso, Jardins, potagers and labyrinthes, Hazan, Paris, 2007.
• Philippe Prevot, Histoire des jardins, Editions Sud Ouest, 2006

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An excerpt characterizing the Regular Park

The princess quickly stood up to meet him and held out her hand.
“Yes,” she said, peering into his changed face after he kissed her hand, “this is how we meet. He often talked about you lately, too,” she said, turning her eyes from Pierre to her companion with a shyness that struck Pierre for a moment.
“I was so glad to hear of your salvation. This was the only good news we have received since a long time ago. - Again, even more restless, the princess looked back at her companion and wanted to say something; but Pierre interrupted her.
“You can imagine that I knew nothing about him,” he said. “I thought he was dead. Everything I learned, I learned from others, through third parties. I only know that he ended up with the Rostovs ... What a fate!
Pierre spoke quickly, animatedly. He glanced once at his companion's face, saw an attentive, affectionately curious look directed at him, and, as often happens during a conversation, for some reason he felt that this companion in a black dress was a sweet, kind, glorious creature who would not interfere with his heartfelt conversation with Princess Mary.
But when he said the last words about the Rostovs, the confusion in the face of Princess Marya expressed itself even more strongly. She again ran her eyes from Pierre's face to the face of the lady in the black dress and said:
- You don't know, do you?
Pierre glanced once more at the pale, thin face of his companion, with black eyes and a strange mouth. Something familiar, long forgotten and more than sweet looked at him from those attentive eyes.
But no, it can't be, he thought. – Is it a strict, thin and pale, aged face? It can't be her. It's just a memory of that." But at this time Princess Marya said: "Natasha." And the face, with attentive eyes, with difficulty, with effort, like a rusty door opens, smiled, and from this open door it suddenly smelled and washed over Pierre with that long-forgotten happiness, about which, especially now, he did not think. It smelled, engulfed and swallowed him all. When she smiled, there could no longer be any doubt: it was Natasha, and he loved her.
In the very first minute, Pierre involuntarily told both her and Princess Mary, and, most importantly, to himself a secret unknown to him. He blushed happily and painfully. He wanted to hide his excitement. But the more he wanted to hide him, the more clearly—more clearly than in the most definite words—he told himself, and to her, and to Princess Marya that he loved her.
“No, it’s so, from surprise,” thought Pierre. But as soon as he wanted to continue the conversation he had begun with Princess Marya, he again looked at Natasha, and an even stronger color covered his face, and an even stronger excitement of joy and fear seized his soul. He got lost in words and stopped in the middle of a speech.
Pierre did not notice Natasha, because he did not expect to see her here, but he did not recognize her because the change that had taken place in her since he had not seen her was enormous. She lost weight and turned pale. But this was not what made her unrecognizable: it was impossible to recognize her at the first minute he entered, because on this face, in whose eyes a secret smile of the joy of life had always shone, now, when he entered and looked at her for the first time, there was also a shadow of a smile; there were only eyes, attentive, kind and sadly inquiring.
Pierre's embarrassment was not reflected in Natasha's embarrassment, but only with pleasure, slightly perceptibly illuminating her whole face.

“She came to visit me,” said Princess Mary. The Count and Countess will be here in a few days. The Countess is in a terrible position. But Natasha herself needed to see the doctor. She was forcibly sent away with me.
- Yes, is there a family without its grief? said Pierre, turning to Natasha. “You know that it was on the very day we were released. I saw him. What a lovely boy he was.
Natasha looked at him, and in response to his words, her eyes only opened more and lit up.
- What can you say or think in consolation? Pierre said. - Nothing. Why did such a glorious, full of life boy die?
“Yes, in our time it would be difficult to live without faith…” said Princess Mary.
- Yes Yes. This is the true truth,” Pierre hastily interrupted.
- From what? Natasha asked, looking attentively into Pierre's eyes.
- How why? - said Princess Mary. One thought of what awaits there...
Natasha, without listening to Princess Marya, looked inquiringly at Pierre again.
“And because,” Pierre continued, “that only the person who believes that there is a god who controls us can endure such a loss as hers and ... yours,” said Pierre.
Natasha opened her mouth, wanting to say something, but suddenly stopped. Pierre hastened to turn away from her and turned again to Princess Mary with a question about the last days of his friend's life. Pierre's embarrassment is now almost gone; but at the same time he felt that all his former freedom had disappeared. He felt that there was now a judge over his every word, action, a court that was dearer to him than the court of all people in the world. He was speaking now, and together with his words, he understood the impression that his words made on Natasha. He didn't say anything on purpose that might please her; but whatever he said, he judged himself from her point of view.
Princess Mary reluctantly, as always happens, began to talk about the situation in which she found Prince Andrei. But Pierre's questions, his animatedly restless look, his face trembling with excitement, gradually forced her to go into details, which she was afraid for herself to renew in her imagination.
“Yes, yes, so, so ...” said Pierre, bending forward with his whole body over Princess Mary and eagerly listening to her story. - Yes Yes; so did he calm down? relented? He was always looking for one thing with all the strength of his soul; be quite good that he could not be afraid of death. The faults that were in him, if there were any, did not come from him. So he softened up? Pierre said. “What a blessing that he saw you,” he said to Natasha, suddenly turning to her and looking at her with eyes full of tears.
Natasha's face twitched. She frowned and lowered her eyes for a moment. She hesitated for a minute: to speak or not to speak?
“Yes, it was happiness,” she said in a quiet chesty voice, “for me, it must have been happiness. She paused. - And he ... he ... he said that he wanted this, the minute I came to him ... - Natasha's voice broke off. She blushed, clasped her hands in her lap, and suddenly, evidently making an effort on herself, raised her head and quickly began to say:
– We didn’t know anything when we were driving from Moscow. I didn't dare ask about him. And suddenly Sonya told me that he was with us. I didn’t think anything, I couldn’t imagine what position he was in; I only needed to see him, to be with him,” she said, trembling and panting. And, not allowing herself to be interrupted, she told what she had never told anyone before: everything that she experienced during those three weeks of their journey and life in Yaroslavl.
Pierre listened to her with his mouth open and never taking his eyes off her, full of tears. Listening to her, he did not think about Prince Andrei, nor about death, nor about what she was talking about. He listened to her and only felt sorry for her for the suffering she now experienced as she spoke.
The princess, grimacing with a desire to hold back her tears, sat beside Natasha and listened for the first time to the story of these last days love of his brother with Natasha.
This painful and joyful story, apparently, was necessary for Natasha.
She spoke, mixing the most insignificant details with the most intimate secrets, and it seemed that she could never finish. She repeated the same thing several times.
Desalle's voice was heard outside the door, asking if Nikolushka could come in and say goodbye.
“Yes, that’s all, that’s all ...” said Natasha. She quickly got up, while Nikolushka entered, and almost ran to the door, knocked her head against the door, covered with a curtain, and with a groan of pain or sadness escaped from the room.
Pierre looked at the door through which she went out and did not understand why he was suddenly left alone in the whole world.
Princess Marya called him out of absent-mindedness, drawing his attention to his nephew, who entered the room.
Nikolushka's face, resembling his father, in a moment of spiritual softening in which Pierre was now, had such an effect on him that, having kissed Nikolushka, he hastily got up and, taking out a handkerchief, went to the window. He wanted to say goodbye to Princess Mary, but she restrained him.
- No, Natasha and I sometimes do not sleep until three o'clock; please sit down. I'll have supper. Go down; we will come now.
Before Pierre left, the princess said to him:
It was the first time she had spoken of him like that.

Pierre was led into a lighted large dining room; a few minutes later steps were heard, and the princess and Natasha entered the room. Natasha was calm, although a stern expression, without a smile, was now again established on her face. Princess Marya, Natasha, and Pierre alike experienced that feeling of awkwardness that usually follows the end of a serious and heartfelt conversation. It is impossible to continue the previous conversation; talking about trifles is shameful, but it is unpleasant to be silent, because you want to talk, and it is as if you are pretending to be silent. They silently approached the table. The waiters pushed back and pulled up the chairs. Pierre unfolded the cold napkin and, deciding to break the silence, looked at Natasha and Princess Mary. Both, obviously, at the same time decided on the same thing: in both eyes, contentment with life shone and the recognition that, in addition to grief, there are joys.
- Do you drink vodka, Count? - said Princess Marya, and these words suddenly dispersed the shadows of the past.
“Tell me about yourself,” said Princess Mary. “Such incredible miracles are being told about you.
“Yes,” Pierre answered with his now familiar smile of meek mockery. - They even tell me about such miracles, which I have never seen in a dream. Marya Abramovna invited me to her place and kept telling me what had happened to me, or was about to happen. Stepan Stepanitch also taught me how I should tell. In general, I noticed that it is very calm to be an interesting person (I am now an interesting person); They call me and they tell me.
Natasha smiled and wanted to say something.
“We were told,” Princess Mary interrupted her, “that you lost two million in Moscow. Is this true?
“And I became three times richer,” said Pierre. Pierre, despite the fact that his wife's debts and the need for buildings changed his affairs, continued to tell that he had become three times richer.
“What I have undoubtedly won,” he said, “is freedom…” he began seriously; but decided not to continue, noticing that this was too selfish a subject of conversation.
- Are you building?
- Yes, Savelich orders.
- Tell me, did you know about the death of the countess when you stayed in Moscow? - said Princess Mary, and immediately blushed, noticing that, making this question after his words that he was free, she ascribed to his words such a meaning that they, perhaps, did not have.
“No,” answered Pierre, obviously not finding awkward the interpretation that Princess Mary gave to his mention of his freedom. - I learned this in Orel, and you can not imagine how it struck me. We were not exemplary spouses, ”he said quickly, looking at Natasha and noticing in her face the curiosity about how he would respond about his wife. “But this death shocked me terribly. When two people quarrel, both are always to blame. And one's own guilt suddenly becomes terribly heavy in front of a person who is no longer there. And then such a death ... without friends, without consolation. I’m very, very sorry for her, ”he finished, and with pleasure noticed the joyful approval on Natasha’s face.
“Yes, here you are again a bachelor and a groom,” said Princess Mary.
Pierre suddenly blushed crimson and for a long time tried not to look at Natasha. When he ventured to look at her, her face was cold, stern, and even contemptuous, as it seemed to him.
“But you definitely saw and spoke with Napoleon, as we were told?” - said Princess Mary.
Pierre laughed.
- Never, never. It always seems to everyone that being a prisoner means being visiting Napoleon. Not only have I not seen him, but I have not heard of him either. I was in much worse society.
Dinner was over, and Pierre, who at first refused to tell about his captivity, gradually became involved in this story.
“But is it true that you stayed behind to kill Napoleon?” Natasha asked him, smiling slightly. - I then guessed when we met you at the Sukharev Tower; remember?
Pierre admitted that this was true, and from this question, gradually guided by the questions of Princess Mary and especially Natasha, he became involved in a detailed account of his adventures.
At first he spoke with that mocking, meek look that he now had on people, and especially on himself; but then, when he came to the story of the horrors and sufferings that he saw, he, without noticing it, got carried away and began to speak with the restrained excitement of a man who experiences strong impressions in his memory.
Princess Mary, with a meek smile, looked first at Pierre, then at Natasha. She saw only Pierre and his kindness in this whole story. Natasha, leaning on her arm, with a constantly changing expression, along with the story, watched Pierre, not looking away for a minute, apparently experiencing with him what he was telling. Not only her look, but the exclamations and short questions that she made showed Pierre that from what he was telling, she understood exactly what he wanted to convey. It was evident that she understood not only what he said, but also what he would like and could not express in words. About his episode with a child and a woman, for whose protection he was taken, Pierre told this way:
- It was a terrible sight, the children were abandoned, some were on fire ... They pulled out a child in front of me ... women, from whom they pulled things, pulled out earrings ...
Pierre blushed and hesitated.
- Then a patrol arrived, and all those who did not rob, all the men were taken away. And me.
- You, right, do not tell everything; you must have done something…” said Natasha and was silent for a moment, “good.”
Pierre went on talking. When he talked about the execution, he wanted to avoid the terrible details; but Natasha demanded that he should not miss anything.
Pierre began to talk about Karataev (he had already got up from the table and was walking around, Natasha followed him with her eyes) and stopped.
“No, you cannot understand what I have learned from this illiterate fool.
“No, no, speak,” said Natasha. – Where is he?
“He was killed almost in front of me. - And Pierre began to tell the last time of their retreat, Karataev's illness (his voice trembled incessantly) and his death.
Pierre told his adventures as he had never told them to anyone before, as he himself had never yet remembered them. He now saw, as it were, a new meaning in all that he had experienced. Now, when he told all this to Natasha, he experienced that rare pleasure that women give when listening to a man - not smart women who, while listening, try to either remember what they are told in order to enrich their mind and, on occasion, retell the same or adapt what is being told to their own and communicate as soon as possible their clever speeches developed in their small mental economy; but the pleasure that real women give, gifted with the ability to choose and absorb into themselves all the best that is only in the manifestations of a man. Natasha, not knowing it herself, was all attention: she did not miss a word, not a fluctuation of her voice, not a look, not a twitch of a facial muscle, not a gesture of Pierre. On the fly, she caught a word that had not yet been spoken and directly brought it into her open heart, guessing the secret meaning of all Pierre's spiritual work.
Princess Mary understood the story, sympathized with it, but now she saw something else that absorbed all her attention; she saw the possibility of love and happiness between Natasha and Pierre. And for the first time this thought came to her filled her soul with joy.
It was three in the morning. Waiters with sad and stern faces came to change the candles, but no one noticed them.
Pierre finished his story. Natasha, with sparkling, animated eyes, continued to look stubbornly and attentively at Pierre, as if wanting to understand something else that he had not expressed, perhaps. Pierre, in bashful and happy embarrassment, occasionally glanced at her and thought of what to say now in order to transfer the conversation to another subject. Princess Mary was silent. It never occurred to anyone that it was three o'clock in the morning and that it was time for bed.
“They say: misfortunes, suffering,” said Pierre. - Yes, if now, this minute they told me: do you want to remain what you were before captivity, or first survive all this? For God's sake, once again captured and horse meat. We think how we will be thrown out of the usual path, that everything is gone; And here only begins a new, good. As long as there is life, there is happiness. There are many, many ahead. I’m telling you this,” he said, turning to Natasha.
“Yes, yes,” she said, answering something completely different, “and I would not want anything but to go through everything all over again.
Pierre looked at her carefully.
“Yes, and nothing else,” Natasha confirmed.
“Not true, not true,” Pierre shouted. - It's not my fault that I'm alive and want to live; and you too.
Suddenly Natasha put her head in her hands and began to cry.
What are you, Natasha? - said Princess Mary.
- Nothing, nothing. She smiled through her tears at Pierre. - Goodbye, it's time for bed.
Pierre got up and said goodbye.

Princess Marya and Natasha, as always, met in the bedroom. They talked about what Pierre said. Princess Mary did not express her opinion about Pierre. Natasha didn't talk about him either.
“Well, goodbye, Marie,” said Natasha. - You know, I am often afraid that we do not talk about him (Prince Andrei), as if we are afraid to humiliate our feelings, and forget.
Princess Mary sighed heavily, and with that sigh she acknowledged the truth of Natasha's words; but in words she did not agree with her.
– Is it possible to forget? - she said.
- It was so good for me today to tell everything; and hard, and painful, and good. Very well, - said Natasha, - I'm sure that he definitely loved him. From that I told him… nothing that I told him? – suddenly blushing, she asked.
- Pierre? Oh no! How beautiful he is,” said Princess Mary.
“You know, Marie,” Natasha suddenly said with a playful smile, which Princess Mary had not seen on her face for a long time. - He became somehow clean, smooth, fresh; just from the bath, you understand? - morally from the bath. Truth?
“Yes,” said Princess Marya, “he won a lot.
- And a short frock coat, and cropped hair; for sure, well, for sure from the bathhouse ... dad, it happened ...
“I understand that he (Prince Andrei) did not love anyone as much as he did,” said Princess Mary.
- Yes, and he is special from him. They say that men are friendly when they are very special. It must be true. Doesn't he really look like him at all?
Yes, and wonderful.
“Well, goodbye,” Natasha answered. And the same playful smile, as if forgotten, remained on her face for a long time.

Pierre could not sleep for a long time that day; he walked up and down the room, now frowning, pondering something difficult, suddenly shrugging his shoulders and shuddering, now smiling happily.
He thought about Prince Andrei, about Natasha, about their love, and then he was jealous of her past, then he reproached, then he forgave himself for it. It was already six o'clock in the morning, and he kept walking around the room.
“Well, what to do. If you can't live without it! What to do! So it must be so,” he said to himself, and, hastily undressing, went to bed, happy and excited, but without doubts or indecisions.
“It is necessary, strange as it may seem, no matter how impossible this happiness is, everything must be done in order to be husband and wife with her,” he said to himself.
A few days before this, Pierre had appointed the day of his departure for Petersburg on Friday. When he woke up on Thursday, Savelich came to him for orders to pack things for the journey.
“How to Petersburg? What is Petersburg? Who is in Petersburg? – involuntarily, though to himself, he asked. “Yes, something long, long ago, even before this happened, for some reason I was going to go to Petersburg,” he recalled. - From what? I will go, maybe. What a kind, attentive, how he remembers everything! he thought, looking at Savelich's old face. And what a nice smile! he thought.
“Well, you still don’t want to be free, Savelich?” Pierre asked.
- Why do I need, Your Excellency, will? Under the late count, the kingdom of heaven, we lived and we don’t see any offense with you.
- Well, what about the children?
- And the children will live, your excellency: you can live for such gentlemen.
“Well, what about my heirs?” Pierre said. "Suddenly I'll get married ... It might happen," he added with an involuntary smile.
- And I dare to report: a good thing, Your Excellency.
“How easy he thinks,” thought Pierre. He doesn't know how scary it is, how dangerous it is. Too soon or too late… Scary!”
- How would you like to order? Would you like to go tomorrow? Savelich asked.
- Not; I will postpone a little. I'll tell you then. Excuse me for the trouble, ”said Pierre, and looking at Savelich’s smile, he thought:“ How strange, however, that he does not know that now there is no Petersburg and that first of all it is necessary that this be decided. However, he certainly knows, but only pretends. Talk to him? What does he think? thought Pierre. No, sometime later.
At breakfast, Pierre told the princess that he had been at Princess Mary's yesterday and found him there - can you imagine who? - Natalie Rostova.
The princess pretended that she did not see anything more unusual in this news than in the fact that Pierre saw Anna Semyonovna.
– Do you know her? Pierre asked.
“I saw the princess,” she answered. - I heard that she was married to the young Rostov. This would be very good for the Rostovs; They say they are completely broke.
- No, do you know Rostov?
“I only heard about this story then. Very sorry.
“No, she doesn’t understand or pretends to be,” thought Pierre. "Better not tell her either."
The princess also prepared provisions for Pierre's journey.
“How kind they all are,” thought Pierre, “that now, when it certainly couldn’t be more interesting for them, they are doing all this. And everything for me; that's what's amazing."
On the same day, a police chief came to Pierre with a proposal to send a trustee to the Faceted Chamber to receive the things that were now being distributed to the owners.
“This one too,” thought Pierre, looking into the face of the police chief, “what a glorious, handsome officer and how kind! Now he's dealing with such nonsense. And they say that he is not honest and uses. What nonsense! And yet, why shouldn't he use it? That's how he was brought up. And everyone does it. And such a pleasant, kind face, and smiles, looking at me.
Pierre went to dine with Princess Mary.
Driving through the streets between the conflagrations of houses, he marveled at the beauty of these ruins. Chimneys of houses, fallen off walls, picturesquely reminiscent of the Rhine and the Colosseum, stretched, hiding each other, through the burnt quarters. The cabbies and riders who met, the carpenters who cut the log cabins, the traders and shopkeepers, all with cheerful, beaming faces, looked at Pierre and said as if: “Ah, here he is! Let's see what comes out of it."
At the entrance to the house of Princess Mary, Pierre was doubtful about the fairness of the fact that he was here yesterday, saw Natasha and spoke with her. “Maybe I made it up. Maybe I'll go in and see no one." But before he had time to enter the room, as already in his whole being, by the instant deprivation of his freedom, he felt her presence. She was in the same black dress with soft folds and the same hairdo as yesterday, but she was completely different. If she had been like that yesterday, when he entered the room, he could not have failed to recognize her for a moment.
She was the same as he knew her almost as a child and then the bride of Prince Andrei. A cheerful, inquiring gleam shone in her eyes; there was an affectionate and strangely mischievous expression on his face.
Pierre dined and would have sat out all evening; but Princess Mary was on her way to Vespers, and Pierre left with them.
The next day, Pierre arrived early, dined and sat out the whole evening. Despite the fact that Princess Mary and Natasha were obviously glad to have a guest; despite the fact that all the interest in Pierre's life was now concentrated in this house, by evening they had talked everything over, and the conversation moved incessantly from one insignificant subject to another and was often interrupted. Pierre sat up so late that evening that Princess Mary and Natasha looked at each other, obviously expecting him to leave soon. Pierre saw this and could not leave. It became difficult for him, awkward, but he kept sitting, because he could not get up and leave.
Princess Mary, not foreseeing the end of this, was the first to get up and, complaining of a migraine, began to say goodbye.
- So you are going to Petersburg tomorrow? Oka said.
“No, I’m not going,” Pierre said hastily, with surprise and as if offended. - No, to Petersburg? Tomorrow; I just don't say goodbye. I’ll call for commissions, ”he said, standing in front of Princess Marya, blushing and not leaving.
Natasha gave him her hand and left. Princess Mary, on the contrary, instead of leaving, sank into an armchair and, with her radiant, deep gaze, looked sternly and attentively at Pierre. The weariness that she had obviously shown before was completely gone now. She sighed heavily and long, as if preparing herself for a long conversation.
All the embarrassment and awkwardness of Pierre, when Natasha was removed, instantly disappeared and was replaced by an excited animation. He quickly moved the chair very close to Princess Marya.
“Yes, I wanted to tell you,” he said, answering, as if in words, in her glance. “Princess, help me. What should I do? Can I hope? Princess, my friend, listen to me. I know everything. I know that I'm not worth it; I know it's impossible to talk about it now. But I want to be her brother. No, I don't want... I can't...
He stopped and rubbed his face and eyes with his hands.
“Well, here it is,” he continued, apparently making an effort on himself to speak coherently. I don't know since when I love her. But I have loved her alone, alone in my whole life, and I love her so much that I cannot imagine life without her. Now I do not dare to ask for her hand; but the thought that maybe she could be mine and that I would miss this opportunity ... opportunity ... is terrible. Tell me, can I hope? Tell me what should I do? Dear princess,” he said, after a pause and touching her hand, as she did not answer.
“I am thinking about what you told me,” Princess Mary answered. “I'll tell you what. You are right, what now to tell her about love ... - The princess stopped. She wanted to say: it is now impossible for her to talk about love; but she stopped, because for the third day she saw from the suddenly changed Natasha that not only Natasha would not be offended if Pierre expressed his love to her, but that she wanted only this.
“It’s impossible to tell her now,” Princess Marya said anyway.
“But what am I to do?
“Give it to me,” said Princess Mary. - I know…
Pierre looked into the eyes of Princess Mary.
“Well, well…” he said.
“I know that she loves ... she will love you,” Princess Mary corrected herself.
Before she had time to say these words, Pierre jumped up and, with a frightened face, grabbed Princess Mary by the hand.
- Why do you think? Do you think that I can hope? You think?!
“Yes, I think so,” said Princess Mary, smiling. - Write to your parents. And entrust me. I'll tell her when I can. I wish it. And my heart feels that it will be.
- No, it can't be! How happy I am! But it can't be... How happy I am! No, it can not be! - said Pierre, kissing the hands of Princess Mary.
- You go to St. Petersburg; it is better. I'll write to you, she said.
- To Petersburg? Drive? Okay, yes, let's go. But tomorrow I can come to you?
The next day, Pierre came to say goodbye. Natasha was less lively than in the old days; but on this day, sometimes looking into her eyes, Pierre felt that he was disappearing, that neither he nor she was anymore, but there was one feeling of happiness. “Really? No, it can’t be,” he said to himself at her every look, gesture, word that filled his soul with joy.

Almost four hundred years have passed since the entire royal court, led by Louis XIV, gasped with admiration at the sight of Versailles - the world's first example of a French regular park. Today, the use of this style is a fairly common technique in the art of landscape design. It is impossible to imagine any castle in Europe, any royal residence without a unique " business card”- neatly trimmed bushes and trees, bright parterre flower beds, symmetrically located fountains and arbors. Originally created for the vast areas of the royal palaces, the garden in a regular style gradually moved to more modest spaces - on the territory country houses.

Using elements of regularity, you can easily bring a considerable amount of solemnity and grandeur to the exterior of a private house. Landscape designers of our time have managed to somewhat soften this style, depriving it of pomp and bulkiness that are unnecessary for our realities. However, all the same, even the most modest and simple composition, created in a regular style, is a luxury item, since its constituent elements, by definition, cannot be cheap and there is no more subtle and elegant way to hint to the environment of your wealth than to break it near your house small royal garden.

Regular garden in history

The creator of the regular style is considered the court gardener of Louis XIV Andre Le Nôtre, whose design fantasies led to the emergence of verified geometric shapes many garden and park ensembles, the first of which was the park of the Palace of Versailles. It was Le Nôtre who came up with the main rules for creating a regular garden: a clear axial symmetry of the composition, the center of which can be a building, a fountain, an unusual large flower bed or a statue; smooth garden paths; hedges; topiary forms.

Having gained extraordinary popularity among the French nobility, the regular style in landscape design gradually began to capture new spaces, firmly settling in many European parks, including Russia. Russian regular gardens and parks appeared with light hand Peter I, who, having visited Versailles in 1717, decided to create something similar in his homeland. Peter changed a little french style, increasing the number of flower beds and ponds, but at the same time retaining the clarity of lines and shapes.

The main characteristics of the regular style

1. Scale

Since regular gardens were originally used to decorate the vast territories of castles and palaces, they are traditionally associated with scale. Designed for long walks, such a garden around every turn of the hedge is fraught with new views, plays different “performances”. To organize such a "theatricality" on a small personal plot difficult, and various decorative elements inherent in the regular style will burden a small space. In addition, to create such a garden mandatory requirement is an ideally flat, even terrain surface that requires certain earthworks.

2. Geometry

The regular style is characterized by axial symmetry, where the house is most often the axis, and clear, straight lines that allow you to streamline the space as much as possible. Any randomness in such a garden is a priori unacceptable. The main element of a garden in a regular style is the stalls - an open area with flower beds, lawns, borders, consisting of several sections of regular geometric shape. In the center of flower arrangements, intricate statues or fountains are often installed.

3. Topiary forms and hedges

In order to divide a regular garden into zones, arches, pergolas, and various hedges are widely used. One of the main decorations of the territory in the regular style are topiary figures created by cutting trees and shrubs. With the help of this technique, plants of various geometric shapes are created.

4. Reservoirs

Mandatory element regular garden is a body of water with a clearly defined coastline. It can be either in the form of a rectangle, or a circle or an oval, framed suitable vegetation. Pools and various fountains are also widespread.

Fountains and pools are part of the style

5. Special plants for the regular garden

if possible, it should preserve its decorative effect all year round, therefore, preference is given to landscaping evergreens, for example, boxwood, holly, yew are widespread in such territories.

Of great importance for the regular style and flower beds, which are located on the open, sunny places. Illumination of plants must be uniform, otherwise the asymmetry of their growth and development cannot be avoided, which is unacceptable for this style. Mainly used for parterre flower beds annual plants. Most perennials are not suitable for regular flower beds, due to the short duration of their flowering.

Decorative elements are characterized by the use of marble, ceramics, bronze, artistic forging. In a regular garden, everything should be luxurious and elegant, so saving for this style is inappropriate.