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I was lucky enough to be invited to visit The Mill Garden in Warwick on a sunny afternoon in late September. Little did I know that this garden would be one of the best examples I have ever seen of what garden designers describe as a garden with a "borrowed view", where features beyond the boundaries of a garden appear to be part of the garden itself. The borrowed view of the Mill Garden is spectacular with Warwick Castle as a backdrop on one side rising out of the garden with a huge sense of scale, and the river Avon framing the garden to the other side. The lawn slopes gently toward the river taking in a picture perfect view of the old abandoned bridge which used to carry the road from Warwick to London. The house itself was originally the bridge keepers cottage and has a history going back hundreds of years. The house and garden are tucked away down a small cobbled street lined with historic houses each of which has its own distinct character and gives a sense of stepping back in time. The street curves gently and so the Mill Garden is hidden from view until you reach the very end of the houses where a quaint and unassuming pink cottage comes into view. The Cottage belongs to Julia Measures and her husband David Russell and was previously owned by Julia's father Arthur who originally rented the house before purchasing it from the Earl of Warwick in 1959. Julia has been connected with this place all her life and the story of how she met her husband David, and kept the garden she believed she may need to let go, is a fairytale in itself. Gardens are as much about the people who "garden" them as the garden itself. This garden has been a constant thread interwined throughout Julia's life so I was thrilled to meet Julia and her husband on my visit, and hear first hand, from her, some of the history of this spectacular place. As you step in to the garden the Castle backdrop is breathtaking with it's turreted tower and huge expanse of grey stone wall running along the length of the garden. The dull grey of the Castle wall tones in perfectly with the pale pink of the Cottage, and its out-buildings, drawing the two together in a very subtle way. The entrance to the garden has a Cottage Garden feel with bird baths, benches to sit and take in the view as well as a collection of earthenware and terracotta pots displayed beautifully on an old stone bench. The planting here is very low and close to the ground comprising many alpine type plants in a subtle hue of colours including lilac, pink and white but framed by silver colour foliage. Height has been obtained by growing climbers along the walls of the outbuildings drawing the eye away from the Castle and out towards the garden beyond. Not only does this garden draw on features beyond its own boundaries, but it also has a very cleverly designed series of paths which lead you, in twists and turns, through the garden. The garden is not that big in size but by using this clever design it is revealed to you bit by bit and so appears to be a lot larger than it actually is. From the entrance to the garden and the Cottage, a path leads past the low level planting, through a lawn and down to the lower level garden. There is just a glimpse of water beyond and at first glance this seems to be a lake rather than the river itself - it's only as you walk further along the path that the whole view is revealed and you can look back to see the bridge. It is breathtaking and design at its very best. The stone path continues to weave its way and lead you around the garden making clever use of planting and shrubs to gradually reveal, hide or frame a particular view. This garden should be on every garden designers wish list and be a must have addition to garden design tuition courses. It's only small in size but packs so much in. The borrowed view doesn't stop at the river, bridge and castle - it also comprises mature trees beyond the river which frame in the view and link up with very tall trees within the garden itself which give the impression of being somewhere in the country rather than in the middle of Warwick Town. It's breathtaking both visually and in terms of design. What I loved about this garden, as much as the garden itself, were the people. Julia and her husband are very unassuming but were available during my visit to ask questions, share knowledge or plants. They also share the garden not only to passing visitors but by opening for the NGS Garden Scheme and over the years they have raised a substantial amount of money for charities. They also connect with other nearby gardens and gardeners and help provide training opportunities for the WAGS garden scheme. It would be very easy to keep this beautiful oasis private and enjoy it only for themselves but instead they, like many other gardeners, share and I am sure that they get a lot of pleasure themselves from doing just that. As you wander around the garden it feels so natural but there is some very clever and subtle curation going on too. There are lots of intimate viewpoints and vistas and places where you can just stop and take in the view. The garden is scattered with nods to a time past. There are old stocks, benches, pots, garden rollers and staddle stones too. I had such an enjoyable afternoon at Julia's garden and I would recommend making the effort to visit Warwick sometime and see this beautiful garden for yourself. Guineveres Garden | Garden Writer

Hill Close Gardens are without doubt one of the most fascinating gardens I have ever visited. Steeped in history, nearly lost forever and not at all well known - these gardens are absolutely charming and a treat to see. Hill Close is a series of almost secret gardens, originally covering an area of five acres sandwiched between the ancient medieval walled town of Warwick and its racecourse. Mr Wilson inherited the site in the 1840s and seeing the need for detached gardens which were once very common, he set about splitting the plot into a series of 32 gardens each with it's own hedgerow and lockable door. These private gardens were perfect for those living in the town where most business and other premises only had a small yard alongside their business or house. Hill Close gardens, like now, were an escape from everyday life and somewhere to relax in a private space. People would use these detached gardens to grow fruit, flowers and vegetables or to just relax and enjoy some peace and quiet. In the 1860s the whole site was sold to Mr Phillips who went on to sell the plots individually and this probably saved them from development in future years. Plots were passed down in the same family for generations but by the end of the Nineteenth Century there was demand for housing and some of the plots, at the outer edges of the site, had been sold and built on. Between 1900 and 1910 half the orginal site had been developed and the Council began to buy plots as they became available. It took forty years, but eventually the Council owned the whole site. Permission was given for housing development and in 1993 bulldozers moved in. Luckily a group of local residents realised how special the site was - not only the land, but also the derelict summerhouses which previous owners had built in many different styles. The residents grouped together to try and save the gardens from development and stop the bulldozers. The heritage value of the gardens was recognised and a Trust was set up to secure the future of the gardens and to restore them. The Summerhouses and the Gardens are now Grade II Listed - recognised as being historically important, and protected, for future generations to come. Work started to restore the gardens in earnest, with the support of the Heritage Lottery Fund. The gardens were then opened to the public so that everyone can now enjoy and appreciate the social and gardening history of this very unique site. The Trust has recreated plots as close to possible to their original layout and planting. Each plot has a number and plaque which gives a brief history behind who gardened there. It's fascinating to read the stories of people who were gardening at Hill Close many years ago and discover what influenced them, what their family and business life was like, and how this may have impacted on their own garden plot. The gardens were used for pleasure as well as production and would have comprised lawns, ornamental beds, fruit, vegetables, garden ponds and often a summerhouse. As you wander through the plots at Hill Close today this is what you can expect to see. It's a place of community but also somewhere for privacy and a feeling of secrecy - each garden being completley unique and hidden from its neighbours. The summerhouses were used to sit and admire the gardens but also store tools. Many had a fireplace to keep some warmth and perhaps a kettle to make drinks whilst some had stoves to cook a small meal. The site had gas supply too and so was lit after dark to extend the gardening day. Plot owners obviously had a sense of pride and enjoyment in their own personal garden and many invested money making each plot unique to them. Not only were the summerhouses quite spectacular, with brick, chimneys and ornate tiles but plot owners also invested in steps, pathways and fancy edgings to their planting beds and paths. The trust relies on a team of volunteers to help maintain the gardens. There are 80 volunteers at Hill Close altogether and just half of them are involved in the gardening. Each volunteer is usually allocated to one plot. There is a huge selection of flowers and planting combinations in the gardens which gives plenty of inspiration to take away and try in your own gardening space. As you reach the final garden there is a large Victorian style greenhouse with coldframes and I was pleased to see a selection of plants for sale. These were not "bought in plants" but cuttings, division and propagation of the actual plants growing in the gardens today. In early Autumn, when I visited, the purple Verbena bonariensis (Purpletop vervain) and Japanese anemone stood out in the border and looked striking against the left over seed heads of Alcea (Hollyhock). There were a lot of Dahlias planted throughout the gardens as well as Cosmos, Geranium and Roses. The gardens have had a huge social effect, not only in the past as you can discover by reading the plot plaques as you walk about the garden, but also in the present. These gardens are still giving daily pleasure and benefits to the volunteers who garden today. Plot number 10 is looked after by Stella Carr, a well known artist, and you can easily see the influence of her art and creativity in the way that she tends to this garden plot today. For other volunteers the gardens are a sanctuary where they can get away, connect with nature, tend to their plot and connect with others - perhaps just a chat with a visitor or fellow volunteer - social interaction that can make a huge difference to their day. It's a wonderful place which continues to give and impact on people and nature. At one time there were many more detached gardens in the UK but most were lost to development. Many of these would have fruit trees which provided fruit, beautiful blossom and a shaded place to sit. Hill Close Gardens are no different and contain over 160 trees made up of 70 varieties. The apples are ready from September time through to November each and comprise many Heritage varieties. Each year Hill Close Gardens holds an Event to celebrate these wonderful trees where you can sample the apples and find out more about the history. I noticed Wyken Pippin an apple variety dating back to the 1700s, Warwickshire Drooper plum tree which is unusual as it can be eaten and cooked as well plus Blenheim Orange apple which also dates back a long time to 1740. These are just a handful of the many varities to see at Hill Close. At the end of the gardens is the stunning greenhouse and plant sales. I treated myself to an eyecatching Symphyotrichum (Aster) which I'd seen in the borders whilst wandering through the different plots. Hill close also has over forty varieties of Chrysanthemum and holds part of the RHS National Dispersed Collection of Chrysanthemum. I thoroughly recommend a visit to Hill Close. There is so much to see and learn about the past, the present as well as the social and architectural history. Guineveres Garden | Garden Writer

From the moment I stepped through the rather unusual entrance gates I knew that this garden was different. I was intrigued and keen to find out more as very little is given away on first impressions. Owned by a renouned designer and his wife, this is a garden of two distinct halves each gardened by a very different personality and each with it's own individual feel and design. Although a garden of two halves there are other parts to this garden, one of which comprises traditional lawn and very tall topiary that surrounds the house itself. In many places this is edged with lavender and there is a large silver sculpture in the centre of the lawn which is a nod to the design background of the owner. The best parts of the garden are hidden away behind this cloud shaped hedging and each reveals itself to you one at a time. You are led through the garden and this journey starts where the cloud topiary ends. At the beginning, the garden leads you, by a gradual narrowing of the lawn, to the end of the topiary garden and the entrance to the designer's garden beyond. The first of the hidden gardens belongs to John Makepeace, the award winning funiture designer, maker and teacher. This garden is very design orientated and quite modern in feel with lots of grasses, a pond and a striking summerhouse which appears to float at the edge of the pond and is accessed by a wooden walk way. The whole feel here is contemporary and minimal. There are many different grasses which give structure and movement to the garden. Much thought and consideration has been made to choose varities which have a range of different heights and colour. The garden has a relaxed, meditative and peaceful feeling to it and gives interest through every season. When we first arrived at the garden John explained a little about his long career in design, wood and furniture making. He showed us his woodstore which was something quite special containing wood from trees that had fallen in a storm at Kew Gardens, London. It's not surprising therefore to find wood features quite dramatically in John's own part of the garden. The wooden walk ways are expertly designed as is the stone and wood summerhouse which is the centrepiece and main focal point of his garden. The summerhouse has full height windows on two sides and beautiful furniture but also a doorway leading on to the other garden which belongs to his wife, Jenny. Just like the topiary garden John's design garden leads you unwittingly from beginning to end. It was easy to imagine yourself spending hours in this beautiful setting. It's the perfect spot for reading or just emptying your mind and relaxing either on a warm summer day with the doors open and the grasses gently swaying in the breeze or in the midst of Winter wrapped up well and watching the garden blanketed in snow. This garden works whatever the season. As I walked through the Summerhouse to Jenny's garden I stopped to take one last look. The back of the summerhouse is curved in stone and surrounded with much taller grasses through which you can just glimpse the curves of the pond and the curved bridge beyond, both mirroring the curve of the summerhouse itself. Straight lines and curves have been used to great effect both in the architecture and the planting of the garden all depending on the angle of observation. The grasses pull everything together and the overall scheme has been cleverly thought out. This isn't just a garden, it's a spectacular example of design. Jenny's garden is a complete contrast to John's but it is also quite separate and so the two work side by side but hidden from one another. As you leave John's summerhouse behind you find yourself on a gravel pathway flanked on one side by a tall wall and framed by huge trees on the skyline. This is a potager, cottage, cutting, fruit and vegetable garden all in one. Wood also features in this garden - there is a beautiful fruit frame, many wooden edges to the planting areas and a stunning glasshouse as well as Jenny's garden studio which also features wood and well thought out design. The garden is full and brimming over with Summer flowering roses, geraniums, foxgloves, lupins and many other cottage garden type plants. Jenny's seating area is a simple metal table with chairs situated in the middle of the garden complete with a contrasting coloured parasol. Rusted metal rebars had been used as plant supports or curved into garden arches and these fitted in perfectly to the artisan feel of her garden. There were rustic design features such as the old beer barrel complete with weathered teracotta pots which doubled as a water butt and sat in front of a wooden framed small pond complete with beautiful pink water lily. This garden had a wild and abandonded feel with plants allowed to spill over into the gravel pathways or self seed whereever they felt happiest. Pots were placed throughout the garden to add colour and interest away from the planting beds themselves. The whole place is a profusion of life and colour which became overwhelming in a beautiful mind numbing way. This was a real working garden and the greenhouse was full of seed trays whilst the cold frames were all full of more tender looking plants. It's clear that Jenny is a plantswoman and not afraid to experiment with propagation, seed sowing and taking cuttings of plants. A glimpse inside the studio showed that Jenny, just like John, had her own contemplative garden space. Here she was working on pottery and there was a very cluttered and artsy feel to her studio - just like her garden, but in total contrast to the grass modernist garden and summerhouse of John's. At the edge of this garden were some weathered oak gates which signalled the end of the garden and the beginning of something else - an old orchard and meadow area. Again the gates drew your attention away from the cottage garden to the expectation of something beyond - so the end an beginning was yet again expertly curated. The meadow area was the last part of the garden and even here there was contrast - a grey wolf sculpture sat in this part of the garden alongside the geese who waddled around oblivious to their sculpted companion. As we wandered in the meadow there was one last treat in store - this beautiful bee orchid, Ophrys apifera , was flowering just beneath one of the old apple trees. A wonderful surprise and a reminder of just how special the Makepeace garden is. Definately a garden to put on your own garden wishlist. Guineveres Garden | Garden Writer

I had very little idea what to expect when I travelled to Dorset earlier this year to visit a handful of gardens, including a Walled and Rose Garden designed by Isabel and Julian Bannerman. This beautiful garden is nestled deep in a valley, enveloped and protected by the rolling hills and countryside beyond. Roses are one of my favourite flowers, and the Bannermans are garden designers whose work I have admired for years. I have most of Isabel's books, and I've seen many images of their spectacular gardens in glossy magazines. To see a romantic themed Bannerman garden in person, filled to the brim with roses and the Bannerman signature oak design features was a special treat. I felt priviledged to have this opportunity, and am very thankful to the owners who opened, and shared, their stunning garden for a few hours with me. Set back from a country lane, a winding gravel driveway leads to the property where the garden is tucked away behind an oak gateway, which leads into a courtyard area packed full of the most beautiful and fragrant roses. There is a feeling of being deep in the English countryside, surrounded by fields, country lanes, bird song and peace. When I visited in June the roses were in full bloom and set off beautifully with clipped topiary, foxgloves, peonies, alliums and geraniums too. There's a timeless and romantic feel throughout the planting in this garden, complemented by the moss and lichen which has been allowed to creep over much of the paving, as well as the teak and rattan furniture, giving the impression everything has been here for many years. It's very cleverly curated and whilst there it felt as if time had temporarily stood still. There are many different parts to the garden, and each flows seamlessly into the next. In the rear garden area, there was a charming side courtyard tucked away close to the house, which mainly comprised of pots containing topiary and cosmos all set off by the stone steps and light coloured pea gravel. Roses were everywhere with many different varieties - shrubs, climbers, ramblers both old and new. They looked so natural, but it was clear that behind the scenes hours of work and planning had gone in to creating this garden. I particularly liked this lovely espallied rose set off with the purple geranium below, a simple but stunning way to cover the cream coloured wall. Many of the roses had been cut, and put on display, with stylish labels so that it was easy to see the colour and form of the flower very close up. My favourite was this deep maroon Rosa ' Charles de Mills' an old, once flowering rose, dating back to 1790. There were many other roses on display too, including these two tone roses Rosa 'Ferdinand Prichard' a repeat flowering climbing rose and Rosa 'Eyes for You' an eyecatching floribunda. It was lovely to see all the beautiful rose cuttings, and it's rare to see so many rose flowers close up. I made mental notes of the ones which really caught my eye, and there were plenty to choose from, as there are hundreds of roses in this stunning garden. From the courtyard area we wandered around to the front of the house which contains a large lake together with pretty rowing boat. The lawns sweep down to the lake which is set off beautifully against the rolling hills behind. For a moment you could almost forget you were in a garden, as it felt so much part of the hillside, hedges and trees beyond. Before I'd even seen the rest of the garden, I knew this was a very special place, and I'd never seen a garden so well placed within the surrounding landscape. It was stunning. The front of the house has fairly restrained planting as the lake is the feature here. There are a few roses, but the path leads you around to the side of the house, which has also been cleverly designed to sit perfectly within the landscape beyond. This lovely stone seating area is aged with lichen, and it's difficult to see where the garden ends and the field behind actually begins. This sense of the garden sitting within it's landscape was evident throughout, and has been expertly designed. Walking along the side of the house we were led into a narrow area with a rill to the side. This area comprised the fields of the natural landscape, then a pathway with more natural planting beneath trees with a topiary lined water rill to the side, filled with carefully placed and manicured topiary balls of Buxus and Taxus baccata as well. There was a large blue seat with small pond and gravel planting area with the Bannermans signature weathered oak features that perfectly replicate the look of very old stone. The weathered oak features continued throughout the garden and here, in the form of a balustrade, forming a boundary between the garden and field beyond. Every so often there was a bench, recliner or seat enticing you to sit down for a moment and take a while to stop and savour the beauty and nature around you. The borders were filled to overflowing with roses, irises, geraniums, lupins, delphiniums, valerian, allium and all range of typical cottage garden style plants. The colour scheme was pinks, purples, whites, blues and lilacs, which were set off with a pop of dark maroon or scarlet placed strategically through the borders. It was a profusion of colour, plants and romance. The borders appeared as if they had just come together naturally but it was clear that someone with an eye for colour had been involved as the colours complemented each other to perfection. Past all the herbaceous borders was a huge carved oak gate, which was again made to give the impression of stone. Flanked by climbing roses, this gave a tantilising view of the walled garden and greenhouse beyond. This was a cutting, fruit and vegetable garden with beautiful greenhouse and a series of parterre type beds. To give continuity, several of these were planted with similar herbaceous plants as the main garden itself, and so the two areas linked seamlessly together. The planting and standard of the garden was immaculate. The gravel paths were just perfect, and beautifully framed the series of planting beds within the walled garden. It was difficult to take everything in, and so I made copious notes of ideas I could replicate in my own garden. The walled garden is a few steps down from the main garden area and so appears to be almost sunken in style. This is so cleverly thought out because as you cast your eye beyond the boundaries of this garden area your view is drawn to the hills and countryside in the distance, whilst the main garden is hidden from view. As well as vegetables and fruit, the walled garden is packed full of herbaceous plants and annuals, as well as even more roses, many of which are climbing against the walls. Extremely well clipped topiary is scattered about and, in places, under planted with Alchemilla mollis (Garden Ladys Mantle) which spills out on to the gravel and softens up the tightly clipped topiary forms. There are some beautiful terracotta containers placed at strategic points to draw the eye, and all planted with an very beautiful display. All the pots and furniture in the garden are very natural - terracotta, rattan and wood. I think this adds to the timeless appeal and, along with the planting and design gives the impression of a place which has stood still in time. As we left the garden there was a glimpse of a meadow leading into the fields beyond. When we visited it was filled with Leucanthemum vulgare ( Oxeye Daisy) planted around a beautiful orchard, with a grass path expertly mowed and winding through the field. It was a haven for all sorts of insects and polllinators, and a beautiful contrast to the rest of the garden. Guineveres Garden | Garden Writer

Hare Hill Garden was left to the National Trust by Charles Brocklehurst in 1977. The Brocklehurst family were involved in the manufacture of Silk in Macclesfield and were very well connected. When Charles inherited the garden, it was in a state of neglect, but he was interested in horticulture, and through his connections he contacted the renowned garden designer James Russell. Together Charles and James restored the walled garden and woodland area planting many trees, rhododendrons and shrubs. The garden sits in what was originally a large country estate, and as you approach, through the iron gates and fields, it's hard to imagine a garden at all in this type of landscape. The walled garden was originally the Victorian kitchen garden for the main house, many years before Charles inherited it. When I first visited, I was a little disappointed that the kitchen garden had completely disappeared but, as I delved into the history, I found there was a lot more to this garden than initially meets the eye, and it has a very poignant story. Instead of a productive kitchen garden, the garden contains three herbaceous borders, a pergola, two horse statues, and a huge expanse of grass. I discovered that Charles Brocklehurst had a wish that all who visited the garden should "gain aesthetic and spiritual refreshment", and he had left the entire estate to the National Trust, at the time of his death, with the condition that the house be sold and the money raised be used to maintain and support the garden. From this clause in his will, it is clear that Charles had far more spiritual connection to the garden, than he ever had to the house. With a little more research, I found that Charles had a twin brother called Patrick, and both brothers spent most of their childhood at Hare Hill. In 1930 Patrick's horse fell during a steeplechase , he was very badly injured and died the following day aged just 26 years old. I think the death of his brother had a profound and lasting effect on Charles, and this is most probably why the garden is designed how it is, even to the present day. The two horse statues in the garden were commissioned by Charles just before his death, which was over forty years later. They represent the separation of the twin brothers and their shared love of horses. With the huge expanse of grass in the garden, the statues are real focal points, and the fact that they were put in place forty years after the event, surely shows how much bereavement played on Charles's mind. So despite the inherent beauty, there is a very sad back story to this very special place. The walled garden sits behind tall brick walls and iron gates, in the midst of a very wooded area. The palette is subdued with predominantly white undertones. It almost feels like a place of memorial and reflection with a true spiritual feeling. Plants are grouped in pairs throughout, possibly representing the two brothers and the tragic loss of one of them at such a young age. It's a lovely area for families to vist and perhaps have a picnic on the lawn, with plenty of room for children to play on the grass, but it's also a place where someone who has suffered their own loss can come to sit quietly, connect to nature, and reflect. There are two wire benches situated on either side of an iron pergola, set back behind the herbaceous planting. Here you can sit very quietly, immerse yourself in the garden and its surroundings, and free up your mind to the nature and sounds of the garden. A very meditative and contemplative place. When I realised this about the garden, I forgot my initial disappointment and realised that I had truly arrived at what Charles himself described as a spiritually refreshing location. It's very fortunate that records exist of the full palette of plants that James Russell chose for Hare Hil, as well as a border plan that described and illustrated the herbaceous borders in detail. As far as I am aware the National Trust are now working towards reinstating everything in line with those plans to ensure the garden appears as close to original as possible. I was particulary impressed with the greenhouse, situated just outside the garden walls, where propagation of plants seemed to be well underway. You really have to grasp and understand the back story of this amazing garden to truly appeciate it. I'm sure that Charles gained much pleasure himself from the garden, and surely felt a spiritual connection to his brother in that place - hence the commissioning of the two statues and leaving the garden to the National Trust, rather than a private buyer, for it's long-term preservation. It's a beautiful legacy that he left to all those visiting both now, and in future, children and adults alike - just as it was for his own family - enjoying the estate in childhood and looking back in contemplation later in life. It's a place of spiritual connection that I feel very lucky to have visited. The pairing of plants is a very noticeable theme within the walled garden itself, but is perhaps even more impressive outside of those walls in the surrounding woodland. Just outside the walled garden are two cedar trees planted very closely together. This is very unusual and, although there is no evidence to support it, the age of the trees and their close proxmity to each other could suggest they were planted to commemorate the twins Charles and Patrick Brocklehurst. These trees are Cedrus atlantica glauca or Blue Cedar. A few years ago, the two trees showed signs of terminal fungal disease but, due to their significance and connection to Hare Hill, money has been invested into trying to treat them. I sincerely hope that this is effective. The trees could be deemed to represent the two brothers towering in strength, reaching up into the sky and looking over the garden that formed a part of their childhood, and life, just a short distance beyond. There was a truly magical feeling and magnetism around them. Hare Hill is situated at the top of Alderley Edge on a sandstone escarpment that overlooks the Cheshire Plain. There are many magical connections and legends associated with the area, and Alderley Edge has several myths and historical connections. The soil is very acidic and so Rhododendrons , Hydrangeas and other acid-loving plants, such as Azalea really thrive here. Most of the woodland area around the walled garden comprises this type of shrub, and it is amazing to see in the springtime. However, the woodland area also has herbaceous planting which links with some of the planting within the walled garden, and so connecting the two distinct areas together. Some notable plants in the outer area are Japanese Anenome, Sedum, Fuschia, Dahlias and Roses all in a beautiful colour pallette. The walled garden contains a mainly pastel palette of plants mostly represented in pairs. I really like this spiky Cleome hassleriana, which was repeated throughout the borders and gave an oriental look, which contrasted well with the tall brickwork of the garden walls. Echinacea or coneflower was quite prevalent as well and, again, this is a striking plant which really shone out amongst the rest of the more restrained planting. There were several roses, skimmia and phlox repeated throughout the borders, with cleome too. All the planting was in cool colours, with the occasional contrast colour of yellow or a quite subdued pink, but mainly ethereal in nature. Outside of the garden walls was the woodland area which had a very different vibe. Trees that had fallen were left in this woodland area, slowly decaying and covered in lichen and moss. The upturned and rotting roots were eye catching and drew attention away from the rest of the towering trees beyond. If you started to think too deeply, there was a real connection between life and death in this area of the garden. Similar to the walled garden itself but much more profound. Throughout the woodland area there were places to sit, contemplate and take in the surroundings. Some were rustic style wooden benches and others more ornate iron benches or simple picnic tables for families to enjoy. Several wooden bridges linked two woodland ponds which had attracted a family of ducks. On the surface this was a beautiful natural area with wildlife but, if you started to contemplate and look at the water closely, you could see not only the reflection of the landscape but the reflection of your own soul Hare Hill is multi-faceted. On the surface a beautiful woodland and walled garden for families to enjoy and pass a few hours one afternoon. For others the garden is a place for very deep thought and spiritual connection - not just in relation to their own life and experiences but to Charles Brocklehurst, his own childhood memories growing up at Hare Hil,l and his darker moments and legacy to his brother and generations of others beyond. It is very rare to experience all of this in a garden, and I feel priviledged that the kindness and vision of one person left this legacy for all. Hare Hill Garden is a very special place indeed. Guineveres Garden | Garden Writer

It's not very often that I count off the days for a publisher to release a book but that is exactly what happened with "Outside In", the very first book written by Sean A Pritchard. Excitedly I picked up my copy at the weekend and I haven't been able to put the book down since. Sean Pritchard first came onto my radar via Instagram. That's nothing unusual for me as I often scroll through social media looking for ideas and inspiration, but only a handful of accounts stand out from the crowd. Sean Pritchard's account was one that I began to look out for each time I logged in. At first it was the beautiful flower displays that caught my eye - appearing on his grid week after week. A short while later I started to glimpse the stunning decor and style of the house, tucked away behind the flowers - and then I was hooked. This was someone with talent but low key and relatable. In fact now that I have read the book I realise that everything Sean posts or writes about is actually very achievable indeed. So many floral artists write books and produce displays of flowers which are intricate and require a high level degree of skill and training. That's fine for a trained florist looking to progress their career but, for someone like me, with no florist training and a garden in progress it's out of my league. In contrast Sean's book made me realise that I could pick flowers from my garden and display them with relative ease. I've already started picking and displaying tulips from my garden and, with my new found "Sean Pritchard" style knowledge, I actually feel confident that in time I can reproduce some of Sean's own displays as shown on his social media and in the book. That is something special as it gives me hope, something to plan towards and look forward to. I am constantly referring back to the book and delving straight back in. Sean has a background in brands plus fine art and then trained in Garden Design so he has a head start on many of us. However, I get the impression everything changed for him when he got the keys to his own beautiful cottage with garden, in the Mendip Hills. An added bonus for Sean was an old English Orchard not far away from him. Sean likes to display and stage things - in his house and garden as well as his belongings. Having his own place gave him the space and opportunity to do just that. He traces his love of display back to childhood visits to museums to see tray upon tray of butterfly or beetle all carefully cataloged and set out purposely to "display", attract interest and encourage one to learn more. The staging in shop fronts and windows, or a collection of books carefully curated in a library were also early memories for him - again piquing interest and drawing one in. This is all in Sean's DNA and is how he first introduces his book. Very cleverly the book itself achieves exactly this - on the face of it a "coffee table book" with the most stunning pictures and displays of flowers that make you want to turn the pages to find out more. Once you are drawn in the book educates and explains encouraging you to go away and find out more. Exactly like a museum which Sean admits, even now, is one of his favourite places to be. This book isn't just another gardening book - this is something really quite different. The book is Sean A Pritchard - it's one of the very few books I've read that totally reflects the person within. It is very cleverly put together. After the introduction the chapters go on to look at Sean's favourite flowers by season, focusing on just a few important ones, and starting in the Spring. He shares his love of daffodils and recommends many different varieties some of which he grows in containers and others just in the ground - all finding their way into his house at some stage in a stunning arrangement or display. There are simple notes on what works for him, with favourite varieties, or how he plants and cares for these plants and what to do with them once their time is over and they move back into dormancy. He shares a glimpse into his studio and explains how he chooses the varieties to grow by cutting out images and mounting them onto display boards. So he opens your eyes to opportunities whilst at the same time spelling out the varieties for you so that you can just go out and grow. After Spring the book moves on to summer and flowers such as foxgloves, nasturtiums and one of Sean's favourites the pelagonium. Again many suggestions are made on colour, form and style of plant and display. There is also information on the vessel to use and it doesn't have to be complex as Sean often chooses a simple bowl or mug to arrange his flowers and explains how to use chicken wire or a floral "frog" to help get the flowers to fall into shape. Many floral arrangement books give a list of ten to twenty items which are "essentials" to achieve the look. Sean's book encourages you to use what you have and so indirectly encourages the creativeness within. There are chapters on annual plants and how to grow these plus Sean freely shares all his own trialed and tested tips to get the best out of your seedlings. He goes on to talk about Roses and suggestions for other Summer flowering plants both for planting in the garden but also in containers. There are tips on how and when to feed, when to cut back and how to get the best out of a plant display. After the abundance of Summer the chapters move on to Winter and then in to Spring. At this time of year there is not as much happening in the garden. Sean will often cut branches from shrubs and trees such as Catkins to which he devotes a whole chapter. There is information on indoor forced bulbs which keep things going through the Winter and right through to Spring. Although there is not as much going on at this time of year Sean explains that in some ways this is an easier time to have plants close to you inside as many bulbs are well suited to this. By the end of the book my imagination and enthusiasm were fired up and my mind was racing with the opportunities and ideas. Sean is extremely talented and his flower displays are some of the most followed on the internet. Yet, at the end of the book, he shares his own vulnerabilities. Nothing ever seems finished to him or quite good enough despite all his talent. There is always something he feels he could have done better or differently and seemingly so much more to do in order to make things perfect. He then reflects that he is learning more and more to live in the moment and I suppose, although he does not directly say this - appreciate what you have got. I thought this was a wonderful way to reflect back and to end the book.

High Glanau Manor was the house of Henry Avray Tipping who was born in France in 1855. He was a writer on houses and gardens, a garden designer and Architectural Editor of the Country Life Magazine for many years. Tipping wrote several books including "Gardens Old and New" and he also owned and lived in several properties during his life. In Monmouthshire he designed his own gardens at, Mathern Palace, Mounton House and High Glanau Manor which is now the home of Helena Gerrish. Helena Gerrish has restored High Glanau gardens back to the original Tipping design. She gained an MA in Garden History at Bristol University and has also written two books, "Edwardian Country Life; The Story of H. Aray Tipping" and "Mounton House: The Birth and Rebirth of an Edwardian Country Home". When I visited High Glanau gardens I had very little knowledge of it's background and I was not aware of the books. Now both books are on my Garden Library wish list and I am hoping that I will be able to return to the garden with the benefit of my new found knowledge. On the day I visited there were very heavy rain showers and when we arrived Helena welcomed our group into her home and then proceeded to tell us a little of the history of the house and gardens. Without Helena most of the garden history could have been lost forever. The long herbaceous borders had disappeared, the greenhouse was abandoned and many parts of the garden had become overgrown. Helena set about to restore the gardens herself by studying gardening and garden design, researching past articles and images relating to the gardens and doing all of this with meticulous attention to detail. She really put her heart and soul into this work and I was touched to see that she even had a plaque installed in the garden to commemorate Tipping. At the time of my visit in late July the long herbaceous borders were in full bloom. The Hemerocallis or day lily were planted towards the front of the borders and repeated along its length. To the middle of the border was an eye catching white coloured Phlox , part of the Polemoniaceae plant family, and at the back of the border towered Foeniculum vulgare or the Common Fennel. The beautiful Argyranthemum frutescens also known as the Paris or Marguerite Daisy had been strategically planted along the length of the borders and blended in perfectly in height and colour - the gorgeous yellow centre of the flower matching with the orange shades of the Day Lillies. The long herbaceous borders are flanked on each side by a Taxus Baccatus English yew hedge with a back drop of very substantial sized and well established trees. Each end of the long borders has a focal point - away from the house is a beautiful wooden bench set against a stone wall and, at the other end of the border sits the house itself. A stone set of steps leads up onto a terrace which anchors the planting and gives a focal point drawing the eye back towards the house. At the far end of the borders a stone wall runs the length of the garden and separates off the greenhouse area as well as a sloping lawned area with beautiful view through a stone opening back to the house. The greenhouse has lots of pots containing Pelagoniums as well as a substantial number of tomato plants. These were in individual pots but staked well together with bamboo canes. The greenhouse was in a neglected state when Helena first arrived at High Glenau so it is wonderful to see that it has now become a working greenhouse once again. The greenhouse is 40 feet long and was built by Messenger and Co with beaver tail glass to ensure rainwater did not penetrate on to the wooden structure. From the back of the house there are a series of steps leading down to the Octagonal Pool which is a focal point and contains a fountain powered by a stream fed hydaulic ram. Beyond the Octagonal Pool the land falls away into a valley with far reaching views and many trees. There is a sweeping view of west Monmouthshire to the Brecon Beacons and the planting is such that it frames this view whilst also drawing your eyes back into the garden itself. As Helena says "Tipping created a secret world here and has left his mark in his own romantic way. We are lucky to be the custodians". High Glanau is a very special place and made even more interesting by Helena who has such a passion for the gardens that Tipping created. Guineveres Garden | Garden Writer

Chelsea in Bloom is something I look forward to every year. It's a very artsy alternative, or addition to, the world famous Chelsea Flower Show. A flower festival with a theme, which is free to attend, and takes place in the streets of Chelsea, a stone's throw from the famous Flower Show, every year. This event is spectacular with atmosphere because it embraces flowers and people - bringing together local residents and others from much further afield. People stop to admire the flowers, take pictures, talk amongst themselves, or to the exhibitors, taking time to pause, and enjoying a slower pace of life, for a few moments of the day. Chelsea's best retailers, restaurants and hotels adorn themselves with stunning floral designs and compete against each other to win a coveted award. This year's theme was "Floral Feasts", and each contestant has their own interpretation and take on that idea, showcasing displays that Chelsea is very famous for, including its botanical heritage and fabulous food. My tour of Chelsea in Bloom began with the Ralph Lauren store in Sloane Square. The store facade was covered with coffee arabica plants and jasmine, rose, hyacinth and cosmos. The windows had oversized coffee cups, and the Ralph Lauren coffee cart served iced beverages in aid of the Royal Marsden Charity. LK Bennett chose to display an "Afternoon Tea at the Races", with tiered cakes, sandwiches and pastries together with wine - the perfect combination for them, as the Official Sponsor of Royal Ascot. Les Nereides Jewellery store had a very understated design based on their in-store Strawberry jewellery collection. The three-dimensional strawberries were intended to trigger your imagination and evoke a woodland scene of peace and tranquillity. The foliage used real leaves and the strawberries, which were different sizes, had been made from fresh and dried flowers. Les Nereides display had a sustainable theme which fits with the ethos of the Flower Show. Vardo restaurant in Duke of York Square had also taken their inspiration from strawberries. Their two metre tall installation represented the La Bomba cocktail - a fruity delight infused with the vibrant flavours of strawberry and juniper, and topped off with champagne. This was a striking display and looked fabulous against their bar cart and blackboard menu. Trilogy, also in Duke of York Square, had collaborated with one of their key brands to produce a huge ice cream cone. which depicted the true taste of Summer. They combined pastel blooms and sorbet shades with a wildflower archway, and the ice cream installation which worked really well together. Space NQ Beauty Banquet chose to use flowers in a display true to their own brand, and made a simple but striking statement. Their take on the theme served up a mouth watering platter of food inspired, and ingredient led products, such as the bright red lipstick below. An eye catching bold and quirky display was inspired by Trinny Woodall at Trinnys of London. Zesty fruit and bold colours were uplifting, and the fresh lemons with sunny yellow hues evoked a positive freshness. The flowers had been chosen to reflect Trinny London's passion for making every day brighter, and encourage everyone to be their best self. "Floral Feasts" at Brora was my absolute favourite display of Chelsea in Bloom. They had a Sweets and Treats Tea Party Window theme, which continued inside the store where sherbet lemons and mint refreshments were served. This display is a credit to Filomena Martino, the Visual Merchandising Manager, at Brora who always embraces Chelsea in Bloom, and comes up with some brilliant ideas. I am always excited to see the Brora display each year. Their Chelsea in Bloom display was the perfect fit with their ethical values and clothing collections, many of which have a botanical theme - with flower, fruit and food names in abundance. The clothing colour theme at Brora this year includes rhubarb, cherry, chocolate and sherbet, fitting perfectly with the sweetshop display and whole theme of Chelsea in Bloom. Prints such as ‘nettle botanical’ and ‘mimosa bloom’ stir up memories of hazy summer tea parties in the garden. There was a charitable element to "Floral Feasts" at Brora with 10% of their in-store sales of clothing with food-inspired colour names, given to the charity The Felix Project  for the duration of the ‘Sweets and Treats Tea Party’ window. Garden Writer | Guinevere's Garden

Last year I took on a second allotment, giving me space to grow cut flowers and herbs. By a stroke of luck, the plot had some well-established fruit bushes and a few herbs, including what I have now identified as Symphytum officinale or Comfrey. In the depths of Winter and early Spring it's difficult to identify plants but now, in early May, I have recognised Comfrey plants scattered along the side of the plot thriving in a part shaded area which is ideal as Comfrey should be kept somewhere permanent but out of the way. Once established it is very difficult to get rid of. The plants have mounds of thick green leaves and beautiful purple bell-shaped flowers which droop down in clusters. It has very robust growth and so can be cut back again and again as long as there is no damage to the crown and the outer leaves can be picked as needed without damaging the plant which will grow again from the centre. Comfrey is a fully hardy plant which is why it has survived the Winter in my plot. It dies down in Winter but its roots are 100% hardy. It likes some sun with partial shade and is very fast growing tolerating most soil types provided there is good drainage. It needs plenty of space and should be kept away from less vigorously growing plants as it can reach 1.5 metres in spread and height. Comfrey has a long tap root and is excellent at taking in nutrients and storing these in its leaves. Comfrey is part of the Borage family (Boraginaceae) and there are 59 species in total. It has connections back to folklore and was referred to by the famous herbalists Gerard and Parkinson. Its folk medicine names include boneset and knitbone whilst the Latin symphytum is derived from the Greek symphis , meaning growing together of bones, and phyton , a plant. Comfrey has been around as a healing herb since 400BC and was used by the Greeks and Romans to stop heavy bleeding, treat bronchial issues and heal wounds or broken bones. Poultices were made for external wounds and tea consumed for internal ailments. It is said that Comfrey promotes healthy skin and if a few leaves are brushed together to remove the hairs and then wrapped around a wound with light pressure it can stop bleeding, reduce pain and heal. I am always very cautious until I am certain of a plant and care must be taken with ancient recipes and uses of plants. Therefore, rather than be too experimental I have decided to use Comfrey as a mulch and fertiliser - to feed my tomatoes, currants and gooseberries as well as help some of the flowers I have in containers such as pelargoniums and brugmansias. Comfrey can be mixed with grass cuttings and added to a compost heap but for this to be successful quite large quantities are required. As I have grown several different varieties of Tomato plants this year I've decided that I will spread Comfrey leaves as a mulch beneath the Tomato plants. This will suppress weeds and retain moisture but also enrich the soil near to the plant roots. I will also try Comfrey as a liquid feed by filling a container with leaves and then topping it up with water. This turns into a sludge which takes around two weeks to breakdown and be ready for use. It should be used in a 1 to 10 mix with water and applied to the leaves as a foliar feed or applied directly to plant roots. This helps give plants in pots the nutrients that they would normally find in the ground. Comfrey flowers from May to August and is a great plant for pollinators, especially bees. It is on the Royal Horticultural Society Plants for Pollinators list. Garden Writer | Guineveres Garden

There is something about Latin plant names that seems quite magical and romantic. When I first became interested in gardening, the Latin was quite daunting, but over time I have become more familiar with it and I can recognise it, and pronounce an increasing number of plant names. Lathyrus odoratus is an easily recognisable name, and it is a plant that is very versatile and forgiving. More commonly known as the Sweet Pea, it is a staple of many summer gardens for the amateur and professional gardener alike. The sweet pea is a hardy annual, which means it can tolerate lower temperatures, and has quite a wide window of time available for sowing. Some prefer to sow their sweet peas in the Autumn to ensure earlier flowers and strong plants, whilst others sow their sweet pea seeds in the Spring. As the sweet pea germinates quite easily, I have often just planted the seeds with very little thought. This year I decided to put a little more effort and research into the needs of this beautiful plant, so I could be sure of getting the very best results. My decision to do this reaped rewards very quickly, although not how I had anticipated. In the past, I have purchased my seeds from a local garden centre, and then more recently, from Roger Parsons who holds the National Collection of sweet peas, and who has a huge choice of variety - well over 1000 in total. This year, whilst doing my research, I stumbled upon Easton Walled Garden and, in their own words, this is a "Sweet Pea Lovers Dream". Easton has been owned and run by the Cholmeley family since 1561 and is steeped in history. They grow 40 different sweet pea varieties in their Walled Gardens, ranging from highly scented heritage and antique sweet peas to more modern and trial varieties. Their sweet pea season runs from late June through to July, and this is the perfect time to visit and take a wander through their display beds. Having found Easton Gardens by chance I then discovered that as the flowers fade and seed pods form, they harvest and dry the seeds before selling to the public. Not only that but the seeds are also packaged and presented in the most delightful way, in stunning keepsake tins with matching ribbon. The packaging of their Walled, Heritage and Modern mixes is beautiful, and I couldn't resist them, so purchased all three. Like anything that is done well, Easton really does pay attention to detail. I was so delighted when the sweet peas arrived with me that I arranged for more to be sent out to my friends. Not only are the gorgeous tins wrapped in matching tissue paper, but they were accompanied by colour co-ordinated compliment slips, and a leaflet introducing Easton and explaining some of its history. Straight away Easton was added to my garden visit wish list. Having received these beautifully packaged seeds, I really did have to do them justice. I picked up one of my treasured Arthur Parkinson books and took note on his recommendations for planting and growing. I like Arthur's gardening style, as he is very relatable and explains how to give your sweet peas the best start, even if you have very little space and just a windowsill for growing. I duly followed his instructions and soaked my seeds overnight before planting them a thumbnail deep into a windowsill propagator unit. The compost was watered from beneath and, just before planting I was sure to label each variety together with the planting date. As soon as the seedlings were approximately one inch high, I followed Arthur's advice, took them off the heat, and began to acclimatise them by taking them outside when there was a milder weather day. After only a few weeks I pinched out the tops to encourage more bushy growth and moved my small plants to the cold frame. It is now the end of April, and they are strong and ready to be planted outside. I have just taken on an allotment which already has a makeshift flower frame and so, for this year, I will use this for training my plants. Next year I plan to use something more rustic - perhaps some jute netting and hazel tepees. For anyone who wants to delve further into the history of sweet peas, as well as the many different varieties and tips on growing, I would recommend "The Sweet Pea Book", written by Graham Rice. I spotted this book some time ago and couldn't resist adding it to my garden book collection. It's a very inspiring read with plenty of beautiful pictures, written by a horticulturist who trained at the Royal Horticultural Gardens, Kew. Garden Writer | Guineveres Garden

When I set off for some summer sun on the French Riveria thoughts of visiting any garden, let alone a famous artist's garden, were far from my mind. That is until I stumbled upon Pierre-August Renoir's house perched high on a hillside in Cagnes-sur-Mer. Renoir purchased "Dommaine des Collettes" in 1907 when he fell under the spell of it's Olea europaea (Olive) and Citrus sinensis ( orange) trees and it was the inspiration for much of his later life's work. He bought the house in order to ensure the Olive Trees in the garden were protected and so, in many respects, was way ahead of his time in preservation and conservation thinking. He painted and sculpted there for eleven years and as you wander through both house and gardens you experience a strong connection to the man himself. Travelling back in time to the living studio of an artistic genius, I felt in awe and very lucky to be part of that history, even if momentarily. Renoir suffered badly with arthritis in his later years, and the warmth of the climate in this part of France helped to ease his pain. You can instantly see what attracted him to this garden - it has views to the Mediterranean, inland views to the mountains, the special light which is so important to artists and a sense of space - although several hectares in size it feels an intensely intimate place. If you position yourself in just the right place you can frame a view with the olive trees in the garden and imagine that you are part of one of Renoir's stunning paintings. Many of his fellow artists and friends also painted in this garden - Zita Landy, Marcelle Neveu, Charles Raymond, Raymond Gaudet, Fernand Guery-Colas, Bert - the list goes on and on. I've always been aware that a garden is one of the most sophisticated forms of art but nowhere did that fact resonate, as much as in this garden. You only need to take a walk through the Olive Grove and then meander through the rooms of the house, to see how the two are so complexly intertwined. There was almost too much to take in during one visit and, like most gardens I visit, I knew that I had to come back. The heat is intense and the sun is very high in the sky but this is heaven to some plants such as Agapanthus or Lily of the Nile, which thrives here and its stunning purple flowers and broad green leaves contrast beautifully against the sun dried pink hued gravel paths. Agapanthus is a tough survivor which can tolerate these very dry conditions and its fragile and thin green stems topped with blue / lilac drum stick shaped flowers are just stunning. It was easy to see inspiration for art work throughout the garden in plant colour and form. In this part of the world the heat is intense, the sun very high in the sky and there are long periods with very little rain. Despite this environment some plants can thrive and it was interesting to see plants with strong, deep and eye catching colours - perfect subjects for an Artist and his friends. Scattered throughout the meandering pathways was the eye catching and evergreen shrub Nerium oleander . This shrub is abundant in the Mediterranean and has been cultivated since ancient times. The beautiful white flower sits perfectly against its thick green leaves and leathery stems. The garden contains many pink coloured Nerium oleander as well. These are well established specimens with a very vivid hue - perfect for bringing flowers to life by way of a painting. If I closed my eyes and cleared my mind it was easy to visualise this plant being the focus of an afternoons painting session for perhaps Renoir or one of his many friends On one level simply a plant doing its own thing - adapting and coping with its own position and environment. But stop to think and perhaps it could be the catalyst for a world famous painting, captured for ever on canvas. My thoughts were provoked at many junctures in this garden. Another stunning architectural plant in the garden is Dasylirion serratifolium . This is a very hardy plant which is native to Mexico and has striking yellow flowers with sandpaper like rough leaves. The flowers stretch up rigidly from the more delicate grass base and contrast beautifully with the surrounding trees and blue sky beyond. I stumbled on Renoir's garden and so I hadn't pre-planned my visit. If I am honest I was not even aware of the gardens existence and in just a couple of hours, it was difficult to take everything in. Not only was the garden full of interest but the house itself contained many original paintings and so the whole experience was quite overwhelming as a taster and glimpse into the past. For anyone wanting to find out more about Renoir's Garden a starting point would be the detailed book by Derek Fell. This book has been added to my own library wish list and I'm sure if I ever am lucky enough to return it will give the garden a whole new meaning to me. The house tells it's own story and is well worth a visit just to see a multitude of original artworks. Many of these works are painted in the garden and surrounding area and others are of Renoir's family or friends. Some of note are "Promenade Sous-Bais, La Ferme des Collettes and Paysage aux Collettes. In one of the rooms you can see Renoir's easel and chair. If you look closely you can see long handles on the back of the chair and, together with the large wheels, this gave the ability for Renoir to be carried around the garden to paint when he was no longer able to get around himself unaided. Although sad it shows the passion that he had for getting out into the garden, even in his later years, enabling him to continue to paint. Renoir still had passion and the eagerness to learn. Renoir was also a sculptor and in spite of his frailty after moving to Les Collettes, he experimented with form. He was encouraged by his art dealer friend Ambroise Vollard. The most amazing sculpture of a Greco-Roman Venus stands in the garden and has been placed directly in front of the house. This is art in a three dimensional form and not only does it provide a focal point in the garden it also links the art, the human form and gardening to one another. It's a stunning piece and very much food for thought. Even though time moves on in life and a garden as they each develop a sculpture such as this allows everything to stand still, for a moment in time, and is very magical. Sometimes it's only as you are nearly ready to leave that you actually feel the true sense and feel of a garden. At the outset you have excitement and anticipation at what you may see. There are some expectations, as you may already have heard or read a little about the garden prior to your visit. Then there are some surprises as perhaps you see a combination of plants you had never considered or some aspect of the garden triggered an idea within you. However, it's only as you prepare to leave that all the aspects of a garden come together in your mind. The plants, the design, the history, the people - all of these, and more, make the garden and leave it's mark on you. As I prepared to leave Renoir's garden and wandered back through the ancient trees with their gnarled trunks and shade giving leaves, I really got a feel for Renoir and what he was about. I felt sad that the garden was now in some respects empty but pleased that the spirit lives on to encourage many future generations to appreciate, and engage with art, whatever its form. The garden had affected and provoked thoughts within me and I am sure that next time I visit an Art Gallery containing a famous Renoir painting I will think very differently. I made a mental note to look up David Fell's book and ensure that more Artist Gardens were added to my garden visit wish list. If ever you find yourself in the South of France I would thoroughly recommend taking the time to pay this beautiful place and garden a visit.

Levens Hall, and it's ancient topiary garden, has been on my garden visit wish list for many years. I had seen many pictures of it's quirky topiary, and read lots about the garden, but nothing can replace the excitement of seeing a garden in person, and in particular for the first time, which is very special indeed. This is the oldest topiary garden in the world, and is home to well over 100 topiary shapes, some of which date back over 300 years.  Not only is the garden spectacular but, there is also Levens Hall itself, which is equally stunning in it's own right. It is very unusual to find a garden that has not changed dramatically over time, and been preserved for so many years.  Levens is very unique in this respect, for several reasons. Once owned by a singular family, the house would remain with that family, and be passed down, for very many years.  Often the family member who inherited, had their own "main" residence, and so Levens was left, in many respects, to the care of the gardeners. Finally, the gardeners at Levens seemed to remain loyal and stay at the garden for many years.  For some of the gardeners, Levens has been their life time position and work, which really is quite incredible and a testament to the draw and importance in gardening that Levens has, even to this day. The gardener who initially set out Levens, for Colonel Grahme, who became owner of  the house in 1689,  was Guillaume Beaumont.  Guillaume Beaumont had a wealth of experience, having worked for the King of England as well as having connections to the Palace of Versailles. Not only that, as Colonel Grahme was absent whilst much of the intial garden work was carried out, there was a wealth of correspondence about the garden progress between the two men. Much of this correspondence remains at Levens Hall, which has enabled a lot of the history to be traced. I visited on an early Autumn day when the air was crisp, but the sun was warm with only a few clouds in the sky.  It was perfect.  On first entering the garden, there is no topiary in sight, and it's only as you walk alongside the house and enter through a side gate, that the myriad of quirky shapes comes in to sight.  This garden is breathtaking - a living history which really does make a lasting impression on one's mind.   I was in for quite a surprise.  As well as topiary the garden contained many more separate garden rooms.  There is a rose garden, an orchard and bee garden, bowling green and borders, fountain garden, ha-ha, vegetable garden, nuttery and herb garden, plus deer park.  This really is a garden that keeps on giving.  There was almost too much to take in and I realised that I would need to return. Close to the house itself, I found a rather spectacular specimen of  Cynara   scolymus, otherwise known as Globe Artichoke.  This was stunning against the backdrop of the house wall, and was a truly architectural feature which couldn't help but catch the eye.  This worked well as further out into the garden, the planting around the topiary was more relaxed and informal giving a stunning contrast between the two. The border along the house was just an initial introduction to the garden, as once you entered and walked along this border, you couldn't help but take in the multitude of topiary features that greeted you.  I felt overwhelmed, excited and just astounded by the sheer magnitude of it all. There was all manner of topiary set out before me.  Top hats, birds, crowns...you name it.....just far too much for the eye to take in and comprehend. In fact, it was only after I left the garden, and contemplated, that I realised how amazingly special this experience had been - and that was only the topiary garden! What really struck me about the topiary at Levens was the contrast.  There is contrast between the tall Taxus baccata Yew topiary shapes, and then the lower Buxus , box   shapes as well as the row upon row of Buxus edging. Between all this, is gravel and grass paths which give contrasting colours, and so set off the topiary perfectly. Within the low Buxus edging are herbaceous plants with a romantic and wild feel to them which, really adds to the effect, so that it's all just quite wonderful. There are many shades of topiary, from a very dark and deep green, to a bright and light yellowed hue.  These colours are set off by an expanse of lawn, split up by the gravel paths and then the landscape and parkland beyond. On many pieces of topiary, the crown of the plant has been lifted, leaving an expanse of beautiful, and often gnarled and eye-catching tree trunk.  Often a bench has been placed beneath, so that visitors can take a break, to just sit and take in the essence of the place. In many topiary gardens, everything seems orderly, precision cut and perfectly lined up.  At Levens, the topiary is quirky, often top heavy, falling over itself, and rather topsy turvy in nature. This perfectly imperfect impression really does endear you to the place, especially when set off against the backdrop of the ancient Hall itself. In the borders surrounding the topiary, enclosed by low level Buxus hedges, there is a multitude of colour contrasting plants.  During my visit, the beautiful  Ageratum houstonianum  or Mexican Paintbrush plant, made for a very eye catching display. It had amazing fluffy lilac blue flowers which last well into the Autumn. Many of the herbaceous and annuals mixed into the topiary garden were in drifts of just one plant.  However, in some areas there was a mix of colour combinations. I particularly liked the deep pink Cosmos bipinnatus and purple Verbena bonariensis,  which complemented each other perfectly. Another almost structural annual, which had been used in both a white and pink colour, was Cleome hassleriana the Spider Flower.  The flowers of this plant really stood out and grabbed my attention in the rest of the border, and I am sure that later on in the Autumn their long seed pods would be quite eye catching as well. All the form and structure of this garden is living in nature - the hedges and the topiary give the garden it's backbone, but this is interspersed with some very structural type annuals and herbaceous plants, which come and go as the season progresses. There is both repetition as well as interspersed planting, and this is quite an achievement.  Little can be done with the 300 year topiary, other than to nuture and care for it.  Experimentation and fun happens with the planting all around at Levens. Parts of the borders show a romantic abandonment of thick and quite tall planting, whereas other parts are rigid and formal, yet with an artistically quirky twist. It really is quite magical place to see. It's not just the flowers, colour and shapes that make this garden, but also some more unusual aspects, such as the gnarled and twisted stems and branches that make up the form of the plants which are rather eye catching to see. It's incredible that most of Levens Hall gardeners have made this place their life vocation and stayed for many, many years. After only visiting for a day, Levens had cast its spell on me.  It draws you in and, when you have to leave, it imprints itself on your mind and leaves a lasting impression. I will be back before long to this magical place, as there is so much more to see.