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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

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

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

It’s rare that I find myself eagerly counting down the days until a book’s release—but that’s exactly what happened with " Outside In", the debut work by Sean A. Pritchard. I finally got my hands on a copy over the weekend, and since then, I haven’t been able to put it down. Sean Pritchard first appeared on my radar through the lens of Instagram—a familiar haunt where I often seek inspiration and fresh ideas. Yet, amid the endless scroll, only a rare few accounts truly capture the heart. Sean’s was one of those—a quiet beacon of creativity and authenticity that I found myself returning to, time and again, eager to glimpse the world through his unique horticultural eye. At first, it was the beautiful flower displays that drew me in—blooming with effortless grace on Sean’s Instagram grid week after week. Soon, glimpses of his stunning home, quietly nestled behind the petals, began to appear—and that’s when I was truly hooked. Here was someone gifted yet refreshingly low-key and relatable. Now, having read his book, I realise that everything Sean shares—whether in posts or prose—is not just inspiring but genuinely achievable for any garden lover. So many floral artists fill their books and displays with intricate designs that take years of skill and formal training. That’s wonderful for those building a career in floristry, but for someone like me—without that background and with a garden still very much a work in progress—it can feel completely out of reach. Sean’s book, by contrast, was a quiet revelation. It showed me I didn’t need fancy techniques. I could simply gather flowers from my own garden and arrange them with ease, finding a confidence that made floral artistry feel truly accessible. I’ve already begun gathering tulips from my garden, arranging them with a quiet confidence sparked by Sean’s approachable style. It feels like a gentle rite of passage—each stem placed with care, every colour pairing a small celebration of the season’s unfolding. With Sean’s guidance, I believe that, in time, I’ll be able to craft those effortless, beautiful displays he so gracefully shares on social media and in his book. That hope, that quiet vision, feels like a breath of fresh air—something real to look forward to as the garden slowly comes alive through the year. I find myself returning to the book again and again, like a trusted friend, softly offering inspiration when I need it most. Sean’s background in branding and fine art, combined with formal training in garden design, certainly gave him a head start. But it feels like everything truly blossomed when he received the keys to his own charming cottage nestled in the Mendip Hills. Nearby, an old English orchard became an unexpected wellspring of inspiration—a quiet, natural beauty that seemed to awaken something in him. Sean’s flair for display and staging—whether in his home, garden, or cherished possessions—found its perfect canvas in his new space. Having a place to call his own gave him the freedom and opportunity to craft his signature style. Sean traces his passion for display back to childhood visits to museums, where row upon row of butterflies and beetles were meticulously cataloged and artfully arranged to captivate and invite curiosity. Early memories of carefully staged shop windows and thoughtfully curated book collections in libraries further ignited his fascination with presentation—each one inviting you in, encouraging a closer look. This love of thoughtful staging is woven deep into Sean’s story and lies at the heart of how he introduces his book, gently guiding readers to discover the beauty of storytelling through display. Very cleverly, the book itself does exactly what it sets out to—on the surface, it’s a “coffee table book,” filled with stunning photographs and floral displays that make you want to keep turning the pages. But once you’re drawn in, it quietly teaches and encourages you to explore further, much like a museum—one of Sean’s favourite places, even now. This isn’t just another gardening book; it’s something altogether different. The book feels like Sean A. Pritchard himself—one of the rare books I’ve read that truly reflects the person behind it. It’s carefully and thoughtfully crafted, in every sense. After the introduction, the chapters move through Sean’s favourite flowers by season, beginning with spring. He shares his love for daffodils, recommending a handful of varieties—some grown in containers, others planted directly in the ground. Each eventually finds its way indoors, becoming part of a stunning arrangement or display that brings the season’s quiet beauty into the home. Sean offers simple notes on what works for him—favorite varieties, how he plants and cares for them, and what to do when their season ends and they return to dormancy. He invites you into his studio, where he chooses varieties by cutting out images and mounting them on display boards. It’s a gentle way of opening your eyes to new possibilities, while also clearly naming the varieties so you can go out and grow them yourself. After spring, the book moves into summer, highlighting flowers like foxgloves, nasturtiums, and one of Sean’s favourites—the pelargonium. Once again, Sean offers thoughtful suggestions on colour, form, and how to display these plants. He also shares practical advice about vessels, reminding us it doesn’t have to be complicated. Often, he chooses something simple—a bowl or even a mug—and explains how to use chicken wire or a floral “frog” to help the flowers fall into place. Unlike many floral arrangement books that list a long inventory of “essentials,” Sean encourages you to use what you already have, gently nudging the creativity within to come forward. There are chapters dedicated to annual plants, with Sean generously sharing his tried-and-tested tips for getting the best from seedlings. He moves on to roses and other summer-flowering plants, offering advice for both garden beds and containers. Throughout, he provides practical guidance on when to feed, how and when to cut back, and how to make the most of each display. After the summer abundance, the book turns to winter and then back into spring. At this time of year, the garden slows down, and there’s less happening outdoors. Sean often cuts branches from shrubs and trees—catkins, for example, which deserve their own chapter. He shares advice on forcing bulbs indoors, helping to keep life and colour flowing through the colder months and into spring. Though the garden is quieter, Sean explains that this can be an easier time to enjoy plants close at hand, as many bulbs thrive indoors during these months. By the end of the book, my imagination was sparked, my enthusiasm buzzing with new ideas and possibilities. Sean is clearly talented—his floral displays are among the most admired online. Yet, he doesn’t shy away from sharing his own doubts. Nothing ever feels quite finished or good enough to him, despite his skill. There’s always something he thinks he could have done differently, or more to do to reach perfection. But then he reflects on learning to live more in the moment, and, though he doesn’t say it outright, to appreciate what you already have. I found that to be a beautifully honest way to look back—and a fitting note on which to end the book.

West Green House, a musical garden in Hampshire, is a wonderful place which is full of surprises. I wasn't sure what to expect from this garden and first impressions gave very little away. The garden has been created over several years by Australian designer, Marylyn Abbott, who has a passion for Opera and Gardens. At West Green she has very cleverly combined the two, linking music with art and generously sharing this love with others by opening her gardens and hosting a range of musical performances in the grounds, during the year. When first arriving at West Green you are greeted with the most beautiful roses which festoon the walls surrounding West Green House, a stunning Manor House set within it's own beautiful courtyard. The roses are a striking apricot shade which tones in with the walls and gives a very romantic feel. The style is quite classical and in some ways minimal as there is very little planting other than formal topiary within the courtyard itself and several small trees. These have been strategically placed to screen most of the house from view. A gravel pathway leads alongside the house to the garden itself which is very cleverly split into distinctive parts. I choose to enter by the Lake Field with water, pavilion, island and, as it's name suggests - lake. The landscaping here is on a large scale and quite spectacular including a temple garden, dragon garden, grotto and garden of the five bridges. A line of pleached trees draws the eye into the garden and the green foliage is in stark contrast to the red dragon art either side of the low level hedge. Walking on beyond the dragon walk is the pond which is framed by an abundance of wild flowers and surrounded by trees with very dappled light. Just beyond the pond your eye is drawn to the pavilion which sits on the island in the lake. To the side of the pond are walls that contain the most beautiful walled garden. Strategically placed is a wrought iron gate which during my visit was left open. Some beautiful ducks took advantage of this to slowly waddle from the pond into the garden itself. This was one of the highlights of the garden for me - on one side of the wall a natural and wilder type landscape but, on the other side of the gate, a highly cultivated and stunning walled garden. Each contrasted with each other whilst, at the same time, blending naturally as you moved between the two. The walled garden at West Green is spectacular. There are herbaceous borders, box parterres, vegetable and fruit areas as well as beautifully manicured grass lawns. There was so much to take in that it became quite overwhelming to see. The mature trees along the boundary make it easy to forget that the garden is contained within walls at all. The trees present a perfect backdrop to set off some of the more structural and eye catching plants nestled with the rest of the herbaceous planting. This gorgeous yellow Verbascum densiflorum is striking and towers above the Digitalis below. It's not only the plants that create a statement in this garden. The gravel pathways and Buxus edging are immaculate throughout and a credit to the gardeners at West Green. There are many focal points to draw the eye. In the picture below the paths lead to a stunning fruit cage flanked by small trees and very cleverly designed. I was very impressed with the beautifully manicured lawns which had been mown in a diagonal style across the garden. These were a real showcase and again, the size of them and tree lined backdrop really disguised the fact they are confined within a walled garden. The lawns were surrounded by roses and small trees with rustic climbing supports dotted throughout the borders. Seating areas are dotted about throughout the garden like this pale blue painted arbor below, topped with the most romantic style of rose in a stunning white colour. The gravel and paintwork to the arbor all immaculate. Just outside the walled garden is a huge expanse of grass and separate orangery and it is here that the house itself comes in to view sitting in front of a huge expanse of lawn where productions are often held. The setting is stunning and the house an amazing backdrop for the musical events. It's hard to imagine you are just 40 miles from London. As you leave the walled garden and walk past the house you enter a small seating and topiary area. This is a more formal space with clipped Buxus and Taxus Baccata but quite simple paving and seating which is painted in a striking red colour which really stands out and makes a statement. Everything about West Green House is perfection and attention to detail. It flows seamlessly from one garden room to the next but only due to the planning behind the design and the hard work of the gardeners who maintain it. I would certainly recommend a visit.

I have always thought how wonderful it would be to have my very own library filled to the brim with all types of garden related books. A secret oasis, where I could escape and read to my heart's content. There are three types of gardening book which appeal to me - depending on the reading mood I am in. First there are the huge coffee table type books that are brimming with stunning garden photography, Then, there are books that tell the story of one particular garden and the people connected with it. Finally there are the garden books which are filled with technical information on how to accomplish all manner of tasks, and look after many individual types of plants. The book I want to share with you today falls into the last category, and is full of pictures and information on how to plan, plant, and maintain an orchard. The title is simply "The Orchard Book", and the author is Wade Muggleton. I was first attracted to this beautiful book by the stunning illustrations on the cover designed by Sarah Robinson. These illustrations depict an established orchard of trees, which are full of bright red apples surrounded by wildflowers, birds, bees and dragonflies. Before you even open the cover of the book, you can already visualise everything that the perfect orchard can and should be. Wade Muggleton has years of experience in permaculture, and has a collection of over 130 different varieties of fruit tree. He has appeared on Gardeners World, opened his garden for the National Garden Scheme, and given talks and training in various orchard related subjects. In "The Orchard Book" Wade shares all these years of knowledge with the reader, and makes what can be a very complicated subject much easier to understand. You may think that an orchard is a lovely idea, but that it's not feasible for you, as you don't have a spare field available or a huge empty plot. However, right from the beginning, Wade makes you realise that anyone can have an orchard if they open their mind and listen to his advice. An orchard will fit in the smallest of back gardens, or a tiny allotment, and this book will show you exactly how to accomplish that. In fact, Wade Muggleton himself started off with a mini orchard in his back garden, before he went on to build on that knowledge by expanding his orchard on to a much larger field type scale. He has 32 fruit trees in a back garden that measures just 12 by 24 metres in size. In his field orchard, he has 130 trees, which include some very obscure and rare apple varieties, which are found in only a handful of places in the world. In the UK,we have lost maybe 90% of our traditional orchards but, after touching on the past history and evolution of orchards, this book encourages us to look forward and focus on what we ourselves can now create. There is a list of many different reasons to grow your own fruit, from freshness, carbon reduction and biodiversity, to simply enjoying the peacefulness and mindfulness of spending time in the oasis that you have created. Growing your own fruit opens up a huge choice of varieties which simply aren't available in local shops or supermarkets. The book gives a background into the history of apples, and then goes on to list and recommend many different individual varieties. Some I'd heard of before, such as "Granny Smith", but others were more unusual and dated back hundreds of years. I decided that if I planted my own orchard, I would choose "Pitmaston Pineapple" which originated in 1785 and has a honey and musk taste. "Winter Banana" sounded appealing too, and even more so as it can be picked right up until Christmas. I realised that you really must do some research, at the outset, into the varieties that would suit you. Once you decide that an orchard really is for you, Wade recommends that you take the time to look at your site and consider it in detail from plot size, aspect, the number of trees you want, the time you have available. Taking the time to do this at the outset is a good investment, as it will make sure the end result works well for you. There are many pictures of Wade's own private garden orchard,and explanations on how and why he chose the layout and trees - so there areplenty of ideas and inspiration to help. As I read through the book I started to learn about "rootstock" and how this is fundamental to your orchard. Rootstocks are all known by different letters - an M111 rootstock is for large trees with good anchorage, whereas with a semi-dwarfing rootstock, you can have trees which will never necessitate you using a ladder in order to pick the fruit. Rootstock is the key to having a manageable sized mini-orchard and the next important consideration is cost, as trees can be extremely expensive to purchase. Wade has the perfect solution to cut down costs when purchasing trees, and this is to graft your own on to very reasonably priced rootstock,collecting cuttings from friends and other enthusiasts. The book contains very detailed information on rootstock and grafting and shares many secrets of the commercial nurseries enabling you not only to save money, but also learn and get satisfaction from that new found knowledge and skill. The book also touches on biodiversity and the benefits of companion planting, as well as using a range of different fruits to cut down on diseases, as well as describing the benefits of wildlife and other crops going hand in hand with an orchard. There is another chapter devoted to many other types of fruit tree such as pears, cherries, apricots, peaches and medlars. There are over 2000 varieties of apple tree, and yet our supermarkets carry maybe 6 or 7 well known varieties, many of which originate thousands of miles away. Granny Smith is from Australia, Golden Delicious is from the USA, and Braeburn is from New Zealand. Wade recommends putting some effort into research and finding heritage varieties which originate close to you, and then trying to plan these, so that you get a constant succession of fruit through the seasons. He also explains how important shelter is to protect your trees from wind damage, and several solutions are discussed together with their merits. One of my favourite chapters in the book is about the various suggestions on how to grow smaller trees in a small garden type plot. I found it fascinating to learn about the various forms such as stepovers, cordons, espalliers, trees grown over arches, dwarf and standard trees. One really clever idea was two different varieties of apple grown over a metal arch, which can be taken away once the trees are established, leaving a most stunning apple archway. I decided this would be top of my orchard list followed by step over apples grown on the outside boundaries of my cut flower beds. Just as I thought I'd had that epiphany moment about rootstock, varieties and form, and in coming to the realisation that a varied orchard really was within my reach, Wade finished off with the best suggestion of all - the family tree. This is one tree which you can graft with many different varieties of apple, once you have mastered the skill. Wade has a family tree with seven different varieties of apple growing on it, having added different varieties over the years. I knew at once family tree was what I would one day aspire to - I just had to master the art of grafting first. Towards the end of the book, there are detailed instructions on how to plant a tree, the pros and cons of staking, and the magic ingredient of mycorrhizal root powder. There is also a whole chapter on what to do with the grass that grows beneath a tree, and how best to manage this, as well as what to do with the produce from juicing and fermenting, to just sharing with your local community. The many reasons for pruning are also discussed, together with information on what tools you will need, and how best to achieve the results you want. There are also arguments for Summer rather than Winter pruning, and what the benefits are. The book doesn't just tell you how to do these jobs, it goes into detail about why you need to do them, and so gives you a very clear understanding. Not only does an orchard give you pleasure and fruit, but it also provides a precious habitat for many of the other species around it, and Wade describes how toads, frogs, bettles, bees, birds, fungi and a multitude of other flora and fauna have been attracted to his orchard giving them a protected habitat and us the joy of creating that very special place. I would thoroughly recommend Wade Muggleton's Orchard Book - it's a fascinating and interesting read.

My visit to the Walled Garden at Parham House was the highlight of my Summer and an experience which will remain with me for a very long time. The garden is four acres in size and surrounded by 875 acres of agricultural land including 300 acres of ancient parkland in which fallow deer roam. These surroundings make the Walled Garden one of the most peaceful gardens I have ever visited and one that touched my soul. There is so much to see in this Garden from herbaceous borders, a Rose Garden, an Orchard, a vegetable garden and the most beautiful greenhouse and Wendy House too. At times whilst walking around and taking all this in, it was easy to forget I was in a Walled Garden at all. There was a real sense of space and the feeling of stepping back in time to another era - I could easily imagine the generations of gardeners who each had their own influence on this unique and unusual patch of land. The garden was full of surprises with many plants and plant combinations that I had not seen before and several simple but really effective ideas such as the rustic netting and staking supports. I made mental notes to try this at home in my own cut flower garden. There were two styles of staking in the garden. Both made use of hazel rods and in some areas string was tied in a criss cross pattern between the rods to support the plants beneath. Elsewhere a clever string netting had been used for extra support. This gave a natural and rustic look which would eventually become covered by flowers. Wood chip pathways had been laid between the cut flower beds for ease of access and there was a backdrop of sweet peas also supported by taller string netting. The whole effect was simple, effective and charming and just a lovely way to show off the foliage and flowers. Towards the edge of the Garden was the most spectacular greenhouse which was full of traditional terracotta pots filled with all manner of plants and flowers. This was a wonderful place and there was almost too much to take in and see. The floors were broken up with different styles of paving, there were beautiful shutters for shading, intricate staging and even shelves to add interest and height. There was a series of doors splitting off sections of the green house and other doors leading off to the side. This gave the opportunity to grow a huge variety of plants all with their own unique requirements. There were many different varieties of Pelargonium as well as ferns and different varities of Fuchsia. One plant which particularly caught my eye was the lilac coloured Streptocarpus saxorum or False African Violet. This is a very delicate and stunning small plant with trailing stems which can only be grown outside in the Summer. There was a very delicate Fuchsia magellanica , also known as Lady's Eardrops, which had beautiful red and white flowers and was planted in a larger pot on the floor. This plant has serrated leaves which show off its flowers to great effect. It can grow to nearly three metres in height and has the RHS Awards of Garden Merit and Plants for Pollinators. Another treasure in the greenhouse was Lycianthes rantonnetii also known at the Blue Potato Bush. This plant is native to Paraquay and Argentina and can only survive outside in very mild weather. It is evergreen and has the most beautiful purple funnel shaped flowers followed by red berries. Another plant for my garden wishlist.

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.

Tucked away at the very edge of Wales is a magical garden, hidden from the road and nestling amongst the trees.  It’s very easy to miss this special place because, at first glance, it looks like another viewpoint over the sweeping Porth Neigwl - Hell’s Mouth Bay.  However, if you take the time to look carefully, and stray from the road, you will find the Manor House of Plas Yn Rhiw and its stunning garden. I have missed this garden many times when taking the road to Aberdaron and so when I stumbled on it, whilst Winter reading, I knew that it was somewhere I had to visit in the Spring.  I read lots about the garden before my visit, but no amount of reading could prepare me for the beauty I encountered in person, nor it’s remarkable inhabitants, who have their own unique story.  Plas Yn Rhiw is a place of mystery, legend, and the strength of character of the three Keating sisters, Eileen, Lorna and Honora.  Not only did these three sisters save the building which was in a dreadful state of repair, but they also restored the garden and campaigned tirelessly to save the environment eventually leaving the house and surrounding land to the National Trust. Encouraged by Clough Williams - Ellis, the architect of Portmeirion fame, the sisters bought the property in 1939 and the youngest sister, Honura, was the driving force in the garden restoration.  Honura had an artist's vision, having studied at the Slade School of Art in London but she was also prepared to learn from experts - there are gardening journals on bookcases in one of the bedrooms of the house to this day and correspondence with others involved in gardening.  Unfortunately no detailed notes of progress in the garden, over the years,  have been found. I approached the garden via a small wooden gate from which a grassy path led through trees towards the house itself.  To the right I could glimpse the sea through the treetops below me, this was a sea with swirling mists and waves that could stir up emotions.  To the left I was aware of the house, but it wasn’t in full view and so there was a sense of excitement, mixed with foreboding because I felt that this could be a wind-swept place with extremes of weather and a somewhat difficult, but exciting, place to live.  At the end of the grassy path, you reach a road and a gateway into the garden.  This is a garden of many different parts which enfold and delight as you wander through it.  To the right of the house is a derelict building with open windows, missing both frames and glass, which look out to sea.   Here there are cobble stones and ferns with  Hedera  (Ivy) clinging to the old stone walls, as well as a very old  Wisteria , and if you pause for a moment, you can sense time stood still.  It's a place where human habitation is long gone, and plant life is slowly establishing to take its place. There are several different parts to the garden - close to the house the garden is divided with a series of Buxus hedges which are surrounded with gravel and grass paths.  Further away, the garden leads into Woodland and Orchards but there is always something new to capture the imagination and surprise as you wander between a series of interconnecting parts of the garden.  From time to time, your eye is drawn back to the house which dominates the space or out to the sea. Many of the trees and shrubs have been here for years and are now mature and stunning to see.  There are  Rhododendron ,  Azalea  and  Fuschias  as well as a beautiful  Magnolia  Tree.  The Magnolia was planted by Honura and is one of the few plants she documented on paper - noting how amazingly it had bloomed once established in the garden.  This is the Magnolia campbellii subsp. mollicomata and it was gifted to the sisters by the famous Welsh Garden - Bodnant   near Conwy . By the derelict building is a small grass lawn with the most spectacular sea view, framed by two Taxus bacatta (Yew) trees which have been heavily cut back.   Clouds and sea merge into one with just the sandy beach at Hell’s Mouth Bay punctuating the view.  The lawn is surrounded by borders which, at this time of the year have Daffodil , Tulipa and Lunaria annua which give a splash of colour, without detracting from the view beyond. Here the garden borrows from and merges into the surrounding landscape on a spectacular scale.   At the edge of the lawn a duck blue bench is perfectly placed to sit, contemplate, and take in the view.   Euonymus  and  Spiraea  sit just below the wall and the trees, bereft of leaves, along the slopes below, break up the landscape perfectly with their branches silhouetting against the sea.  Just being here awakens senses and stirs emotions. As well as the striking  Buxus  hedging, the garden is scattered with  Taxus baccata  topiary which is well established and adds structure.  Keeping all of this clipped must be a labour of love for the gardeners because, at the time of my visit, it all looked very well kept and extremely healthy. Much thought has been given to the hedging and topiary because it is made up of many different shades of green and this is set off against the variety of different coloured shrubs in the garden.  On the bottom terrace a beautiful yellow coloured  Kerria japonica  is striking against a ruby red  Azalea  and very tall  Dicksonia antartica  (Tree Fern) with clipped topairy  Ilex aquifolium . Although the peninsula is subject to very harsh weather at times, Plas Yn Rhiw has its own microclimate and is sheltered from the worst weather due to its position.  Testament to this is the survival of the Dicksonia antartica  (Tree Fern) which seemed to be thriving on the lower terraces of the garden contrasting beautifully with the mature trees beyond which also provide shelter. Close to the house the Buxus gives a very enclosed feeling and makes the garden seem intimately connected with the house itself.  Its purpose is two-fold as it also protects all of the plants within its boundaries from the elements enabling them to thrive. There is a beautiful veranda along the front of the house with a very small curved lawn area adjacent which is framed with a hedge.  This curve shape cleverly matches, and lines up with, the curve of the bay beyond the garden. The beautiful Abutilon 'Ashford Red' climbs up and along the veranda and I believe that it flowers for a very long period.  There is also a stunning Rosa 'Zephirine Drouhin' and both flourish due to the shelter close by the house itself. Plas Yn Rhiw really is a special place and somewhere I was extremely lucky to see.  It is testament to the three Keating sisters that it remains as beautiful today as they made it during their own time there.  As if to confirm these thoughts a stunning rainbow appeared in the sky just as I walked through the gates to leave !  You could not get anything more magical than that - it is a hidden place of love, tranquility and peace.