In Europe beyond the limits of the Islamic conquest, the destruction of civilized society by the barbarian tribes had been nearly complete, but the physical remains of the past shaped the reviving future: the peristyle gardens of Roman villas became the cloisters of Christian basilicas. Security and leisure existed only in the monastic system, which also preserved some of the traditional skills of cultivation. For some time the only type of garden was the cloister, with its well, herbs, potted plants, and shaded walk. Then secular gardens began to appear, but they were usually of limited extent, confined within the fortifications of a castle and often raised well above ground level on a battlemented turret. These gardens were rectangular, with the traditional division into four parts by paths, the quarters again subdivided according to the amount of ground available and the convenience of cultivation. At the point of principal intersection was a well, which, when elaborated, became the vertical feature of the garden. Seats—often of turf—were constructed in the walls. Many flowers were grown, but their season was short; after June and often earlier, the beds were flowerless. More extensive and elaborate gardens were rare.

In 13th-century Italy, through the influence of the Holy Roman emperor Frederick II, who had spent much of his youth in Sicily, the example of the Saracen emirs was felt in Apulia and Naples. The Triumph of Death, painted by the Florentine artist Andrea Orcagna (Pisa, Campo Santo), shows a garden of considerably greater extent than the cloister or battlement type. Gardens like this existed also in Lombardy, where the court of Gian Galeazzo Visconti, the founder of the great walled park of Pavia, cultivated the arts of civilized life. In describing the Royal Gardens at Naples, the writer and poet Giovanni Boccaccio speaks of statues disposed regularly around a lawn, interspersed with marble seats. Such a garden suggests that Frederick II’s classicizing influence extended into the mid-14th century. Also significant was the garden of Hesdin in Picardy, which became famous throughout France for its automata and water tricks. It was made by a Crusader who, having returned to France by way of Palermo in 1270, no doubt incorporated in his garden what he had seen of Saracenic gardens there and in Syria. Hesdin was an exotic creation without parallel in its northerly location for several centuries.

Italian

The increasing prosperity of western Europe and the increasing confidence in humankind’s capacity to impose order on the external world was reflected in the gardens of Italy by the mid-15th century. The change began near Florence, where the old medieval enclosures began to open up. The rectangles, which had been dissociated, were now sited one behind the other, thus prolonging the main axis, which was now aligned on the centre of the dwelling. This change inevitably introduced the idea that house and garden were a coherent, complementary whole. And, because villas were increasingly sited for amenity rather than defense, gardens became less enclosed, more susceptible first to visual, then to actual extension.

The unity of house and garden, together with the need for physical adjustment to the sloping sites favoured by Classical precedent, threw the planning of the new Renaissance garden into the hands of architects. Most influential was the garden courtyard designed by Donato Bramante at the Vatican to link the papal palace with the Villa Belvedere; the uneven site and the disparity in bulk of the two buildings was overcome with terraces and stairways. It remained an enclosed garden but one far removed from the earlier cloistral courtyards. The garden of the Belvedere combined the function of an open-air room with that of an outdoor sculpture gallery.

The ingredients of the Renaissance garden thus separately established were united in varying proportions. The typical evolved garden of the period was characterized by some openness of aspect, axial development, a tendency to prolongation, unity of concept between house and garden emphasized by a considerable “built” element of stone, lavish employment of statuary (often in the form of fountains), and the proliferation of such Classical accents as grottoes, nymphaea (Roman buildings with a fountain, plants, and sculpture), urns, and inscriptions. There is no adequate evidence that this type of garden had an exact equivalent in the Classical period, although there is evidence that each of its elements existed.

The variation in style among Italian gardens is considerable and is due to not only the date they were made, the exigencies of the site, and regional variation but also their social function. The scale of the garden compartments at the back of the Villa Gamberaia at Settignano (1610), for example, is small in contrast with the extensive view over Florence from the front and thus suggests intimate use by members of a small household. The more extensive parterre garden (an ornamental garden with paths between the beds) of the Villa Lante at Bagnaia (begun 1564) is designed neither for solitary enjoyment nor for a crowd but for a select, discerning company—as is the garden of the far more splendid Villa Farnese at Caprarola (completed 1587). The most remarkable mid-16th-century garden, that of the Villa d’Este at Tivoli (1550), is situated on a steep slope of the Sabine hills. The river that plunges down this slope is harnessed to an astonishing variety of fountains, including a “water organ.” Although the garden is designed around a central axis, the stream is not used centrally but is led about the garden in order to take maximum advantage of its force. Unlike the less copious stream of the Villa Lante garden, which quietly emphasizes the central axis, the Tivoli stream is ostentatious. The Villa d’Este is, in fact, a spectacular permanent theatrical performance meant to astonish and impress the multitude. A different impression is given by the Boboli Gardens of the Pitti Palace at Florence (1550). Though, like the Villa d’Este gardens, they were designed for a crowd—specifically, for state functions—they are not dramatic in themselves. Unless used ceremonially, they are lifeless and arid. The ruined garden associated with, though detached from, the Orsini Castle at Bomarzo is a remarkable aberration probably influenced by accounts of visits to the Far East by a locally born traveller, Biagio Sinibaldi. Its original layout consisted of a grove in which were concealed the stone giants and strange monsters that now astonish visitors.

Flowers were extensively used in most Italian gardens, but because of the shortness of their season they could not be the principal feature. Beds were divided into decorative geometric compartments by trimmed herbs, rosemary, lavender, or box. In general, more emphasis was given to evergreens; ilex, cypress, laurel, and ivy gave shade and were an enduring contrast to stonework.