Gardening

Samuel Pepys, wrote John Evelyn, was ‘universally beloved, hospitable, generous, learned in many things’ and ‘skilled in music’. John Evelyn, wrote Pepys, ‘must be allowed … for a little conceitedness; but he may well be so, being a man so much above others’. Pepys’s assessment of Evelyn was made early in their relationship, in 1665, and Evelyn’s assessment of Pepys was made on the day that his fellow diarist died, in 1703. So rest the reputations of our two great recorders of Restoration England: Pepys, the middle-class son of a tailor, was a man of the people; Evelyn, the heir of a country gentleman, was a notch or two above.

Garden design usually breaks out of its confines to become part of the general consciousness only in Chelsea Flower Show week, but this year there have been so many events to mark the tercentenary of the birth of Lancelot ‘Capability’ Brown — the most prolific and talented designer of the 18th-century landscape garden — that even the general public has noticed. Most events have occurred under the umbrella of the Capability Brown Partnership, the brainchild of a landscape historian called John Phibbs, who has spent several decades studying Brown’s 170-odd landscapes and advising some of the owners on their recovery, care and conservation. Capability Brown: Designing the English Landscape (Rizzoli,

Why is it that gardening in the public prints is so often treated as a fluffy subject for fluffy people? Writing that a plant is ‘incredibly beautiful’ or that everyone is ‘really passionate’ about their allotment/community garden/windowbox doesn’t seem to me to be an adequate substitute for telling thoughtful gardeners something they didn’t know already. The trouble is that there is a shortage of trained gardeners and horticultural scientists who both have something interesting to say and can write engagingly, and of these only one can make me laugh out loud. His name is Ken Thompson, and he was for many years a lecturer in the Plant and Animal Sciences

I spent the summer of 1976 working as a trainee gardener at the Arboretum Kalmthout in Belgium. My employer was charming and kind, but I could not suppress a prickle of shame-faced irritation every time she mentioned a former student called Susan Dickinson. Whenever I leant on my hoe for a moment in the pelting heat, I was reminded how accomplished and hardworking this horticultural superheroine had been. For the past 25 years, Sue Dickinson has been head gardener at Eythrope in Buckinghamshire, owned by Lord Rothschild, and she is widely acknowledged to be the finest gardener in the country. I need never have wasted finite energy on envy. The

Visitors to the National Trust’s Sissinghurst — the decayed Elizabethan castle transformed by Vita Sackville-West in the early 1930s — are regaled by picturesque extracts from Vita’s landscape poems, and moving professions of love to and from her husband Harold Nicolson. Matthew Dennison’s title, Behind the Mask, indicates his ambition to get beyond such projections to something more real. But the metaphor is unfortunate. There was no single image that Vita adopted or which others imposed on her — nor a single real self which has been concealed until now. Dennison knows this. He interprets Vita in terms of a split between the reserve inherited from her English father Lord

The vast majority of books written about British gardens and their histories are concerned with large ones, made and maintained, sometimes over several centuries, by people with money. ’Twas ever thus. In this country, recognisable gardens began in monasteries, as well as the surroundings of palaces and noblemen’s houses, and it is only in the last couple of centuries that the middle classes have got into the act. As for the poor and dispossessed, theirs has been a very different story, too rarely told. Which is why Margaret Willes’s The Gardens of the British Working Class is so welcome, since the author brings together much scattered and hard-to-find information on,

I’m not sure if Rumer Godden wrote An Episode of Sparrows for children or adults. It was originally published on an adult list but I read it when I was about ten, Lovejoy’s age. She’s the heroine of this book, a small, strong-willed girl with the tenacity and determination of 20 adults. She’s got a feckless mother, no father at all, and scarcely any friends. It’s not perhaps surprising. Lovejoy is fierce and selfish because she had to learn to be tough to survive. She snatches, she steals, she’s witheringly scornful if she doesn’t like anyone. I knew as I read the book that I’d be very wary of Lovejoy in real