Showing posts with label Pia Östlund. Show all posts
Showing posts with label Pia Östlund. Show all posts

Saturday, 9 May 2015

Maytime rus in urbe




Come into the garden, folk, for the black bat Cam has soared and many of us need a bit of floral escapism, no doubt shared quite equably with plenty of his supporters. Yesterday, in true pathetic-fallacy style, was grey and a little bit rainy, but 10 days ago the weeks of pure spring sunshine came to an end with an afternoon of exceptional clarity, which happened to coincide with my meeting old university friend Jo at the Chelsea Physic Garden. By Saturday, when three of us took a bracing walk across Richmond Park to the Isabella Plantation and back, the murk was beginning to take over, but the grey skies offset the lime greens of leafing oaks, birches and beeches rather well.

Never have I seen the Physic Garden so riotous with high-spring bloom, though I know that other profusion will take over in the weeks to come. Chief wonder was my favourite blossom, that of the Judas Tree, which thrives above a meadow of bluebells with the mulberry just coming into leaf in front of it.


Not noticed this before, though: that the blossom grows immediately on the trunk's offshoots, a weird and rather wonderful effect.


As I'd hoped, the lovely Pia, our good friend and graphic designer at the CPG, walked past our lunch table in the sunshine; I was intending to go to the office and ask for her. She's just helped to produce the new guide, divided into colour-banded sections each led by an illustration from Gerard's Herbal of 1597. There were plenty of facts I hadn't absorbed before, such as the precise details of how the garden survived - first and foremost by Sir Hans Sloane's ingenious Deed of Covenant whereby he rented the garden, part of the Manor of Chelsea which he bought in 1722, to - and I cannot put it better than the guidebook, so I quote - 'the Apothecaries who had trained him...in perpetuity for a peppercorn [how appropriate!] rent of £5 per year. The same rent is still paid to his descendants today'.

Sloane, by the way, came from Ireland as apprentice and later made his fortune by returning to London from Jamaica with the yields of two trees, Cinchona pubescens and Theobroma cacao - respectively quinine and drinking chocolate. A copy of his statue still stands in front of what you may just make out as the flowering handkerchief or ghost tree.


I also didn't realise how close the CPG came to closure in the 19th century, which also saw its biggest changes. I had no idea that the Pond Rockery, an island oddly surmounted by fly-eating pitcher plants, is a Grade II listed structure, probably the oldest of its kind in Europe, and incorporates black basalt used to ballast Joseph Banks's ship on his voyage to Iceland as well as clam shells which travelled from Tahiti on Captain Cook's Endeavour.

My main concern on previous visits before I finally renewed my membership was with the initially ugly new educational gardens constructed in the south east corner. Now that the plants growing up make them look less stark, I can sort of see the point, though I miss what was lost. Still, there's one curvy path left round the back of the Garden of Useful Plants which takes you under the Chinese Paulownia lilacina, in flower last week.


The other paths that used to lead you past tree and herbaceous peonies have gone, but the peony collection at the north end of the Dicotyledon order beds is fine and I was surprised to find so many specimens already in flower, providing pollen for the garden's bee population (I'm hoping there's enough honey from the hives this year - the vintage I tasted was supremely floral, second only to jars from the Asco valley in Corsica in my experience).


Adonis aestivalis, the red ranunculus, is a close relative to blue love-in-a-mist, but rather more startling: the colour really did stand out as in the photo.


Otherwise the most conspicuous colour in these order beds was the yellow of Ferula communis, which looks like a special type of fennel but isn't actually categorised as such. Interesting to read that Prometheus was supposed to have brought fire to man in its stalk, and the ancient name 'narthex' leads me to suppose that the stalk was also a wand for the Bacchae.


Time ran out as usual but I had time to pay a quick homage to the glasshouse of mostly scented pelargoniums, a staple of the Physic Garden for more than 300 years. This, I think, is 'Ardens'


while in Glasshouse 4 to the south Ageratum corymbosum from Mexico was in full spate.


I left with only the most exquisite of tiny sempervivums but the next day I cycled to Rassell's nursery and picked up, inter alia, a promising specimen of the peony 'Buckeye Belle'. And on Saturday we dropped in on the Petersham Nurseries on the way back from Richmond Park. Despite the threat of rain, which didn't materialise until the evening, we had a bracing walk through copses and meadows, with oak trees in various stage of leaf,


to the Isabella Plantation, which I think I can't have visited since I was a child. This secluded wonderland was established in the 1830s and enriched by 50 kurume azaleas introduced from Japan in the 1920s by plant collector Ernest Wilson, now part of the National Collection. Although our friend Tilly rages at how they've hacked it back, I still imagined myself in far eastern wilds and was amazed by the riot of azaleas and rhododendrons not far from the entrance


The three-tier effect is unique to this time of year, of having bright splashes of colour in the middle between unfurling fronds


and gunnera


and the lime-green trees above. There were still plenty of magic corners and glades, as in this one where a grand old beech is foil to a uniquely coloured rhodedendron,


here, where another handkerchief tree can be more clearly discerned


and here, where another huge rhodie is foreground to more tree-leafing,


while by the end of the central stream heathers are thriving.


Next stop: friend Deborah's garden 'rooms' in Lacock, which should be in their prime.

Wednesday, 13 February 2013

Auguries of Spring



Deep in the late winter freeze, it's hard to believe that last Friday I and friend Cal were sitting outside warmed  by the sun at the Chelsea Physic Garden, where in snowdrop week the excellent, if chaotically run, Tangerine Dream cafe serves up some of the best cakes in London. An hour later, the sun vanished for the weekend.

The lure for galanthophiles is the pretext for the 'psychic garden' opening to the public for a week in February - though of course members can come and go as they please. I hadn't renewed my subscription owing to high dudgeon at what they'd done to the south-eastern corner of the garden: once a glade with winding paths in marked contrast to the formal, educational beds elsewhere, and now a bleak suburban patio to show off medicinal plants. Still, the trees remain and the magnolias are in bud.


As for the snowdrops, there were more clumps in Brompton Cemetery as I cycled through on my way


but you do get a chance at the CPG to see their subtle differences up close in the 'theatre' by the statue of Sir Hans Sloane. This is galanthus plicatus 'Dionysus'


and this 'Trym'.


There's also one unpoetically called 'Grumpy' because it's down at the mouth. On the humorous front, I was taken in at first by this cactus in the little greenhouse abutting the house, though a little suspicious of anything of the sort flourishing in Wales and the Shetland Islands.


Cal laughingly put me right and touch confirmed this was indeed Notacactus.


Our lovely friend Pia Östlund, brilliant graphic designer for the CPG and elsewhere, was offering an all-day workshop on 'the lost art of nature printing'. Simple: you take your leaf or flower, ink it up with a roller between a folded piece of baking paper and then press in on to a folded card so that you get both sides of the leaf/flower in symmetry.


The subtlety of the leaf design comes through in all its glory, and of course it can be very different on each side. Geranium leaves work very well, I thought. Sadly I've lost both my specimens; either I threw them out with the bag in which Pia returned a Bergman DVD with a tiny snowdrop, or they're buried somewhere in this room. But I think it would be a good thing to take up for greeting cards at home. 


Pia was inspired by Victorian books which had made use of nature printing, sometimes via more complicated techniques. Here's Pteridium aquilinum in Thomas Moore's 1857 tome on tree ferns, nature-printed by Henry Bradbury.


Back to the time of year. Pancakes were consumed last night, and now Lent begins - as I'm very well aware with my Sunday Bach cantata ritual coming to a temporary halt until Easter*. Last Sunday was Estomihi or Quinquagesima. Its New Testament reading from Luke 18 verses 31-43 finds Christ not only healing the persistent blind beggar in Jericho - represented here by Duccio and an exquisite Rembrandt drawing - but also making the first announcement of his impending passion to the disciples. 


'Herr Jesu Christ, wahr' Mensch und Gott', BWV 127 followed directly on the heels of the earth-shaker I chose last week in the Leipzig 1725 calendar. Recorders (I like flauti dolci) soften the floridity around the opening chorale setting, very sensitive to 'endlich starbst' and 'bittre Leidung'. The tenor's fluid recit sets the scene for a total charmer - and a big soprano solo at last (on the Suzuki recording I heard, the estimable Carolyn Sampson). The vocal line of  'Die Seele ruht in Jesu Händen' is complemented by a glorious oboe obbligato and supported by staccato chords from the recorders and pizzicato continuo. In a wonderful moment, the word 'Sterbeglocken' ('bells of death') brings in pizz. strings.


More typical contrast in Bach follows: the bass solo is another of those half-recits which break into arioso. It's the Last Judgment, so sound the trumpet, but only in sporadic animated bursts. It tumbles to earth and signals destruction, but Christ offers comfort. So, of course, does the closing chorale which ends with a sleep of sweet dreams. Here's Herreweghe on YouTube.


*not because I'm observing Lent by not listening to/playing music, but because Leipzig did.