Great Dixter

Great Dixter was the home and garden of the late Christopher Lloyd. Lloyd, revered by gardeners worldwide, was a preeminent plants-man, garden writer, and television personality.

Now operated as a private trust with an educational mandate, this rambling yet cleverly structured garden was originally designed by renowned architect Sir Edwin Lutyens for Lloyd’s parents, Nathaniel and Daisy, after they acquired the fifteenth century house in 1909. It is as glorious as ever, though it has never remained static. Lloyd learned gardening skills from his mother, then boldly modified and enhanced many aspects of the garden in the thirty years following Daisy’s death in 1972.

 After Lloyd’s death in 2006, head gardener, Fergus Garret, has continued to care for the garden. He has experimented boldly, creating unique combinations of colour and form. I saw bright crimson tulips soar through swaths of blue forget-me-knots, masses of cow parsley (yes that weed) tempering the kaleidoscopic springtime blaze of poppies, euphorbia, wallflowers, and bluebells. Soft and low boxwood hedges combine with huge ones of yew to form an erratic maze of delights connecting the many sections, or garden rooms, while giant topiary mounds topped by figures of birds, stand like sentinels.

Known for his succession planting schemes that ensured colour throughout all seasons, the shrubs, climbers, perennials, annuals, and biennials in beds and mixed borders ensure something is always exploding into bloom.

Lloyd certainly had the eye of an artist, or it could be easy to believe he simply wandered about wearing an old jacket, countless seeds carelessly spilling from the holes in his pockets, accidentally creating heavenly vistas.

Monet's Giverny

It was a single red poppy in a field of wheat beside a busy parking lot that caught my attention. The solitary flower had a calming affect on me after having just spent too short a time whirling through Claude Monet’s garden. It’s a busy place, visited as it is each year by half a million art lovers and gardeners from around the world. 

Those are the two main reasons to visit — to see what inspired his art or the garden that Monet created — or both. In reality, it is hard to separate the two.  I suppose I approached it as a gardener, but as soon as I stepped into the garden, it became less about plants and more about the images before me. I felt I was strolling through a living gallery of Monet’s art.

The sight of the oh so familiar water lily pond, however, featured so often in his paintings, managed to evoke a little gardener envy. The strolling pathway meanders around it, bordered by weeping willows, Japanese maples, bamboo and irises, allowing for a constantly changing perspective of the famous lilies. I crossed over one of the most painted and photographed bridges in the world beneath a huge blanket of wisteria. When in bloom a week or two earlier, the fragrance would have been heavenly.

I skipped taking my own picture of the bridge, crowded as it was with pond viewers and left to enter the main garden. The two areas are separate, each a couple of acres in size divided by a busy road. Monet began developing the gardens after moving there in 1883, then ten years later bought the land across the road where he had the pond dug. He would only have had to dodge the occasional horse and cart, but distracted visitors can now cross safely by way of a tunnel.

The garden is described as a Clos Normand, enclosed by walls and planted much as an English cottage garden filled with annuals and perennials and roses. Oh the roses — huge and healthy, masses of them all in bloom growing over arbors and walls, competing with clematis, fighting for space on the ivy covered house and filling flower beds.

The beds are simple and not for the neatnik. They’re long and narrow and don’t meet any concept of current landscape design. They stretch down the gentle slope from the house, each one a slightly different palette from its neighbours, filled with endless clumps of plants chosen to contrast or complement in colour, texture, shape and size. It’s peak time for poppies, purple and mauve against a perfect shroud of Verbena bonariensis, just one example of Monet’s artistic skill. Monet sure knew his colours.

Due to the number of visitors the narrow inner walkways between the beds are cordoned off, which is wise. Fill them with people and it would look like a checkout line at a garden center, and it would increase maintenance work for the gardeners, all eight of them.

The head gardener is now British born James Priest who only started his job on June 1^st, a couple of days after I visited the garden. He’s a 53-year-old Kew trained horticulturalist from Liverpool, but he has lived in France for 27 years. Priest has stated his intent is to ensure Monet’s concept is fully realized with a review of the original garden. 

After Monet died in 1926, the garden deteriorated and was eventually abandoned, the flower beds covered in turf and the pond soon filled with silt.  Restoration only began in the late 1970s by Gerald van der Kamp, curator of the property, with head gardener Gilbert Vahe. His retirement after 35 years tending the garden opened up an opportunity for James Priest to take over.

After only an hour or two there, I had to leave too, to return to my own garden where there are a couple of poppies waiting to bloom.

Homeward Bound

My tree peony had a huge bud on it at the beginning of June but I never saw it bloom. In fact, I missed a lot of things happening in my garden during the first couple of weeks of the month. I didn't see the first rose blossoms or the first water lily flower, things I look forward to with eager anticipation.

I didn't mind at all missing these garden highlights as I was away on a two week garden tour of Northern England. Not a typical organised garden tour, travelling on a luxury coach, staying at five star hotels and dining with Jamie Oliver. Mine was an unorganised tour, more often disorganised. I was mainly visiting family, but found time to do my own tour on foot and in a rental car.

Yorkshire moors, heather in bloom

I made numerous serendipitous discoveries of remarkable gardens simply by leaving my sister's house and wandering around the village. It's located in the Holme Valley, which extends upwards from an old industrial city onto moorland in the heart of the Peak District, Britain's first national park — hilly country where farmland is crisscrossed with dry stone walls. In the numerous villages, older houses are stacked on top of each other,  complete with front yards, some of reasonable size, though often barely large enough for a planter. But if there is room for one, it will be there. Not every front garden is worthy of a magazine feature, but the sheer number and variety of styles is remarkable.

While driving, I frequently turned a corner only to slam on the brakes, astonished at the sight of a garden perched in the strangest of places, while hearing cries of  "Not again Dad" from the back seat. The excitement of discovery was only surpassed by the thrill of driving on the wrong side of narrow, steep, twisty roads that were designed for horses and asses, not motor vehicles, and it's no surprise to find that many asses are now driving cars — often stopping suddenly to leap out for closer looks at front gardens. Stop signs are rare and when yield is occasionally suggested by a rusty sign or couple of dotted lines across the road, it's only a vague concept. When oncoming traffic approaches, it becomes  a matter of squeezing the car against a stone wall on the left while allowing side mirrors to air kiss as they pass.

York Gate

I also travelled beyond the valley to visit two gardens that are open to the public, both of which were worth the whole trip. I first visited York Gate near the city of Leeds. It is a masterpiece, considered by many as one of the best small gardens (one acre) in the world. Created by the Spencer family between 1951 and 1994 on a property that was formerly a farm, the garden is based on the "garden room" concept popularised by Lawrence Johnston's Hidcote. There are fourteen "rooms" with enticing names like Dell, Canal, Nut Walk, Sybil's Garden, Pinetum, Fern Border, and Old Orchard.

Each one is unique, meticulously designed, and yet travelling between them was seamless, even though every garden feature you can possibly imagine has been somehow included. I passed along pathways through a sequence of scenes, each culminating in yet another focal point, be it an eight foot high sundial, a grouping of bonsai, a labyrinth — even a compost heap. Everything, including the potting shed with its collection of vintage garden tools, was perfectly situated. At every turn, I discovered rare and unusual plants, including a favourite — a blue Himalayan poppy — made my day.

The garden wasn't at all crowded with visitors, but at an arch beside the greenhouse, I had to wait my turn to get a closer look at a crinodendron in full bloom. Each scarlet-red flower looks like a tiny, perfect lantern, and the shrub was covered with enough to light a whole street. Across the pathway on the gable of the eighteen century house a Pyrocantha was growing, so dense and perfectly espaliered, it resembled a green brick wall. Around the corner, I bumped into a ceanthus — blooms as blue as blue eyes and buzzing with bees. I have the perfect place for such a shrub in my garden, but alas, like many of the rare plants in this garden it will not survive our climate.

I spent most of an idyllic afternoon exploring, sipping tea in the tearoom and chatting with the volunteers who help out. On Sybil Spencer's death in 1994, York Gate passed into the care of Perennial, Gardeners' Royal Benevolent Society, a charity that will continue to maintain the garden in accordance with Sybil Spencer’s wish that it will continue to attract visitors for both education and pleasure.

The second garden I visited was at Parcevall Hall, a gardener's heaven of thirty acres located on a remote hillside near the village of Appletreewick in the Yorkshire Dales. Like York Gate, it was originally a farm, the farmhouse turned into a country home in 1926 by Sir William Milner and is now run as a private retreat house.

Parcevall Hall

A few hours wasn't enough to explore everything the garden offered, but we tried, galloping up and down the terraces and through a wood with the magical name of Tarn Ghyll, darting between the Camelia Walk and the Chapel Garden. I can't begin to describe the beauty and tranquility of this place. The collection of plants is immense, including many rare ones that have never been marketed, particularly rhododendrons. No runty looking shrubs here. They were the size of large garden sheds covered in blooms in the most amazing colours from yellow through pinks and reds to purples.

From the formal gardens, we followed the meandering woodland pathways upward to emerge at the cliff walk gasping, not so much from the climb but at the reward, a stunning view across the surrounding countryside, of green hills far away, laced together with limestone walls, the deep valley of Trollers Gill below. Sir William chose wisely when he set his garden in an area of such natural beauty, but only by visiting during all four seasons could this paradise be fully appreciated.

I'm home now, pulling the weeds that have taken advantage, deadheading spent blossoms, and happy to see that there's still one unopened bud on my tree peony.

Reford Gardens -- Les Jardins de Métis

Drive thirteen hours just to look at a garden? Are you crazy? Some might think so, but not serious plant and garden lovers. Sooner or later they all add this one to their list of gardens to visit. It’s been on my own list for years but I never got around to it until last week when I suggested a road trip to fellow gardener, Mat. The garden in question is Reford Gardens, also known as Le Jardins de Métis, an English-style garden on the banks of the St. Lawrence near Grand-Métis, Quebec.

This historic garden, on the site of a family fishing camp, was created in the 1920s by Elsie Reford, and has been open to the public since 1962. The twenty acre garden, now under the care of her grandson, Alexander Reford, has become a magnet for gardeners intent on seeing this remarkable place. Many are attracted by the hope of seeing the famous blue poppy, Meconopsis betonicifolia — and of course, a sublime garden filled with thousands of other notable plants.

This is why Mat and I were on the road at 4:30 a.m., with a 1200 kilometer drive ahead of us. After a stop to see the roses in the Montreal Botanical garden, we arrived in Metis-sur-Mer just in time to watch a beautiful sunset over the St. Lawrence. We hoped that it portended a sunny day for our garden tour. Alas, daybreak brought torrential rain and thunderstorms. There was little to do but wait in our hotel, Domaine Annie Sur Mer, for the weather to clear. It didn’t, but we hadn’t travelled all that way to sit around looking out on grey skies and grey water, so after reminding (or maybe convincing) ourselves that gardens always look best on cloudy, even rainy days, off we went.

Our somewhat damp enthusiasm was rewarded when, as we entered the garden, the rain eased then stopped completely — what a gift. There was no sunshine but we were beaming as we walked through a still dripping spruce forest along puddled pathways and over the wooden bridges that crisscross the small creek.

It was here that Elsie Reford created the heart of her garden. The pathways wind by the moss covered stone walls she built to stabilize the steep slopes. Azaleas of yellow and orange lit up the forest as masses of candelabra primula spilled down to the edge of the creek. Everywhere, forest-dwelling ferns gently softened the colourful plantings. Okay, I could go on about countless gorgeous plants — and of course the amazing blue poppies, but there’s so much more to this garden, including a lupine filled meadow.

A major attraction are the twenty-seven other gardens currently in place as part of the annual garden festival that makes Reford Gardens a unique horticultural tourist destination. These conceptual gardens, many of which are permanent, are created by designers from around the world. Artistic and sculptural, they’re designed to amaze, evoke, and puzzle over — ever seen trees other than in of Lord of the Rings that move across the forest floor? We did.

There was even a place for that blight of gardens everywhere, pink flamingoes. At Reford they were delightfully displayed in The Veil Garden as a flock advancing through ferns. I may have to consider finding room in my own garden for a few — or maybe in Mat’s garden.

I could attempt to describe our visit in endless detail, but I wouldn’t be able to capture the magic of Elsie Reford’s dream, enhanced impressively by talented designers. It’s the kind of place that simply has to be seen, but only if you’re up for a long road trip and willing to take a chance on having perfect garden viewing weather, as we did — the kind of rain we dearly need around here. Learn more here: Le Jardins de Métis See images

Hampton Court Flower Show

From the 4th to the 9th of July, 2023 is the Hampton Court Flower Show, and I had the opportunity to attend the show a few years ago. I’ve been to the rival Chelsea Flower Show a number of times with groups, but never Hampton, so I took the opportunity while visiting family in the UK in Yorkshire to zip down the M1 motorway to London for the show. Given the traffic jams the show generates, the zip kept sticking, but thanks to a 4:00 a.m. start, my daughter and I made it for opening time.

Up at 4:00 a.m. to see flowers? Yes, but these shows, despite the name, are about much more than flowers. They’re like Mecca for gardeners, top of countless bucket lists. They feature gardens designed by the world’s best, the very latest in new plant introductions, and more garden paraphernalia to purchase (including buckets) than one could possibly imagine.

The shows, both presented by the Royal Horticultural Society, are similar in content though held at different times of year — Chelsea in spring and Hampton in summer — which means the floral content differs, and at 25 acres (10 hectares), Hampton covers an area more than twice the size of Chelsea. The latter is in the heart of London where it’s easier to access by public transportation, and with a capped attendance it does seem easier to get around. Due to the sprawling nature of Hampton and the afternoon crowds streaming in, we did leave uncertain that we’d seen absolutely everything, but we did see plenty.

As expected, the display gardens were immaculate; colours divinely coordinated in the most surprising combinations that looked perfectly matched. Never again will I say two particular colours don’t look well together. One group of gardens used colour effectively to interpret a specific theme, that of the seven deadly sins. The theme of anger was indeed blazing mad with Japanese blood grass inter-planted with reds and oranges of yarrow and echinacea pierced by golden spikes of kniphofia, all in a bed of smoking lava. 

Gluttony was amusingly represented by giant food cans used as planters, the sardine can appropriately a water garden. The concept for envy was depicted by a grassy meadow in shades of brown. On a mound in the centre, enclosed by a screen of green Perspex, a lawn of artificial grass clipped to perfection — the grass is always greener . . .

These were the conceptual gardens while others were categorized as summer gardens, large show gardens (Australia took a gold), and smaller ones described as your garden, your budget. These modest
gardens were designed to demonstrate how a high quality garden can be achieved on a budget; the budgets for these ranging, ahem, from twelve to twenty-five thousand dollars. I may never look at a cell pack of annuals the same way.

Those attending the show with a far less restrictive budget than me had plenty of opportunity to spend wildly. I was tempted but had to pass on the giant bronze statue of a snail and the huge stone horse trough planter due to my flight baggage limit. I left the show with only a freebie packet of seed (Ammi majus).

Beyond the gardens and marketplace of the show, there were wonderful learning opportunities. A number of plant societies were present offering their specialized knowledge, while a display by the RHS called the invisible garden contained a number of interactive displays with microscopes. It encouraged visitors to discover the fascinating unseen world of insects, fungi and the myriad of other creatures that are invisible, yet so essential to a garden.

There was so much to see and so little time as the zippy motorway home awaited us. It was worth the drive.