天美传媒

Garden Tents

by Andrew Zega and Bernd H. Dams
Paris, France

The 天美传媒 & Art welcomes 2011 Arthur Ross Award recipient, to the Classicist Blog. This is the first in a series of short essays by Andrew Zega and Bernd H. Dams.

One of the most evocative symbols of summer is the garden tent, so it's the perfect subject for our first post here at the Classicist Blog, at the height of August.

In the late eighteenth century, Europeans considered tents the most characteristic of Oriental structures and erected them prolifically in their gardens, indiscriminately labeling them as Tartar, Turkish, Siamese or Chinese. There was a kernel of truth in this notion since nomadic tents are indeed the origin of the Chinese pagoda's characteristically concave, upturned roof—though it is highly doubtful that any European gardener of the period knew this.

As picturesque as they were inexpensive, tents became a staple of Anglo-Chinese folly gardens and a number of them, such as the Tartar Tent at the Parc Monceau in Paris (authors' watercolor, above) were even constructed of permanent materials. Sheathed in trompe l'œil tole-work (painted tin sheet-metal), this tent was actually an open-air alcove and part of a wing added to the main pavilion; dense plantings to either side hid the connecting passageways from view. Built circa 1775, it was also the first of its kind, inspiring similar tole-work tents at the Désert de Retz and at Haga and Drottningholm in Sweden.

The Parc Monceau, the Duc de Chartres' folly garden, which today is a Parisian park, also featured this extraordinary draped canvas tent (authors' watercolor, above); nearby was a stand with turbaned lackeys offering camel rides (below).

These engraved scenes of Monceau by Carmontelle, the park's designer, are among our favorites: they faithfully record the slightly mad clutter of this Ancien Régime Disneyland and are peopled by elaborately clothed and bewigged visitors, perfectly capturing the atmosphere of slightly absurd refinement that reigned in French folly gardens. Just how self-consciously aburdist or surreal Monceau actually was is in fact quite difficult to judge; consider, for example, that no structure was more characteristic of the countryside of the period than a windmill just like the folly depicted in the lower view—it would be comparable to building a suburban split-level in a landscape garden today.

In contrast to the vast extent of English landscape gardens, French folly gardens were invariably constricted affairs. The German commentator Christian Hirschfeld wrote, "Everything that a large (English) park can contain is crowded into an area not exceeding half an acre. Everything that Asia can offer in the way of new varieties of trees must be copied on a spot measuring a few hundred steps in circumference."

Ephemeral garden tents became extremely fashionable at Versailles during the reign of Louis XVI, as their ease of construction, inherent theatricality and low cost made them the perfect foil for the numerous, equally extravagant fêtes hosted by Marie-Antoinette at Trianon. Elaborate garden parties, often spanning a week's festivities, were an ancient royal tradition and were first mounted at Versailles by Louis XIV in the late 1600s. In contrast to the baroque pomp of the Sun King, Marie-Antoinette transformed the landscape gardens of Trianon into a rustic, illuminated wonderland for her famed evening garden parties. (Below, the Belvedere during one of these "illuminations.")

Popular rumor was such that after the Parisian mob stormed Versailles in 1789, among the first demands of the deputies of the Third Estate was to examine the Queen’s garden tents, which they believed fashioned of precious fabrics encrusted with gold and silver. The reality, retrieved from the store rooms of the Menus plaisirs, was more worthy of the stage than royalty: painted canvases hung with pasteboard decorations.