Rustic Ornament in the Victorian Garden

This Stump Pedestal is an example of a popular Rustic Style of garden ornament that developed in the late nineteenth century. This style was adapted to the garden from the Romantic Movement, which was characterized by its nostalgic look at nature. Its love of picturesque landscapes was recreated in the garden. The “English Landscape Garden” or “Jardin Anglaise” relied on objects in the rustic style to create an informal setting that put an emphasis on the true nature of the land.

1979.26, Pedestal, Rustic Stump, late 19th C, Cast-iron, paint, 22 x 18 x 13.

These gardens were more sparsely ornamented than other garden styles. Objects were often created using materials found in nature such as tree branches, twigs, roots, bark, pinecones, animal horns, antlers and seashells and were often handmade. Cast-iron, already a popular material used in the garden used molds that would mimic these natural assemblages. As we see in the rustic stump pedestal, it is cast in a high relief and mimics the look of a tree trunk with thick bark that is entangled roots and oak leaves. It would have been used as a base for a plant stand or bird bath and occasionally could have been used a planter itself. These objects were usually painted in white, black, or natural colors that would blend in with the landscape.

Horticulture magazines and other serials provided layout, planting, ornament and structure designs that would have incorporated objects such as the stump pedestal. This was a popular item that can be seen in the 1858, Janes, Beebe, & Co. New York trade catalogue, the 1875, Coalbrookdale Company of England trade catalogue, and the 1893, J.W. Fiske Iron Works trade catalogue.

Many of these rustic style cast-iron ornaments have been broken or damaged. However, gardeners still feature them in their landscapes today.  Using the broken pieces and fragments of these antique garden furnishings, they create interesting displays that incorporate the past and create a nostalgic and picturesque setting for the present.

Further Reading:
Israel, Barbara. Antique Garden Ornament: Two Centuries of American Taste. New York: Harry N. Abrams, Inc., 1999.
Himmelheber, Georg. Cast-iron Furniture, and all other forms of iron furniture. London: Philip Wilson Publishers Ltd, 1996
Hill, May Brawley. Furnishing the Old-Fashioned Garden: Three Centuries of American Summerhouses, Dovecots, Pergolas, Privies, Fences & Birdhouses. New York: Harry N. Abrams, Inc., 1998.

 -Janie R. Askew
Research Assistant, Smithsonian Gardens
MA Candidate, History of Decorative Arts
The Smithsonian Associates/George Mason University

Victorian Love of Nature, Ornament and Decoration on Display

OH.1985.32, Plant Stand, c. 1850-1900, Cast-iron, 44” x 25.5”

Plant stands such as this, from the Smithsonian Gardens’ Garden Furnishings and Horticultural Artifacts Collection, were the perfect tool to combine a love of nature with a taste for ornament and decoration in the Victorian Era. Named for Queen Victoria of Great Britain, the Victorian Era classifies the period of society and the fine and applied arts during her reign from 1837 to 1901.The cultivation of plants was a widely popular pastime for the Victorians in all levels of society, and their toils were proudly displayed in homes and gardens. Plant stands became an essential item for the exhibit and storage of flowers and foliage. Their practical and decorative benefits were amplified by the link they provided between the domestic interior and the natural world that had gone missing due to the Industrial Revolution.

Plant stands were manufactured in England, America, and France, and came in a variety of forms and materials. Cast- and wrought-iron were the most common materials for garden ornaments such as this; however, they also came in wood, wicker, glass, and ceramic versions and were usually painted white, black, brown, or green.  Circular, semi-circular, or squared structures could be positioned against a wall or in the center of a space. Single level and tiered versions were popular, in addition to the plant stand we see here that has multiple appendages.

This type of plant stand was made using separately cast arms attached to a central axis rod. The arms could be rotated and moved vertically along the pole to display plant specimens of various sizes. The cup at the end of each arm would hold a small flower or foliate, which were often in their own removable liner so they could be changed out seasonally.

 Plant stands are still a popular indoor and outdoor garden accessory for displaying plants. Just as they did during the Victorian Era, they showcase a selection of seasonal varieties to beautify the home and bring nature within reach.

 Further Reading:
Israel, Barbara. Antique Garden Ornament: Two Centuries of American Taste. New York: Harry N. Abrams, Inc., 1999.

 -Janie R Askew
Research Assistant, Smithsonian Gardens
MA Candidate, History of Decorative Arts
The Smithsonian Associates/George Mason University

Over Sea and Land … and into the Victorian Parlor

OH.GF.1980.11, Wardian case – Miniature Church, 20th century, Wood, Glass, 27” x 16.5” x 12.5”

Often referred to as the Victorian Era, the nineteenth century was characterized by a growing interest in the collection, preservation, and identification of botanical specimens. New species of plants were carefully imported to England and America from all over the world, and cultivation of these exotics became a popular pastime. This interest was not met without challenges. The soot and pollution from the factories of the Industrial Revolution made it difficult for new plant species to survive. A London surgeon and amateur naturalist, Nathaniel Bagshaw Ward (1791-1868) stumbled upon a solution one day when he noticed that a bulb he had moved to a glass jar, and then forgotten, was thriving in this little habitat. Soon after this discovery, he began making ‘closely glazed cases’ (sic) for growing and extending the life of plants. These glass plant cases, renamed Wardian cases in homage to their inventor, were like tiny greenhouses that were sealed but not airtight. They provided an atmosphere free of pollution with ample light, heat, and moisture ideal for the cultivation of exotics. 

The invention of the Wardian case also allowed for new possibilities for transporting plants across long distances. Shipping during the nineteenth century is not what we know today: no priority mail or next-day air delivery options. Railroads, carriages and ships took weeks to deliver plants to a location. Inside a Wardian case the survival rate was considerably higher, as plants were able to travel in a protective environment that provided for their every need.

Despite contributions to the study of botany and improvements to the transportation of plants, the Wardian case is typically associated with household décor rather than invention. Their small size made them accessible to a larger portion of society who could not afford to own greenhouses. Because of their ability to preserve plants indoors, Wardian cases were brought into the parlors and drawing rooms of the Victorian household. This was in large part due to the encouragement of growing and tending to plants as a suitable hobby for young ladies. To suit the Victorian taste for decoration, cases were made to look like miniature buildings such as churches and famous houses. Comprised of a variety of materials that were suited to any price range, they were made in all shapes, sizes, and styles. Their popularity and availability made them a staple of fashionable drawing rooms.

This Wardian case in the Smithsonian Gardens’ Garden Furnishings and Horticultural Artifacts Collection is an example of a nineteenth century innovation and a characteristic feature of the Victorian-era domestic interior in both Britain and America.

 Further Reading:
Allen, David Elliston.  The Victorian Fern Craze: A History of Pteridomania. London: Hutchinson & Co, 1969.
Whittingham, Sarah. The Victorian Fern Craze. Oxford: Shire Publications Ltd., 2009.

 -Janie R Askew
Research Assistant, Smithsonian Gardens
MA Candidate, History of Decorative Arts
The Smithsonian Associates/George Mason University