The undiscerning use of the new palette that importation and plant breeding had made available was so patently an aesthetic disaster that by the end of the 19th century attempts were made to break its hold. The architect Sir Reginald Blomfield advocated a return to the formal garden, but to this, insofar as it required dressed stonework, there were economic objections. More successful and more in tune with the escapist needs of the increasing number of urban dwellers were the teaching and practice of William Robinson, who attacked both the old ceremonial garden and the collectors' garden with equal vigour and preached that botany was a science, but gardening was an art. Under his leadership a more critical awareness was brought to the planning and planting of gardens. His own garden atGravetye Manor demonstrated that plants look best where they grow best and that they should be allowed to develop their natural forms. Adapting Robinson's principles, Gertrude Jekyll applied the cult of free forms over a substructure of concealed architectural regularity, bringing the art of the flower garden to its highest point.
In North America, where for a long time most men were preoccupied with making a world, not a garden, ornamental gardens were slow to take hold. In the gardens that did exist, the rectilinear style popular in late 17th- and early 18th-century Europe persisted well into the 18th century--perhaps because it met man's psychological need to feel he could master a world that was still largely untamed. The town gardens of Williamsburg (begun in 1698) were typical of the Anglo-Dutch urban gardens that were being attacked everywhere in 18th-century Europe except Holland. And Belmont, in Pennsylvania, was laid out as late as the 1870s with mazes, topiary, and statues, in a style that would have been popular in England about two centuries before.
Although garden improvers set up in business in the United States, there is no evidence that they prospered until the 19th century, when one hears of André Parmentier, a Belgian, who worked on Hosack's estate at Hyde Park and then of A.J. Downing, a successful protagonist of the gardenesque, who was succeeded by Calvert Vaux and Frederick Law Olmsted (the latter the originator of the title and profession of landscape architect), the planners of Central Park (begun 1857) in New York City and of public parks throughout the country.
The eclecticism of the 19th century was universal in the Western world. Besides the gardens that were fundamentally Reptonian--that is, an attempted compromise between the Brownian park garden and the Loudonian flower garden--gardens of almost every conceivable style were copied; designing teams such as Sir Charles Barry, the architect, and William Eden Nesfield, the painter, in England, for example, produced Italianate parterres as well as winding paths through thickets.
