A Denver Floral Extravaganza – The Garden of Rob Proctor and David Macke

Posted on August 19, 2019 by Janet

What a treat I had back in June, along with more than 70 other garden bloggers during our annual “Garden Bloggers’ Fling”, to visit the beautiful garden of Rob Proctor and David Macke in the Highlands district of northwest Denver – and then to visit it again in softer light, the following morning! So in the midst of a very busy summer up here on Lake Muskoka (during which I’ve scarcely had a moment to revisit my photos) I nevertheless wanted to share images from my visit. If you arrive in June, this is what greets you even before you open the charming front gate.

In front of the house is a “hellstrip” from heaven, below, filled with a drought-tolerant symphony of plants in purples and soft yellows. It’s your first clue that the plantings here have been designed by a master colourist who is also a painter and botanical illustrator. Rob now appears on Denver’s 9NEWS twice weekly as a garden expert, but at one time he was co-director with Angela Overy of the Denver Botanic Gardens School of Botanical Illustration. He also served as the DBG’s Director of Horticulture from 1998 to 2003. As his friend and former colleague, DBG Senior Curator and Director of Outreach Panayoti Kelaidis said in an interview once: “He transformed a sleepy, provincial research garden facility and made us one of the great display gardens in America.”

Bloody cranesbill (Geranium sanguineum) creates soft cushions of magenta blossoms in front of lavender-blue meadow sage (Salvia pratensis), middle left. At middle right is purple woodland sage (Salvia nemorosa).

Bees were everywhere, including this honey bee nectaring on the woodland sage.

Two unusual xeric plants are lilac-purple Kashmir sage (Phlomis cashmeriana) and golden drop (Onosma taurica), below.

At the eastern end of the hellstrip, a brighter colour scheme featured….

….. apricot desert mallow (Sphaeralcea ambigua) with basket-of-gold (Aurinia saxatilis).

A metallic green sweat bee (Agapostemon virescens) was nectaring on the desert mallow, while….

….. nearby, showy milkweed (Asclepias speciosa) was awaiting monarch butterflies.

The word “hellstrip” is usually attributed to Colorado garden designer Lauren Springer Ogden, author of the acclaimed book The Undaunted Garden, among others. She and Rob also co-authored Passionate Gardening: Good Advice for Challenging Climates. In an article she wrote for Horticulture magazine back in 2007, Ogden wrote of the Water Smart Garden she designed for Denver Botanic Gardens, shown in my photo below: “The Denver Botanic Gardens’ former director of horticulture, Rob Proctor, played a crucial role in developing the full potential of the garden. The first couple of years it floundered—a good number of the called-for plants were not actually put in, and it fell under poorly trained and often careless maintenance. When Rob took over, he made it his priority to support the richness of the planting and the high level of care the garden deserved. He let me shop personally for many of the missing plants and add the beginnings of a collection of fiber plants that now brings so much to the dynamic year-round textures of the garden: nolinas, yuccas, agaves, and dasylirions—plants that just a few years ago were rarely used in Colorado gardens and often thought not to be hardy.”

Though I could have spent an hour exploring the luscious hellstrip, I was ready to find what waited on the other side of the gate in the ebullient gardens that surround the 1905 “Denver square” brick house that Rob and David moved into in May 1993.

I was invited in to look at some of Rob’s art. I loved this botanical rendering of a passionflower, one of many of his works hanging in the house.

But I was anxious to see what was out back, so I made my way past Stranger, the stray cat that hung around Rob and David’s garden for such a long time that he first got the nickname, then his new home.

Though Stranger elected to stay behind on the sunroom table, Mouse accompanied me out onto the brick-paved patio.

And what a patio it is, nestled into its own little garden spangled with lilac-purple Allium cristophii. Here we see the first wave of hundreds of containers that Rob and David fill with annuals each season, adding to pots containing tropicals, bulbs, succulents or perennials. Pots with tender plants are lifted outdoors each spring, nurtured and watered all summer, then transported back to the basement in autumn before Denver’s Zone 5 winter winds blow. Cobalt blue – a favourite colour – is the unifying hue here.

Teak benches and comfy cushions abound here and throughout the garden.

Tropical foliage plants mix with colourful annuals and succulents like Sedum rupestre ‘Angelina’ pair with potted lilies. Incidentally, Rob is an expert in bulbs in pots, having written The Oudoor Potted Bulb: New Approaches to Container Gardening with Flowering Bulbs way back in 1993, the year they moved here. It’s one of sixteen books he has authored or co-authored.

Though their property is more than a half-acre with several discrete garden areas, the patio is a lovely intimate extension of the house.

When I visited the first time, Rob, left, in his trademark vest and David, a retired geologist, right, held court out here.

I was impressed that David was able to reach out and pick a succulent pea….

….. from a pot of dwarf ‘Tom Thumb’ peas on the coffee table.

However on my second visit, it was just Mouse and me.

I enjoyed the sound of water from the raised goldfish pond….

….. and the splash of water from a unique watering can fountain set among pots on the stairs to the house.

But I was anxious to head out to explore the garden. When Rob and David moved in 26 years ago, the first thing they did was cut down eight “half-dead Siberian elms”. Said Rob in a 1995 article for American Horticulturist, he wanted to build perennial borders. “Because of the relatively formal look of the late Victorian Italianate house, I chose a strong, geometric layout of long borders. Occasional half circles soften the straight lines. Within this framework, I indulge in the controlled chaos that we associate with traditional herbaceous borders.” He carved out two rectangular beds each measuring 16 x 60 feet (4.9 x 18 metres) with an 8-foot wide strip of lawn in between. He then designed a backdrop of 12 brick columns – six per bed – connected by lattice screening and had a mason erect them on deep concrete footings. That resulted in four 8 x 60 foot perennial beds, two of which are visible below. At the far end on the property’s south boundary line is the gazebo, built atop an old carriage house and featuring a winding staircase to the flat roof and a shady dining area within. “Climbing the staircase,” wrote Rob, “it’s possible to view much of the garden from above.”

Mouse followed me dutifully out into the garden.

The colours here in June were exquisite, with purple and blue catmints, campanulas, cranesbills, meadowrues, salvias and veronicas enlivened by brilliant chartreuse. “Borders are like paintings,” said Rob. “Each one starts as a blank canvas. Working with a palette of plants, rather than paints, the possible combinations are limitless. The twin borders that cut through the middle of the garden contain the colors that I naturally gravitate towards – the blues, purples, and pinks.”

Each border held dozens of ideas for combinations. When I visited on June 17^th, star-of-Persia onion (Allium cristophii) looked perfect with Kashmir sage (Phlomis cashmeriana)…..

….. and softened the flowers of broad-petaled cranesbill (Geranium platypetalum).

By the way, if you ever want to go down into a taxonomic rabbit hole, take a look at my blog on Allium cristophii.

The bold foliage of American cow parsnip (Heracleum maximum), below, offers a strong contrast to the soft colours and shapes of the central border. Later in summer, the white flower umbels reach up to 8 feet (2.5 metres). In one of the 2018 video clips from 9NEWS, Rob gives some pithy advice on how to handle this phototoxic native – just don’t! Clambering over the lattice in the back of this photo is golden hops (Humulus lupulus ‘Aureus’), one of a number of vines that Rob encourages for its lovely effect. As he wrote: “The golden hops vine needs little encouragement to thread through five or six feet of pink and blue flowers in this border, providing fresh, almost springlike foliage even in midsummer.”

Rob has used the red-leaved rose Rosa glauca as a background feature in one border, less for its single June flowers than for its strong foliage accent in order to enhance the massive beauty bush flowering in the background.

This was the view north along the twin central borders back to the house.

The third long border to the east featured white roses and the tall spires of Verbascum bombyciferum ‘Arctic Summer’….

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…… nestled in a snowy cloud of sea kale (Crambe cordifolia).

The fourth long border on the west side is a confection of pinks and burgundies – peonies, roses and cranesbills in June. As it turns west near the immense beauty bush (Kolkwitzia amabilis), Rob gave special consideration to the unique colouration. “The beauty bush, its pale pink blossoms tinged with coral, inspired the color scheme of the surrounding plantings as the border turns to the west”. For the garden nearby, he chose sunset colours in lilies, red valerian, red sunroses, salmon pink nicotine and coral bells mixed with chartreuse and bronze foliage, to name a few.

In fact, he captured all three tints of beauty bush flowers in the cushions on the chairs placed strategically under its flowery boughs. This is colour perfectionism! Because of its size, Rob estimates the shrub was planted fairly soon after it was introduced to the west via Ernest “China” Wilson, who sent seed to Veitch’s Nursery in England in 1901. Flowers did not appear on the first seedlings for nine more years. It became very popular in gardens in the mid-20^th century but deserves to be planted in gardens where its size can be contained.

This view melted my heart. And there were bees in that pink rose… scroll down to the video at the end of my blog and you’ll see them.

Clematis recta is a superb June-blooming herbaceous clematis. I’m not sure how Rob manages to keep his upright, but it does benefit from some kind of support, like a peony ring.

Further along, near the nuts-and-bolts of the garden (compost bins, potting shed, etc.) I noted one of Rob’s favourite strategies to introduce a splash of colour into the borders: a well-positioned pot with a bright red annual coleus. He does the same thing with red orach (Atriplex hotensis ‘Rubra’). Later there will be larkspur here.

We’ve arrived at the back where the gazebo is sited on the foundation of an old carriage house. A spiral staircase climbs to the top; it must be a lovely spot to sip a glass of wine and look back on the borders.

Down below, there was a table and chairs under the roof, providing a nice view and much needed shade in Denver’s notoriously hot summers.

Luscious tuberous begonias thrive here.

What a great spot for al fresco dinners – surrounded by tropicals and foliage plants. I loved the louvered panels at the back. And what do you suppose lies behind that dark picket fence?

Well, it’s an alley. A place where most gardeners would be content to create a couple of parking spots and leave it at that. But not David and Rob…. all that sunshine! So they not only reserved places to park their cars, but….

… also designed a potager divided into eight Native-American-inspired “waffle” beds, which are dug down below grade to capture precious rainwater, just as waffles collect syrup.

Bordered in thyme, the beds contain different types of seed-grown vegetables. At the centre of the potager is an artful cluster of pots.

As with every part of Rob and David’s garden, there is a comfy, colour-coordinated place to sit and relax – even in the alley!

Biennial clary sage (Salvia sclarea) is one of many plants allowed to self-seed here.

I loved this succulent-filled strawberry jar in the midst of the vegetables.

I headed back into the garden and made my way down the east side, where an old driveway has been re-imagined as the “gravel allée”. It’s a series of tableaux: sitting areas with colour-matched accessories and plants. Periwinkle blue and rusty-orange… sigh. You can imagine how enchanting this is for someone who called her blog “thepaintboxgarden”!

Such an inviting scene……

Double clematis are often less hardy than small-flowered species and varieties, so Rob pots them up and takes them to a less exposed area for winter.

Speaking of CLEM-a-tis, I liked hearing Rob educate his news colleagues on proper pronunciation of the vine.

Mouse was getting a little impatient for me to leave, so led me down the gravel path….

…. to containers nestled around a birdbath. Have you been counting the pots? I understand there are more than 600!

I’m a big fan of red-with-green in planting design and this section of the path tickled my fancy.

Under the mature trees here was another semi-shaded sitting area set in amongst shrub roses with yet another bench. I loved the row of potted aloes!

Now I was gazing at the house through a delightful thyme parterre herb garden.

I walked around to the south to see the view….

…. and then from the corner nearest the house. This is such a classic design – also created in the lowered waffle bed manner – and so lovely when the thyme…..

…. and the rose are in flower together.

I had a plane to catch later that afternoon, so gathered up my things and headed around the house to the front. There on the west side under the shade of the trees was one final treasure in Rob and David’s garden. It was a patio filled with shade-loving plants adjoining their sunken garden (down the stairs and just out of the photo below). As Rob wrote in 1995: “One weekend, while digging up self-sown tree-of-heaven saplings, we kept hitting brick. We determined that it was the foundation to a building, about 15 by 10 feet. Friends joined us for some urban archeology as we excavated it, finding hundreds of patent medicine bottles, broken china, and a waffle iron designed for the top of a wood stove. The foundation may have supported a summer kitchen or an earlier house, perhaps a farmer’s. We stopped digging at about four feet and, exhausted, decided our sunken garden was deep enough. We mixed in extra-rich compost to nurture the shade-lovers we intended to plant there.”

It was so hot that day in June, I would have loved to settle in the shade on those blue and red cushions and contemplate the lovely caladium. But it was time to go.

So, reluctantly, out I went through the gate entwined with Virginia creeper, to meet my ride.

As a bonus, I created a little musical tour through David and Rob’s enchanting garden, co-starring a selection of the bees that find nectar there:

Rob and David have shared their garden annually for many years now. It’s for a cause near and dear to them – and to Stranger and Mouse, too. And I’m so glad I was able to share their garden with you, too.

Orange Punch!

Posted on August 25, 2018 by Janet

I’ve never understood the antipathy to orange in the garden that so many people seem to have. For me, orange is fun to pair with other hues, whether in a warm blend of citrus & sunset colours, like my deck pot at the lake one summer, below, with its nasturtiums, African daisies, zinnias and pelargoniums ….

….. or in classic combinations like orange and blue (complementary contrasts on the colour wheel), or orange and purple, as illustrated in a few combinations below. (Click for larger photo.)

I came upon a few great examples on my day at the Chicago Botanic Garden last week, One lovely planting on Evening Island paired Mexican daisy (Tithonia rotundifolia ‘Fiesta del Sol’) with blue bog sage (Salvia uliginosa). I loved this duo!

These two are also wonderful pollinator plants, the tithonia attracting lots of butterflies, including monarchs….

….. and swallowtails, like the black swallowtail below.

And the bog sage is a fabulous lure for bees. While I stood there for a few minutes, I saw lots of honey bees and native bumble bees and carpenter bees, like the big one below.

Orange can even be a feature in wetlands or pond margins, as we see below on the shore of the Great Basin, with Canna ‘Intrigue’ and its ruby-throated hummingbird visitor.

Another CBG combo I liked was in the Circle Garden, with old-fashioned orange zinnias (Z. elegans) consorting with a lovely pale orange-yellow coleus splashed with red. I couldn’t see a label, but it might be ‘Copper Splash’.

A few years back, I did an in-depth blog post exploring orange flowers, foliage and accessories for the garden. If you didn’t catch it, you can find it here. Orange! What’s not to love?

Spring Lessons from Giverny

Posted on April 14, 2017 by Janet

Perhaps it’s folly to try to draw inspiration for our own gardens from one of the most famous gardens in the world – an enchanting 5 acres whose renown comes courtesy of its beloved former gardener and owner, Impressionist painter Claude Monet. The garden he made at Giverny is a short bus ride from the town of Vernon in Normandy, which is a 45-minute train ride from Paris’s Gare St. Lazare (direction Rouen). Now home to the Fondation Claude Monet Museum (Musée Claude Monet), the house and garden are visited by some 600,000 people annually.

When I was there a number of years ago, the Fondation allowed photographers and writers to apply in writing to visit on its closed day, Monday. I did so, and stayed in a bed & breakfast in the town of Giverny to be close enough to arrive early Monday morning and walk back to the b & b if it rained (which it did). However, they no longer close during the week and are open daily from late March through October 31^st, so everyone must line up for the 9:30 am opening (except those who buy their tickets ahead, allowing them to skip the line). In the summer months, the garden is often terribly crowded and difficult to get around, but on a morning or late afternoon in April, it can be quite delightful.

Interestingly, my photos come from a spring prior to British gardener James Priest’s tenure at Giverny, when the garden’s maintenance was still under the hand of head gardener Gilbert Vahé, who spent 34 years in the garden from 1977 (even before its reopening in 1980) to 2011. However, in 2017, with James Priest now gone, Vahé has come out of retirement to take over the reins once again, presumably to return the garden to some of its well-archived Monet-ness, i.e. “reproduction”, not “adaptation”.

Despite the fact that almost everyone who’s visited Monet’s garden has posted their photos or written a blog, and despite the fact that others think it’s just become too commercial or pretty, I believe that his garden offers some good lessons for all of us. Let’s explore a few.

1. DO NOT BE AFRAID OF COLOUR: My first lesson: Life is short, there are no rules, and a house can be pink stucco, with green shutters and veranda. Why not? Claude Monet, himself a master colourist, retained these colours for the house he first rented, then bought, living in it from 1883-1926. They were faithfully reapplied in 1980, when the house and garden were reopened after a restoration that brought it back to life after more than twenty years of abandonment following the bombing of Normandy during the Second World War. (And, honestly, I thought about working my Photoshop magic on the green paint of the veranda, below, but that’s what more than a half-million visitors will do to the stairs, and who am I to paint Monet’s house?)

2. BRING THE SAME COLOUR PALETTE INTO THE GARDEN: Given that your painted shutters and veranda are colourful, it follows that it’s a very good idea to extend that colour down to painted features in the garden like benches, fences and outbuildings. Not to be ‘matchy-matchy’, but so the eye moves easily from the house architecture right into the garden. This unified approach works whether you’re dealing with taupe or teal – or kelly green.

3. SPRING FOR SEASONAL BLOSSOMS FOR YOUR CONTAINERS: No, it doesn’t have to be a flowering crabapple tree and hothouse cinerarias in a ceramic Chinese pot, like Giverny, but do splurge on some pussy willows and daffodils and primulas to say farewell to winter and rejoice in spring.

4. TRY TONE-ON-TONE TULIPS: Let’s face it; this big bed would be truly boring if Giverny’s gardeners planted it with just one variety of tulip, so they don’t! They mix four cultivars, which the office could not identify for me, other than to say “four”. What that provides is a bit of pointillism that shimmers, rather than a block of colour. If you do this (and you should) make sure the tulips you choose are slightly different shades of a hue, but all the same class, whether it’s Darwin Hybrids, Triumphs or Late-Flowered tulips.

And be sure to remember the importance of humble, biennial forget-me-nots (Myosotis sylvatica) when you’re designing your tulip plantings. Such an easy, beautiful way to carpet bare spring ground.

5. USE PANSIES & VIOLAS: It takes some planning to produce the beautiful combination in the photo below, where purple pansies and violas are in full flower underneath the tulips as they come into bloom. In mild regions like Normandy, pansies have no problem overwintering. But in colder parts of North America, like Toronto (USDA Zone 5-Canadian Zone 6b), pansies should be planted the previous September so they have time to establish roots before winter. That actually coincides with bulb-planting time, so you can fine-tune your colour choices and positioning of the pansies as you tuck in the bulbs. It’s a good idea to add a mulch (use a layer of shredded, damp autumn leaves) once the ground freezes, and choose the hardiest pansies and violas you can find. Try Icicle Pansies which have been bred for cold winter regions. The Delta, Bingo and Maxim series are also reportedly hardy in the north.

6. FRAME A VIEW: There’s a Monet family story behind those big, old yews at the end of the 172-foot long Grande Allée, for they were once the final evergreens in a double line of conifers that hedged this path. They can be seen in one of the many paintings Monet made in his garden, Pathway in Monet’s Garden, 1900, below:

Monet, looking for more sunshine for the flower garden he was making in front of the house, cut all the path evergreens down except this last pair, which his wife Alice Hoschedé-Monet persuaded him to spare. Apart from the grandeur of the yews as a penultimate focal point before the house facade, look at the way the gardeners have used pink forget-me-nots edging that long path to draw your eye to the pink house, creating beauty out of geometry and symmetry.

7. COLOUR WITH PAINTBOXES: When Gérald Van der Kemp arrived in Giverny in 1977 to restore Monet’s abandoned house and property, there was precious little in the way of garden records. With his American wife Florence, he had earlier established the Versailles Foundation in New York, attracting wealthy American donors to fund the restoration of the palace and gardens at Versailles. And it was $2.5 million in further American funding that would pay for the refurbishment of Monet’s house and garden. For details on the garden in Monet’s time, Van der Kemp and gardener Gilbert Vahé sought the assistance of André De Villiers, assistant to Georges Truffaut, the French garden magazine publisher and nursery chain founder, who had visited the garden and Monet often (below).

As well, Alice Hoschedé-Monet’s great grandson, the late artist Jean-Marie Toulgouat still lived in Giverny and was able to provide Van der Kemp with family correspondence, journals and photos. There were also photos made by Claude Monet himself and visitors, as well as letters he had written or that others had sent to him that mentioned the garden.

As to the colour beds in the Clos Normand, we must imagine Monet playing with his paints, choosing felicitous combinations in the same way he might have combined pigments on his easel — which is why these beds have been described as paintboxes. Rather than a riot of colour, they are planted in discrete hues and kept separate from each other, below.

There are pinks….

….and mauves and lilacs….

…. and blues……

…. and yellows…..

….and reds that pair beautifully with the deep green leaves of emerging perennials…..

….and even the colour of the emerging peonies, here shown in the rings used to keep them upright in spring rains.

In Elizabeth Murray’s book Monet’s Passion: Ideas, Inspiration and Insights from the Painter’s Garden (1989, 2^nd edition 2010), she wrote: “To increase the various atmospheric effects of the garden, Monet planted rich orange, pink, gold and bronze wallflowers and tulips together on the west side of the flower garden to emphasize the effects of the setting sun.”

“Using blue with clear yellow was one of Monet’s favored color combinations…” wrote Elizabeth Murray, and this pretty pairing of Dutch irises with yellow wallflowers and tulips illustrates the wisdom of that choice.

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But it’s in the arrangement of the solid blocks of brilliantly-coloured tulips in the Grand Allée, looking under the rose arches towards the house…..

…..and to the bottom of the Clos Normand…..

….that we see the closest intimation of the paintings that Monet made in 1886 after visiting the bulb fields of Holland. Here is Tulip Fields With The Rijnsburg Windmill (1886)….

…and Tulip Fields at Sassenheim (1886).

It’s these powerful reminders of Monet’s art that makes the garden resonate for me.

8. PLANT FLOWERING TREES: Every garden needs trees with spring blossoms – Monet appreciated this, and painted the garden when his trees were in bloom, as in Springtime at Giverny (1886), below:

Whether ornamentals, like the many lovely Japanese cherries, including slender Prunus serrulata ‘Ama-no-gawa’, shown below in the Clos Normand……

….or edible fruit trees such as pears, plums and apples – like the beautiful espaliered apple trees trained as fencing around the lawn, below, spring-flowering trees play a structural role in Monet’s garden.

9. REMEMBER FRAGRANCE: It’s a simple lesson, but one that we often forget. Scented flowers should be planted where we can appreciate their fragrance. At Giverny, that means a row of Narcissus ‘Geranum’ edging the path…..

….. or a tumble of hyacinths planted where we can inhale their sweet perfume on the wind….

…… or a truss of fragrant snowball viburnum (V. x carlcephalum) at nose height as we pass by.

10. GARDEN THEMATICALLY: Claude Monet became passionate about Japanese arts and crafts. His large collection of woodblock prints by Hiroshige, Hokusai and Utamaro is still displayed on the walls of his house. And in the garden, he turned to the Japanese landscape school to inspire him in creating his famous lily pond. We see the Japanese influence especially in the presence of the bamboo…..

…daylilies……

….. ‘Kanzan’ flowering Japanese cherry, below, and other Japanese flora in the area…..

…including the brilliant azaleas and Japanese maples on its shore.

10. PLAY WITH A POND: For many visitors, the lily pond at Giverny offers the most intimate connection to Claude Monet, given that the wisteria over the Japanese bridge (like the waterlilies, not in bloom here) is the original vine and the bridge itself……

….still looks much as it did in Monet’s The Japanese Footbridge, painted in 1899.

And, of course, there were his many paintings of the famous nymphaea or water lilies, some of which I saw in 2016 in a magnificent show called Painting the Modern Garden: Monet to Matisse at London’s Royal Academy of Arts

But any pond needs context and perspective and a connection with the rest of the garden, and in this respect, Monet’s pond offers other good lessons. The edges are planted to offer foreground interest no matter where visitors stand…..

…. and the weeping willow lends an air of mystery, its long branches cascading to suggest a gauzy screen.

Standing beside the pond, it’s easy to imagine Monet here with his easel — something made easier considering there is video footage of him painting his famous water lilies here at the pond’s edge.

As we leave the pond and Giverny, it seems appropriate to conclude with one of Monet’s masterpieces, painted exactly 100 years ago, its genius that quixotic alchemy of sunlight, reflection, water and flora which, his vision failing, he strived to perfect for the last three decades of his life. I give you Water Lilies, 1917.

June Purple at Spadina House

Posted on June 9, 2016 by Janet

There’s no better place to celebrate ‘purple’ – my featured colour for the month of June – than the lush, lupine-spangled, late-spring gardens in the ornamental potager behind Toronto’s historic Spadina House.

Now a city-owned museum, Spadina House was built in 1866 by Toronto’s James Austin (founder of Dominion Bank, later merged to become Toronto-Dominion Bank, then TD Bank). The property, at the time a 200-acre concession, had been settled originally in 1818 by Dr. William Baldwin, an Irish-born lawyer, doctor, schoolmaster and eventual two-term assemblyman in the town of York (later called Toronto) on land inherited by his wife Phoebe Willcocks and her sister Maria, from their father Joseph. Sitting at the crest of the hill that leads from midtown to downtown – in historical geologic terms, it’s the escarpment overlooking the sloping shoreline of Lake Ontario’s ice-age predecessor, Lake Iroquois – Dr. Baldwin mentioned the name for his new rural home in a letter to his family in Ireland. “I have a very commodious house in the country. I have called the place Spadina – the Indian word for Hill or Mont.” Baldwin’s name came from his hearing of the Ojibway word ishapadenah, which meant “hill” or “rise of land” (and its correct pronunciation for the house is Spa-DEE-na, not Spa-DYE-na). Using a width of two chains (132 feet), Dr. Baldwin also laid out Spadina Avenue itself from Queen Street north to Davenport, at the bottom of his hill. In 1837, Lieutenant-Governor Bond Head ordered the extension of the road further south, almost to the lake.

What is Purple?

Before we head to the back garden at Spadina House, let’s look for a moment at colour. Purple is not a spectral hue, like short-wavelength indigo and violet – the “I” and “V” in our old mnemonic ROYGBIV for the red-orange-yellow-green-blue-indigo-violet of the visible spectrum we see in a rainbow.

Rather “purple” is a word that people today use to describe various combinations of red and blue; it’s also sometimes used to describe colours that are really indigo or violet. It’s a muddy minefield of a colour word, its use open to broad interpretation and its misuse widespread (especially in plant catalogue descriptions!) But purple has an actual history, its etymological origins in the Greek word πορφύρα (porphura), the name given to an ancient pigment from the inky glandular secretions of a few species of spiny murex sea snails that have been harvested from the eastern Mediterranean, perhaps as early as 1500 B.C. In her fascinating book Color: A Natural History of the Palette, Victoria Finlay recounts how she visited the Lebanese city of Tyre, stayed in the Murex Hotel, and sneaked past guards to get to the ancient dye baths that gave rise to the colour Tyrian purple. When she finally found samples of cloth dyed with the colour in the National Museum in Beirut, Finlay was surprised and delighted. “Because it wasn’t purple at all: it was a lovely shade of fuchsia.” More like the hue Pliny wrote about in the first century A.D. “Next came the Tyrian dye, which could not be purchased for a thousand denarii a pound”, and “most appreciated when it is the color of clotted blood, dark by reflected and brilliant by transmitted light.” A colour, perhaps, like this web version of Tyrian purple, below, which looks like Finlay’s deep fuchsia-pink.

The august figure in the centre of my Tyrian purple sample is the Byzantine Emperor Justinian 1 (482-565). Note the “clotted blood” colour of his garments. Justinian was responsible for building the magnificent Hagia Sophia in Constantinople (now Istanbul) in 537, and there is a purple connection to that ancient structure. When I visited it a few years ago, I was struck by the crimson-red pillars; they are made of the mineral porphyry, a word which also traces its roots to the Greek word for purple.

If you were of high enough rank in the Byzantine Empire to warrant Tyrian purple robes, you were considered “born in the purple” and your honorific name very possibly reflected that fact, as with young Porphyrogenetos, below, (Latin, Porphyrogenitus, Greek Πορφυρογέννητο), son of the emperor.

But much earlier – 500 years earlier – Roman emperors had worn Tyrian purple, including the most famous of all, Julius Caesar (100-44 B.C.). In fact, unless you had the power and wealth to wear Tyrian purple robes, you were prohibited from wearing the colour, and could be executed for daring to do so. When Caesar visited Cleopatra in 49 B.C., her sofa coverlets were recorded as having been “long steeped in Tyrian dye”. And in the painting below by French artist Lionel Royer, “Vercingetorix throws down his arms at the feet of Julius Caesar” (1898), we see Caesar adorned in Tyrian purple robes.

Over the eons, I think it’s clear that we’ve come to view “purple” as less reddish (as in clotted blood) and more blue, a kind of deep, rich violet. So let’s head to the flowery back garden at Spadina House and see if we can visually puzzle out some other “purplish” hues.

Back to Spadina House

In the large ornamental potager behind Toronto’s historic Spadina House, the “cottage garden look” is very much in evidence. Within a formal structure of four even quadrants and intersecting cinder paths are rows of vegetables, strawberries and herbs surrounded by a billowing perimeter of herbaceous perennials, including plants like Virginia bluebell, lupine, peony, iris, anthemis, Shasta daisy, veronica, tradescantia, catmint, Japanese anemones and asters, among many others. Old-fashioned annuals grown in cold frames beside Spadina’s greenhouse are planted in the borders each spring. Behind a hedge to the north is an orchard of heritage fruit trees, and south of the house are lawns with old shade trees overlooking downtown Toronto and Spadina Road. And next door is famous (but much younger) Casa Loma.

But in early June, it’s all about lupines, irises, sweet rocket, baptisia and peonies, and there’s a decidedly PURPLE tinge to the garden.

Leaving aside Tyrian purple from ancient history, to my eye this is what purple should look like.

To see a contemporary emblem incorporating the colour purple, look no further than a U.S. military Purple Heart.

At Spadina House, purple is at its best in the deepest-colored flowers of the gorgeous Russell hybrid lupines. Purple lupines grow with lilac-purple chives (Allium schoeneprasum) ….

…and with mauve and white sweet rocket or dame’s rocket (Hesperis matronalis) and luscious violet-purple bearded irises….

Sometimes those purple lupine flowers have Tyrian purple markings (or what we might nowadays call fuchsia-pink) and attract the attention of bumble bees who are strong enough to force open the petals.

Some of Spadina’s beautiful Siberian irises (Iris sibirica) are also purple.

Now I’m going to move on to another ‘purplish’ colour, one that takes its name from the visible spectrum, but also gives its name to a large class of flowers, i.e. violets. In this case, I’ve added a little VIOLET poster girl to the colour swatch, our own native common blue violet Viola sororia. Notice that qualifier “blue”….. ?

Though colour terminology in flowers is very arbitrary, “violet” is also seen as purple by many, but it does have more blue than my purple swatch above. It is seen in many of Spadina’s lovely old bearded irises. Note the difference in hue from the lupines.

Bearded irises come in a rainbow of colours, but the duo below is the classic complementary contrast of yellow-violet from the artist’s colour wheel.

Valerian (Valeriana officinalis), below, is a pretty June companion for violet-purple bearded iris.

Columbines (Aquilegia vulgaris) are charming June bloomers and their colour can be violet-purple, as well as pink, white, yellow, red and much more.

Here with see violet columbines with a single orange poppy (Papaver rupifragum).

And here is columbine consorting nicely with yellow flag iris (Iris pseudacorus) in front of Spadina’s greenhouse.

There is an intense colour of violet with much more blue (yet still not completely in the blue camp) that can be described as BLUE-VIOLET, below.

At Spadina House, some of the Siberian irises have much more blue pigment in their petals and can be described as blue-violet.

Another purplish colour that borrows its name from the world of flora is LAVENDER. Although there are a number of plants we can call ‘lavender’, the one I think of as having flowers of this colour is English lavender, Lavandula angustifolia. That is the plant I’ve put in my lavender-purple swatch below. Less intense, more blue, but a sort of greyed blue.

At Spadina House, I do see English lavender in June, looking quite lovely with the miniature pink rose ‘The Fairy’.

And it’s also in the flowers of the herbaceous clematis, C. integrifolia, seen here with sweet rocket.

Blue false indigo (Baptisia australis) is a wonderful native northeast perennial, and though it doesn’t sit perfectly in my lavender-purple camp, being a little more intensely blue, it is quite close. And certainly not a true blue.

Here it is with the classic white peony ‘Festiva Maxima’. Isn’t this beautiful?

Now we move to yet another variation on blued purple that takes its name from flowers. I’m talking about LILAC. In my view, this one should look as much as possible like the flowers of common lilac (Syringa vulgaris), so that’s what you’ll find in my lilac colour swatch, below. In art terms, this one might be described as a tint, i.e. paler in intensity.

At Spadina, some of the columbines are soft lilac.

And some of the bearded irises, too, like the luscious heritage iris ‘Mme. Cherault’.

The next variation on purple moves further into the red family. Meet MAUVE, below. This color has its etymological roots in the French language, for the French word for the European wildflower common mallow (M. sylvestris) is la mauve. However, its language roots aren’t buried in ancient Greece, but in east end London in Victorian times. For it was here, in 1856, that Royal College of Chemistry student William Henry Perkin, while using coal tar in a quest to discover a synthetic alternative to malaria-curing quinine, came up with a solution with “a strangely beautiful color”. At first, according to Victoria Finley in her book, he called it Tyrian purple, but changed the name to a French flower (la mauve) “to attract buyers of high fashion”. It was a great hit. “By 1858 every lady in London, Paris and New York who could afford it was wearing ‘mauve’, and Perkin, who had opened a dye factory with his father and brother, was set to be a rich man before he reached his twenty-first birthday.”

Mauve’s affinity to red means that people will often say “mauve-pink”, rather than mauve-purple, but there are good reasons for including it in my discussion of purples, if only to differentiate it visually from the more blue hues. At Spadina House, we see mauve in many of the sweet rocket flowers (Hesperis matronalis).

It’s quite clear, when I contrast sweet rocket with some of the irises, that our lexicon for colour proves to be difficult and often ambiguous. Colour vision is a relationship, not an absolute, that depends on our own eyes and of course colour rendition in the medium for viewing, if not in ‘real life’, i.e. a phone or computer screen. What I see is a mauve sweet rocket flower beside a bearded iris with light violet standards and true purple splotches on the falls. But this is a tough one!

Finally, here is mauve sweet rocket with more of Spadina’s beautiful lupines. And what colour do you think those lupines are? I will leave that one with you to ponder.

Later in the month, I promise another look at purple — this time without quite so much colour terminology. Happy June!

Green as in Irish, Green as in Garden

Posted on March 8, 2016 by Janet

Unlike most of my Paintbox Garden ruminations on colour, this one has a slightly more whimsical, personal approach. After all, March (my scheduled green month via my New Year’s resolution), contains St. Patrick’s Day — so two birds with one blog. Ask anyone in my family what my favourite colour is, and they will all know the answer: green. My bedroom walls are kiwi-green; my kitchen is celery-green; our summer cottage is stained sage-green. Even my car is forest-green.

My clothes (many of them, anyway) are shades of green, from bright chartreuse to olive, no matter the season.

Perhaps my passion for green comes from having family roots on the Emerald Isle. This pile of stone and slate is all that remained of my grandfather’s childhood home and blacksmith stable in what was once Kilkinamurry, near Banbridge, County Down, in Northern Ireland. I took the photo when we visited the ‘old country’ in 2008. But look at those lovely spring-green fields! Green as in Ireland!

Campbell House & Blacksmith Shop ruins-County Down

The old Campbell house and blacksmith shop on Glen Corner, as we found it in May 2008 on our trip around Northern Ireland.

This (below) is how it looked in 1917. My great-grandmother Ellen Ann, the gardener, and great-grandfather Patrick Campbell are there in the centre, with some of their children and grandchildren around them, the men in their blacksmith aprons. My grandfather, also named Patrick (Paddy) Campbell and also a blacksmith, had already immigrated to Canada in 1911.

Campbell Family House & Blacksmith Shop- Glen Corner-County Down

From left, daughter Maggie (m. Cooney), granddaughter Minnie McIvor, Ellen Ann, Patrick, son James and grandson Willie (Bill) McIvor.

Yes, Paddy Campbell. Perhaps I’m drawn to green for the love of gardening I inherited from my grandfather, seen here listening to 11-year-old (bossy? eager? young gardener?) me in his vegetable patch in Saskatoon, Saskatchewan, when we would visit from the west coast for our summer vacations. (That’s my uncle Vic and cousin Debbie in the background). If gardening is in the genes, I proudly claim a share of his DNA.

I have green eyes, too, for what it’s worth – and I like to imagine I was born with them so I could ‘see’ the world through nature-tinted irises. But of course, green eyes are a product of inheritance (both my parents had blue eyes, which makes mine kind of rare) and melanin pigment and light scattering, so I can’t claim any special powers there. No, I’m quite sure that my love of restful, cool green is a direct result of being so energized and happy in the green and growing world.

But speaking of pigments, let’s talk about chlorophyll, the pigment that makes our world “green“ and enables our survival on earth through the process of photosynthesis, in which life-enabling oxygen is a waste product. Chlorophyll is in every plant, (there are two types, Chlorophyll A and B, depending on the photosystem of the plant). Though we call it the ‘green’ pigment, in fact it is because it reflects back unused green spectral light waves (sunlight provides the energy or photons needed for photosynthesis) that we perceive it as that verdant colour. In the sugar maple (Acer saccharum) below, the leaves are metabolizing chlorophyll even as they unfurl. A few weeks from now, the full complement of chlorophyll will have turned the leaves dark green.

In the Kentucky coffeetree (Gymnocladus dioicus) below, photosynthesis occurs from the moment in spring when those first leaves unfurl until the moment they lose their chlorophyll and expose the underlying orange and yellow pigments in autumn, before ultimately separating from the tree as falling leaves (abscission). It happens zillions of times a day in every leaf, as long as sunlight is there to power it. That is how the tree feeds itself, and by extension us and other animals – through all the vegetable foods and plant-eating animals we eat.

Once upon a time, we got along quite well understanding the science behind photosynthesis via a simple equation, like the one I made below. The tree leaf absorbs 6 molecules of carbon dioxide via the porous stomata in the leaf surface, while drawing up 6 molecules of water from the soil.Mix them up using solar energy in the chlorophyll-rich chloroplasts in the plant tissue cells, and voila! Plant sugars are synthesized and oxygen is released. End result: the tree feeds itself and grows, and we breathe in the released oxygen. Substitute corn or lettuce or any number of edible plants, and you have the planet’s green grocery store. Add in a grass-eating cow or plankton-eating salmon (incidentally, ocean-borne phytoplankton are responsible for 50% of the world’s oxygen) and you have the photosynthesis-enabled meaty side of the diet.

Perhaps it’s no surprise that photosynthesis is not really as simple as my little bare-bones equation. If you thought it was, do yourself a favour and take 12 minutes to watch this excellent video. Then watch it again, and again, for this is the single most important process for life on earth.

BACK TO THE GARDEN….. Now that I’ve written a blog-length introduction with a lot of questionable personal asides, what is there to say about green in the garden? First, of course, it’s the quiet framework — often evergreen — for all the splashes of colour that attract bees and butterflies (like the Painted Lady on the purple coneflower below). From a design point of view, you need that neutral background to make the colours pop, and give the eyes a rest. And from a biological point of view, each plant must photosynthesize in order to flower, fruit and set seed.

Since many of the plants we think of as “foliage” accents are happier in dappled light, we often consider green designs as being a gift of cool shade, like this leafy section of the David Lam Asian Garden at the University of British Columbia Botanical Garden in Vancouver.

Or this ferny glade at Vancouver’s VanDusen Botanical Garden. What a perfect little scene!
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And I adore the Takata Japanese Garden at Victoria’s Horticulture Centre of the Pacific. Look at all this green, with just the tiniest burgundy-red contrast.

One of my favourite places to visit in May is the shady woodland garden at Toronto’s Casa Loma. It’s full of northeastern wildflowers (trillium, Virginia bluebell, wood poppy, among others), many of them spring ephemerals, but shimmering in a rich tapestry of ostrich ferns.

The Shade Garden at Montreal Botanical Garden is a spectacular part of this world-class garden, and the subject of one of my favourite blogs. I marvel at how they use just the smallest touch of colour to add sparkle to what is an overwhelmingly green eden under mature trees.

Even without dipping into the other colours in the paintbox, you can design some pretty cool combinations using green, as the Toronto Botanical Garden did here using hostas, ornamental grasses and hydrangeas (Hydrangea arborescens ‘Grandiflora’, front, and Hydrangea paniculata ‘Limelight’, rear)

Green is good for drawing lines in the garden, whether ornate, as with the parterre here at Chateau Villandry in France’s Loire Valley, with its symbols of love and music….

…or more simple, like the little Nancy Bryan Luce Herb Garden at New York Botanical Garden. Some years, the green knots are filled with leafy plants like cardoon (Cynara cardunculus), below….

…. and other years, something more colourful, like clary sage (Salvia sclarea), here. You can even draw with green and enjoy the painting when the garden is covered in snow, as with the Beryl Ivey Knot Garden at the Toronto Botanical Garden, below.

Lawns are green, it’s true, but you can even have fun with a boring green lawn by turning it into a checkerboard path like the one here at Lakewinds Bed & Breakfast in Niagara-on-the-Lake, (I’ve blogged about Lakewinds before – have a look.) Though they sometimes seem overused in gardens, hostas are valuable for the elegant foliage statement they make. (If only gardeners would stop cutting off those bee-friendly flowers!) Here are just a few of the thousands of cultivars that boast every possible permutation of ‘green’.

Green furnishings and accessories can be added to the garden with spectacular results. Look at this fabulous scene at Landcraft Environments in Mattituck, on Long Island, New York. The cushion on the chaise lounge is the icing on the foliage-green cake.

And this elegant garden room in Toronto – once a utilitarian garage before being opened up on two walls — was paved in limestone and furnished as a cool, chintz-and-wicker outdoor retreat.

In her Raleigh, North Carolina garden, garden writer Helen Yoest has this mint-green Luytens bench to sink into when she needs a rest. Isn’t it pretty?

Containers can be green-themed, too. I love my little Home Depot ceramic pots, below. Filled with succulents – they head out to the deck table each spring and I ignore them almost all summer.

Well, there are containers, and then there are containers….. How about these wonderful urns from Landcraft Environments? Gorgeous, right? (By the way, though Landcraft is a wholesale nursery and closed to the public, it does open one day this summer for the Garden Conservancy, on July 9th, 2016. Plan a trip to the Hamptons around it; you won’t be sorry!)

Let’s end this little exploration of green with a few vignettes. The first is from Chanticleer Garden in Wayne, PA, near Philadelphia, my favourite small public garden in North America. (I’ve blogged about Chanticleer before, Part 1 and Part 2). Yes, it’s a pleasure garden with a talented roster of designers at the top of their game (including Dan Benarcik, the creator of this scene). Yes, there are greenhouses in which to store all the delectable tropical plants used here. And yes, there’s a generous budget and most of us can only afford the inspiration, not necessarily the ingredients. But isn’t it wonderful, this lush, green greeting? Don’t you want to linger before opening the door?

But even a small space can feature a tiny, perfect vignette, like this cool green welcome in Portland designer/writer/garden guru Lucy Hardiman’s colourful garden. A Paris bistro chair, an array of green foliage plants, a soft-green wall behind, and a funky ceramic tile in the brick paving, just to keep things interesting. Perfection. Something to think about, as we contemplate another chlorophyll-rich spring in our own gardens.

Janet Davis Explores Colour

In the garden & the world

Category Archives: Colour Theory

A Denver Floral Extravaganza – The Garden of Rob Proctor and David Macke

Orange Punch!

Spring Lessons from Giverny

June Purple at Spadina House

Green as in Irish, Green as in Garden

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