Renessansehagen – utforming og hagekunstneriske motiver

Ingebjørg Hage

doi:10.7557/13.1803

Abstract

The focus of this article is the gardens of the Italian Renaissance, their main motifs of garden art and how these motifs spread through Europe during the centuries. Motifs from the garden art of Firenze and Rome in the fifteenth and the sixteenth centuries were established in France, England and the German speaking countries during the sixteenth and seventeenth centuries, and in Norway during the seventeenth. These gardens started among the Italian aristocracy, but as the gardens and garden motifs went north they were also adopted by the less well to do classes. Still during the twentieth century small parterre gardens with the same lay-out as in the Italian Renaissance could be found in small scale farm gardens in marginal parts of Europe - for example in Norway, Germany and Switzerland. Single garden motifs survived during the centuries, and they were performed in local materials, but the garden concept from the Italian Renaissance had disappeared.

Highlights

Summary The focus of this article is the gardens of the Italian Renaissance, their main motifs of garden art and how these motifs spread through Europe during the centuries
Motifs from the garden art of Firenze and Rome in the fifteenth and the sixteenth centuries were established in France, England and the German speaking countries during the sixteenth and seventeenth centuries, and in Norway during the seventeenth
Still during the twentieth century small parterre gardens with the same lay-out as in the Italian Renaissance could be found in small scale farm gardens in marginal parts of Europe – for example in Norway, Germany and Switzerland

Summary

Introduction

All den tid Gartner nevner forholdene i Nordland i sin hagebok og omtaler ”Peder Tønder Til Dønnes” som ”Høygunstige Patron”[41], er det nærliggende å tro at han også hadde vært på Dønnes og hatt noe med hagen der å gjøre. Men i mange både store og små hager, også i Norge, har det vært brukt hagekunstneriske motiver med utgangspunkt i renessansen, uten at de dermed kan karakteriseres som renessansehager.

Results

Conclusion