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<h5>European Route of Historic Gardens Association</h5>
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The European Route of Historic Gardens

Design

Header image

Thanks to Rubió i Tudurí, Santa Clotilde Gardens benefit from a design that was able to adapt carefully to the truly difficult relief of the terrain. 
<h3>General design of Santa Clotilde Gardens</h3>
In the first place, the design begins with lines of sight that recreate architectonic lines with curtains of trees. In this way, continuity is achieved between the garden and surrounding nature, without losing the autonomy of the space. In this sense, the sea plays a vital role in the gardens: it helps to create continuity, unlike the English landscaping model, which usually presents the garden in isolation from its environs.
Another aspect of the garden, differentiating it from other European gardens, is the absence of surrounding walls, which were substituted by gentle earth banks. This obtains greater oxygenation of the garden and appeals to the natural aspect. It differs from the Italian model, which uses walls of trees as barriers around the perimeter.
The technique used here is to make steps in the land with terracing, where the paths cross by means of ramps and steps between the different heights. The buildings are in the highest part of the land and crown the gardens that descend towards the sea, which is an undeniable aesthetic criterion from a conical perspective.
The gardens are arranged around the main stairway, known as the Stairway of the Mermaids, which goes from the terrace around the house to the sea and is crossed by three paths. The central steps and paths meet in a large space that resembles a Mediterranean amphitheatre with classic symmetry. The slopes of the land allow visitors to see how the garden meets the sea from different strategic vantage points. In this way, the coves of la Boadella and Santa Cristina look like the natural prolongation of the different terraces.
In the design of the gardens, of nineteenth century inspiration as remarked above, not only the architecture aims to achieve a work of art; the elements of the garden respect a similar criterion. Three elements contribute to defining the Santa Clotilde’s particular style: the vegetation, the sculptures and water.
<h3>Vegetation</h3>
Regarding the vegetation, Rubió i Tudurí decided that most of the species used should be autochthonous and characteristic of the Mediterranean climate. They were planted beginning in the 1920s, and consisted both of trees and shrubs with perennial leaves (pines, cypresses and cedars) and of deciduous trees (lime and aspen). With this variety he succeeded in creating great diversity in the colours, by contrasting the shades of green in the perennial trees with the variety of colours in the deciduous species, whose leaves change colour depending on the season. However, the gardens also include some species from other latitudes which he decided to adapt, such as Himalayan cedar (Cedrus deodara), Atlas cedar (Cedrus atlantica), small-leaved lime (Tilia cordata) and Monterey cypress (Cupressus macrocarpa).
The design of the proposed vegetation, the selection and specific position of the plants aimed to achieve a series of effects, particularly two: on one hand, the careful contrast with the natural woodland on the eastern side of the entrance to the gardens; on the other, in order to transmit the nineteenth century notion of domesticated nature, the use of topiary art in some places. This refers to the technique of systematically pruning different plant species to create architectonic spaces and artistic elements.
Another aspect to highlight in the design of the vegetation is the use of some elements with a symbolic significance. Three of these can be noted:
<h4>Few flowers</h4>
This decision alludes to the model of Renaissance gardens, acknowledging it as a source of inspiration. The chromatic effect of the green masses of trees and smaller plants, nearly all with perennial leaves, predominates in the gardens. This is a strategy to give the plant ensemble rigorous homogeneity, only altered by the whiteness of the sculptures.
<h4>Use of ivy</h4>
Some examples of this species were planted in the countersteps of the stairways, with a very attractive result. This is a technique that efficiently integrates the stairways into the gardens, naturalising them and transmitting a unified notion of the space. After experimenting with this technique in Santa Clotilde, Rubió i Tudurí, used it in many other gardens.
<h4>Use of bay trees</h4>
Bay is a tree that has traditionally been linked with Lloret de Mar, as the name of the town and its coat of arms indicate. In contrast, a plant should be mentioned that is characteristic of many Mediterranean gardens but which was not planted in Santa Clotilde: palm trees. When he was planning the vegetation, Rubió i Tudurí had to discard it because it would have been a strange species in a place that took as its initial point of reference the model of Italian gardens, inspired by the Renaissance.
<h3>Main spaces in the structure of Santa Clotilde Gardens</h3>
Rubió i Tudurí’s talent created the gardens in a very particular style, thanks to the way in which he adapted to design to the relief of the terrain. The architect began with a series of visual strategies based on the three main elements in the gardens: vegetation, sculptures and water:
<ul>
<li>Symmetries and visual concentrations: an appropriate use of the plant fences, which make walls, and particular elements, the position of the sculptures, to direct visitors’ eyes towards a series of strategic points, such as the descent of the main stairway to the sea.</li>
<li>Dialogue between the gardens and the environs: the Mediterranean Sea and the rugged coast in the surroundings help to create a great visual effect.</li>
<li><strong style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, 'Noto Sans', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 1rem;">Use of the vegetation<span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, 'Noto Sans', sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 1rem;">: Species and colours are another resource to enjoy the view. The effect of the contrast is enhanced by the blue of the sky, the permanently green vegetation and the white sculptures.</li>
</ul>
All together, a series of visual strategies were deliberately used by Rubió i Tudurí to provoke the active participation of the visitors in the gardens. The position of these elements subtly invites frequent movements and changes of position, in search of the different perspectives of the landscape. The gardens can be visited according to thirteen points – successive stages from the entry point. These points can be grouped according to their typology: promenades and paths, squares, vantage points and steps.

These run parallel to the sea and connect the squares with vantage points. They contain sculptures of neo-classic busts.
The pergola is the part of the gardens used as a museum, with a series of banners that give general information about the garden and the people who helped to create it.

Promenades and paths

These are a series of positions with views over the sea. There are two of them, at opposite ends of the gardens, as well as the main stairway, the Stairway of the Mermaids, which despite not being a viewpoint, descends to the sea and provides an impressive perspective.
La Boadella viewpoint is also a strategic point for watching the birds in the area: gulls and other seabirds, the mouth of the River Tordera and the coves of S’Agulla, Santa Cristina and la Boadella.

Vantage points

These are among the most characteristic elements in the gardens and totally necessary because of height of the terrain. As they adapt to the complicated relief, the stairways provide excellent views over the surrounding scenery.
The Stairway of the Mermaids is the main one, the true central axis allowing the gardens to adapt to the terrain. It is adorned by five bronze sculptures of mermaids.

Stairways

Conceived as places for contemplation, most of the squares have benches where visitors can rest. The Square of the Mermaids is in the centre, where the three main paths in the gardens meet. Exquisitely designed, it is surrounded by magnificent cypresses and adorned by four neo-classic busts and the two bronze mermaids.

Squares

Description

General

© Emigus-PSML

© PSML

Park of Montserrate

Lloret de Mar Town Council

Aranjuez Real Sitio y Villa

Aranjuez Cultural Landscape Foundation

Ayuntamiento de Orihuela

Junta de Castill y Leon

Ayuntamiento de Bejar

Consell de Mallorca

Museum of King Jan III’s Palace at Wilanów

Parc Samà

Storico Giardino Garzoni Collodi

Royal Palace of Gödöllő

José do Canto Botanical Garden

Zugdidi Botanical Garden

Van Buuren Museum & Garden

Giardino di Boboli

Villae Tivoli

Museo Storico e il Parco del Castello di Miramare

Hungarian garden heritage foundation

Gardens of the Royal Castle in Warsaw

Herrenhauser Gardens

Reggia di Caserta

Direzione regionale musei della Toscana

Patronato de la Alhambra y Generalife

Municipal Park of Naoussa

Natural Agency for Cultural Heritage Preservation Georgia

National Garden

Xunta de Galicia

Galicia

Sofievka

National Museum in Warsaw

Our members

© Luis Duarte-PSML

© Nuno Oliveira-PSM

Park of Pena

Jardins do Palácio Nacional Queluz

Paisaje Cultural de Aranjuez

Parc Samà, Cambrils (Spain)

Finca Raixa

Alhambra and Generalife Gardens

Santa Clotilde Gardens

Serralves Park, Porto (Portugal)

Serralves Park

Batumi Botanical Garden

National Botanical Garden of Georgia

Tsinandali Alexander Chavchavadze Museum and Garden

Herrenhausen Gardens

Historical Museum & Park of Miramare Castle

Reggia Di Caserta

Villa d’Este

Boboli Gardens 

Historic Garzoni Garden

Gardens of the Royal Castle in Warsaw, (Poland)

Gardens Of The Royal Castle In Warsaw

Van Buuren Gardens

Sofievka Park, Uman (Ukraine)

Sofievka Park

Municipal Park of Naoussa - Lake

Municipal Park of Naoussa - Flower beds

Municipal Park of Naoussa - Park from above

Municipal Park of Naoussa - Spring

Municipal Park of Naoussa Balcony

Municipal Park of Naoussa - Pebble pave

Municipal Park of Naoussa - Statue heroes

Municipal Park of Naoussa - Natural stone faucet

Municipal Park of Naoussa - Winter

Municipal Park of Naoussa - Main entrance

Municipal Park of Naoussa Folklore boules dancing

Municipal Park of Naoussa - Historic busts

Municipal Park of Naoussa - General city view and park

National Gardens of Athens

Esterházy Palace

Kamieniec Palace

Home

Palace garden in Nieborów, aerial view of the palace and the forecourt, Sylwester Cichal,

Palace garden in Nieborów, aerial view of the linden alley and the regular garden, Sylwester Cichal

Palace garden in Nieborów, boxwood mazes, Sylwester Cichal

Palace garden in Nieborów, Monika Antczak

Palace garden in Nieborów, aerial view of the linden alley, Sylwester Cichal

Palace garden in Nieborów, the linden alley, Dariusz Piwowarski

Hornbeam espalier in the garden in Nieborów, Monika Bajkowska

Palace and garden complex in Nieborów, Dariusz Bógdał

Palace garden in Nieborów, view of the palace from the linden alley, Sylwester Cichal

Palace garden in Nieborów, ornamental parterres, Sylwester Cichal

Palace garden in Nieborów, ornamental parterres and boxwood mazes, Sylwester Cichal

Old orangery in Nieborów, aerial view, Dariusz Bógdał

Old orangery in Nieborów, Dariusz Piwowarski

Garden cabinets in the regular garden in Nieborów, Katarzyna Piotrowska

Kitchen garden in Nieborów, Katarzyna Piotrowska

Vineyard in the kitchen garden in Nieborów, Agnieszka Chmielewska

Linden alley in Nieborów, Monika Antczak

Garden cabinet with the eagle column, garden in Nieborów, Dariusz Piwowarski

Garden canal in Nieborów, Monika Antczak

Alley by the canal in Nieborów, Monika Antczak,

Canal in the garden in Nieborów, Monika Bajkowsk

Plane trees in the palace garden in Nieborów, Xenia Modrzejewska-Mrozowska

Old orchard in Nieborów, Katarzyna Żak-Zatorska

Orchard in winter, Nieborów, Sylwester Borusiak vel Boruta

Exhibition: conservation works in the Nieborów palace garden, Sylwester Cichal

Nieborów palace garden

Palace Garden in Nieborów

Burgrave’s House in Arkadia, Monika Antczak

 Temple of Diana in Arkadia, view across the pond, Włodzimierz Pietrzyk

Greek Arc in Arkadia, Sylwia Salamądra

Gothic House in Arkadia, Dariusz Piwowarski

Sentimental garden in Arkadia, aerial view, Dariusz Bógdał

Sphinx sculpture by the Temple of Diana in Arkadia, Włodzimierz Pietrzyk

Sentimental Park in Arcadia

High Priest’s Shrine in Arkadia, Xenia Modrzejewska-Mrozowska

Gothic House and the Sybil’s Grotto in Arkadia, Dariusz Piwowarski

Temple of Diana in Arkadia, aerial view, Dariusz Bógdał

Aqueduct in Arkadia, Monika Antczak

Greek Arc in Arkadia, Dariusz Piwowarski

Tomb on Poplar Island in Arkadia, Sylwester Cichal

Pond in Arkadia, Xenia Modrzejewska-Mrozowska

Pond with an island in Arkadia, Dariusz Piwowarski

Sheep in Arkadia, Monika Antczak

Sentimental Park in Arkadia

Soutomaior Castle

Alameda Park

Pazo de Lourizán

Pazo de Mariñán

Pazo de Oca

Pazo de Rubianes

Pazo de Santa Cruz de Rivadulla

Manoir de Santa Cruz de Rivadulla

Pazo Quinteiro da Cruz 

Pazo Quiñones de León

LABPACT-SERP / Universitat de Barcelona

Eduard Petzold European Centre for Garden Art

AJH Associaçao Portuguesa dos Jardins Históricos

Cracow University of Technology Landscape Architecture Institute

Universidad de Girona Campus Patrimoni Cultural i Natural Parc Científic i Tecnològic 

University of Lisboa

ACRE (Spanish Association of Conservators and Restorers of Cultural Heritage)

Associazione Parchi e Giardini d'Italia

Our collaborators

Sarny Castle, Ścinawka Górna (Poland)

Sarny Castle

van Buuren Museum & Gardens

Giardino della Villa medicea di Castello

El Bosque de Béjar

Park of the Károlyi Mansion and Arboretum of Fehérvárcsurgó

Gödöllő Royal Palace Park

El Palmeral  de San Antón

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