Scent of the Garden

Description This title helps you create a fragrant paradise to enjoy throughout the year, shown in stunning photographs.

You can make the most of scent around the garden by planting bulbs, annuals, perennials, herbs and small trees. You can choose beautiful plants that will calm, stimulate and uplift the body and spirit, such as butterfly bushes, honeysuckle, hyacinths, jasmine, lavender, lilac and roses. It describes scented schemes for many different garden styles, including cottage, Mediterranean and formal. It features an at-a-glance reference chart giving plant descriptions and a guide to their common names. Smell is one of the most powerful of our senses, and a glorious garden filled with subtle or intoxicating fragrances can affect our mood and wellbeing.

Dumbarton Oaks Rare Book Collection. Fa i rch i l d Ruggl e s he senses, under the aegis and direction of the mind, give us a world. Aesthetics, Nature, and Culture T h e topic of sou n d a n d sce n t is bot h de e ply h istor ic a l a n d uterly modern. In the present, we struggle with ways of understanding the sensory experience of past gardens and landscapes, knowing them to have been richly scented and sonorous but being incapable of re-creating the precise soundscapes and scents that have long since disappeared. Poetry may praise the scents, sounds, and tactile pleasures of historic gardens—a fragrant lower, birdsong, the splashing of a fountain—and these texts not only tell us that the sensory experiences of smell, sound, and touch existed but also reveal something about the ways that people valued and enjoyed them in the past.

However, the transmission of sensory information from past to present is invariably a translation from one mode of sensory perception to another, with some losses incurred as a result. In historic environments, we see evidence for the existence of sensory stimuli in gardens with fountains and plant beds, but it is much more diicult to understand the impact of such sounds and scents on human beings.

Can the historic soundscape of a garden with running water and birds be re-created for ears that are accustomed to the hum of air conditioning and loud music from radios and other mobile devices?

Even if entirely vanished, some approximation of its visual efect can be experienced by looking at photographs and painted views. Whether looking at a tangible form, as in the garden itself, or the image of a form, as in a picture or writen description, the primary vehicle for perception is the human eye.

We know that landscapes are sites also of sound and scent, but we assign these sensory efects to a lesser rank that can be ignored. Since the actual perceptions vanish quickly, their traces are usually visual signs that represent the lost sensory experience: What this means is that our access to the past is almost entirely a visual one. In this, sen- sory perception is like memory: Whether rely- ing on the eyes, ears, or nose, the living human being is always dependent on the modern sensory organ, which has been trained to identify a stimulus and atribute meaning to it, to respond cognitively to likes and dislikes, and simply to pay atention or ignore.

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But they pose a problem for the historian, whose concern is the there and then. In analyzing the senses, it is important to diferentiate between the catalyst—the thing creating the sound or scent—and human perception, which consists of an individ- ual and a socially conditioned response. Both catalyst and human recipient occupy the same envelope of time, yet the time is not static.

In an essay well known among scholars of sound, Walter Ong wrote that the sonic world is a temporal world of events—performa- tive and dynamic, literally waves in motion. In contrast, the world of sight is a static world of objects. He draws our atention away from the stimulus and the historical problem of representation and toward the body and the spatial environment about which the senses provide information.

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For Rodaway, the senses are sign systems that mediate communi- cative exchanges between subjective humans. He distinguishes between the senses in terms of reception, deined as a mode of sensation acquired through a speciic sensory organ, and cognition, deined as a mental framework that imposes meaning on received sensory information. Smell typically requires spatial immediacy to be discerned. Likewise, a building may have a distinctive smell, as in the yeasty aroma of a bakery or the mustiness of a library.

Whether emanating from the landscape or a building, however, smells all require pres- ence: Indeed, the experience of smell penetrates beyond mere environmental con- tiguity because odors enter into the body. In the act of breathing—which may be consciously controlled but is certainly not voluntary—one can scarcely avoid smelling, but one can also actively pursue it and seek to intensify the sensation. When sniing a delicate scent, one instinctively leans forward to put the nose close to the source and inhale forcefully to bring the odor not only into the nose but speciically up to the nasal membrane of odor-detecting nerve cells.

Murray Schafer divided sound into diferent spheres. Unlike the soundield, the soundscape is a human-centered model; it surrounds us and comes from external stimuli that we do not control. If you pick the right plants it is possible to get a veritable bouquet of smells in the garden. Some herbs give off their odor freely. But to get a whiff of many, students must first pluck a leaf. The scent will linger as they roll the leaf between their fingers. For a nice base of fragrance, try planting some common herbs like basil, mint, lavender, oregano, rosemary and thyme. They are often used in cooking and have very specific smells.

Next, try adding a few herbs that produce aromas children are already familiar with.

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There are a lot of plants that smell like lemon when you press upon their leaves. Five common ones are lemon balm, lemongrass, lemon thyme, lemon basil and lemon verbena. Many herbs also smell of mint when you pinch their leaves or flowers between your fingers. A few well-known ones are costmary, mountain mint and St. The banana mint even has a faint scent of fruit.

Keep one tip in mind when working with the original mint species Mentha though—it tends to take over.

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It is important to keep this plant separated from others. If you box if off by itself that is fine. If it is one plant in a larger garden you will want to put it in its own pot.