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I believe that a really good way to understand a culture | 0:00:02 | 0:00:05 | |
is through its gardens. | 0:00:05 | 0:00:07 | |
This is an extraordinary journey | 0:00:07 | 0:00:09 | |
to visit 80 inspiring gardens from all over the world. | 0:00:09 | 0:00:13 | |
Some are very well known, like the Taj Mahal or the Alhambra. | 0:00:13 | 0:00:17 | |
And I'm also challenging my idea of what a garden actually is. | 0:00:17 | 0:00:22 | |
So I'm visiting gardens that float on the Amazon, | 0:00:22 | 0:00:25 | |
a strange fantasy in the jungle, | 0:00:25 | 0:00:27 | |
As well as the private homes of great designers, | 0:00:27 | 0:00:30 | |
and the desert flowering in a garden. | 0:00:30 | 0:00:33 | |
And wherever I go, I shall be meeting people | 0:00:33 | 0:00:36 | |
that share my own passion for gardens, | 0:00:36 | 0:00:38 | |
on my epic quest to see the world | 0:00:38 | 0:00:40 | |
through 80 of its most fascinating and beautiful gardens. | 0:00:40 | 0:00:44 | |
This week, on my journey to explore the world through its gardens, | 0:00:54 | 0:00:58 | |
I'm visiting the place where, for us in Britain at least, it all began. | 0:00:58 | 0:01:03 | |
This is where East met West, Christianity met Islam, | 0:01:03 | 0:01:06 | |
and where Moorish and European design collided - | 0:01:06 | 0:01:10 | |
the Mediterranean. | 0:01:10 | 0:01:13 | |
This is the cradle of western civilisation, | 0:01:13 | 0:01:16 | |
and certainly where the most enduring influences | 0:01:16 | 0:01:20 | |
on all our modern gardens have evolved. | 0:01:20 | 0:01:23 | |
My journey begins with the gardens of the Italian Renaissance, | 0:01:27 | 0:01:31 | |
and of the Roman Empire that inspired it. | 0:01:31 | 0:01:34 | |
Crossing the Mediterranean, I will visit Islamic gardens in Morocco, | 0:01:34 | 0:01:39 | |
before going north over the straits of Gibraltar | 0:01:39 | 0:01:42 | |
to Spain, where these two great cultures co-existed | 0:01:42 | 0:01:45 | |
and where I will visit one of the truly great gardens of the world. | 0:01:45 | 0:01:49 | |
From its beginnings, 750 years before the birth of Christ, | 0:01:57 | 0:02:02 | |
the city of Rome grew to control a vast empire | 0:02:02 | 0:02:04 | |
which dominated the whole of the Mediterranean region, | 0:02:04 | 0:02:07 | |
not to say the rest of Europe, until the fifth century AD. | 0:02:07 | 0:02:12 | |
But my first two gardens are to be found | 0:02:18 | 0:02:21 | |
in the nearby resort of Tivoli. | 0:02:21 | 0:02:24 | |
Tivoli is just an hour's drive outside Rome | 0:02:26 | 0:02:29 | |
and a day's journey by horse. | 0:02:29 | 0:02:31 | |
And since classical times, this is where those wealthy enough to do so | 0:02:31 | 0:02:36 | |
have chosen to have their holiday homes. | 0:02:36 | 0:02:38 | |
This is where they retreated from the hustle and bustle of Rome. | 0:02:38 | 0:02:41 | |
The climate's much kinder - the air is very sweet | 0:02:41 | 0:02:45 | |
and also, it has an exceptionally good water supply. | 0:02:45 | 0:02:48 | |
And that water is harnessed to stunning effect | 0:02:48 | 0:02:51 | |
in my first garden - | 0:02:51 | 0:02:53 | |
the Renaissance masterpiece of the Villa d'Este. | 0:02:53 | 0:02:56 | |
This may seem like an insignificant side street, | 0:03:11 | 0:03:14 | |
but it is in fact the main road from Rome, | 0:03:14 | 0:03:17 | |
and the garden was designed to be visited | 0:03:17 | 0:03:19 | |
starting from here, the bottom. | 0:03:19 | 0:03:21 | |
The modern visitor isn't allowed to come through here | 0:03:21 | 0:03:23 | |
but we've got permission, so I'll take you through. | 0:03:23 | 0:03:26 | |
The first thing that you notice when you come in is the sound of water, | 0:03:29 | 0:03:33 | |
and that is a distinct clue of what's to come. | 0:03:33 | 0:03:36 | |
But in general, this entrance doesn't give much away. | 0:03:36 | 0:03:39 | |
It's beautiful, it's quite grand, but it is deliberately understated. | 0:03:39 | 0:03:44 | |
However, there is this big axis running down, | 0:03:44 | 0:03:46 | |
with a dramatic fountain at the end. | 0:03:46 | 0:03:49 | |
Turn aside from this central path | 0:03:54 | 0:03:56 | |
and you will see one of the great water features... | 0:03:56 | 0:04:00 | |
and another. Water is the main theme of Villa D'Este, | 0:04:06 | 0:04:09 | |
and it is everywhere in the garden. | 0:04:09 | 0:04:11 | |
The garden was built in the 16th century as a summer palace | 0:04:11 | 0:04:15 | |
for Cardinal Ippolito d'Este, | 0:04:15 | 0:04:17 | |
and its eight acres are the most perfect example | 0:04:17 | 0:04:19 | |
of a High Renaissance garden. | 0:04:19 | 0:04:21 | |
In order to really understand this High Renaissance garden, | 0:04:21 | 0:04:24 | |
you need to go back to a book published in 1485 | 0:04:24 | 0:04:28 | |
by a man called Alberti, called The Books of Architecture. | 0:04:28 | 0:04:31 | |
It did two things. | 0:04:31 | 0:04:32 | |
One, it explained the rules of Roman and Greek design, | 0:04:32 | 0:04:36 | |
which was so influential. | 0:04:36 | 0:04:38 | |
And two, it made this statement - | 0:04:38 | 0:04:40 | |
"Everything that nature produces is regulated by the law of harmony, | 0:04:40 | 0:04:44 | |
"and her chief concern is that everything should be perfect." | 0:04:44 | 0:04:48 | |
Now, this was incredibly liberating, because instead of seeing nature | 0:04:48 | 0:04:52 | |
as a hostile force that you had to protect yourself against, | 0:04:52 | 0:04:55 | |
you could embrace it, and use that harmony and that balance | 0:04:55 | 0:04:59 | |
as an expression, and that is revealed in this garden everywhere. | 0:04:59 | 0:05:04 | |
And above all, it allows that one element | 0:05:04 | 0:05:07 | |
that you see in this garden, which is control. | 0:05:07 | 0:05:11 | |
Ippolito d'Este, the son of Lucrezia Borgia | 0:05:15 | 0:05:18 | |
and a bishop from the age of two, | 0:05:18 | 0:05:20 | |
was one of the wealthiest and most ambitious men of his age. | 0:05:20 | 0:05:23 | |
Between 1550 and 1565, Pirro Ligorio, the papal architect, | 0:05:23 | 0:05:29 | |
was hired to design and oversee the construction of his gardens. | 0:05:29 | 0:05:32 | |
Ligorio plundered the ruins of nearby Hadrian's Villa, | 0:05:32 | 0:05:36 | |
and employed the best artists and craftsmen that money could buy. | 0:05:36 | 0:05:41 | |
The garden was and is a combination of allegory, | 0:05:41 | 0:05:45 | |
learning, history and design, | 0:05:45 | 0:05:47 | |
and was intended to impress every visitor with its magnificence. | 0:05:47 | 0:05:52 | |
The Fountains of Tivoli are probably the most important in the garden, | 0:05:57 | 0:06:00 | |
because it's where the water comes in, | 0:06:00 | 0:06:02 | |
and immediately it's harnessed to create jets and sprays | 0:06:02 | 0:06:05 | |
and fountains. It's played with. | 0:06:05 | 0:06:08 | |
The nymphaeum was a watery grotto, | 0:06:08 | 0:06:11 | |
and a feature borrowed directly from Roman gardens. | 0:06:11 | 0:06:14 | |
Originally, visitors could walk behind this cascade | 0:06:14 | 0:06:17 | |
eas a kind of a watery game. | 0:06:17 | 0:06:19 | |
This is very ornate, but it is very slippery, | 0:06:23 | 0:06:26 | |
so I can see why the public isn't allowed in. | 0:06:26 | 0:06:29 | |
But it is extraordinary to feel the power of the water falling. | 0:06:29 | 0:06:36 | |
The people watching us filming can have no idea | 0:06:50 | 0:06:54 | |
of the intensity and power of this water | 0:06:54 | 0:06:57 | |
that's coursing through the veins of this garden. | 0:06:57 | 0:07:01 | |
The garden is an extraordinary feat of hydraulic pyrotechnics, | 0:07:05 | 0:07:09 | |
and I asked the garden's technical assistant how it all worked. | 0:07:09 | 0:07:13 | |
Does it need pumps to make it work, or is it...how is it fed? | 0:07:15 | 0:07:18 | |
TRANSLATION: There are no pumps in this garden, | 0:07:18 | 0:07:21 | |
as every fountain is gravity-fed. | 0:07:21 | 0:07:23 | |
They all function at the same time, | 0:07:23 | 0:07:26 | |
and the water flows at about 500 litres per second. | 0:07:26 | 0:07:32 | |
This hydraulic system is still the original one, | 0:07:32 | 0:07:35 | |
and although some repairs have been made in the past, | 0:07:35 | 0:07:39 | |
every single part is faithful to the original. | 0:07:39 | 0:07:42 | |
'The hundreds of water features are all fed by the local river, | 0:07:44 | 0:07:49 | |
'and controlled by 300 sluice gates. | 0:07:49 | 0:07:53 | |
'Francisco shows me how this wheel can turn off the enormous fountain | 0:07:53 | 0:07:57 | |
'of the organ on the lower terrace.' | 0:07:57 | 0:07:58 | |
-OK. -Ready. -Is it stiff? | 0:07:58 | 0:08:02 | |
Coming off? Right. OK. | 0:08:02 | 0:08:05 | |
It takes almost four minutes for the water to clear | 0:08:10 | 0:08:13 | |
from the tallest spouts... | 0:08:13 | 0:08:14 | |
and just as long to get it going again. | 0:08:18 | 0:08:21 | |
While most of the fountains were intended to impress, | 0:08:23 | 0:08:26 | |
one was designed as a Renaissance joke. | 0:08:26 | 0:08:30 | |
The Fountain of the Owl soaks onlookers | 0:08:30 | 0:08:32 | |
when they inadvertently tread upon a hidden button on the ground. | 0:08:32 | 0:08:36 | |
This is the Walk of a Hundred Fountains, | 0:08:40 | 0:08:43 | |
and it's made out of three canals tiered on top of each other, | 0:08:43 | 0:08:47 | |
running along a 130 metre terrace. | 0:08:47 | 0:08:50 | |
This is not just a horticultural masterpiece. | 0:08:57 | 0:09:00 | |
It is also intended to represent the canal | 0:09:00 | 0:09:03 | |
that flows from Tivoli to Rome, | 0:09:03 | 0:09:05 | |
a direct metaphor for the Cardinal's intense ambition | 0:09:05 | 0:09:09 | |
for the papal throne at Rome. | 0:09:09 | 0:09:11 | |
And I think it's one of the loveliest things | 0:09:13 | 0:09:16 | |
that I've ever seen in a garden, anywhere in the world. | 0:09:16 | 0:09:19 | |
The Renaissance drew its inspiration | 0:09:22 | 0:09:25 | |
from the Rome of over 1,000 years earlier, | 0:09:25 | 0:09:28 | |
the Rome of the classical era. | 0:09:28 | 0:09:29 | |
Indeed, many of Villa d'Este's statues | 0:09:29 | 0:09:32 | |
were looted from nearby Roman sites. | 0:09:32 | 0:09:34 | |
The visitor finally arrives at the top of the garden, | 0:09:43 | 0:09:47 | |
a little weary, and certainly overcome | 0:09:47 | 0:09:51 | |
with the splendour and the power expressed through this garden. | 0:09:51 | 0:09:56 | |
You then turn to look over it, | 0:09:56 | 0:09:57 | |
and what you see is not just the garden, | 0:09:57 | 0:10:00 | |
but the landscape stretching as far as the eye can see, | 0:10:00 | 0:10:03 | |
and you realise the man that has made this | 0:10:03 | 0:10:06 | |
has control over the whole lot. | 0:10:06 | 0:10:08 | |
This garden is all about power. | 0:10:08 | 0:10:11 | |
But it's worth remembering that the man who made it, Cardinal d'Este, | 0:10:11 | 0:10:15 | |
never attained the power that he craved. | 0:10:15 | 0:10:19 | |
He never became Pope. | 0:10:19 | 0:10:21 | |
But what he did do was leave a legacy through his garden | 0:10:21 | 0:10:25 | |
that has endured for centuries. | 0:10:25 | 0:10:28 | |
My next garden is only a mile or two away down the hillside, | 0:10:32 | 0:10:37 | |
although to get to it, I have to go back 1,500 years in time. | 0:10:37 | 0:10:42 | |
Villa Adriana, or Hadrian's Villa, | 0:11:01 | 0:11:03 | |
was built in the beginning of the second century | 0:11:03 | 0:11:07 | |
by the Emperor Hadrian, | 0:11:07 | 0:11:08 | |
when the Roman Empire was at its absolute peak, | 0:11:08 | 0:11:10 | |
and above all, it's an expression of imperial power. | 0:11:10 | 0:11:14 | |
It's also a marvellous example of classical design that's gone on | 0:11:14 | 0:11:17 | |
to influence gardens and buildings, right to the present day. | 0:11:17 | 0:11:21 | |
Hadrian ruled as emperor for 21 years, from 117 to 138 AD. | 0:11:25 | 0:11:31 | |
His power and wealth were unmatchable. | 0:11:31 | 0:11:33 | |
On a personal level, he was learned, and patronised all the arts. | 0:11:33 | 0:11:38 | |
He built libraries, aqueducts, baths and theatres, | 0:11:38 | 0:11:41 | |
and is said to have had an active role in designing this villa. | 0:11:41 | 0:11:45 | |
More than half his reign was spent outside Italy, | 0:11:45 | 0:11:47 | |
travelling through the empire. | 0:11:47 | 0:11:49 | |
He visited Britain and initiated the building of Hadrian's Wall. | 0:11:49 | 0:11:53 | |
Influences from these travels, especially from Egypt | 0:11:53 | 0:11:55 | |
and the cult of the god Serapis, are found running through the site. | 0:11:55 | 0:11:59 | |
However, there is no doubt | 0:11:59 | 0:12:01 | |
that it looks more like an archaeological site than a garden. | 0:12:01 | 0:12:05 | |
The visitor sees the bare bones of the garden, | 0:12:05 | 0:12:08 | |
and broken bones at that. | 0:12:08 | 0:12:11 | |
I confess that I'm having trouble grasping the enormity of the site. | 0:12:15 | 0:12:20 | |
It's apparently over 280 acres big. | 0:12:20 | 0:12:24 | |
And not all of it has been excavated, | 0:12:24 | 0:12:26 | |
but what there is is just massive. | 0:12:26 | 0:12:29 | |
It's wrong, really, to think of it as a villa. It's a summer palace, | 0:12:29 | 0:12:32 | |
built by the richest and most powerful man in the world, | 0:12:32 | 0:12:36 | |
at the head of the largest empire that the world had ever seen. | 0:12:36 | 0:12:40 | |
And Hadrian drew on all the immense practicality and expertise | 0:12:44 | 0:12:48 | |
that made the Roman Empire so remorselessly efficient | 0:12:48 | 0:12:51 | |
when he made the palace. | 0:12:51 | 0:12:53 | |
A complicated hydraulic system was set up to create this serapeum, which was a temple, | 0:12:53 | 0:12:59 | |
dedicated to the Graeco-Egyptian god of the underworld, Serapis, | 0:12:59 | 0:13:02 | |
and would have provided a liquid firework display | 0:13:02 | 0:13:06 | |
which must have resembled the nymphaeum | 0:13:06 | 0:13:08 | |
which it directly inspired at Villa d'Este. | 0:13:08 | 0:13:10 | |
Water would gush out of the sides and swirl around the diners' feet, | 0:13:12 | 0:13:16 | |
and then, best of all, another curtain would fall | 0:13:16 | 0:13:20 | |
in front of these columns. | 0:13:20 | 0:13:22 | |
Now, this incredibly sophisticated use of hydro-engineering | 0:13:22 | 0:13:29 | |
set a pattern that the Arabs picked up on 500 years later, | 0:13:29 | 0:13:32 | |
and Renaissance gardens used 1,500 years later. | 0:13:32 | 0:13:36 | |
But none of them ever surpassed it in technique or mastery. | 0:13:36 | 0:13:41 | |
Another common feature which the Romans adopted from the Greeks | 0:13:45 | 0:13:49 | |
was the peristyle garden, which featured a building | 0:13:49 | 0:13:51 | |
wrapping itself around an inner courtyard, usually with a pool in the centre, | 0:13:51 | 0:13:56 | |
and a covered, colonnaded walkway around that. | 0:13:56 | 0:14:00 | |
The Pecali at Hadrian's Villa was originally just such a garden. | 0:14:00 | 0:14:05 | |
Although this area was based upon the Athenian market place | 0:14:11 | 0:14:15 | |
where people could stroll and chat, | 0:14:15 | 0:14:18 | |
it actually was designed as an exercise yard. | 0:14:18 | 0:14:21 | |
All round it was this enormous high wall, which was covered over, | 0:14:21 | 0:14:24 | |
and then there were columns, marked by the bay trees. | 0:14:24 | 0:14:27 | |
In the 18th century, they discovered an inscription | 0:14:27 | 0:14:30 | |
which said it was exactly 429 metres around. | 0:14:30 | 0:14:34 | |
Multiplied by seven gave you two Roman miles, | 0:14:34 | 0:14:37 | |
which was the perfect amount of exercise, | 0:14:37 | 0:14:39 | |
as decreed by Roman doctors. | 0:14:39 | 0:14:41 | |
So you get an insight into the Roman mind. | 0:14:41 | 0:14:43 | |
Amidst the splendour of the palace is this ruthless practicality. | 0:14:43 | 0:14:49 | |
With its integration of interior and exterior spaces, | 0:14:50 | 0:14:54 | |
architecture, the use of water, | 0:14:54 | 0:14:56 | |
and of classical mythology and symbolism in buildings and statues, | 0:14:56 | 0:15:00 | |
Hadrian's villa provided a model for Renaissance gardens | 0:15:00 | 0:15:04 | |
that drew heavily upon ancient Rome for its sources and influences. | 0:15:04 | 0:15:08 | |
But after the fall of the Roman Empire, | 0:15:08 | 0:15:10 | |
Villa Adriana was left to crumble | 0:15:10 | 0:15:12 | |
as Europe descended into the Dark Ages, | 0:15:12 | 0:15:15 | |
and it was plundered down the centuries | 0:15:15 | 0:15:18 | |
for its statues and stones. | 0:15:18 | 0:15:20 | |
But even though it's a ruin now, there is a lingering essence | 0:15:20 | 0:15:24 | |
that transforms it into an unlikely, but truly magical garden. | 0:15:24 | 0:15:29 | |
Before I leave Tivoli and its two huge, magnificent gardens, | 0:15:29 | 0:15:34 | |
I've noticed what look like allotments | 0:15:34 | 0:15:37 | |
at the bottom of the hill. | 0:15:37 | 0:15:38 | |
I can't resist a quick detour to visit them. | 0:15:38 | 0:15:41 | |
'This is Elio Bernarelli, who has been gardening on this plot | 0:15:44 | 0:15:49 | |
'at the foot of the Tivoli waterfall for 25 years, | 0:15:49 | 0:15:52 | |
'and it's where he grows all his fruit and veg. | 0:15:52 | 0:15:54 | |
'Elio grows everything organically, | 0:15:57 | 0:16:00 | |
'and it all looks lustrously appetising.' | 0:16:00 | 0:16:03 | |
There are grapes and poultry on his plot too, | 0:16:03 | 0:16:05 | |
and since my Italian is limited to ordering a cappucino, | 0:16:05 | 0:16:09 | |
we communicate through the language of vegetables. | 0:16:09 | 0:16:12 | |
-Aubergine. -Si. | 0:16:12 | 0:16:13 | |
And what sort of tomato is that? | 0:16:13 | 0:16:17 | |
-Un pantano. -Un pantano. -Pantano. | 0:16:19 | 0:16:23 | |
-And this? -Sanmanzano. | 0:16:23 | 0:16:25 | |
Sanmanzano. I grow sanmanzano too. | 0:16:25 | 0:16:29 | |
But mine are smaller, much smaller. Oh, well! | 0:16:29 | 0:16:33 | |
-Verza. -See, that is superb. | 0:16:37 | 0:16:40 | |
-Parsley. -Prezzemolo. -We say "parsley." Say "parsley." | 0:16:42 | 0:16:46 | |
-Parsley. -Parsley. There you are, you see, you're a star. | 0:16:46 | 0:16:49 | |
TRANSLATION: We manage to grow almost everything we need for the family. | 0:16:49 | 0:16:55 | |
Instead of going to the pub, I prefer to come here for fun. | 0:16:55 | 0:17:01 | |
When I'm here, I feel like a king. | 0:17:01 | 0:17:03 | |
Elio's vineyard is about three quarters of an acre, | 0:17:06 | 0:17:10 | |
and it's planted with two types of grapes, | 0:17:10 | 0:17:12 | |
one of which I'd never seen before. | 0:17:12 | 0:17:15 | |
TRANSLATION: These are pizzutello grapes, | 0:17:15 | 0:17:18 | |
that were brought here by Villa d'Este | 0:17:18 | 0:17:21 | |
as an ornamental plant. And it's good to eat as well. | 0:17:21 | 0:17:27 | |
Elio also grows grapes for wine making. | 0:17:30 | 0:17:33 | |
From a single row, he can produce enough fruit | 0:17:33 | 0:17:36 | |
to make up to 500 litres of home-made wine. | 0:17:36 | 0:17:39 | |
He was very keen for me to try some of last year's vintage | 0:17:39 | 0:17:42 | |
with some of his friends, back at his shed. | 0:17:42 | 0:17:45 | |
-Chin chin... -Salute! | 0:17:46 | 0:17:49 | |
'As the sun set, we ate local cheese, | 0:17:52 | 0:17:56 | |
'and tomatoes still warm from the sun that ripened them, | 0:17:56 | 0:18:00 | |
'all washed down with lots of Elio's wine.' | 0:18:00 | 0:18:03 | |
Fantastic! | 0:18:03 | 0:18:05 | |
No emperor or cardinal ever feasted better. | 0:18:08 | 0:18:11 | |
The next day, I drive on up to Bagnaia, | 0:18:19 | 0:18:22 | |
an impossibly picturesque medieval town north of Rome. | 0:18:22 | 0:18:25 | |
On a bright summer's day, the streets are flawlessly beautiful, | 0:18:25 | 0:18:29 | |
and decked with carefully tended flowers. | 0:18:29 | 0:18:33 | |
Although it's tempting to spend the day mooching about, | 0:18:33 | 0:18:36 | |
I am visiting for a specific reason. | 0:18:36 | 0:18:40 | |
I'm here in Bagnaia, for my next garden. | 0:18:40 | 0:18:43 | |
Not just because it is exquisitely beautiful | 0:18:43 | 0:18:46 | |
and worth the trip to Italy just to see this alone, | 0:18:46 | 0:18:50 | |
but also because for me, this is the perfect Renaissance garden. | 0:18:50 | 0:18:56 | |
During the Italian Renaissance, | 0:19:02 | 0:19:04 | |
a beautiful country villa was not just a retreat, | 0:19:04 | 0:19:07 | |
but also a potent expression of status. | 0:19:07 | 0:19:10 | |
And like Villa d'Este, this garden was created | 0:19:10 | 0:19:13 | |
by an ambitious cardinal, Cardinal Gambara, | 0:19:13 | 0:19:15 | |
who was granted the villa in 1560 by Pope Pius V. | 0:19:15 | 0:19:20 | |
Gambara then commissioned one of the great architects of the 16th century, | 0:19:20 | 0:19:25 | |
Giacomo Vignola, to redesign his summer retreat. | 0:19:25 | 0:19:29 | |
Nowadays, we often rather glibly refer to a "Renaissance Man", | 0:19:29 | 0:19:32 | |
but Vignola was the real thing, | 0:19:32 | 0:19:34 | |
and could just as readily carve a marble statue | 0:19:34 | 0:19:37 | |
as draw up the plans for a building or a garden. | 0:19:37 | 0:19:40 | |
As you come in, you are met with the very dramatic Fountain of Pegasus, | 0:19:43 | 0:19:48 | |
and this sets the tone for the whole of the garden. | 0:19:48 | 0:19:50 | |
You've got massive use of stonework, | 0:19:50 | 0:19:53 | |
really playful, inventive handling of water. | 0:19:53 | 0:19:56 | |
It's set in a woodland background. And there's one other crucial thing | 0:19:56 | 0:19:59 | |
that runs right through the rest of the garden, | 0:19:59 | 0:20:02 | |
and that's the classical allegory. | 0:20:02 | 0:20:05 | |
Pegasus, the winged horse, comes down to the ground. | 0:20:05 | 0:20:08 | |
And where its hoof touches the rock, there is a spark of creativity. | 0:20:08 | 0:20:13 | |
Heading up the hill, you go through a wooded parkland, | 0:20:18 | 0:20:22 | |
where the public can stroll and play. | 0:20:22 | 0:20:24 | |
This is the Bosco, an area that represents wild nature, | 0:20:24 | 0:20:27 | |
albeit still carefully controlled. | 0:20:27 | 0:20:29 | |
Many scholars believe that the Bosco | 0:20:29 | 0:20:31 | |
was a direct influence and predecessor | 0:20:31 | 0:20:34 | |
of the English landscape movement, 200 years later. | 0:20:34 | 0:20:37 | |
From the Fountain of Pegasus, the path takes you up through the wood | 0:20:40 | 0:20:44 | |
to the top of the garden, and it's important to see the garden | 0:20:44 | 0:20:48 | |
from the top, working down. It's a journey. | 0:20:48 | 0:20:51 | |
The combination of classical building, | 0:20:54 | 0:20:58 | |
a loggia with its columns and woodland, | 0:20:58 | 0:21:01 | |
is not so strange if you consider the Renaissance mind, | 0:21:01 | 0:21:05 | |
where it absorbs the wild, natural world | 0:21:05 | 0:21:08 | |
into philosophy and art, and design and literature, | 0:21:08 | 0:21:11 | |
and feels that it can control it. | 0:21:11 | 0:21:13 | |
It can rationalise it into something safe and beautiful. | 0:21:13 | 0:21:16 | |
If you think of Britain at that time, | 0:21:16 | 0:21:18 | |
when Shakespeare wrote A Midsummer Night's Dream, | 0:21:18 | 0:21:21 | |
the wood is dangerous and magical, and potentially really scary. | 0:21:21 | 0:21:25 | |
But here, you go from woodland and using classical imagery, | 0:21:25 | 0:21:29 | |
and make a garden. | 0:21:29 | 0:21:31 | |
Fantastic. | 0:21:35 | 0:21:38 | |
This is the Fountain of the Deluge. | 0:21:40 | 0:21:43 | |
And it refers both to rain, which is the source of all water, | 0:21:43 | 0:21:48 | |
and also the Flood, in the Bible. | 0:21:48 | 0:21:51 | |
And the water itself just looks stunning. | 0:21:51 | 0:21:56 | |
The design is organised along a central axis, | 0:21:58 | 0:22:01 | |
which is emphasised by the fountains and water courses | 0:22:01 | 0:22:03 | |
arranged in perfect symmetry. | 0:22:03 | 0:22:05 | |
And the garden only has one route down. | 0:22:05 | 0:22:08 | |
Follow the water. | 0:22:08 | 0:22:10 | |
Flowing down the middle of a flight of steps is the Water Chain, | 0:22:10 | 0:22:14 | |
a cascade that runs down in a series of swirling stone arabesques | 0:22:14 | 0:22:18 | |
before it tumbles out over a massive carved head of a crayfish, | 0:22:18 | 0:22:23 | |
the emblem of Cardinal Gambara. | 0:22:23 | 0:22:26 | |
The water then pours into the large basin of the Fountain of Giants, | 0:22:26 | 0:22:31 | |
where two huge stone figures recline, | 0:22:31 | 0:22:34 | |
representing the two great rivers of the Tiber and the Arno, | 0:22:34 | 0:22:37 | |
which in turn symbolise the friendship | 0:22:37 | 0:22:40 | |
between the Papacy in Rome and the Medici family in Florence. | 0:22:40 | 0:22:43 | |
And this is a symbolic reference that any educated Renaissance visitor | 0:22:43 | 0:22:47 | |
would have immediately spotted. | 0:22:47 | 0:22:49 | |
'The water then continues, amazingly, | 0:22:52 | 0:22:55 | |
'down the centre of this huge stone table, which is over 50ft long | 0:22:55 | 0:23:00 | |
'and designed specifically for al fresco entertainment.' | 0:23:00 | 0:23:04 | |
This dining table is the most fantastic object here in the whole garden. | 0:23:07 | 0:23:11 | |
Over 50ft long, could have had hundreds of guests here of the Cardinal. | 0:23:11 | 0:23:16 | |
And in the middle of it is this canal, | 0:23:16 | 0:23:20 | |
and it's icy cold. Now this is a hot July afternoon here, | 0:23:20 | 0:23:25 | |
it's a really warm day, and yet it's cool water. | 0:23:25 | 0:23:28 | |
The wine could be kept cool there, dishes would float and keep cool on the water. | 0:23:28 | 0:23:32 | |
And at the feet is another canal running, | 0:23:32 | 0:23:35 | |
and that would give the air coolness and moisture | 0:23:35 | 0:23:37 | |
and you could dibble your toes in there if you so wished. | 0:23:37 | 0:23:40 | |
Finally, the garden arrives at this. | 0:23:45 | 0:23:49 | |
From the wildness of the wood, we have complete formality. | 0:23:49 | 0:23:54 | |
Man is finally in control of nature. | 0:23:54 | 0:23:58 | |
Vignola created an untroubled transition | 0:24:06 | 0:24:10 | |
from the informality of the Bosco | 0:24:10 | 0:24:12 | |
to the perfect geometry of the formal parterre, | 0:24:12 | 0:24:16 | |
which consists of 16 squares of clipped box and yew | 0:24:16 | 0:24:19 | |
with coloured gravel, centred around the final large fountain, | 0:24:19 | 0:24:24 | |
the Fountain of the Moors, | 0:24:24 | 0:24:25 | |
which is in the middle of a large, square pool. | 0:24:25 | 0:24:28 | |
This parterre might seem like many others that can be seen attached | 0:24:28 | 0:24:32 | |
to grand buildings across Europe, | 0:24:32 | 0:24:34 | |
but in fact, it is amongst the first ever made, | 0:24:34 | 0:24:36 | |
and is the balanced, harmonious culmination of the garden, | 0:24:36 | 0:24:40 | |
with the town butting up to the wall at its edge, | 0:24:40 | 0:24:43 | |
ready to receive the water, now that the garden has finished with it. | 0:24:43 | 0:24:48 | |
Villa Lante is a masterpiece, setting the tone for almost all | 0:24:48 | 0:24:52 | |
that has followed in Northern European gardens, | 0:24:52 | 0:24:54 | |
right up to the present day. | 0:24:54 | 0:24:57 | |
But now it's time to leave it and continue my journey. | 0:24:57 | 0:25:01 | |
From Italy, my next destination is Marrakech, in Morocco, | 0:25:01 | 0:25:04 | |
to visit the gardens of another great Mediterranean civilisation | 0:25:04 | 0:25:08 | |
that has also had a fundamental influence | 0:25:08 | 0:25:11 | |
on the way that we still garden in the western world. | 0:25:11 | 0:25:13 | |
In the foothills of the Atlas mountains, | 0:25:16 | 0:25:18 | |
and fully 100 miles from the coast, | 0:25:18 | 0:25:21 | |
Marrakech might seem an odd destination | 0:25:21 | 0:25:23 | |
for an exploration of Mediterranean gardens. | 0:25:23 | 0:25:26 | |
But Islam had a huge influence on the gardens of the rest of Europe, | 0:25:26 | 0:25:30 | |
especially those of Spain. | 0:25:30 | 0:25:32 | |
The city was founded in 1062 by the Almoravid dynasty | 0:25:32 | 0:25:37 | |
that came from the Middle East to conquer the native Berbers. | 0:25:37 | 0:25:40 | |
From its inception, Marrakech was a city of gardens, | 0:25:40 | 0:25:44 | |
and today, on the edge of the modern city, remains an immense orchard | 0:25:44 | 0:25:47 | |
of nearly 1,000 acres, which can reasonably claim | 0:25:47 | 0:25:51 | |
to be one of the oldest intact gardens of the world. | 0:25:51 | 0:25:55 | |
This is the Aguedal, the royal garden here in Marrakech, | 0:26:06 | 0:26:10 | |
and it's one of the main reasons that I've come to Morocco. | 0:26:10 | 0:26:13 | |
It's the oldest untouched Arab garden in the entire world, and it's immense - | 0:26:13 | 0:26:18 | |
a huge garden. | 0:26:18 | 0:26:20 | |
And the gardeners go about their business riding bicycles. | 0:26:20 | 0:26:23 | |
So, I've taken a leaf out of that book, and that's how I'll get about. | 0:26:23 | 0:26:27 | |
I have privileged access to explore the Aguedal, | 0:26:33 | 0:26:35 | |
which is owned by the King of Morocco. | 0:26:35 | 0:26:37 | |
It was created in the 12th century and has hardly changed since. | 0:26:37 | 0:26:41 | |
It is composed of a series of orchards, producing figs, | 0:26:41 | 0:26:44 | |
citrus, dates, pomegranates, almonds, apricots, and olives. | 0:26:44 | 0:26:49 | |
The first thing you see about this garden | 0:26:49 | 0:26:52 | |
is it challenges your whole conception of what a garden is, | 0:26:52 | 0:26:58 | |
when a garden is a farm or a garden is a bit of landscape. | 0:26:58 | 0:27:03 | |
But even that is trying to fit it into a sort of westernised slot. | 0:27:03 | 0:27:06 | |
The fact is, this is a garden, so one has to get used to that idea. | 0:27:06 | 0:27:11 | |
You have to abandon the European concept | 0:27:11 | 0:27:14 | |
of what a garden should or should not be. | 0:27:14 | 0:27:17 | |
Here, function has beauty. | 0:27:17 | 0:27:19 | |
Water has intrinsic beauty, but even more so as it nurtures growth. | 0:27:19 | 0:27:23 | |
Blossom is beautiful in itself, but also as the precursor of fruit. | 0:27:23 | 0:27:27 | |
Everything in the garden has a usefulness | 0:27:27 | 0:27:30 | |
that enhances its aesthetic attraction. | 0:27:30 | 0:27:34 | |
These oranges, which would have been here in some form or other | 0:27:34 | 0:27:37 | |
for 1,000 years - not the same trees but definitely citrus here - | 0:27:37 | 0:27:41 | |
will have flowers that smell fantastic as you pass. | 0:27:41 | 0:27:45 | |
But they'll also be gathered to be used in cooking, | 0:27:45 | 0:27:47 | |
and also preparing your hands to wash before you eat. | 0:27:47 | 0:27:51 | |
So this boundary between what's useful | 0:27:51 | 0:27:54 | |
and what is simply delightful, just doesn't exist. | 0:27:54 | 0:27:58 | |
Whoops! | 0:27:58 | 0:28:00 | |
To tell me the story of this garden, I wanted to speak to someone | 0:28:01 | 0:28:04 | |
who is an expert on the gardening culture of Morocco's Islamic past. | 0:28:04 | 0:28:10 | |
TRANSLATION: From Spain to India, from the Alhambra to the Taj Mahal, | 0:28:10 | 0:28:14 | |
this is the oldest unrestored 12th century garden in existence. | 0:28:14 | 0:28:19 | |
Of course, the garden has changed over time - | 0:28:19 | 0:28:22 | |
the trees and vegetation are different. | 0:28:22 | 0:28:24 | |
You can't expect to have eighth or ninth century plants today. | 0:28:24 | 0:28:27 | |
But it is interesting that its style, design and irrigation system are all original. | 0:28:27 | 0:28:33 | |
Around the Aguedal is a beautiful wall of peach-coloured mud | 0:28:37 | 0:28:40 | |
that runs for almost eight miles. | 0:28:40 | 0:28:43 | |
This is typically Islamic in that, although fortified, | 0:28:43 | 0:28:47 | |
it is modest and plain, and doesn't hint | 0:28:47 | 0:28:50 | |
at the richness of fruit and water within. | 0:28:50 | 0:28:53 | |
Ah yes, water - for in the centre of the orchard is a vast expanse | 0:28:53 | 0:28:57 | |
of the most valued element of all Islamic gardens - water. | 0:28:57 | 0:29:01 | |
Mohammed, this is...staggering! | 0:29:01 | 0:29:03 | |
TRANSLATION: The lake has many functions - | 0:29:03 | 0:29:06 | |
primarily, it irrigates the garden's 500 hectares. | 0:29:06 | 0:29:09 | |
Secondly, it provided drinking water for Marrakech in the 12th century. | 0:29:09 | 0:29:13 | |
The water was really clear then. | 0:29:13 | 0:29:14 | |
But it was also used by the ruler's troops, to learn how to swim. | 0:29:14 | 0:29:19 | |
At that time, the Almohad Empire straddled Morocco and Andalusia, | 0:29:19 | 0:29:24 | |
and the soldiers had to cross the Mediterranean Sea to get to Spain, | 0:29:24 | 0:29:28 | |
so it would have been very dangerous not to know how to swim. | 0:29:28 | 0:29:32 | |
The water for it, in this parched desert country, | 0:29:34 | 0:29:39 | |
is bought in via subterranean canals | 0:29:39 | 0:29:41 | |
from the Atlas mountains, 15 miles away. | 0:29:41 | 0:29:44 | |
These canals were made nearly 1,000 years ago, | 0:29:44 | 0:29:48 | |
and still work, unchanged, exactly as built. | 0:29:48 | 0:29:51 | |
I think this is one of the great gardens of the world. | 0:29:51 | 0:29:56 | |
It's partly because it blows apart my conceptions | 0:29:56 | 0:29:59 | |
of what a garden should or could be. And that takes me into the heart | 0:29:59 | 0:30:05 | |
of the Islamic and Arabic view of the world and gardens, | 0:30:05 | 0:30:08 | |
and that's fascinating. Also because the engineering, | 0:30:08 | 0:30:12 | |
the feat of just making it 1,000 years ago, is mind-boggling. | 0:30:12 | 0:30:17 | |
And, after 1,000 years, it's simply just beautiful. | 0:30:17 | 0:30:22 | |
I go back to the centre of Marrakech and to a new hotel, | 0:30:32 | 0:30:36 | |
which is a riad in the heart of the Medina, | 0:30:36 | 0:30:39 | |
the old city of Marrakech. These can be a bit tricky to find, | 0:30:39 | 0:30:42 | |
but many of the riads of the Medina still have a garden. | 0:30:42 | 0:30:45 | |
What's fantastic about Marrakech | 0:30:47 | 0:30:51 | |
is that if your boundaries were really Calais | 0:30:51 | 0:30:54 | |
and a few points south, you're suddenly confronted with real foreignness. | 0:30:54 | 0:31:01 | |
All the faces and the smells and the life on the street | 0:31:01 | 0:31:08 | |
and people making things and fixing them | 0:31:08 | 0:31:10 | |
in a way that is challenging at every turn, and beautiful. | 0:31:10 | 0:31:16 | |
Then the streets get too narrow and my taxi can go no further, | 0:31:18 | 0:31:21 | |
so my luggage and I continue on foot. | 0:31:21 | 0:31:24 | |
I don't know where we're going! | 0:31:24 | 0:31:26 | |
Welcome to Marrakech! | 0:31:29 | 0:31:31 | |
A riad is a traditional Arabic house, | 0:31:47 | 0:31:50 | |
closed off from the street and built round a garden. | 0:31:50 | 0:31:53 | |
Bonjour. Bonjour. Ca va tres bien. | 0:31:53 | 0:31:57 | |
'Today, many in Marrakesh have been converted into boutique hotels.' | 0:31:59 | 0:32:03 | |
A-ha! This is very beautiful. This is lovely. | 0:32:05 | 0:32:08 | |
Yes. It's a small paradise. | 0:32:08 | 0:32:10 | |
It's...it's quite a big paradise! Or at least, paradise big enough. | 0:32:10 | 0:32:15 | |
They're known as the secret gardens of Marrakech, | 0:32:15 | 0:32:18 | |
because they're invariably concealed from the outside gaze | 0:32:18 | 0:32:21 | |
behind modest entrances. | 0:32:21 | 0:32:23 | |
In Islam, any display of opulence or wealth | 0:32:23 | 0:32:26 | |
wouldn't only be arrogant, but might also diminish your neighbour, | 0:32:26 | 0:32:30 | |
so the exteriors are always low-key, and the interiors private. | 0:32:30 | 0:32:36 | |
It's always...shocking is what I was going to say, but it's not unpleasant, it's wonderful. | 0:32:36 | 0:32:41 | |
It's astonishing that you come out of these little streets, | 0:32:41 | 0:32:44 | |
which are thronged with people and noise and strangeness, | 0:32:44 | 0:32:48 | |
into this calm greenness. And listen... | 0:32:48 | 0:32:53 | |
BIRDS CHIRP | 0:32:53 | 0:32:55 | |
You could be in the middle of the English countryside. | 0:32:55 | 0:32:59 | |
Islamic houses are built back to back, | 0:33:03 | 0:33:05 | |
with thick walls and few windows. | 0:33:05 | 0:33:08 | |
This keeps them cool, with the light coming from the cloistered garden, | 0:33:08 | 0:33:11 | |
which is the real focus of the Moroccan domestic life, | 0:33:11 | 0:33:15 | |
where the family gathers, eats, cooks, and of course, grows food. | 0:33:15 | 0:33:19 | |
The courtyards are enclosed, | 0:33:23 | 0:33:25 | |
but the roof provides a private space | 0:33:25 | 0:33:28 | |
with a public view over the Medina. | 0:33:28 | 0:33:32 | |
As the sun sets, the call to prayer echoes round the city. | 0:33:41 | 0:33:47 | |
The baking heat of the day cools, and I go for a walk | 0:33:47 | 0:33:50 | |
out onto the streets, to the Djemaa el Fna, | 0:33:50 | 0:33:54 | |
the city's main square. | 0:33:54 | 0:33:56 | |
Inevitably, tourists like myself are obvious targets for locals | 0:33:56 | 0:33:59 | |
touting their various wares. | 0:33:59 | 0:34:01 | |
A glass of freshly squeezed orange juice is refreshing, nonetheless. | 0:34:03 | 0:34:07 | |
Very good. | 0:34:09 | 0:34:10 | |
Next morning, I'm up and out bright and early. | 0:34:25 | 0:34:29 | |
From when Marrakech was founded in the 11th century, | 0:34:34 | 0:34:37 | |
right up until the 1920s, | 0:34:37 | 0:34:39 | |
two thirds of the Medina was given over to orchards and gardens. | 0:34:39 | 0:34:43 | |
But in 1912, Morocco became a protectorate of France, | 0:34:43 | 0:34:46 | |
and the orchard gardens rapidly declined | 0:34:46 | 0:34:48 | |
as the green spaces were built on. | 0:34:48 | 0:34:50 | |
However, there were new gardens made, and none more famously | 0:34:53 | 0:34:58 | |
than this one, which was created by the painter, Jacques Majorelle. | 0:34:58 | 0:35:03 | |
He came to Morocco in 1917 for his health, | 0:35:03 | 0:35:05 | |
and over the course of the next couple of decades, | 0:35:05 | 0:35:08 | |
made this completely unique garden. | 0:35:08 | 0:35:11 | |
The Majorelle Garden is a relic from the 1920s and '30s, | 0:35:18 | 0:35:21 | |
when the French influence was at its peak in Marrakech. | 0:35:21 | 0:35:25 | |
Wealthy, liberal bohemians came to the city | 0:35:25 | 0:35:28 | |
for its sun, culture and frankly relaxed attitude to sexual behaviour. | 0:35:28 | 0:35:32 | |
Many Europeans settled here and built themselves villas, | 0:35:38 | 0:35:42 | |
often combining local Berber and contemporary European art deco design. | 0:35:42 | 0:35:47 | |
Here at Majorelle, this was not so much a meeting of two cultures, | 0:35:49 | 0:35:52 | |
as a collision. | 0:35:52 | 0:35:53 | |
And out of it was created a work of art unique in Morocco, | 0:35:53 | 0:35:58 | |
and possibly in the whole world. | 0:35:58 | 0:36:00 | |
And it completely revolutionised the way that we think about using colour in gardens. | 0:36:00 | 0:36:06 | |
Majorelle had one extraordinary dramatic idea. | 0:36:08 | 0:36:12 | |
He took this blue, which he found on Moroccan tiles and on Berber houses, | 0:36:12 | 0:36:16 | |
and then applied it in the most dramatic way possible, | 0:36:16 | 0:36:19 | |
so that it dominates the garden. | 0:36:19 | 0:36:21 | |
Everything else, all the planting, is set against this blue backdrop. | 0:36:21 | 0:36:25 | |
And it is for this idea above all | 0:36:27 | 0:36:30 | |
that the Majorelle has a place in garden design history. | 0:36:30 | 0:36:33 | |
Now, this garden is not just an explosion of blue, | 0:36:35 | 0:36:39 | |
it's full of the most extraordinary plants, | 0:36:39 | 0:36:42 | |
combining colours and textures and forms, | 0:36:42 | 0:36:45 | |
that just are riveting. | 0:36:45 | 0:36:47 | |
Especially these extraordinary palms, that just soar up to the sky. | 0:36:47 | 0:36:52 | |
And this is because Majorelle was a fanatical plantsman. | 0:36:52 | 0:36:56 | |
He was an obsessive plant collector, specialising in cacti and succulents and palms, | 0:37:00 | 0:37:06 | |
all of which still dominate the garden. | 0:37:06 | 0:37:08 | |
At one point, the garden covered ten acres | 0:37:08 | 0:37:12 | |
with more than 1,800 varieties of plants, | 0:37:12 | 0:37:15 | |
including 400 varieties of palms. | 0:37:15 | 0:37:17 | |
I confess that the two words "plant" and "collection" usually fill me with dread. | 0:37:17 | 0:37:22 | |
They rarely make good gardens. | 0:37:22 | 0:37:24 | |
But Majorelle is the exception that proves that rule. | 0:37:24 | 0:37:27 | |
When Majorelle died in 1962, the garden was more or less abandoned. | 0:37:27 | 0:37:33 | |
But In 1981, the French fashion designer Yves Saint Laurent and his partner Pierre Berge | 0:37:33 | 0:37:38 | |
bought the garden and restored a good chunk of it to its original condition, | 0:37:38 | 0:37:42 | |
to immortalise Majorelle's creation. | 0:37:42 | 0:37:45 | |
This is his masterpiece and he has a painterly eye everywhere. | 0:37:45 | 0:37:49 | |
Nothing's natural. | 0:37:49 | 0:37:51 | |
Every detail is contrived, but it feels exactly right. | 0:37:51 | 0:37:56 | |
It's time to leave Marrakech | 0:37:58 | 0:38:00 | |
and head for my next destination in southern Spain. | 0:38:00 | 0:38:03 | |
Travelling in French colonial style, | 0:38:05 | 0:38:08 | |
I catch a night ride on the Marrakech Express to Tangiers. | 0:38:08 | 0:38:13 | |
It was built in the 1920s, to transport the French Foreign Legion, | 0:38:13 | 0:38:17 | |
but these days, it carries an eclectic mix of travellers. | 0:38:17 | 0:38:20 | |
Six... Right. Cosy. | 0:38:22 | 0:38:27 | |
As I sleep, surprisingly soundly, | 0:38:33 | 0:38:35 | |
the train takes me north to the port of Tangiers, | 0:38:35 | 0:38:38 | |
where I'll cross the Mediterranean to Spain, | 0:38:38 | 0:38:41 | |
heading first to Granada and the fabulous garden of the Alhambra. | 0:38:41 | 0:38:45 | |
By daybreak, we've reached Tangiers, | 0:38:51 | 0:38:53 | |
where I catch the hydrofoil across the straits of Gibraltar | 0:38:53 | 0:38:58 | |
linking Africa and Europe. | 0:38:58 | 0:39:00 | |
At this point, there was supposed to be a shot | 0:39:02 | 0:39:05 | |
where I was to tell you the significance | 0:39:05 | 0:39:07 | |
of this brief 45 minute trip between the two continents. | 0:39:07 | 0:39:11 | |
But the straits are famous for being choppy, | 0:39:11 | 0:39:14 | |
and I'm a landlubber through and through, | 0:39:14 | 0:39:16 | |
and the reality was that I spent most of the trip | 0:39:16 | 0:39:19 | |
with my head over the rail, donating my breakfast to the fishes | 0:39:19 | 0:39:22 | |
and quite unable to do more than stare silently at the horizon. | 0:39:22 | 0:39:26 | |
The Moors, so-called because they came from Mauritania, | 0:39:34 | 0:39:37 | |
the name the Romans gave to modern Morocco, | 0:39:37 | 0:39:39 | |
took the same route that I've just endured and invaded Spain in 711, | 0:39:39 | 0:39:43 | |
and the whole of Spain and modern Portugal was under Muslim rule | 0:39:43 | 0:39:47 | |
by the 10th century. | 0:39:47 | 0:39:49 | |
Islam dominated Spain for nearly 700 years, | 0:39:49 | 0:39:52 | |
which is longer than Christianity has done since. | 0:39:52 | 0:39:55 | |
It was a highly tolerant, civilised society, | 0:39:55 | 0:39:58 | |
where Muslim, Jewish and Christian communities peacefully co-existed | 0:39:58 | 0:40:02 | |
and gardens were an important part of the culture. | 0:40:02 | 0:40:06 | |
I'm here to visit the last great surviving garden of that period, The Alhambra. | 0:40:06 | 0:40:11 | |
This plain, fortified, rather austere gateway | 0:40:15 | 0:40:18 | |
is typical of the Islamic approach to palaces and gardens, | 0:40:18 | 0:40:22 | |
but doesn't even hint at the treasures inside. | 0:40:22 | 0:40:24 | |
The Alhambra is truly one of the great gardens of the world. | 0:40:24 | 0:40:28 | |
It's one I know a little bit - I once spent four days and nights within its walls, | 0:40:28 | 0:40:32 | |
and yet I haven't exhausted its treasures. | 0:40:32 | 0:40:34 | |
You can see - there are thousands, millions of people who visit here every year. | 0:40:34 | 0:40:38 | |
And certainly, if you want to understand how the Islamic mind | 0:40:38 | 0:40:42 | |
has changed the whole way that Europeans garden, | 0:40:42 | 0:40:46 | |
then you have to come here. | 0:40:46 | 0:40:48 | |
The Alhambra is the oldest extant Arabian palace garden in the world. | 0:40:59 | 0:41:06 | |
Rather than one coherent garden, | 0:41:06 | 0:41:08 | |
it is an integrated complex of palace buildings and gardens, | 0:41:08 | 0:41:12 | |
perched on top of 35 acres of hillside. | 0:41:12 | 0:41:15 | |
It was originally built during the Nasrid dynasty by Sultan Mohammed, | 0:41:15 | 0:41:22 | |
who ruled Granada from 1238. | 0:41:22 | 0:41:24 | |
What we now see in the Alhambra | 0:41:24 | 0:41:26 | |
consolidates 600 years of Islamic-European culture. | 0:41:26 | 0:41:30 | |
In traditional Islamic style, | 0:41:30 | 0:41:32 | |
it was intended to be an earthly paradise, | 0:41:32 | 0:41:35 | |
a mirror of heaven, based upon ancient Persian gardening principles | 0:41:35 | 0:41:40 | |
of water, symmetry and enclosed spaces. | 0:41:40 | 0:41:42 | |
Water, either gently moving or in reflective pools, | 0:41:50 | 0:41:55 | |
is always the core of any Islamic garden. | 0:41:55 | 0:41:58 | |
The surface mirrors the perfect poise and symmetry of the buildings | 0:41:58 | 0:42:02 | |
and planting, as well as catching light and throwing it up | 0:42:02 | 0:42:06 | |
into the cool but dark courtyards. | 0:42:06 | 0:42:09 | |
Inside the dark buildings, the ornate richness is staggering. | 0:42:10 | 0:42:14 | |
Outside, the luxury is one of coolness, privacy, light and water. | 0:42:14 | 0:42:20 | |
This is the Court of the Myrtles, | 0:42:20 | 0:42:22 | |
where the only plant is myrtle in long hedges, | 0:42:22 | 0:42:25 | |
cut at the perfect height to brush your hands along | 0:42:25 | 0:42:27 | |
and so be trailed by its deliciously musky scent. | 0:42:27 | 0:42:32 | |
And if you can imagine, from these windows you would have, maybe, tapestries hanging, carpets. | 0:42:32 | 0:42:39 | |
This very clean and simple space would have also had silks | 0:42:39 | 0:42:43 | |
and cushions, and gorgeously dressed people. | 0:42:43 | 0:42:47 | |
And this was a court in the true sense. | 0:42:47 | 0:42:50 | |
The timing of the buildings, | 0:42:51 | 0:42:53 | |
mainly from the middle of the 13th century to the middle of the 14th, | 0:42:53 | 0:42:57 | |
coincides with the development of irrigation, | 0:42:57 | 0:43:00 | |
and are an expression of the way that water, | 0:43:00 | 0:43:02 | |
in this harshly arid region, can be harnessed for pleasure. | 0:43:02 | 0:43:06 | |
The water here, in all its guises, is a display of wealth | 0:43:06 | 0:43:10 | |
that couldn't be more impressive had it been molten gold. | 0:43:10 | 0:43:14 | |
The highest point of the Alhambra is the Generalife, | 0:43:15 | 0:43:18 | |
the summer hunting lodge where the Sultan could escape | 0:43:18 | 0:43:22 | |
the intrigue of court. | 0:43:22 | 0:43:24 | |
This is the Patio of the Canals. | 0:43:24 | 0:43:27 | |
Ironically, the avenue of water spouts, | 0:43:27 | 0:43:30 | |
probably the most famous feature of the entire Alhambra, | 0:43:30 | 0:43:33 | |
is unlikely to be an original Moorish feature, | 0:43:33 | 0:43:35 | |
because it would have been too noisy, | 0:43:35 | 0:43:38 | |
and competed with the gentle music playing for the Sultan's pleasure. | 0:43:38 | 0:43:43 | |
But the water stairway on the steps up to the mosque is original, | 0:43:43 | 0:43:47 | |
and is unchanged since it was built in the 14th century. | 0:43:47 | 0:43:51 | |
The water runs down the banisters along these steps. | 0:43:51 | 0:43:54 | |
Originally, it would have run down the middle too. | 0:43:54 | 0:43:57 | |
And instantly, you're in a sort of cool, slightly damp, green tunnel. | 0:43:57 | 0:44:02 | |
It's lovely. It feels really refreshing after the baking heat. | 0:44:02 | 0:44:05 | |
It actually had a more serious purpose, | 0:44:05 | 0:44:07 | |
because these steps led to the oratory, | 0:44:07 | 0:44:10 | |
and the idea was, you would wash yourself | 0:44:10 | 0:44:12 | |
and prepare yourself before prayer. | 0:44:12 | 0:44:14 | |
And it's so typical that you get this combination | 0:44:14 | 0:44:17 | |
of the sacred and the sensuous, all in a garden. | 0:44:17 | 0:44:21 | |
The whole of Spain was gradually reclaimed | 0:44:24 | 0:44:28 | |
by Christian crusaders, until, in 1492, | 0:44:28 | 0:44:31 | |
the Alhambra was the last Islamic outpost to fall | 0:44:31 | 0:44:34 | |
and the last of the Moorish rulers, Boabdil, was driven out of Spain. | 0:44:34 | 0:44:39 | |
But it survives as a glorious monument | 0:44:39 | 0:44:42 | |
to one of Europe's greatest, and perhaps least appreciated, cultural heritages. | 0:44:42 | 0:44:47 | |
Another Spanish city founded deep in Moorish culture | 0:44:47 | 0:44:51 | |
is Cordoba, 60 miles north of Grenada. | 0:44:51 | 0:44:55 | |
I've timed my visit here | 0:44:55 | 0:44:56 | |
to coincide with the annual festival of patio gardens. | 0:44:56 | 0:45:00 | |
In 1236, Cordoba was recaptured by the Catholics. | 0:45:04 | 0:45:07 | |
The remaining Arab population fled to the Moorish stronghold of Granada, | 0:45:07 | 0:45:12 | |
ruled from the Alhambra. | 0:45:12 | 0:45:14 | |
There are reports from the 10th century Moorish Cordoba | 0:45:14 | 0:45:17 | |
of thousands of gardens in and around the city. | 0:45:17 | 0:45:19 | |
There are still many there today, and the chief feature of them | 0:45:19 | 0:45:24 | |
is that they are patio or courtyard gardens. | 0:45:24 | 0:45:27 | |
For two weeks every May, | 0:45:34 | 0:45:36 | |
the city celebrates the Festival of the Patios, | 0:45:36 | 0:45:38 | |
where hundreds of people open up their homes | 0:45:38 | 0:45:41 | |
to show off their gardens. | 0:45:41 | 0:45:43 | |
The idea is for people to walk around the city, | 0:45:43 | 0:45:46 | |
visiting as many patios as possible. | 0:45:46 | 0:45:48 | |
Houses marked with two cypress trees | 0:45:48 | 0:45:51 | |
indicate that anyone can walk in and take a look. | 0:45:51 | 0:45:54 | |
Some of the patios are small and intimate, others are grand. | 0:45:54 | 0:45:58 | |
All are decked out in floral finery, | 0:45:58 | 0:46:00 | |
with the plants almost entirely in pots. | 0:46:00 | 0:46:04 | |
In the sweltering heat, these need watering at least twice a day, | 0:46:04 | 0:46:08 | |
and every patio has a well that supplies water for the plants, | 0:46:08 | 0:46:12 | |
which is good enough to drink. | 0:46:12 | 0:46:14 | |
That is, if first you can get it in your mouth. | 0:46:14 | 0:46:17 | |
OK...OK. | 0:46:20 | 0:46:23 | |
Now, you know I'm about to put water over most of my front. OK? | 0:46:23 | 0:46:28 | |
WOMAN LAUGHS | 0:46:31 | 0:46:34 | |
Very good! | 0:46:34 | 0:46:37 | |
Classic Cordoba pot. | 0:46:41 | 0:46:45 | |
It's got the flat back. It's fantastic. | 0:46:45 | 0:46:48 | |
Cordoba was an industrial city, | 0:46:48 | 0:46:50 | |
and as people came from the countryside looking for work, | 0:46:50 | 0:46:53 | |
families would occupy a room or two of the large, square buildings | 0:46:53 | 0:46:56 | |
built around courtyards on three or four floors. | 0:46:56 | 0:46:59 | |
The patios became communal living spaces, where people washed, ate and entertained each other. | 0:46:59 | 0:47:04 | |
They also became communal gardens | 0:47:04 | 0:47:07 | |
with a few plants, nearly always in pots. | 0:47:07 | 0:47:10 | |
In the late 20th century, these communal buildings became rarer | 0:47:10 | 0:47:15 | |
as Spain became more affluent, | 0:47:15 | 0:47:17 | |
and more people could afford to live in self-contained homes. | 0:47:17 | 0:47:21 | |
But many still treat the courtyard as their garden, | 0:47:21 | 0:47:23 | |
and spend an important part of their lives in there. | 0:47:23 | 0:47:26 | |
I've been invited to visit a group of people | 0:47:26 | 0:47:29 | |
who still share their communal living space. | 0:47:29 | 0:47:33 | |
-Hola! -Hello! -Hello. | 0:47:38 | 0:47:40 | |
Come in. | 0:47:42 | 0:47:44 | |
Bueno. Este es el patio. | 0:47:44 | 0:47:47 | |
It's beautiful! It's extraordinary, and it's beautiful. | 0:47:47 | 0:47:51 | |
-You're drinking, eating, having a nice time. -That's right. | 0:48:03 | 0:48:07 | |
-Yeah. -Sit down. -OK. Yeah, I'm very happy to join you. | 0:48:07 | 0:48:10 | |
So, who does the work? | 0:48:10 | 0:48:12 | |
-Who looks after it? -Well, I think, everybody. | 0:48:12 | 0:48:15 | |
You're retaining the traditions of communal living, | 0:48:15 | 0:48:20 | |
of sharing the space. | 0:48:20 | 0:48:22 | |
We met, you know, in a renting place, in a...in a block of flats. | 0:48:22 | 0:48:28 | |
Five people decided to buy a place, you know, | 0:48:28 | 0:48:33 | |
where they can be together. So we meet, we cook, we drink. | 0:48:33 | 0:48:39 | |
So we have fun. | 0:48:39 | 0:48:40 | |
Everyone looks after their own doorstep | 0:48:43 | 0:48:45 | |
and their own bit of wall, but each year, they communally agree | 0:48:45 | 0:48:49 | |
on a scheme to give the patio one cohesive design. | 0:48:49 | 0:48:52 | |
How do you decide the sort of artistic decisions? | 0:48:53 | 0:48:57 | |
-I mean, for example, who decided to put that rose up the tree? -You have to negotiate a little bit. | 0:48:57 | 0:49:02 | |
But it works, doesn't it? | 0:49:02 | 0:49:04 | |
And it's a very nice feeling, sitting here. | 0:49:04 | 0:49:07 | |
It feels like a good space to be in. | 0:49:07 | 0:49:09 | |
We don't plan to...to make up, you know, a paradise, | 0:49:09 | 0:49:13 | |
but, in the end, you know, it is. | 0:49:13 | 0:49:15 | |
MUSIC AND SINGING | 0:49:18 | 0:49:20 | |
We eat and drink very well, but this is Spain, | 0:49:24 | 0:49:27 | |
and by midnight, the night is just beginning. | 0:49:27 | 0:49:30 | |
The streets are full of people looking for a party | 0:49:30 | 0:49:33 | |
and, amazingly, still looking for gardens to visit. | 0:49:33 | 0:49:36 | |
Having spent all day visiting patios here in Cordoba, | 0:49:49 | 0:49:53 | |
I have no hesitation in thinking | 0:49:53 | 0:49:55 | |
that they are one of the great gardens of the world, | 0:49:55 | 0:49:59 | |
gardens where people live and eat and work, | 0:49:59 | 0:50:03 | |
and of seeing where they party and party really well. | 0:50:03 | 0:50:08 | |
That seems to me a complete celebration of gardening. | 0:50:08 | 0:50:12 | |
These are special. | 0:50:12 | 0:50:15 | |
PEOPLE SING | 0:50:23 | 0:50:26 | |
After a few hours' sleep, | 0:50:29 | 0:50:31 | |
I'm up to catch the eight o'clock train to Madrid. | 0:50:31 | 0:50:33 | |
It's near the end of my journey, | 0:50:33 | 0:50:36 | |
but for my last visit, I'm off to meet someone | 0:50:36 | 0:50:38 | |
whose work I admire almost more than any other living garden designer. | 0:50:38 | 0:50:42 | |
He's someone who seems to have distilled all the different strands | 0:50:44 | 0:50:49 | |
of Mediterranean culture - | 0:50:49 | 0:50:51 | |
classical, through Islamic and modern Christian influences | 0:50:51 | 0:50:54 | |
into one coherent style, combining a feeling for landscape, gardens, | 0:50:54 | 0:50:58 | |
spirituality and philosophy that I find thrilling. | 0:50:58 | 0:51:01 | |
This is a new phase in the journey, | 0:51:05 | 0:51:06 | |
because we're off to see Mr Caruncho. | 0:51:06 | 0:51:09 | |
Now, Caruncho is in my opinion, without doubt, | 0:51:09 | 0:51:12 | |
one of the great garden designers. | 0:51:12 | 0:51:14 | |
We've got the opportunity to meet him in his own home. | 0:51:14 | 0:51:17 | |
Now, for me that's fantastic - I go as a fan. | 0:51:17 | 0:51:20 | |
And I really want to find out how all this weight of history | 0:51:20 | 0:51:25 | |
and cultural depth is reflected in his work in modern-day Spain. | 0:51:25 | 0:51:31 | |
As befits a former student of philosophy, | 0:51:48 | 0:51:50 | |
Fernando Caruncho's work reflects his knowledge of both classical antiquity, | 0:51:50 | 0:51:55 | |
and Spain's Moorish history. | 0:51:55 | 0:51:57 | |
He's fascinated by the deep relationship that man has with the landscape, | 0:51:57 | 0:52:02 | |
and has experimented with agricultural crops | 0:52:02 | 0:52:05 | |
as materials for his gardens, like his spectacular wheat garden | 0:52:05 | 0:52:09 | |
at the Mas de les Voltes on Spain's Costa Brava, | 0:52:09 | 0:52:12 | |
which brought him international recognition. | 0:52:12 | 0:52:14 | |
This is very beautiful, Senor Caruncho. How nice to see you. | 0:52:20 | 0:52:24 | |
'Senor Caruncho's home is just outside Madrid. | 0:52:24 | 0:52:27 | |
'As I arrive, he greets me with his son, Pedro.' | 0:52:27 | 0:52:30 | |
-How do you do? -Er...Peter. -Hello, Peter. | 0:52:30 | 0:52:33 | |
This is fantastic. It is wonderful. | 0:52:33 | 0:52:35 | |
It's fantastic to... for you to be in our garden. | 0:52:35 | 0:52:39 | |
This is our dog. He is old. Yes, he's very old. He's very old. | 0:52:39 | 0:52:44 | |
-This is very beautiful. -Ah! Thank you, Monty. | 0:52:44 | 0:52:47 | |
And this is the garden, you know, in reality, like a cloister. | 0:52:47 | 0:52:52 | |
It's a cloister, open in one part from the nature. | 0:52:52 | 0:52:57 | |
Although completely modern, | 0:53:02 | 0:53:04 | |
evidence of Spain's Islamic heritage is clear to see. | 0:53:04 | 0:53:08 | |
The exterior of the house is almost windowless. | 0:53:08 | 0:53:10 | |
It's warm, strong, but closed, | 0:53:10 | 0:53:13 | |
balanced between modesty and privacy. | 0:53:13 | 0:53:16 | |
The large pond dominates what Caruncho calls the central cloister | 0:53:16 | 0:53:20 | |
at the back of the building, | 0:53:20 | 0:53:22 | |
and seems to come right up and almost into to the house. | 0:53:22 | 0:53:25 | |
And the water reflects the buildings, | 0:53:25 | 0:53:27 | |
the clipped contours of the escallonia on the opposite bank, | 0:53:27 | 0:53:31 | |
and above all, the light. | 0:53:31 | 0:53:34 | |
To me, the central idea is to control the light. | 0:53:34 | 0:53:38 | |
The cloister in the middle is to control the light, | 0:53:38 | 0:53:42 | |
because it's very, very strong. | 0:53:42 | 0:53:44 | |
This is this idea of the box, | 0:53:44 | 0:53:47 | |
to do the contrast between the shadow and light, empty and full space, | 0:53:47 | 0:53:52 | |
mineral and vegetable, and in the middle, the water. | 0:53:52 | 0:53:58 | |
All the wall of the garden is reflecting in the water. | 0:53:58 | 0:54:03 | |
And these reflections of the light produce a vibration of light. | 0:54:03 | 0:54:09 | |
Very characteristic of the Islamic gardens. | 0:54:09 | 0:54:14 | |
In reality, it's a sacred space. | 0:54:14 | 0:54:16 | |
So do you think that this attitude is common | 0:54:16 | 0:54:20 | |
in the ordinary Spanish gardener? | 0:54:20 | 0:54:22 | |
Yes. Yes, because, the Spanish people have the garden inside absolutely. | 0:54:22 | 0:54:29 | |
Inside us. | 0:54:29 | 0:54:32 | |
Because it's a very strong memory. | 0:54:32 | 0:54:35 | |
-May I see round your garden? -Oh, thank you, thank you, Monty. | 0:54:35 | 0:54:39 | |
I'd like to...to show you with Peter, eh? Con Pedro. | 0:54:39 | 0:54:44 | |
Everything in Fernando Caruncho's garden is very simple, | 0:54:50 | 0:54:55 | |
strong and poised. | 0:54:55 | 0:54:56 | |
The columns and colonnades reflect the classical orders | 0:54:56 | 0:54:59 | |
that are so evident in Renaissance gardens, | 0:54:59 | 0:55:02 | |
but there are none of the surface embellishments of Islamic art. | 0:55:02 | 0:55:05 | |
His planting is restrained, but very subtly and skillfully clipped | 0:55:05 | 0:55:10 | |
to weave a contour to mimic an entire hillside | 0:55:10 | 0:55:13 | |
within the small space. | 0:55:13 | 0:55:15 | |
In many gardens, there would be the temptation | 0:55:15 | 0:55:18 | |
to embellish and add, and... | 0:55:18 | 0:55:21 | |
-and have many different plants. -Mmm-hmm. I like it to be simple, | 0:55:21 | 0:55:26 | |
like a natural. The nature don't have a lot of things, | 0:55:26 | 0:55:31 | |
and the majority of our gardens have three, four species of trees... | 0:55:31 | 0:55:38 | |
three or more species of shrubs... | 0:55:38 | 0:55:44 | |
-Two, three species of, erm, plants to... Climb. -Climbers. Yes. | 0:55:44 | 0:55:51 | |
And the flower is just to give colour and smell. | 0:55:51 | 0:55:58 | |
The splendour of one moment of the garden. | 0:55:58 | 0:56:02 | |
At the centre of this garden, as with all Caruncho's work, | 0:56:02 | 0:56:05 | |
is a profound connection with the spirit of the place. | 0:56:05 | 0:56:09 | |
It has an almost mystical relationship | 0:56:09 | 0:56:12 | |
with the essence of the landscape. | 0:56:12 | 0:56:14 | |
His real genius is to express this with the material resources | 0:56:14 | 0:56:18 | |
available to every gardener. | 0:56:18 | 0:56:20 | |
When you go in the stairs and you... you are in the... | 0:56:20 | 0:56:24 | |
in the high part of the garden, you arrive in this church, | 0:56:24 | 0:56:29 | |
And when you are up in this church, | 0:56:29 | 0:56:31 | |
you discover the character and the landscape, | 0:56:31 | 0:56:35 | |
and you are...immediately out of you. | 0:56:35 | 0:56:39 | |
This...this is really... it's like a little pilgrimage. | 0:56:39 | 0:56:43 | |
I understand completely. | 0:56:43 | 0:56:45 | |
You don't need to read a book to understand a garden. | 0:56:45 | 0:56:49 | |
You are inside the garden. | 0:56:49 | 0:56:52 | |
You are in the middle. | 0:56:52 | 0:56:55 | |
And in this moment, you're beginning to be transformed. | 0:56:55 | 0:56:58 | |
My brief jaunt round the gardens of the Mediterranean | 0:57:06 | 0:57:10 | |
has revealed how they reflect the strength | 0:57:10 | 0:57:13 | |
of two very different cultures - the Classical and Islamic. | 0:57:13 | 0:57:17 | |
It's also shown me how both have enriched | 0:57:17 | 0:57:20 | |
and informed each other from very earliest times. | 0:57:20 | 0:57:23 | |
So it feels fitting to finish here, | 0:57:27 | 0:57:29 | |
in Fernando Caruncho's thoroughly modern garden, | 0:57:29 | 0:57:33 | |
that synthesises not just the physical, | 0:57:33 | 0:57:36 | |
but the spiritual elements of both cultures. | 0:57:36 | 0:57:40 | |
That was one of the best meetings of my life. | 0:57:40 | 0:57:44 | |
I knew I loved his gardens, but I tell you, I love the man. | 0:57:44 | 0:57:47 | |
He's completely in tune with the way that I see the world, | 0:57:47 | 0:57:50 | |
and what he's done is to refresh me and inspire me. | 0:57:50 | 0:57:52 | |
I want to go and look at gardens completely differently now. | 0:57:52 | 0:57:55 | |
Join me next time, | 0:57:58 | 0:57:59 | |
as I visit a country with amazing indigenous flora. | 0:57:59 | 0:58:03 | |
A nation that is forging a new identity for itself | 0:58:03 | 0:58:06 | |
through appreciation of its environmental wonders - | 0:58:06 | 0:58:10 | |
South Africa. | 0:58:10 | 0:58:11 | |
Subtitles by Red Bee Media Ltd | 0:58:34 | 0:58:37 | |
E-mail [email protected] | 0:58:37 | 0:58:40 |