ABSTRACT
Summarizing the remote pages of Pierre Boitard's Manuel de I’architecte des jardins, Gustave Flaubert divides gardens into:
the melancholy and romantic, distinguished by immortelles, ruins, tombs, and ‘a votive offering to the Virgin, indicating the place where a lord has fallen under the blade of an assassin’ A garden maze. From Batty Langley, Practical Geometry, applied to the Arts of Building, Surveying, Gardening, and Mensuration. London: W. & J. Innys, J. Osborn and T. Longman, B. Lintot et al., 1726. https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780203805145/c5bc5caa-7903-49ef-8439-c2584cc57271/content/fig1_1_B.jpg" xmlns:xlink="https://www.w3.org/1999/xlink"/>
the terrible, featuring overhanging rocks, shattered trees and burning huts
the exotic, with Peruvian torch-thistles that ‘arouse memories in a colonist or a traveler’
the grave, offering a temple to philosophy
the majestic, populated by obelisks and triumphal arches
the mysterious, composed of moss and grottoes
the dreamy, centered on a lake
the fantastic, where the visitor, after meeting a wild boar, a hermit and several sepulchres, will be taken in an empty barque into a boudoir to be laved by water-spouts. (Flaubert 1971: 59–60). 1
