& shades of green in-between
Under clear blue skies, the gilding rays of a low winter sun heightened the sense of theatre as we explored the grounds of Nymans, a National Trust property with panoramic views across the High Weald's rural landscape. The striking medieval-styled manor house has a renowned garden with an inspirational history of exotic planting. Nymans was formerly home to three generations of the Messel family. German Jewish émigré Ludwig Messel acquired Nymans in 1890 and began his pioneering plant collection with a passion continued no less enthusiastically by his son Leonard. The house was partially destroyed by fire in 1947, less than twenty years after Leonard’s ambitious architectural project successfully re-modelled the building into the moody magnificence of the romanticised middle ages. The fire-ravished ruins were only partially reclaimed as habitable, providing a base for family visits to the glorious gardens, particularly by Leonard’s daughter Anne Parsons, Countess of Rosse. Anne later took up permanent residence, remaining at Nyman’s for the rest of her life. Anne’s brother, Oliver Messel, was one of the most celebrated stage designers of the 20th century. Extraordinarily inventive in his approach to enhancing stage action and atmosphere, Oliver’s ingenuity with fabric texture and embellishments was sometimes beyond the realm of conventional costume makers’ skills, requiring Oliver to work on the costumes himself, assisted by Anne.
With such artistic connections in mind, the garden at Nymans lends itself perfectly to theatrical analogy. Stone ruins with their cawing crow collective have the drama and melancholy of a big-budget gothic production. The romantic balustraded bastion, known as the Prospect, evokes Juliet on the balcony calling out to Romeo. The elegantly bonkers boxwood topiary near the lime walk gives a sense that the cast of Mathew Bourne’s Edward Scissorhands might leap from the laurel wings at any moment. But on this fine winter’s afternoon, the true star of the show was the commanding Cedar of Lebanon on the main lawn: as the dipping sun became its footlight, the crown of this garden titan was illuminated from beneath in a fan of golden glory.
Evergreen plants are the living pulse of the dramatic, roofless facade, creating a season-defying sense of abundance.
Beneath a fairytale dovecote, the courtyard wall is draped with winter jasmine’s fairy lights.
Archways and steps lead from one charming theatre set to the next.
Gnarly wisteria seems to support the pergola pillar. Ludwig Messel added the pergola following the 1903 Japanese Exhibition in London, which made plant collectors around the country thoroughly wistful for sweet-scented wisteria.
The re-modelling of the house in Somerset stone began under architect Norman Evill. A disagreement led to Sir Walter Tapper completing the ambitious project, incorporating bricks in a noticeable change of style.
Evening shadows paint trompe-l’oeil archways on the glowing stone wall of the Loggia.
Planted in 1850, the majestic Cedar of Lebanon may oversee the garden’s evolution for another 400 years and more.
Topographical topiary sculptures hang together with perfect tension in a skilfully orchestrated jumble.
The pleasing symmetry of bay standards punctuates the courtyard.
The neat boxwood knot garden is the perfect foil for knotty wisteria.
The crenellated yew hedge dates back over 80 years.
Circular ivy hedging provide an essential berry food source for insects and birds during winter.
