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Examples of Gates to Gardens Doors in walls are indicated, for example. A Gothic style doorway may access the gardens via the 'Cathedral Plaza' next to the north door.
Below: A door designed by William Bertram leads from the Terrace to the Sandial Garden which was the first garden to be created when the Prince arrived at Highgrove. A display of daffodils grown in the pot beside it.
Low-MAINTENANCE HEDGES Hedges can be used either for boundaries or for internal garden divisions or screens, but in a low-maintenance garden hedging plants must be chosen with a great deal of care because none will need much more attention than others. There are two types of hedger formal and informal. Formal hedges are trained into a definite shape - for example, the wedge shape is a popular and practical one, with a wide base tapering to about half this width at the top. Formal hedges must be regularly clipped o order to keep them looking neat and at their best. Clipping may be needed once a year for slow-growing hedging plants, or several times a year for quick growers. For a low-maintenance garden, always opt for the former. Clipped hedges are a good choice for formal gardens, especially in urban areas, although they are sometimes used in country gardens, too. There is a choice of evergreen or deciduous subjects. Informal hedges are the ultimate lowmaintenance hedges, since they need no clipping, except perhaps for cutting back the occasional overlong shoot. They look must at home in country and cortage gardens, and it should be borne in mind that they take up much more space than clipped formal hedges, because they can become quite broad. Some shrubs that are used for informal hedges have a very wide, arching habit of growth. Flowering shrubs
In the case of hedges, informality requires much less work are popular for informal hedges, although there are some evergreen and deciduous foliage shrubs that make good hedges, too. Boundary hedges should be dense in habit, but fortunately most hedging plants fit this bill. Some gardeners opt for spicy subjects, such as berberis, to deter human and animal intruders from entering.
A FEELING OF PRIVACY This attractive, formal assailoma hedge is of sufficient height to provide plenty of privacy within the garden, yet it is still easy to clip.
Paving will use high quality materials, (granite sets, limestone) will be safe and wheelchair friendly. Herring-bone is a Peel characteristic and will occasionally be used.
1.) St. Maughold's garden 6th century
Hard landscape: Inscribing saints' names of the period in the paving that gave their names to the Island parishes
Soft landscape: Planting representing the 'broad brush' features of the Manx landscape with its purple mountains , green glens and the sea.
Public art: Sculpture of the legendary arrival of Maughold. Artefacts: A seat in the garden, with the shelter for it constructed from materials used in building a coracle. Jets of fine spray might intermittently be used in the garden symbolising the sea mist, so common on the Island.
Lighting: Light might be used to symbolise the arrival of the Gospel and at night to reflect the colours associated with the Island. This would compensate for plants not in flower.
All-age interactivity: Find names of saints of the period that are now place names on the Island.
Artefacts of the period held by Cathedral: None Exhibition: Suggest a facsimile of Brendan's saga to illustrate Celtic pilgrimage stories and an exhibition illustrating the Celtic pattern of ministry prior to the parish system with a computer interactive map indicating locations associated with Patrick and some of the other key saints of the period.
Events: Celtic Story telling week Cascade: Signing people to Maughold and its collection of crosses, its monastic buildings and keeill
[^0] [^0]: Garden boundaries are of room height ( 2.5 metres)
The Calf of Man Crucifixion. (Manx National Heritage)
Hard landscape: A complete replica of a Manx keeill (Lag-ny-keeiley) set aside as a quiet oratory with altar. (The door will have to be wider than they were to allow for disabled access, though the real size could be marked on the floor. It is not certain what roofs were made off, but they could have been thatch or turf, the latter will be used. The Culdee's cell with bridle stone, well and cross typical of the period will also be constructed. Within the keeill might be a reconstructed altar and contemporary icons inspired by Celtic saints associated with this period. The Keeill and cell need to be lockable when the gardens are closed. The walls of the garden are room height.
Soft landscape: The garden around the Keeill might indicate the range of herbs used in this period indicating the qualities they were grown for.
Public art/artefacts: Icons for the keeill and possible bas relief on the adjoining wall.
Lighting: The lighting used in this area will enable the buildings and cross to be lit at night to emphasize the features, while the interior will be lit with subdued lighting evocative of limited candlelight. Space will be made available for burning candles in the day.
All-age interactivity: The oratory might be used as a place of prayer and reflection.
Artefacts of the period held by Cathedral: None, but the Cathedral has an icon of St. German commissioned from Amanda de Pulford and a reconstruction of the altar stone depicting the Calf of Man cross of the 9th century conjecturing what it looked like in its entirety. The full-size replica has been reconstructed in Manx slate and was recently carved by Ongky (a Bali stonemason married to a resident of Peel).
Exhibition: There might be an exploration of the use of the Christus Victor tradition, (the image behind the Calf of Man cross), which in Medieval Europe was replaced by the crucifix. The DVD associated with 'Keeills week' might be played.
Cascade: Signing people to the Island's Keeills including Lag-ny-keeiley and other key ones that are accessible to the public and give an idea of their settings.
The Keeill will be a reconstruction using the best evidence of the day of the Keeill as it was when complete, it will also include a turf roof. The Hermit Cell will also be re-constructed within the garden.
Thorwald's Cross Slab, Andreas. (Manx National Heritage)
The Norse crosses are among the most spectacular works of art ever produced on the Isle of Man. The pagan Vikings did not mark their graves with stones, let alone Christian crosses, but when they became converted to Christianity, probably after the first generation of settlers had died out, they adopted the idea of the carved cross with enthusiasm and produced their own versions, decorated in Norse
3.) Cross garden (Bjornson and Thorbjorn crosses) 10th and 11th century Key concept: Turbulence and absorption of Nordic culture into Christianity
Hard landscape: Set in the paved area might be silver coins representing hoards discovered relating to this period. The surrounding low wall might be sandstone, representing the importance of St. Patrick's Isle during this period, with clinker tops of seat-height with detailing drawing inspiration from the Norse long-ship.
Soft landscape: The planting might represent the sea with a hedge , such a Fuchsia with its blood red flowers representing battles such as Sky Hill.
Crosses that represent the transition from Celtic to Nordic Christianity together with the ground plan of the Manx Round Towers of the period and one of the larger Irish ones for comparison e.g. Kilkenny (The diocese of Sodor and Man is twinned with the Diocese of Cashel and Ossory which includes Kilkenny) with an indication of how high the towers were in comparison with different levels of the current Cathedral tower
Lighting: Lighting at night to reflect the waves of the sea and possibly the sound of the sea and gulls to enhance the experience. Spots of light on the Cathedral tower might indicate how tall the various towers are.
All-age interactivity: Wax crayon rubbing of stone crosses. Artefacts of the period held by Cathedral: None - we will request a piece of stone from Kilkenny round tower.
Exhibition: Recreation of the patterns of key crosses to tell the story of the Nordic invaders becoming Christian
Events: A Festival of Manx Crosses Cascade: Signing people to the location of crosses and round towers on the Isle of Man
[^0] [^0]: The hedge is approximately room height ( 2.5 metres)
4.) The Sudreys garden 12th and 13th century
Key concept: Northern influences: The Kingdom of Man and the Isles
Hard landscape: Paving might indicate the extent of this empire, from which the Diocese of Sodor and Man eventually gets its name. The paving might be incised with the map of the Island Empire. Distances to the various parts of the Sodorenses might be indicated on the map with the names of Islands carved in the stone with crosses symbolising key abbeys of the period. Long ships, drawn in simple Medieval fashion might be outlined on the map as might the outlines of Iona and St German's.
Soft landscape: This might be a relatively small garden with the only planting being an evergreen hedge of a seaside tolerant plant such as Grisilinea.
There might be a bench around the space, designed in such a way as to represent the waves of the sea. A sculpture might be commissioned that symbolises this Island Empire.
Lighting: Lighting might imitate the waves of the sea and spots of light illuminate the sites of abbeys and the Cathedral.
All-age interactivity: Calculating distances between Islands using a scale and an exploration of the different religious houses around the coast: Sabal, Grey and Bangor abbeys (Ireland), Whithorn, St Bede's and Furness (England), Iona (Scotland) and St German's Cathedral (Isle of Man).
Artefacts of the period held by Cathedral: Stone from St German's Cathedral, Patrick's Isle and also from Nidaros Cathedral, Norway.
Exhibition: An 'touch screen interactive computer indicating details in common between the Abbey of Iona and St German's Cathedral might be made available.
Events: Iona style weeks for young people on pilgrimage, Kipper and Queenie Festivals Cascade: Signing people to the ancient Cathedral of German on St Patrick's Isle. [^0]10 JAN 2011 [^0]: The hedge is of room height (approx 2.5 metres)
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5.) Abbey garden 13th Century
Key concept: Southern Influences: the Latin world
Hard landscape: One of the great Cathedrals of France, Chartres has a labyrinth ( 42 feet in diameter) and whilst there is no historic evidence for labyrinths existing on the Isle of Man, (though they exist in England) it represents the influences coming from continental Europe. This might be constructed of limestone and Pooil Vaaish marble. Marked on the path might be the names of the religious houses having property on the Isle of Man and the names of the lands they held.
Soft landscape: Around the garden might be a green tunnel ( 2.5 metres in height) replicating the Cloister in Rushen Abbey (approximately 10 metres square). The tunnel might be of Laburnum or hornbeam with at least one entrance in limestone as it might have been at Rushen Abbey. The angular elements of the garden around the labyrinth might be filled with herbs used in a Medieval apothecary.
Public art/artefacts: The coat of arms of Rushen Abbey might also be a feature on the green walls of the cloister. Lighting: The labyrinth might be illuminated at night using a variety of fibre-optic colours. All-age interactivity: Travelling the labyrinth or walking meditatively around the cloister.
A replica of the heraldic arms of Rushen Abbey and other religious houses holding property on the Isle of Man with a map indicating the territory held. Putting monasticism in its European context, for example, owning between and of the land of Europe. Indicating something of the Rule of Life with perhaps background Gregorian chant associated with such houses.
Events: Pilgrimages from Rushen Abbey to St German's Cathedral and vice versa Cascade: Signing people to Rushen Abbey and other abbeylands on the Isle of Man.
The Corrin Hall and Keeill are visible to the left with the M.E.A. substation to the right. The Labyrinth is surrounded by a cloister of arched green vegetation with architectural doorways reflecting the Cloister at Rushen Abbey.
Prior to the Reformation a number of new religious movements touched the Isle of Man:
Hard landscape: The Garden might take as its theme the care for God's creation using the Canticle of the Sun 'Brother Sun and Sister Moon' written by Francis of Assisi (1181/2-1226) as a starting point. The garden is the exact size of the Friary chapel at Ballabeg and will have walls constructed to room height ( 2.5 metres) in the same materials as the chapel with openings in the same places. The courtyard garden might have a colonnade reminiscent of Umbria.
Soft landscape: The courtyard garden might have a Mediterranean planting scheme reminiscent of Umbria making use of the marine climate in Peel. Since Francis is the patron saint of ecology, encouraging care for the planet could be the message of the garden.
Public art/artefacts: There might be a water feature, wind chimes, and something symbolising fire. A sculptor might be invited to produce a piece, which symbolises the Franciscan love of creation echoing the Canticle of the Sun. (There is also the opportunity on the roof of the Manx Electricity Authority (MEA substation behind to have a weather vane taking up the theme.)
Lighting: Lighting the walls of the friary, it's Caernarfon doorway and the substation might be considered. Lighting that symbolises the different elements of the Canticle of the Sun might also be considered.
Events: Exhibitions associated with new green technology and care for the planet All-age interactivity: The garden might encourage visitors to interact with the senses: sound, sight, smell, touch and taste.
Exhibition: A model of the friary at Bymaken and the text of the Canticle of the Sun with a brief explanation of the Franciscan life and the new thinking brought by the Franciscans and finding a resonance today in eco-Christianity.
Cascade: It would perhaps be inappropriate to sign visitors to the friary at Bymaken, as it is in private hands and not accessible. The work of Anglican Franciscans today might be signed and particularly the Third Order and organisations that care for creation, for example, eco-Christianity at The Arthur Rank Centre, Stoneleigh Abbey, Warwickshire or the Green Centre, Chester Street Centre, Douglas.
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