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Flora's Empire brings new light to the complex history of British imperialism in India and its post-Independence legacy. Aided by beautiful period illustrations, it focuses on three centuries of official, domestic, and botanical gardens, as well as on memorial gardens and restorations of Muslim and Hindu sites.

Featuring more than 150 illustrations, many in color, The Invention of Rivers integrates history, art, cultural studies, hydrology, and geography to tell the story of how rivers have been culturally constructed as lines granted special roles in defining human habitation and everyday practice.

Accompanied by an introduction by John Dixon Hunt, this facsimile fully reproduces the 1948 edition of Gardens in the Modern Landscape, a manifesto for the modern garden that deeply influenced twentieth century landscape design.

Basic theoretical texts for landscape architects.

Walk with landscape architect and scholar Ron Henderson through seventeen of Suzhou's classical Chinese garden masterpieces. This insightful guide is fully illustrated with newly drawn plans, maps, and original photographs.

In The Monster in the Garden, Luke Morgan develops a new conceptual model of Renaissance landscape design, arguing that the monster was a key figure in Renaissance culture and that the incorporation of the monstrous into gardens was not incidental but an essential feature.

La Foce: A Garden and Landscape in Tuscany offers a rare look at the majestic, romantic, and personal aspects of one of the loveliest and most bewitching places on earth.

Published in 1774, Essay on Gardens is one of the earliest texts showing the progressive shift in French taste from the classical model of the gardens at Versailles to the picturesque or natural style of garden design in the late eighteenth century.

In these three texts, brought together and translated into English for the first time, Gilles Clement outlines his interpretation of the laws that govern the natural world as well as the principles that should guide our stewardship of the global garden of Earth.

Like its palatial contemporaries Biltmore and San Simeon, Vizcaya represents an achievement of the Gilded Age, when country houses and their gardens were a conspicuous measure of personal wealth and power. In Vizcaya, the authors use illustrations, historic photographs, and narrative to document this extraordinary house and landscape.

Salomon de Caus was a pivotal figure in the dissemination of the design principles and motifs of the Italian Renaissance garden throughout Europe. By setting the record straight in this biography, Luke Morgan rewrites the received history of early seventeenth-century garden design.

Michel Baridon traces the history of the most famous gardens in the world from their inception through the three centuries of eventful history that they have witnessed.

David Leatherbarrow is Professor of Architecture and Chairman of the Graduate Group in Architecture at the University of Pennsylvania. He is the author of Uncommon Ground, among other works.

A comprehensive survey of Islamic gardens, from antiquity through to the present.

In Japanese Landscapes and Gardens, 1650-1950 Wybe Kuitert presents a richly illustrated survey of the gardens and the people who commissioned, created, and used them and chronicles the modernization of traditional aesthetics in the context of economic, political, and environmental transformation.

Ovid tells the story of Latona, the mother by Jupiter of Apollo and Diana. In her flight from the jealous Juno, she arrives faint and parched on the coast of Asia Minor. Kneeling to sip from a pond, Latona is met by the local peasants, who not only deny her effort but muddy the water in pure malice. Enraged, Latona calls a curse down upon the stingy peasants, turning them to frogs.In his masterful study, Thomas F. Hedin reveals how and why a fountain of this strange legend was installed in the heart of Versailles in the 1660s, the inaugural decade of Louis XIV¿s patronage there. The natural supply of water was scarce and unwieldy, and it took the genius of the king¿s hydraulic engineers, working in partnership with the landscape architect André Le Nôtre, to exploit it. If Ovid¿s peasants were punished for their stubborn denial of water, so too the obstacles of coarse nature at Versailles were conquered; the aquatic iconography of the fountain was equivalent to the aquatic reality of the gardens.Latona was designed by Charles Le Brun, the most powerful artist at the court of Louis XIV, and carried out by Gaspard and Balthazar Marsy. The 1660s were rich in artistic theory in France, and the artists of the fountain delivered substantial lectures at the Académie royale de peinture et de sculpture on subjects of central concern to their current work. What they professed was what they were visualizing in the gardens. As such, the fountain is an insider¿s guide to the leading artistic ideals of the moment.Louis XIV was viewed as the reincarnation of Apollo, the god of creativity, the inspiration of artists and scientists. Hedin¿s original argument is that Latona was a double declaration: a glorification of the king and a proud manifesto by artists.