What makes Charleston’s gardens so great?
CHARLESTON, S.C. — Charleston is the architectural jewel of the South, boasting more than 2,800 historic buildings. But what separates Charleston from other Southern cities is its unique union of architectural styles and meticulous gardens.
Charleston’s semi-tropical climate (USDA Hardiness Zones 8a9b) makes it a thriving paradise of exotic plantings, including camellia, crape myrtle and the siren of the South, the gardenia. All but the gardenia were brought to Charleston by French botanist Andre Michaux. In 1786, he established this country’s first botanic garden near Charleston and brought the seeds of the crape myrtle ( Langerstomia indica), camellia ( Camellia japonica and C. sasanqua), tea olive ( Osmanthus fragrans) and mimosa ( Mimosa pudica).
We have come to recognize these plants as Southern classics. They bloom in window boxes and behind iron gates during Charleston’s Festival of Houses and Gardens, which takes place every March and April. The tour highlights gardens on South Battery, Church, King, Legare and Meeting streets.
Many were designed by Loutrel Briggs, who was responsible for over 100 private and public spaces in Charleston and four nearby plantations. The New York native excelled at integrating 18th-century plants and features into new designs and pioneered the idea of outdoor rooms. His 1951 book “Charleston Gardens” was an immediate success.
In 1929, his first commission was the garden of Cornelia Roebling, widow of bridge architect Washington Augustus Roebling. Mrs. Roebling, a Charleston native, insisted that the design respect the historical integrity of the site.
Mr. Briggs asked a few basic questions: Do you want a formal or casual garden? How much space should be devoted to bulbs, annuals and perennials? How much space for azaleas and camellias? Do you want a patio? Do you want blooms throughout the year or concentrated in certain months?
Acclaim for Mrs. Roebling’s garden led to more commissions, including a little-known public space, the Mills House Hotel on Meeting Street. Mr. Briggs used a large wrought-iron fountain to anchor the garden and flagstone paving and boxwood to simulate a French parterre. From the hotel’s elevated terrace, viewers can admire seasonal planting beds of camellia, azalea and boxwood. Stucco walls unify the space.
In 1941, Mr. Briggs began a garden for Ben and Emily Whaley around their preRevolutionary War home on Church Street. It was to be completed in two sections, in 1941 and 1965. Mr. Briggs provided a blueprint for a new garden and a crayon sketch of what it would look like in 10 years.
Mrs. Whaley, who came from a family of gardeners, viewed the project as a collaboration. The ebullient patron and reserved architect were a contrast in personalities, but their partnership was a success.
The Whaley garden grew to contain five distinct rooms and Mrs. Whaley became a garden designer in her own right, known for her use of color and perennials. For 50 years, she and Junior Johnson tended her spectacular garden. In 1997, “Mrs. Whaley and her Charleston Garden” was published and was an instant success. She died a year later at age 87.
Mrs. Whaley’s garden is now maintained by her daughter, Marty Whaley Adams Cornwall. Among the plants she has added is acanthus, a nod to Mr. Briggs and the popularity of the acanthus motif in Colonial America. Mrs. Whaley’s Garden is open most Friday, Saturday and Sunday afternoons for a donation of $10 per person.
Mr. Briggs’ gardens have certain common characteristics. Large, textural plants go closest to the house, with medium and fine-textured plants leading the eye deeper into the garden. Harmony is created with proportion, repetition, scale and unity.
He used no more than 15 different plants, selected for their flowers, fragrance, scale, size, texture and sustainability. Boxwood form boundaries and terraces, pools and seating areas create places for light to play. “Old English” bricks and stone are used for walls, walkways, terraces and patios. Pierced brick walls define space and filter light, giving the feeling of age to the garden.
The primary focal point was a fountain, sculptural urn or large bench. Mr. Briggs stressed that owners should have their very own chairs hidden from sight, a private space of contemplation
and enjoyment.
Sadly, poor maintenance, natural disasters and changes in ownership left some of Mr. Briggs’ gardens in disrepair. In 2003, a group of preservationists and volunteers gathered to identify, document, photograph and preserve or restore as many as possible. Several Briggs gardens are often included in the annual Festival of Houses and Gardens. For more information, go to www.historiccharleston.org.