559. Western white pine

The western white pine (Pinus monticola) is related to the eastern white pine (Pinus strobus) differing from it in having a more rounded form, wide-reaching limbs and larger cones. The western white pine is native to the western part of the United States, specifically the Sierra Nevada, the Cascades, and the northern Rocky Mountains. It is the state tree of Idaho. The western white pine grows rapidly, attaining heights of 175 feet and trunk diameters from 5 to 8 feet. The needles grow in bundles of five, are finely serrated, and 2 to 5 inches long. The bark of the mature western white pine is brownish-gray and broken into small block-like shapes. The wood is ideally suited for building applications including window and door frames, paneling and shelving.

Japanese Knotweed

The recent discovery of Japanese knotweed (Fallopia japonica) around the parking lot of Marquand Park demands some attention. The perennial has a bamboo-like reddish stem, heart-shaped bright green leaves, and when blooming pretty little white-flower tassels. Introduced in Europe at the beginning of the 19th century, Japanese knotweed became popular as a garden plant because of its soft and pleasing effect. In the United States, Frederic Law Olmsted was responsible for planting it in Central Park.

Over time, the plant has become the most pernicious weed in Great Britain posing a threat to building structures and road surfaces. In the United States, Japanese knotweed is considered an invasive in 38 states and occurs on the New Jersey Invasive Plant Species List. The weed likes to grow along roads and in areas disturbed by human activity. It spreads like wildfire. Eradicating a cluster of plants is not easy. A home improvement website called the Spruce describes techniques such as using tarp to smother the weed; cutting and digging up the plant and its root system; and spraying and injecting knotweed with herbicides. In the United Kingdom, scientists are experimenting with the release of a plant eating insect called Aphalara itadori that feeds on the Japanese knotweed and kills the plant.

Loudon’s Circular Flower Beds

Loudon’s Circular Flowerbed
John Claudius Loudon (1783 – 1843), often called the father of the English garden, wrote books and articles on gardening and growing plants which were widely read and used in the creation of private and public gardens in the 19th century. Loudon did not believe that gardens should imitate nature. His gardenesque style allowed for the placement of specially designed planting areas where plants could grow under optimal conditions. These planting areas were geometrically shaped like squares, triangles, and circles.
In his Suburban Gardener and Villa Companion, published in 1838, Loudon describes the construction of a circular flower bed on a grassy lawn. The outside of this flowerbed was made of a circle of bricks with the short sides of the bricks facing each other (a). The raised slope inside the circle (c) was covered by another row of bricks (b) laid perpendicular to the bricks forming the outside circle. A year after the publication of Loudon’s book, the description of this circular bed with accompanying illustrations was republished in The Magazine of Horticulture, Botany, and All Useful Discoveries and Improvements in Rural Affairs (Volume 5, 1839, p.133) in America. The circular bed was praised as an inexpensive method of creating desirable planting areas for growing a mixture of verbenas, and other plants with maybe a tall fuchsia as a center piece in the middle. In the next edition of this magazine, Mr. R.S. Field of Princeton is praised for having introduced this circular flower bed with “the result being quite pleasing and worth imitation.” The article recognizes Field as an innovator willing to experiment with building these new planting areas.

In 1840 when the article was written, Robert Stockton Field was still living on Stockton street across from the Morven estate and had not yet bought the property that later became Marquand Park. Thus, it is uncertain if he ever constructed similar flowerbeds on his newly purchased estate. But Field’s association with Loudon’s work is interesting. He most likely owned a copy of the Suburban Gardener and Villa Companion or was familiar with Loudon’s gardening methods from local publications. When, the time came for designing and constructing his newly purchased estate, then called Fieldwood, Field did not follow Loudon’s gardenesque style but preferred the more natural and pitturesque garden designs popularized by Andrew Jackson Downing. But even in this more natural landscape design, the construction of some circular flowerbeds could be easily imagined.

Footer