Category: events

The Impossible Garden

Posted on by andy.winfield

We’ve always felt that art and the Garden work well together. Every Easter we run a sculpture exhibition which brings this home, plants and art are good friends; nature’s sculpture makes the Garden a gallery and placing human art amongst it embellishes both. With this in mind, for some time we’ve wanted to show a permanent summer exhibition but nothing has fit the bill.
Luke Jerram on one of his exhibits.

Step in Luke Jerram this year. If art and plants are good friends, so are Luke and Bristol; he has created a perfect replica of the moonwhich is floating at various locations around the world at the moment; he created a giant water slide down one of Bristol’s busiest shopping streets for one day in 2014, a day that brought the city together, everyone was smiling; he also positioned pianos around the city for anyone to play, I’d love walking home from work to hear music drifting along the street. As you can see Luke is very much a force for good in the city, and unknown to us was regularly visiting the Garden with his family. So, when he contacted us to ask if it was ok to display The Impossible Garden here we took five seconds before nodding vigorously, yes please!

The exhibition sits well in the Garden and is the outcome of a residency at the Bristol Vision Institute (BVI); Luke is colour-blind and wanted to explore the processes and limitations of vision. With the help of Bristol University BVI researchers and the Bristol Eye Hospital he spent time with visually impaired children to help him understand. The result is a series of exhibits that are fun yet also thought provoking, making you question how you perceive objects, colours, reflections and patterns.

One thing that highlights the diversity of exhibits is that every member of the Botanic team has a different favourite showing that we all observe things in a different way from each other.
I think this is one of the best events we’ve had here at the Botanic Garden; it’s a real pleasure to see visitors ‘getting’ the exhibition, from youngsters to their grandparents. Everyone sits on the oversized picnic bench, peeps into the infinite pool, tries the door to nowhere and sits on the glitchy park bench.
It looks like Luke has nailed another one.
The exhibition runs throughout the summer and the Garden is open for seven days a week from 10 until 4:30; see you here!

Andy Winfield

The potential of honey: a highly topical application

Posted on by andy.winfield

By Helen Roberts

The one animal that springs to most people’s mind for eating honey is bears. Especially a particularly round individual who gets his hand stuck in the honey pot numerous times. However, many animals around the world, including raccoons, skunks, opossums and honey badgers, feast on honey. They brave the fury of the hive to not only get at the sweet sticky stuff, but for the protein obtained from eating the bees and larvae themselves. We humans are fussier and prefer to stick to just the honey, though some people will eat honey on the comb.

For centuries, honey has been recognised not only for its culinary uses but its medicinal uses, due to its antimicrobial properties. The potential scope of honey in medicine is vast and still developing despite its use since ancient times; the ancient Egyptians and Greeks commonly used honey to treat wounds. Research into the medicinal properties of honey is ongoing and not only restricted to its use in promoting wound healing, but also its potential as  an anti-inflammatory, anti-fungal, treatment for burns, aid in the treatment of chronic rhinosinusitis and combatant against the bacterial biofilms that can form in urinary catheters.

The sticky issue of Manuka honey

Manuka flowers (Leptospermum scoparium).
Photo credit: FlowerGirl on Flickr [CC BY-ND 2.0]

Manuka honey (MH) is a monofloral honey produced in New Zealand and is made exclusively by European honey bees from the flowers of the Manuka bush, Leptospermum scorparium. MH is also produced in other countries, such as Australia and even in the UK, although it could be argued that this is not the ‘real deal’, having not come from New Zealand. In fact, there is currently an acrimonious disagreement between Australian and New Zealand honey producers over the right to market MH. New Zealand producers want exclusive trademarks on MH and Australian apiarists are fighting this, arguing that MH has been used in Australia since 1831, 8 years before New Zealand even got European honey bees. The bitter battle ensues.

The ‘essence’ of Manuka honey

The unique antibacterial properties of MH are attributable to the organic compound called methylglyoxal (MGO), which comes from the conversion of dihydroxyacetone (DHA) – a simple carbohydrate that is found in the nectar of Manuka flowers. DHA is one of the markers used to grade MH on a scale known as the UMF, or Unique Manuka Factor. Manuka honey needs a minimum rating 10 UMF to be labelled as Manuka.

Microbiologist Dr Rowena Jenkins, Lecturer at Cardiff Metropolitan University, and her research team have discovered numerous health benefits of using MH, which has been supported by clinical trials. This is an opportune moment for research into non-antibiotic agents as more antibiotic resistant pathogens emerge. Jenkins and her team are particularly interested in how MH might help battle the most challenging infectious agents…the ‘superbugs’.

Meticillin-resistant Staphylococcus aureus (MRSA) is the ‘superbug’ many of us associate with health care facilities. Jenkins’ team is exploring how MH wipes out MRSA that have infected wounds sites by preventing the bacteria from dividing.  In addition, Jenkins highlighted the potential for MH to be used in combination with antibiotics to stop the growth of MRSA.

If you’re interested in learning more about the ongoing research into honey, on the 24th of August, Dr Rowena Jenkins will be a guest speaker at the University of Bristol Botanic Garden Science Picnic. Visitors can relax in the garden and engage with Rowena in an informal discussion about her ongoing research into the health benefits of honey. It’s a rare opportunity to mingle with the scientists working on the edge of cutting research. You can book your place at the University of Bristol’s online shop.

Helen Roberts is a trained landscape architect with a background in plant sciences. She is a probationary member of the Garden Media Guild and a regular contributor to the University of Bristol Botanic Garden blog.

References:

Adams, C.J., Manley-Harris, M. and Molan, P.C. 2009. The origin of methylglyoxal in New Zealand Manuka (Leptospermum scoparium) honey. Carbohydrate Research, 344(8):1050-1053.

Jenkins, R., Burton, N. and Cooper, R. 2011. Manuka honey inhibits cell division in methicillin-resistant Staphylococcus aureus. Journal of Antimicrobial Chemotherapy, 66(11): 2536-2542.

Roberts, A.E.L., Brown, H.L., Jenkins, R.E. 2015. On the antibacterial effects of Manuka honey: mechanistic insights. Research and Reports in Biology, (6): 215-224.

Beauty in Nature, Nature in Beauty

Posted on by andy.winfield

The 2017 University of Bristol Botanic Garden Sculpture Festival and Quilting Exhibition

By Alida Robey

Plant holder by Willa Ashworth.
Photo credit: Alida Robey

I have to confess that my expectations were low when I entered the University of Bristol Botanic Garden on Easter weekend to explore the sculpture festival. I have been to a few of these types of events over the years, none of which have done much to enhance either the setting or the ‘nicknacks’, described as art, on display.  I tend to favour simple uncluttered  gardens, focused on plants. My preconceived ideas were soon turned on their head, however, by the huge crowds queuing to get in and people milling about happily in the gardens. The right balance had been beautifully struck between fine art and very accessibly ‘buyable’ items. 

This year’s festival was the busiest yet with a record 4,729 people coming through; this annual Easter weekend event has been gaining in popularity with 2,459 people in 2013, 2,889 in 2014, 3,156 in 2015 and 3,161 in 2016. The exhibition effectively showcased the art, while at the same time drawing people through the various garden displays, with works of art that were well suited to each of the distinct areas of garden.
Large flame scallop by Philippa Macarthur.
Photo credit: Alida Robey
I spoke to several people who were all warmly enthusiastic about the whole event; helped by good weather, these visitors said they had enjoyed the atmosphere of bubbling positivity, been impressed with the creativity on display, and were thoroughly delighted in wandering through the gardens enjoying the new life bursting into leaf and flower. It was an all-round good day for people of all ages. 
I had seen a few people walking away clutching items of garden art that they had purchased.  Talking to some of the traders there, it was apparent that this had been a great success from their point of view too.  They loved being in the beautiful setting, had enjoyed seeing how the gardens had developed since previous years and were pleased at the response they had had from visitors who, if they hadn’t made purchases, often went off with contact details to follow up on at a later date.
Dish by glass artist Adele Christensen.
Photo credit: Alida Robey
One could not do justice here in print to the range and diversity of work on display. From the large shallow dishes made by Adele Christensen (see photos) with their lustrous and mysterious finish, looking like something you might find in a magical rockpool, reflecting sky and water. To the silver metal figure by Daren Greenhow, standing wistfully in a sea of anemones reaching out holding a bird perched on its hand and set beautifully at the base of a  great tree.
Ringing ceramic bells beneath the maple.
Photo credit: Alida Robey
The delightful family I joined for my tour of the exhibition drew me into things I might otherwise have missed. There was a beautiful maple tree with its new leaves unfurling above us and, as we walked under its canopy, we noticed ceramic bells suspended from its lower branches. All the family had a go at ringing the bells and their tinkling sound perfectly complemented the oriental atmosphere of the tree’s form and foliage. The wonderful thing about garden art is that, in having to endure the elements, it is generally made to be quite robust and therefore also capable of surviving the curious attentions of little children.  It was a great joy to see how much the children engaged with the pieces and delighted in the garden.
Metal sculpture by Daren Greenhow.
Photo credit: Alida Robey
I had gone around the sculpture part of the exhibition, and it was almost as an after-thought that I recalled there was still the Quilting Exhibition to see.  I love quilting, but wasn’t sure I was in the frame of mind to see ‘yet another display of quilting’. How wrong could I have been? I have to say that this ended up being the highlight of my day! I had never seen it’s like. One quilter using seemingly random lines of stitching to create landscapes, another creating a beautiful and very personal quilt narrating her family’s history. The latter used a technique whereby she had printed family photos and mementos of places lived into the cloth of the quilted sections. But the showstopper for me was this magnificent tableau by Jane Bjoroy called ‘True Nature’. Each exquisite creature is made by applying and appliqueing tiny pieces of different coloured cloth finely stitched. The whole scene of individual creatures was lovingly portrayed and beautifully interlinked into a stupendous portrayal of the magnificence and majesty of nature. 

I have scarcely touched the surface of the great talent that was on display throughout the Botanic Garden, and the great love that the people of Bristol clearly have for this haven of tranquillity and creativity. All I can do is use the few glimpses shown here to urge those of you who sadly missed it this year, to make sure you put the date in your diary for 2018!

Nature is an extraordinary sculptor.
Photo credit: Alida Robey
When it comes to it though, I am fundamentally a gardener at heart. It was nature as artist and sculptor extraordinaire that stays with me and which this exhibition highlighted beautifully, both in reflecting nature in art and by drawing attention to the setting.  These ferns (picture) for example, could just as readily have held their own in a sculpture gallery, to my view.
Alida Robey has a small gardening business in Bristol and attended the Botanic Garden’s annual Easter Sculpture Festival for the first time this year. 

Saving our nation’s lost landscapes

Posted on by andy.winfield

By Helen Roberts

Historic gardens are an integral part of our cultural link with landscapes; a place where we can connect with nature. They represent a form of artistic expression and illustrate snapshots of past ages, cultures and societies. For that reason alone these garden masterpieces deserve recognition and preservation. 
Often the final level of protection for many of these gardens falls to English Heritage, a registered charity, independent of government since April 2015, which essentially acts as guardians for the upkeep of some 400 historic sites. English Heritage is often seen as the last resort of protection for these sites, some of which are so special that the government has stepped in to look after them and rescue them for the nation. 
Late last year the Friends’ Lecture was given by Christopher Wedell, a former trainee of The University of Bristol Botanic Garden (21 years ago) and now senior gardens advisor to English Heritage. 
Bridge in Sheffield Park Garden.
Photo credit: ReflectedSerendipity
courtesy Flickr [CC BY-SA 2.0], via Wikimedia Commons
Christopher’s horticultural career began early; as a teenager he already expressed a keen interest in the outdoors. A stint of work at Sheffield Park in Sussex fuelled his passion for horticulture and historic landscapes and led to a degree in Horticulture at Writtle College with a final year dissertation on historic gardens. After his work at the University of Bristol Botanic Garden and Tylney Hall, Christopher obtained his Kew Diploma in Horticulture and then spent 18 months working in the famous Palm House. From Kew he went to Wisley where he eventually became superintendent under curator. When a 6-month contract offered itself at English Heritage he applied and 7 years later he is looking after 23 historic and contemporary gardens ranging from Elizabethan to contemporary in design.  
Christopher spoke in detail about the gardens under the care of English Heritage, the complexities of restoration and the many challenges the team faces when completing historic garden works. 

The importance of authenticity

The restoration of historic gardens is a difficult task in itself when there is a lack of historical information in the form of maps, descriptions and documents. Often gardens are multi-layered over time, making it difficult to know at what particular point in time to restore the garden to. 
Belsay Hall, a thirteenth century site located just north of Newcastle has magnificent Grade I listed gardens and were primarily the work of Sir Charles Monck (1779-1867). He was influenced by the Picturesque movement, which sought to create landscapes less conventionally beautiful and more naturalistic in design. The restoration of the unique Quarry Garden, a dramatic place with a special microclimate with many exotic trees and shrubs, presented English Heritage with a challenge of maintaining the correct authenticity. To achieve this, the team used a number of photographs collected over the decades to aid in the restoration process.
“Photographic and historical documents are very important in the restoration process,” explained Christopher, “and it is vital that as much historical information is collated as possible, thereby restoring the landscape at the most significant point in historical time”. 
Osborne House from the road to Swiss Cottage.
Photo credit: By Loz Pycock from London, UK
[CC BY-SA 2.0 ], via Wikimedia Commons
Sometimes, as gardens change over time, plants become over-mature and cease to provide the effect for which they were first planted. English Heritage faces a number of challenges with such restoration projects because people often develop strong attachment to these mature trees. One such example includes Sovereign Avenue at Osborne House on the Isle of Wight – the private home of Queen Victoria. The avenue was planted in 1851-1854 with two lines of alternating deciduous and coniferous trees. Over time (as expected), these trees matured, but eventually became too large and made the avenue dark and oppressive. This was not the intention of the design when planted by Prince Albert. English Heritage then faced the challenge of how to visually present this avenue with the possibility of replanting every 50 years to maintain authenticity. 

Maintaining the fabric of the garden

The fabric of a historic garden represents the context in which a garden is situated. Gardens do not simply exist as islands on their own but connect and integrate with surrounding landscapes to create cohesion and robustness, both of which are sought after qualities in designed landscapes. Often it is difficult to maintain connectedness in historic landscapes due to the simple issue of land ownership. 
One such English Heritage example is that of Audley End House, a Jacobean Mansion landscaped by Lancelot ‘Capability’ Brown and set within the rolling countryside of Essex. English Heritage has in their care the mansion and grounds itself, but also a tower located outside of the boundary of the mansion grounds some distance away and the land in between is not under English Heritage ownership. Here, English Heritage faces the difficulty of maintaining a connected landscape, as the sites are geographically distant from one another, but sit within the same landscape. Belsay Hall also faces similar challenges as the existing car park is set within the historical landscape fabric, which disrupts the harmony of the site. 

The visitor experience

It can be difficult to maintain a good visitor experience all year round in many of the English Heritage gardens. Many of the gardens are very seasonal in nature as bedding schemes took precedence over year-round interest. At Kenilworth Castle (just north of Warwick) an Elizabethan garden was created by Robert Dudley, Earl of Leicester in order to seduce Queen Elizabeth I when she was staying at the property for a mere 19 days. This garden was restored in May 2009 using advances in garden archaeology and the survival of a fascinating eyewitness description from 1575. When the garden was originally designed for a short spell of interest, English Heritage now faces the difficult task of creating a garden that is attractive to visitors throughout the year. 
To attract visitors to the gardens, many English Heritage sites hold contemporary art exhibitions, such as the one held at Belsay Hall called ‘Extraordinary Measures’ with many of the installations located in the grounds of the Hall. 
Other attractions to entice families have recently been sensitively incorporated into some historic landscapes. An imaginative wooden play structure for children has proved very popular at Witley Court near Bromsgrove with a tree house in the form of a seed pod, outdoor musical instruments and wobbly bridges, scramble nets and slides. The opening of the beach at Osborne House on the Isle of Wight has been well received with people enjoying swimming, paddling, building sandcastles and looking inside a bathing machine. With the opening of access to the beach though, English Heritage was then faced with the challenge of incorporating essential utilities, such as power and water, into a historic landscape. Other interesting plans for enhancing the visitor experience described by Christopher included the potential restoration of the unique hard tennis court at Down House, home of Charles Darwin, which would provide a great play facility for adults and children alike when visiting this historically significant place. 
“It’s really important that sites do not simply stagnate in terms of a design sense and that the gardens are able to evolve and be used imaginatively,” explained Christopher. 
Many sites have successfully integrated contemporary spaces into the gardens adding a new vitality to these historic places. A new contemporary garden was added in 2000 to the kitchen garden of Osborne House by designer Rupert Golby as part of the contemporary heritage garden project. It includes many plants with names associated with Albert and Victoria. 

The future

Christopher’s message was clear throughout the talk. These gardens need to be brought to life for current and future visitors and be places that continually thrive for decades and centuries hereinafter. 
Christopher emphasised that, “English Heritage is playing a vitally important role in looking after these sites; we are the landscape custodians helping to safeguard some of England’s most treasured historic gardens.”
The next Friends’ Lecture will be given by Nick Wray, Curator, University of Bristol Botanic Garden on 21 January 2016, Frank Theatre, Wills Physics Laboratory from 7:30pm – 9:00pm. Nick will be speaking about the ballast seed garden project. Friends are free with presentation of membership card; non-Friends will be asked for a donation (suggested £5).

Why Garden?

Posted on by andy.winfield

By Helen Roberts

Monty Don’s visit in July to the University of Bristol Botanic Garden did not disappoint. He delivered two lectures entitled ‘Why Garden’, one in the morning and one in the afternoon, with lunch and a tour of the garden in between. The subject of why to garden is vast and could be approached from a multitude of angles . However, Monty used his personal experiences in working his garden of Longmeadow to discuss how gardening can bring both restoration of the mind and body to people, as well as a reconnection to the landscape.
                                                      
Monty first began gardening because of his mother, but back then it was a chore to be got through, simply a means to an end. She would frequently use the phrase, “…and what are you doing this afternoon?”, which meant “you had better get on with the gardening!” By the age of 17, Monty had a rudimentary knowledge of gardening and was looking after a half-acre vegetable garden.
His first realisation that gardening was what he wanted to do was when he was back home from school and he was sowing carrots in the garden. He described to the audience that in that moment he felt singular happiness. He felt deeply rested and contented.

Connecting to nature 

I could relate to Monty’s words as I feel the same whenever I am in my garden. I feel peaceful and relaxed even if what I am doing could be physically exerting, like digging. I sense a reconnection with the garden and the landscape around me (farming is in my blood so I guess that connection is somehow re-established when I garden).
When I return home from a trip away, those first glimpses from the Mendips across Somerset stir a deep sense of belonging to this landscape.  Hardy’s description of the Vale of Blackmoor in Tess of the D’urbervilles(although relating to country south of where I live) perfectly describes to me the colours and textures of where I live at the foot of the Mendips, the same vivid blue and soft haze with its intricate network of fields. His description describes to me the landscape of home and attachment.
“..the fields are mere paddocks, so reduced that from this height their hedgerows appear a network of dark green threads overspreading the paler green of the grass. The atmosphere beneath is languorous, and is so tinged with azure that what artists call the middle distance partakes also of that hue, while the horizon beyond is of the deepest ultramarine.”
Panorama of the mendips taken from Durston Drove above Wells.
Photo credit Stewart Black, [via Flickr Creative Commons 2.0]
In today’s society, people are losing their connections to nature and to the non-urban landscape – particularly children. The NationalTrust produced a report on the topic of Nature Deficit Disorder in children and how to address it. Richard Louv also discusses this in great detail in his book, Last Child in the Woods.
There is a real and absolute need to reconnect with our natural world – not only to save it, but to save ourselves. Studies published in 2014, in the journal Environment and Behaviour, showed that our emotional connections with nature influence choices of living sustainably, but also showed there was a connection between exposure to nature and our own happiness.

Finding refuge in the garden – physically and mentally

For Monty, gardening has always been a reconnection to the landscape, to restore balance and order in his (by his own admission) sometimes disordered and chaotic mind. He shared with the audience that after suffering from depression in the 1980s, returning to the garden brought about his recovery and the restoration of his mind. His garden was his refuge.
“In this age of anxiety gardens are a refuge,” Monty explained, “a safe haven from the stresses of everyday life. A garden never lies; you can trust it and it will respond to you. They are ever present and throughout the course of the seasons it will always return, offering both familiarity and stability.”
Not everyone has their own personal garden. The University of Bristol Botanic Garden offers a place for people to reconnect with the natural world and to learn about local plants as well as more exotic ones. It is a plant-packed green sanctuary in the heart of Bristol. The gardens themselves open our minds to the huge diversity and importance of plants. And they are in a constant state of flux, changing over time, as gardens and landscapes tend to do.
Monty spoke about learning from other gardens to gain ideas and inspiration and soak up knowledge from those who work there. I frequently explore different gardens and I take my children with me. They are not bored by plants and gardens. They run around and explore. They discover and forage. They are connecting to the plants and animals – whether it’s watching water boatmen in a pond or looking at the rocks and crevices in a wall.
I was visiting a garden the other day, and I was watching my 4-year old as he walked along a flower border gently touching and feeling different plants, such as the beautiful flowers of the paper-thin Papaver rhoeas and the fluffy fox-like tails of Hordeum jubatum. I bought seed after that visit because I wanted to recreate that sense for my children in my own garden.
Monty said, “when you garden you are building the story of your life.” The Botanic Garden is doing just that. It is evolving and as it changes the imprints of those who have been involved are left behind. Creating a rich and dynamic place to explore, learn and reconnect with the natural world.

The fascination of plants

Posted on by andy.winfield

By Helen Roberts

For the past three years, the University of Bristol Botanic Garden has hosted Fascination of Plants Day. The event is part of a much larger initiative launched under the umbrella of the European Plant Science Organisation (EPSO). The goal of the day is to get people interested in plants and share the significance of plant science in both the social and environmental arenas.

In 2013, the inaugural year of the event, a total of 689 institutions in 54 countries opened their doors to the public and talked about the wonder of plants. The activities carried out by each institution were extremely varied, but they were united in their celebration of plants. Here at the University of Bristol Botanic Garden, there was a focus on plant classification. In Russia, huge numbers of people attended guided tours on Siberian flora. In Nigeria, focus groups discussed possible partnerships between farmers, processors and scientists. In Norway, workshops were held for children to teach them how to grow their own vegetable gardens.

This year, Fascination of Plants Day was held on Sunday, 17th May. Students at the University of Bristol were in the garden discussing plant classification and research in the plants sciences. I met two final-year undergraduate students, Joshua Valverde and Will Perry, who were on hand discussing different topics within the plant sciences and fielding questions from the public.

What’s in a name?

Many queries related to binomial nomenclature or plant naming. In biology, the name of a plant (and indeed all living things) is divided into two parts; the first name – the genus –  defines a group that comes from a common ancestor and have some common features and the second part – the species – groups together organisms that can interbreed and produce fertile offspring. Together, the genus and species forms the Latin name. Poster information compiled by Joshua explained the history of plant classification.

Joshua explained how plant classification changed over the centuries.

“To begin with, Theophrastus, a Greek philosopher, was one of the first to document and characterise plants by their morphological features. After that, plants were classified according to their medicinal use. And then long and unwieldy Latin names were used based on the morphology of the particular plant. It wasn’t until the mid-1700s that Carl Linnaeus introduced the binominal system.”

Of course, taxonomists don’t always agree on which groupings some species belong to, nor on where groups should be placed in the broader contexts of plant evolution. Classification of plants originally relied on finding similarities in form and structure (morphology) between plants. “This was subject to error though because unrelated species may evolve similar structures as a result of living in similar habitats or in response to some other adaptive need. This is called convergent evolution,” explained Joshua.

However, molecular methods have helped resolve some of these disputes.

Gnetum gnemon, a member of the order Gnetales.
Photo courtesy of gbohne on Flickr CC.

“Morphological data suggested that the order Gnetales [what we now consider a group of ‘advanced’ conifers] was the closest living relative to the first flowering plant,” explained Joshua. “After molecular analyses of various genes, however, it is now thought that Amborella trichopoda [a shrub native to New Caledonia] is the closest living relative to the first flowering plant. Water lilies also seem to be quite an ancient lineage.”

Will informed me that visitors were particularly interested in how DNA sequencing over the last decade has advanced our understanding of the evolution of plants. He explained that a lot of this work has been carried out by the Angiosperm Phylogeny Group (APG) – an informal group of systematic botanists from around the world who are trying to reach a consensus on the taxonomic groupings of flowering plants. In fact, one of the phylogenetic trees produced by the APG is displayed on a visitor information board in the Botanic Garden.

The roots of a prestigious society

Additional information on plant classification included details about the Linnean Society of London. This society was founded in 1778 and named after the famous Swedish scientist Carl Linnaeus (1707-1778). The aims of the society are to “inspire and inform the public in all areas of natural history through its broad range of events and publications”.

The society maintains the vast animal and plant collections of Carl Linnaeus (the Linnean Herbarium holds some 14,300 specimens alone), looks after his personal library as well as having its own extensive research library. The society has a hugely prestigious past and it was at a society meeting in 1858 that Charles Darwin and Alfred Russel Wallace presented papers relating to the theory of evolution by natural selection! The society today continues to report on scientific advances and holds a number of events (including a student lecture series) throughout the year ranging from the genetic diversity of farmed animals to the future of plant conservation.

Opportunities for hands-on learning

Daisy pollen in oil under a light microscope. Image courtesy
of  microscopy-uk.org.uk/

For those members of the general public that enjoy hands-on learning, the Botanic Garden had some dissecting and light microscopes available to look at various plant structures. Under one microscope there was some daisy pollen, which I heard one member of the general public describe as resembling “those spiky looking naval mines”.

Fascination of Plants Day is held each May, so be sure to join us in the Garden for this worthwhile event next year! And don’t forget to come down to the Festival of Nature this weekend (13th-14th June) learn about pitcher plant research, soil and so much more!

Children take a ‘walk through time’ at the Bristol Botanic Garden

Posted on by andy.winfield
It’s 1 pm, the sun is shining and the volunteer guides are starting to gather near the welcome lodge in anticipation of 60 Year 4 children arriving at the Botanic Garden for a tour. It’s my son’s school, Horfield CEVC Primary School, and so I’ve decided to come along for the tour and get a glimpse into how the Garden is viewed through the eyes of eight and nine year olds.
Anne is one of the volunteer guides at the garden and she and I get chatting while we await the children’s arrival. She was a teacher for 40 years – teaching at GCSE and A levels. She laughs as she tells me she was a bit nervous she would find touring younger children challenging when she started giving these school tours at the Garden. She soon found, however, that though it was different from teaching upper level students, it was also just good fun.
Volunteer guide Tony gives a talk to Year 4 students
from Horfield CEVC Primary School prior to their tour.
“I’m not responsible for making sure they learn the curriculum, I’m here to entertain them with interesting stories about the plants we have here in the garden – to get them excited and inspired by what they see,” Anne says from a shady bench.
The guides have come prepared; they know the Horfield children have been learning about Egypt and different habitat types. As well as discussing the logistics of touring sixty children around the garden in small groups, they check in with each other about plants that might be important to point out that will link to the topics and themes they’ve been learning in the classroom.
Then the coach arrives.

A tour through the glasshouses

Before the children break into small groups to go around the garden, volunteer guide Tony gives a very brief talk about what plants need to survive. The children enthusiastically put up their hands in response to Tony’s question of what plants need to grow. Horfield Primary is lucky enough to have a garden and most of the children will have grown plants in the classroom at some stage (my son brought a runner bean home from school a few weeks back that’s doing splendidly). So, although photosynthesis hasn’t been taught by Year 4, there are other opportunities where the children are learning the basic needs and processes of plant growth.
Students have a look in the pitcher plants in the sub-tropical
zone of the glasshouses.
Baking sun and a tight schedule keeps the introductory talk brief and I follow Anne’s small group down into the glasshouses. She points out the Deadly Nightshade along the way and talks about the large black poisonous berries – a good wow factor for the kids right off the start!
In the sub-tropical zone, the children talk about the challenges of plants growing in a rainforest beneath a heavily shaded canopy and some of the adaptations they’ve made to get alternate sources of food. They have a look into the pitcher plants to see whether any wayward insects have fallen into the plant’s pitcher-shaped trap. As Anne walks by the lichen, she talks about how lightning changes the nitrogen in the air into a form that’s easier for plants to use – lichens need a continual supply of nitrogen to survive. Lightning helps feed plants? This has the children’s attention.
Having a look at the giant lily pads in the pond in the
tropical zone of the glasshouses.
In the tropical zone the giant lily pads (Victoria) impress the children immediately. Then Anne points out the papyrus that’s growing at the corner of the pond and the children quickly make the link between this plant and the papyrus paper that they’ve been learning about in their Egyptian studies. As I switch between the different groups I hear one of the other guides tell a story from Egyptian Mythology about how the Scorpion-godess, Selkis, protects the child Horus by hiding him in a papyrus thicket.
The lotus plants (Nelumbo nucifera) are also linked to Egypt as there is a Nymphaea lotus that grows in the Nile. Anne encourages the children to splash some of the pond water onto the leaves of the lotus plant and I watch as two girls are astonished at how the leaves repel the water.
Water beads off the leaf of the lotus plant.
Some of the other highlights in the tropical zone were the cocoa plant, vanilla and cotton. The Madagascar periwinkle (Catharanthus) is also pointed out for its utility in treating leukaemia.
As the children stand beside the cacti in the glasshouses, they are told that some of these plants will go 10 years without ever experiencing rainfall – longer than these children have been alive. Anne and the other guides talk about all the adaptations these plants have made to go for long periods without water.
Students are given an opportunity to experience what
happens to Mimosa plants when you touch their leaves.

Time travel through the evolutionary dell

I leave the heat of the glasshouses to join Tony’s group as they begin their walk through the evolutionary dell. Tony is telling the children about horsetails (no friend of the gardener) and pointing out the nodes of the plants. He tells them that 350 million years ago this little snippet of a plant would have been the size of a tree! The kids crane their necks up imagining and as we walk toward the tree ferns one of the girls says “It feels like time travelling!”
Tony takes the children on a walk through time in
the evolutionary dell.
Indeed it is like time travelling in the dell. In the 100 m span of the dell, we travel 200 million years from the horsetails (350 mya) to the first flowering plants (150 mya), such as the magnolia that’s on the left as you leave the dell. Surrounded by ferns, moss, horsetails, Wollemia and other conifers, the guides tell the children about how plants reproduced before the evolution of flowers and pollinators.

It’s never long enough

Somehow an hour seemed to fly by and before long the guides were rushing through the last few displays before sending the children off on their coach. As I had the opportunity to hop between the different groups I got the great sense that each group would have left the garden with a different experience as each guide has their own style and favourite stories associated with the garden. It’s never possible to see everything, but hopefully that means some of the children will encourage their parents and guardians to bring them back for another visit!
Tony holds up a horsetail and talks about plant nodes.

Linking to the curriculum

Mrs Amy Parkin, one of the Year 4 teachers at Horfield Primary, was kind enough to speak with me the next day after the tour about how tours such as this link with the classroom curriculum. This is the first time Horfield Primary has done the tour at the Botanic Garden and it was prompted by Curator Nick Wray giving a talk earlier this year to the Key Stage 2 children.
“We had two weeks where we talked about prehistoric Bristol, dinosaurs and fossils,” said Mrs Parkin. “Each class did a science trail with various outside activities and we also had speakers come in to talk to the children. Nick spoke about what plants would have been around 160 million years ago and he brought in some different species to show the children.”
As well as learning about Egypt, the Year 4 children have also covered the topic of habitats under their science curriculum and there are also cross-curricular links with their geography topic of water.
“The tour at the Botanic Garden helped extend the children’s knowledge on habitats,” said Mrs Parkin. “We focused on animals in different habitats in the classroom and in the tour we saw how plants adapt to different habitats as well.”
This tour will also give the Year 4 students a taste of what lies ahead as they will have plants as a topic in Year 5.

Talking with the students after the tour

After the tour I had a chance to speak with Megan and Henry about what they thought of the Botanic Garden. Megan said “I really liked the giant lily pads, especially since a small child could sit on one!”, while Henry really liked the giant lemon that was in the glasshouse.
When I asked Megan and Henry what the most interesting thing they learned was, Megan said she couldn’t believe that some plants can live for 10 years without water. Henry, on the other hand, learned something new about pollination, “There are lots of different bugs that pollinate plants – blowflies and beetles – and birds too!”
The Botanic Garden will run about 15 school tours during the months of June and July, with the help of their dedicated volunteer guides. These tours are in keeping with the Garden’s mission to promote education and awareness as well as to encourage and foster interest in plants within the Bristol community. In fact, the garden would like to run more school tours, so if you are involved with a local school and are interested in a trip to the Botanic Garden, please contact them via:   www.bristol.ac.uk/botanic-garden

The 2014 Easter Art and Sculpture Exhibition at the Botanic Garden

Posted on by andy.winfield
This is the second year in a row my family has worked off some Easter chocolate by biking to the University of Bristol Botanic Garden for the Easter Art and Sculpture Event. Unlike last year, however, when we were bundled against the cold, this year we basked in glorious sunshine. We’ve been so impressed with the quality of the art that this will be an annual event for my family…whatever the weather!
The Garden’s annual sculpture event was combined with the Friends of the Botanic Garden’s annual art exhibition, for the first time this year. This gave visitors a visual feast of outstanding artwork set in the backdrop of the garden in its full spring glory.

Over 2,800 visitors came to the gardens over the 4-day event. Events such as this, as well as the Bee and Pollination Festival, are important for the Botanic Garden as they reach beyond those interested in gardens – drawing in new audiences. This event brought in a range of West Country artists working in diverse mediums, from watercolours to ceramics and stained glass to metalwork – there was something for everyone.

Stainless steel sculpture of water lilies by artist Ian Marlow
Ian Marlow’s lilies were on display in the University
of Bristol Botanic Garden pond during the
Easter Art and Sculpture Exhibition.

A taste of some of the artists and artwork on display

One of the first pieces to catch my eye as I entered the gates of the garden was, of all places, in the pond. Stainless steel lilies, created by of Ian Marlow (www.marlowsculpture.co.uk), shone in the sunlight – a stark contrast to the dark water. Ian was also the creator of Sir Gromit ofBristol, which was certainly one of my son’s favourite stops along last year’s Gromit Unleashed trail.  

Willa Ashworth’s working display of one of lovely
metal open fire-pits offered warmth as well as
the promise of a sausage and hot cuppa.

Willa Ashworth (http://willaashworth.co.uk/) was there again this year, with a number of new pieces. I went home last year with one of her beautiful garden wind chimes and I still adore it! This year, she had one of her open fire-pits set up with sausages cooking on a grill and a kettle bubbling away. Her working display created a multi-sensory experience – the smell and sounds of sizzling food, the warmth and glow of fire, the beauty of the fire-pit itself. I watched as people gazed at the fire, no doubt envisioning (as I was) the lovely little set-up in their own backyard. Willa’s functional metalwork sculptures are inspired by her love of gardening and one of her pieces is now permanently displayed next to the lake in the Botanic Garden.

Karen Edwards (www.karenedwardsceramics.co.uk) was another return artist this year, displaying her nature-inspired ceramics. Each of Karen’s pieces are hand-built and unique. I was particularly attracted to her planters, which appealed to my functional side. The organic textures in the ceramics not only drew my eye, but beckoned me to reach out and touch them.

Karen explained how she created the lovely textures in one of her pieces:

One of Karen Edwards’ nature-inspired ceramics with
imprints of ammonites and bark.

“The doors of my studio are clad with unstripped half logs,” explained Karen. “I pressed some clay onto one area, then made that into a cylinder that I biscuit fired to use as a small hand roller. I then pressed in some shell and ammonite textures. The textures are highlighted with metal oxide wash and slip (liquid clay).”

One of Jude Goss’s stained glass pieces hanging in the
Chinese herb garden.

The Chinese herb garden once again hosted the stained glass art, including that of Jude Goss (www.lucianstainedglass.com). My six year old was thrilled to once again see Sam Bailey’s (www.theartistblacksmith.co.uk) metal dinosaur sculpture in the Evolution of Land Plants Display (nicknamed the grotto).

Stonecarver Tom Clark (www.clarkstonecarver.co.uk) had handed his chisel over to a pair of children when I got around to his display. The youngsters seemed to be having a brilliant time chipping away at the block of stone. Tom served an apprenticeship at Chichester Cathedral and has since worked on many large and interesting restoration projects including WestminsterAbbey and The National Gallery.

While I was circulating through the outside gardens, my husband managed to get into the glasshouses where he was captivated by the stainless steel pieces created by Julian P. Warren (www.metalgnu.com).

My son, Morgan, was equally enthusiastic about Julian’s work and he told me all about it on the bike ride home, with the unbridled enthusiasm that comes with being six.  “There was this amazing dragonfly mum…and a bird of paradise with those little sticky-up feathers on his head and everything!”

Sadly, I didn’t get to all the exhibits as I was keen on joining a tour set up by Andy and Nick for a number of bloggers (more on that below). I missed the botanical artists displayed in the Linnaeus Study room entirely! However, I have listed all the artists with links to their websites at the bottom of this post as they all made incredible contributions to the weekend event.

Oh…and I also got to hear about some delicious carrot cake on my bike ride home. Another thing I missed out on…the delightful refreshments being served on the newly finished west patio of The Holmes.

It wouldn’t happen were it not for the volunteers

As with any event of this magnitude, there is a whole lot of work that happens behind the scenes. With the Garden’s small staff, it is thanks to the many volunteers that it all comes together, and they are the first to admit it.

“It’s all those people out there that are welcoming people as they enter, giving tours, serving cake and refreshments and helping direct people around the garden that make this work,” said Nick Wray, the Garden’s Curator. “Without these volunteers, we simply couldn’t host important events like this.”

A personal tour for local bloggers

As part of the Garden’s plan to increase its digital presence and reach out to wider audiences, Andy and Nick hosted a tour of the garden for a number of local bloggers during the event.  Helen and I, both bloggers for the Garden, tagged along too!

We started in the meeting room with delicious cakes and a cuppa, while Nick gave everyone a briefing on the history of the garden, its core collections and more generally the role of botanic gardens. After lots of healthy discussion about the Botanic Garden and the role of social media in marketing, we all followed Andy into the garden where he briefed us on each of the main displays.

Fused and slumped glass artwork
Adele Christensen’s ‘Blomsters’: Fused and slumped glass
with mild steel support.

Despite having been to the garden many times before and having had lots of discussions with Andy and Nick…I still learned a great deal, and found new inspiration for blog ideas…so stay tuned!

Hopefully some of the other bloggers will have found some inspiration from the tour also – the Botanic Garden is, after all, a place for education and research, stewardship and conservation, but it is also a place of great beauty.

Artists on display were:

Susan Bracher (Email: susanbartle (at) blueyonder.co.uk)
Pamela Clogstoun
Anne Girling
Nick Hasell (Email: woodbarnfarm (at) hotmail.com)
Emma Jean Kemp (http://emmajeankemp.com/)
Florence Maggs
Betty Marten
Connie Ridge
Cynthia Skinner
Dorcas Sohn
Jac Solomons (aka J Zulka)
Sheila Southgate
Julian P. Warren (http://www.metalgnu.com/)
Frankie Wild
and

Refab Arts (http://www.bristolcreatives.co.uk/jobs/2010/05/19/reclaimed-fashion-genius-refab)

A Sicilian Grand Tour

Posted on by andy.winfield

By Helen Roberts

It was a distinctly overcast, grey, cold and rainy day last November in Bristol when I went to see Nick Wray, curator of the University of Bristol Botanic Garden, give a talk. I, like most people, was definitely feeling the lack of sunshine, but Nick’s talk on Sicilian landscapes certainly helped blow away the winter blues and had me looking forward to (hopefully) another blistering summer.

The Botanic Garden’s interest in Sicily 

Medieval farm quad at the Tasca d’Almerta in the
central rural mountains of Sicily

Nick has been working with a Sicilian horticulture colleague, Sergio Cumitini, for the last 5 years to establish a joint acclimatization project. The project has involved growing Mediterranean plants in the UK at various sites including Bristol’s Botanic Garden, RHS gardens and Tresco Abbey Garden on the Isles of Scilly. It was through this work that Nick became fascinated with the plants and landscapes of Sicily. His fascination led to a plant and garden tour to the island in spring 2013, which involved an introduction to the gardens, architecture and landscapes of the region as well as some visits to beautiful private gardens. For those who couldn’t go on the tour of Sicily, Nick’s November talk brought the Sicily tour to Bristol.  
Nick talked extensively about the flora of Sicily, both native and cultivated, and showed how the cultures and landscapes of the island are markedly connected. He toured us around a number of important buildings and landscapes starting in Sicily’s capital Palermo fanning out from the city and then around the island itself.

The native flora

Sicily is very rich agriculturally due to both the climate and the nutrient rich ash deposited from volcanic eruptions. The flora is distinctive and classed horticulturally as ‘maquis’ or ‘macchia’ in Italian, which refers to this Mediterranean biome that is rich in evergreen shrubs and deep rooted perennials. These plants are adapted to cool wet winters and blistering hot summers.
The vegetation can change with altitude and near Mt Etna – one of the world’s most active volcanoes located on the east coast of the island – the flora is distinctly temperate, whereas in parts of Palermo it can verge on sub tropical.
Also within the Sicilian landscapes are beautiful meadows filled with deep-rooted perennial herbs and aromatic shrubs, such as the spicy smelling curry plant, licorice scented fennel and pungent Tree Wormwood.

Cultures and landscapes inextricably entwined

The first major cultural impact on Sicily was by the Greeks, who built major colonies, such as Agrigento, between the 8th and 6th centuries BC. The people prospered here due to the rich alluvial plains, ideal for growing cereals, fruit and vegetables. The Greeks also introduced olives and vines to Sicily.

In the 3rd century BC, the island became the first Roman province and was held by the Roman Empire for over 6 centuries. Sicily was important in providing food for Romans and was termed ‘Rome’s bread basket’. The Byzantines occupied Sicily in AD 535 until 965.
In 965 the island fell to Arab conquest from North Africa. The beginnings of Arab invasion occurred in 827 (and lasted until 1091) and they successively conquered the major settlements. Palermo became the capital and grew into one of the most populous and cosmopolitan centres of the world with Hebrew, Latin, Greek and Arabic being spoken. Trade flourished, largely due to the island’s central location in the Mediterranean; Sicily has been at the crossroads of trade for over 8000 years. As a result of this trading hotspot many plants were introduced to Europe over thousands of years.
The Arabs worked wonders in agriculture, dividing large estates and diversifying production. They developed sophisticated irrigation systems, known as ‘qanats’, to provide water throughout the city, but these systems were then adapted to use in olive groves. The Arabs also introduced one of Sicily’s most important crops – citrus fruit.
Culturally, Arab gardens were heavily influenced by water and water features were important in symbolizing paradise. Water was often brought into the house by a series of rills, which in turn helped to cool the air inside.

Ancient cloister garden at the cathedral town of Monreale

From 1060 the Normans progressively settled the island and rather than destroying Arabic culture, they embraced it. The Normans were greatly impressed by Arabic architecture and continued to use Arabic architects and craftsmen in their buildings, such as San Giovanni degli Eremiti (a church in Palermo), the Cathedral of Monreale, and the Zisa (a castle in Palermo built for King William I of Sicily). All of these buildings have strong Arabic influences with decorative art on the walls and floors, and domes mounted on cubic towers.

In and around Palermo…


The Botanic Gardens of Palermo

False kapok tree (Ceiba speciosa) growing at the Palermo
Botanic Garden

Palermo Botanic Garden was founded in 1779 and was originally developed to grow medicinal plants. It has fantastic specimen plants including a number of Cycad species (given by the aristocracy of Naples to the aristocracy of Sicily), the beautiful False Kapok Tree, a number of different palms and cacti and the impressive Moreton Bay Fig (Ficus macrophylla). This latter beast of a tree has buttress roots that extend over an area of around 1,000 square metres (about 10,764 ft2). This aggressive tree starts as an epiphyte and then slowly strangles its host.

A British home in Sicily

There are many large country houses in and around Palermo. One of the more interesting is the Villa Malfitiano, an Italian mansion which was built by the Whittaker family (originally from Yorkshire) who made their money importing Marsala wine into Liverpool. This house has amazing examples of Trompe-l’œil with images of gardens painted on the walls. The gardens themselves have rare collections of trees.

Further out of Palermo…

As you move out of the city, the built landscape gives way to small scale farming with groves of almonds and olives growing on the slopes. Here you can find weird and wonderful plants, many dependent on wild fire to colonise. One such odd looking poisonous plant is the mandrake (genus Mandragora), which belongs to the nightshades (Solanaceae) family. This genus flowers in October, but otherwise doesn’t look like much for the rest of the year.  Its root is believed to resemble a man and according to folklore, will shriek when pulled up (a fact that JK Rowling incorporated into Harry Potter). It is thought this is likely a rumour spread by herbalists as the plant has hallucinogenic and narcotic properties and they wanted to protect it!

A family estate

The privately owned estate belonging to the Marchesi Paternò Castello Di San Giuliano lies between Catalina and Syracuse and has been with the family for 800 years. The 4 hectare garden here has been developed over the last 40 years and has been gardened by British head gardener, Rachel Lamb, since 2002. It is truly Mediterranean in its use of plantings and also its aesthetics, with swathes of palms, eucalypts, bougainvillea’s, yuccas and succulents. There are beautiful stone pines and pergolas to provide shade and rills to provide irrigation. On the estate citrus are grown to make jams and marmalades, which are then sold at exclusive shops such as Fortnum and Mason.

The garden that wasn’t

Just south of Catania are the gardens of Villa Borghese, which were created by Princess Maria Carla Borghese from a former dry lakes side, a process that has taken forty years. The lake was a breeding ground for mosquitoes carrying malaria so in the 1930s the lake was drained. The fishermen left, leaving an ancient harbour wall that was built by the ancient Greeks; this wall is now in the heart of the garden and surrounded by immense succulents and palms.

An artist’s garden

In 1905, Casa Cuseni in Taormina, on the east coast of the island, was built by Robert Kitson, a famous English artist. In it’s heyday it had many famous visitors notably Oscar Wilde and Picasso. The terraced gardens were carefully designed to enhance the amazing views and are richly planted with citrus, roses, vines, wisteria and irises.

 A rich landscape tapestry

Sicily has it all, magnificent buildings, exceptional history, extreme geography and geology and exquisite landscapes and gardens. The sheer diversity of gardens and landscapes of Sicily is an indication of the many influences from different cultures over thousands of years on this truly distinct island. And if we don’t come by a sun drenched summer this year in England then you can always plan a trip to Sicily instead.

Nick will be leading a garden and landscape tour of Sicily again this year, from 26th April to 6th May. Click here for more information.

A snapshot of autumn

Posted on by andy.winfield

By Helen Roberts

With autumn having finally kicked in, what better way to spend a sunny Sunday than drinking in the colours of the Botanic Garden and tapping into our creative juices. A few weeks ago, Nicola and I did just this, enjoying the Botanic Gardens’ September colours whilst also taking part in the watercolour course “A Snapshot of Autumn”. It was five hours of uninterrupted, child-free, creative learning for two enthusiastic mums!
‘I straightaway learnt apples are difficult to paint…’ –
watercolour by Helen Roberts.
Annie Morris, an experienced botanical artist and member of The Society of Botanical Artists and Society of Floral Painters, taught 17 of us on the day. The course doesn’t require any previous experience, which was good as Nicola and I are both beginners in watercolours. Though neither of us have ever attended a course, both of us (I think) are confident putting pencil or brush to paper in other media.
Annie started with demonstrations on drawing and basic watercolour techniques. We crowded around her as she worked confidently and swiftly, first drawing the outline of the leaves in front of her, then applying her washes of colour. Annie had brought in a considerable assortment of cuttings as inspirational material; there were lovely sprigs of rowan with bright red berries, clusters of acorns and branches of apples and sloes to choose from as our subject matter. Nicola grabbed an oak cluster and I chose an apple branch and we both steered clear of the rowan sprigs, fearing the complication of all the pointy leaflets.
The majority of people on the course were not new to watercolours and had attended some of Annie’s courses before; some are currently enrolled in the traditional botanical art course being run on Monday afternoons at the Botanic Gardens. Most people just wanted to improve on their technique and enjoy a day of uninterrupted painting.
Nicola’s oak sprig.
After selecting our foliage of choice, we diligently set to work sketching. Annie had endless tips – for instance; how to place the plant in a way so it sits in a natural position rather than like some specimen sprawled on a table.  When we were satisfied we had captured the essence of our cutting in pencil, we then took the plunge with the watercolours. I learnt straight away, as I took the paintbrush in my hand, that watercolour painting is very difficult; Annie made it all look so easy with her demonstrations. You can’t muck about with the paints, you have to think about light and dark before putting brush to paper. You almost paint in the negative, if that makes any sense, thinking about where you don’t want to apply paint rather than where you do. Once you’ve added colour you cannot take it away easily and you don’t use white paint in watercolours to add light.
Straight away I struggled with mixing my colours and my initial apple leaves were an insipid green. Nicola, on the other hand, was struggling with having to work quickly and with small bits at a time to avoid hard edges when the paint dries too quickly. Before we broke for lunch, Annie pulled us back to her desk to demonstrate how to add the finer detail – with a few strokes she was bringing her samples to life and giving them depth.
We spent lunch in the garden, soaking up the sun’s rays. We sat with a woman who had travelled from Monmouth and had done a lot of calligraphy, but not watercolour. She and her husband are members of the Botanic Garden and she thought the watercolour course was a wonderful excuse to visit the Garden.

Helen’s apple branch – the product of five delightful
hours spent painting.
We returned to our work to add leaf veins, holes, fruit, nut and stem details. I straightaway learnt apples are difficult to paint and was muttering a bit about my choice of fruit. Nicola was stumped with adding detail to the acorn cup. However, after 5 hours we had produced something pretty acceptable. The final demonstration from Annie was a number of useful techniques, such as how to paint a water drop on a leaf – the result was truly amazing, so lifelike!
We all had a very inspiring day and I was pleased with my final painting. My 5-year old son wants to frame it! Both Nicola and I are going to be investing in some good quality brushes and enrol on Annie’s course in the winter. In the meantime, we’ll be looking to the beautiful colours on display this autumn to get inspired and do some more painting!