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PIERROT CONTENT, 1712. CREATOR: JEAN-ANTOINE WATTEAU.

Pierrot Content, 1712. Pierrot sits at the centre, flanked by two men and two women, one of whom is playing the guitar. Like many seventeenth-century Italian landscapes, the scene is set in the corner of a garden; a statue of Pan can be discerned among the thick surrounding foliage. Pierrot Content, 1712. Creator: Jean-Antoine Watteau. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE EARTH, UNKNOWN DATE. CREATOR: NICOLAS LANCRET.

The Earth, unknown date. Part of a series on the Four Elements, a theme that was popular during the 17th century and which frequently took the form of depictions of figures engaged in tasks appropriate to each element. The Earth, unknown date. Creator: Nicolas Lancret. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE SWING, 1735. CREATOR: NICOLAS LANCRET.

The Swing, 1735. The figures are arranged in groups around three trees whose trunks create a sense of depth due to the spaces visible between them and also determine the arrangement of the different scenes. The couples engaged in amorous flirtation in the foreground are followed by the principal motif of the swing in the middle-ground to the left. A woman, seated on the swing, is pushed by two men, one behind her and the other energetically pulling on a rope in the middle of the composition. The background includes more amorous couples seated around the edge of the fountain. The rhythms of the construction continue in minor details such as the two dogs at the lower right edge, one of which is barking furiously. The Swing, 1735. Creator: Nicolas Lancret. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EXPULSION. MOON AND FIRELIGHT, 1828. CREATOR: THOMAS COLE.

Expulsion. Moon and Firelight, 1828. Expulsion. Moon and Firelight, 1828. Creator: Thomas Cole. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SEATED MAN, 1905. CREATOR: PAUL CEZANNE.

Seated Man, 1905. One of a set of plein-air paintings produced by Cézanne in Aix-en-Provence towards the end of his life. In it, Cézanne’s gardener, Vallier, poses against the balustrade on the terrace of the artist’s new studio, close to Les Lauves. Though dressed in the plain blue work-clothes of the Provençal peasant, the sitter conveys a sense of strength and solidity Seated Man, 1905. Creator: Paul Cezanne. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PLAN OF THE PALACE AND PARK DESIGNED FOR THE PARIS UNIVERSAL EXHIBITION OF 1867, (1865). CREATOR: UNKNOWN.

Plan of the Palace and Park designed for the Paris Universal Exhibition of 1867, (1865). 'Numerous workmen are occupied in inclosing the entire space [of the Champ de Mars] with a light wooden fence; surveyors and their assistants are busy taking levels and measuring and staking out the ground on which the Palace...is to be erected; and upwards of one hundred carts are engaged, day after day, in carting hither loads of earth to raise that portion of the Champ de Mars which adjoins the Seine to the level of the Quai d'Orsay, and to form the raised covered promenades that lead to the two main entrances...From the...official plan it will be seen that the entire space of the Champ de Mars, which measures upwards of 1000 English yards in length, by something like 500 yards in width, will be occupied by the palace and what may be called its dependencies. The palace...is to be of an oval form; and, to secure that double system of classification of the various articles exhibited, which it has been decided to adopt, and which will be unquestionably one of the most valuable features of the contemplated exhibition, possibly no other form presenting equal advantages to that of the circle or the oval could have been selected'. From "Illustrated London News", 1865. Plan of the Palace and Park designed for the Paris Universal Exhibition of 1867, (1865). Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: SECTION OF A PAXTON LEAN-TO VINERY, 1862. CREATOR: UNKNOWN.

The International Exhibition: section of a Paxton lean-to vinery, 1862. Improved greenhouse technology. From "Illustrated London News", 1862. The International Exhibition: section of a Paxton lean-to vinery, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: SECTION OF RIVER'S SHORT-SPAN GLASS ORCHARD, 1862. CREATOR: UNKNOWN.

The International Exhibition: section of River's short-span glass orchard, 1862. Improved greenhouse technology. From "Illustrated London News", 1862. The International Exhibition: section of River's short-span glass orchard, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: SCOTT'S GLASS WALLS, 1862. CREATOR: UNKNOWN.

The International Exhibition: Scott's glass walls, 1862. 'Considerable interest attaches to the glass walls of the St. Pancras Ironworks Company, although they must be reduced in cost before they will be generally adopted. They are designed by James Scott, Esq., of Hornsea, a successful amateur horticulturist. Instead of the nets and other protections against frost, Mr. Scott places an iron capping upon the wall, furnished with arms 3ft. 6in. from each other, projecting 18in. or 2ft. From these descends the simple iron framework, at any angle, to cover a border for strawberries or salads of any width. About a foot from the bottom it takes a perpendicular direction, and below the gutter carries a simple ventilator, which, corresponding with one just above the wall, provides for that constant current of fresh air so necessary to the health of trees and the flavour of fruit. This frame is grooved for glass, which is simply slipped in in large sheets and screwed down. The whole can be removed, packed away, and replaced with but little trouble'. From "Illustrated London News", 1862. The International Exhibition: Scott's glass walls, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: SECTION OF A LEAN-TO HOTHOUSE, 1862. CREATOR: UNKNOWN.

The International Exhibition: section of a lean-to hothouse, 1862. Improved technology for greenhouses. From "Illustrated London News", 1862. The International Exhibition: section of a lean-to hothouse, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE INTERNATIONAL EXHIBITION: WEEKS' GLASS WALL, 1862. CREATOR: UNKNOWN.

The International Exhibition: Weeks' glass wall, 1862. 'John Weeks and Co., King's-road, Chelsea, make a display of models of conservatories, improved boilers, and ornamental heating-stacks. The former exhibit great elegance and scientific attention to ventilation. The new apparatus adopted for this purpose renders unnecessary all lines, weights, and pulleys. One movement suffices to raise every alternate top light from the rafter without overlapping the bottom one. Abundant circulation of air is thus provided without the establishment of fierce currents, so detrimental to vegetation. While but one thickness of glass is maintained above the plants, the access of rain is prevented'. From "Illustrated London News", 1862. The International Exhibition: Weeks' glass wall, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE PROCESSION IN THE HORTICULTURAL SOCIETY'S GARDENS, 1862. CREATOR: UNKNOWN.

The Great International Exhibition: The procession in the Horticultural Society's Gardens, [Kensington, London], 1862. 'Owing to their taking advantage of a warning which had been given against crowding too much to one or two entrances, the crowd was well disposed, and there was neither crushing nor confusion at any point of admission. The principal approach in Cromwell-road presented a most animated scene, the outside gazers forming long and thick lines, and having before them a scene amusing for its bustle and for the curious variety of persons by whom it was made up. Independently of the ordinary components of an English crowd, which is generally motley enough, there were interspersed amongst them numerous handsome foreign uniforms, the wearers of which were military musicians, who had been sent over in the most handsome manner by several Continental Sovereigns to assist at the musical performances on this occasion...Proceeding round the north-eastern end of the Horticultural Gardens, the procession entered the Exhibition building at the north end of the eastern annexe'. From "Illustrated London News", 1862. The procession in the Horticultural Society's Gardens, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CONSERVATORY, BY ORMSON, IN THE INTERNATIONAL EXHIBITION, 1862. CREATOR: UNKNOWN.

Conservatory, by Ormson, in the International Exhibition, 1862. '...the erection of conservatories may be considered the highest grade in horticultural architecture; it shows, in fact, that architecture has become the ally of horticulture... Henry Ormson's structure...is intended to stand alone. The length along the centre line is about 56ft., and the width from door to door about 39ft...The framework of this portion is of wood, painted drab and white. The central mass of roof is supported within upon fluted cast-iron pillars, with enriched capitals forming along each side six arches, corresponding with that which spans the apse at either end. The framework of this upper portion of the building, artistically cumulative in effect, is principally of iron...As to ventilation...the lower sashes are pivot-hung on them centres. There are fanlights above the first semi-dome along the whole length of the building, and again above the second dome. These are actuated by levers and cords which hang beside the pillars. The access of fresh air, so essential to vegetation, appears to be thus well provided for, and this is a point not generally insisted upon...Aëration, light, and elegance are all here admirably provided'. From "Illustrated London News", 1862. Conservatory, by Ormson, in the International Exhibition, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PLAN OF THE GALLERIES OF THE INTERNATIONAL EXHIBITION BUILDING, 1862. CREATOR: JOHN DOWER.

Plan of the galleries of the International Exhibition Building, [South Kensington, London], 1862. 'Block Plan of the Building, representing the area as arranged with courts, trophies, fountains, &c. It may be as well to mention, in reference to the dimensions of the building to which the plan refers, that the vista from dome to dome through the nave extends to 1070ft. The nave is 800ft. long, and the transepts each about 365ft. long, including the domes; the nave and the transepts are each 85ft. wide.' Marked on the plan are: picture galleries; refreshment rooms; textile displays of woollen fabrics, silk and velvet, flax and hemp, clothing; printing and dyeing; paper and stationery, surgical instruments, watches etc. From "Illustrated London News", 1862. Plan of the galleries of the International Exhibition Building, 1862. Creator: John Dower. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GARDEN (FOREST SLOPE NEAR MARIA TAFERL IN THE WACHAU), AROUND 1914/1915. CREATOR: JULIAN FALAT.

Garden (forest slope near Maria Taferl in the Wachau), around 1914/1915. Garden (forest slope near Maria Taferl in the Wachau), around 1914/1915. Creator: Julian Falat. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

JARDIN DES PLANTES IN PARIS, 1936.

Jardin des Plantes in Paris, 1936. Creator: Wilhelm Thony. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CAMALDOLI MONASTERY, 1864.

Camaldoli Monastery, 1864. Creator: Jan Nowopackà. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIENNA IN A HUNDRED YEARS, 1887.

Vienna in a hundred years, 1887. Creator: Edmund-Frédéric-Arthur Krenn. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

IN THE GARDEN OF SCHOENBRUNN PALACE IN VIENNA, UNDATED.

In the garden of Schoenbrunn Palace in Vienna, undated. Creator: Carl Goebel. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

KURZWEIL ON GUARD DUTY IN THE GARDEN OF BELVEDERE PALACE IN VIENNA, 1867/1880.

Kurzweil on guard duty in the garden of Belvedere Palace in Vienna, 1867/1880. Creator: Carl Goebel. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CLOUDY WINTER DAY (VIEW FROM MY STUDIO WINDOW), 1928.

Cloudy winter day (view from my studio window), 1928. Creator: Alois Hanisch. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE AMOROUS GARDENER, 1777.

The Amorous Gardener, 1777. Creator: Isidore-Stanislas Helman. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE DOG'S REPAST, 1778/79.

The Dog's Repast, 1778/79. Creator: Gilles-Antoine Demarteau. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

NIGHT, 1767.

Night, 1767. Creator: Emmanuel Jean Nepomucene De Ghendt. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MIDDAY, N.D.

Midday, n.d. Creator: Emmanuel Jean Nepomucene De Ghendt. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PROGRESS OF THE GREAT INTERNATIONAL EXHIBITION BUILDING: THE WORKMEN LEAVING THE GROUNDS, [SOUTH KENSINGTON, LONDON], 1861. OUR ENGRAVING REPRESENTS A PICTURESQUE SCENE ENOUGH, WHICH TAKES PLACE IN THE CLOSING GLOOM EVERY EVENING - THE WORKMEN EMPLOYED UP

Progress of the Great International Exhibition building: the workmen leaving the grounds, 1861. Creator: Frederick John Skill. Progress of the Great International Exhibition building: the workmen leaving the grounds, [South Kensington, London], 1861. Our engraving represents a picturesque scene enough, which takes place in the closing gloom every evening - the workmen employed upon the building (in round numbers, some thousand) leaving the building and proceeding to their homes. Such a mass of human industry and intelligence was perhaps never before seen issuing from one field of labour of similar dimensions. The men employed upon this great work, we understand, are all picked men of their several classes; and, from all we have heard, as well as what we have observed of their manner of executing their several tasks and of their general demeanour, we should say that a finer or more respectable body of working men was never brought together, and that their selection and management reflect great credit upon the contractors, Messrs. Kelk and Lucas. The point of view...is in the Cromwell-road front, from the grand central entrance to the picture-galleries...[and] affords our artist an opportunity of showing the row of houses on the opposite side of the road, exemplifying the restricted street space which surrounds the building on all its sides of approach'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE MAIN ENTRANCE OF THE INTERNATIONAL EXHIBITION BUILDING, [LONDON], 1861. 'THE PICTURE GALLERIES ALONG THE CROMWELL-ROAD FRONT ARE IN A VERY FORWARD STATE, THAT ON THE EAST BEING FLOORED AND ITS WALLS BOARDED THROUGHOUT. THE TOWERS AT THE EASTERN END AR

The main entrance of the International Exhibition building, 1861. Creator: Unknown. The main entrance of the International Exhibition building, [London], 1861. 'The picture galleries along the Cromwell-road front are in a very forward state, that on the east being floored and its walls boarded throughout. The towers at the eastern end are having their top lights fixed, and the roofing of the corresponding ones at the other end are nearly completed. The roof also over the central entrance, which will here form an attic story, has been began. We give an Engraving of this entrance as it will appear when completed. The general effect is pretentious and showy, but heavy'. The International Exhibition of 1862, or the Great London Exposition, was a world's fair held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, on a site that now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PROGRESS OF THE INTERNATIONAL EXHIBITION BUILDING: PORTION OF THE NAVE, 1861. 'THE NAVE AS IT NOW APPEARS, ROOFED IN, AND WITH THE CLERESTORY WINDOWS FIXED, THE TRAVELLING STAGE USED IN ITS CONSTRUCTION BEING SEEN AT THE END'. THE INTERNATIONAL EXHIBITION

Progress of the International Exhibition building: portion of the Nave, 1861. Creator: Unknown. Progress of the International Exhibition building: portion of the Nave, 1861. 'The nave as it now appears, roofed in, and with the clerestory windows fixed, the travelling stage used in its construction being seen at the end'. The International Exhibition of 1862, or the Great London Exposition, was a world's fair held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, on a site that now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PROGRESS OF THE INTERNATIONAL EXHIBITION BUILDING: WORKS OF THE NAVE, EASTERN TRANSEPT, AND DOME, AS SEEN FROM THE SOUTH-WEST, 1861. THE INTERNATIONAL EXHIBITION OF 1862, OR THE GREAT LONDON EXPOSITION, WAS A WORLD'S FAIR HELD FROM 1 MAY TO 1 NOVEMBER 186

Progress of the International Exhibition building: works of the Nave, Eastern Transept..., 1861. Creator: T. Bolton. Progress of the International Exhibition building: works of the Nave, Eastern Transept, and Dome, as seen from the South-West, 1861. The International Exhibition of 1862, or the Great London Exposition, was a world's fair held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, on a site that now houses museums including the Natural History Museum and the Science Museum. From a 'photo on wood' by T. Bolton, published in "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PROGRESS OF THE GREAT EXHIBITION BUILDING: HOISTING APPARATUS, 1861. THE INTERNATIONAL EXHIBITION OF 1862, OR THE GREAT LONDON EXPOSITION, WAS A WORLD'S FAIR HELD FROM 1 MAY TO 1 NOVEMBER 1862, BESIDE THE GARDENS OF THE ROYAL HORTICULTURAL SOCIETY, SOUTH

Progress of the Great Exhibition building: hoisting apparatus, 1861. Creator: Unknown. Progress of the Great Exhibition building: hoisting apparatus, 1861. The International Exhibition of 1862, or the Great London Exposition, was a world's fair held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, on a site that now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PROGRESS OF THE GREAT EXHIBITION BUILDING: THE TRAVERSING PLATFORM USED IN THE CONSTRUCTION OF THE NAVE, 1861. '...THE MOST ASTONISHING AND THE MOST EXTENSIVE OF [THE] LABOUR-SAVING CONTRIVANCES IS A GIGANTIC TRAVELLING SCAFFOLD, WHICH HAS BEEN BUILT ON T

Progress of the Great Exhibition building: the traversing platform used in the construction ...1861. Creator: Unknown. Progress of the Great Exhibition building: the traversing platform used in the construction of the nave, 1861. '...the most astonishing and the most extensive of [the] labour-saving contrivances is a gigantic travelling scaffold, which has been built on twelve wheels, to run on rails up and down the whole length of the centre nave. This huge structure is 60 ft. square and 100 ft. high, and weighs nearly 300 tons. Yet...four men with levers can move it with a certain amount of rapidity to any part of the works. It will be used in hoisting the upper columns, the huge circular wooden ribs of the roof, for painting, or, indeed, for any purpose connected with the building where many men have to be employed at a great height'. The International Exhibition of 1862, or the Great London Exposition, was a world's fair held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, on a site that now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PROGRESS OF THE INTERNATIONAL EXHIBITION: THE MACHINERY DEPARTMENT, 1861. THE INTERNATIONAL EXHIBITION OF 1862, OR THE GREAT LONDON EXPOSITION, WAS A WORLD'S FAIR HELD FROM 1 MAY TO 1 NOVEMBER 1862, BESIDE THE GARDENS OF THE ROYAL HORTICULTURAL SOCIETY, S

Progress of the International Exhibition: the Machinery Department, 1861. Creator: Unknown. Progress of the International Exhibition: the Machinery Department, 1861. The International Exhibition of 1862, or the Great London Exposition, was a world's fair held from 1 May to 1 November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, on a site that now houses museums including the Natural History Museum and the Science Museum. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

PROGRESS OF THE BUILDING FOR THE INTERNATIONAL EXHIBITION OF 1862, (1861). '...THE FORM OF THE BUILDING APPEARS MAPPED OUT IN ITS REAL PROPORTIONS, THE BRICK WALLS, WHEN OUR ARTIST VISITED THE SPOT, HAVING RISEN TO SOME 30 FT. FROM THE GROUND...THE ROWS O

Progress of the building for the International Exhibition of 1862, (1861). Creator: Unknown. Progress of the building for the International Exhibition of 1862, (1861). '...the form of the building appears mapped out in its real proportions, the brick walls, when our artist visited the spot, having risen to some 30 ft. from the ground...The rows of iron pillars which strew the ground are being rapidly absorbed into the structure...The trellis-girders, which support the floor of the galleries, it is estimated might possibly under extraordinary circumstances be called upon to bear a weight of from 28 to 30 tons. A number of them were tested, and shown to bear a weight of from 72 to 76 tons... But the most astonishing and the most extensive of these labour-saving contrivances is a gigantic travelling scaffold, which has been built on twelve wheels, to run on rails up and down the whole length of the centre nave. This huge structure is 60 ft. square and 100 ft. high, and weighs nearly 300 tons. Yet...four men with levers can move it with a certain amount of rapidity to any part of the works. It will be used in hoisting the upper columns, the huge circular wooden ribs of the roof, for painting, or, indeed, for any purpose connected with the building where many men have to be employed at a great height'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GOD FORBIDDING ADAM AND EVE TO EAT OF THE TREE OF KNOWLEDGE, 16TH CENTURY. SERIES: THE CREATION OF THE WORLD.

God Forbidding Adam and Eve to Eat of the Tree of Knowledge, 16th century. Creator: Antonio Tempesta. God Forbidding Adam and Eve to Eat of the Tree of Knowledge, 16th century. Series: The Creation of the World. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GOD CREATING ADAM AND EVE, C1600. SERIES: THE CREATION OF THE WORLD.

God Creating Adam and Eve, c1600. Creator: Antonio Tempesta. God Creating Adam and Eve, c1600. Series: The Creation of the World. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GOD CREATING PLANTS AND TREES, C1600. SERIES: THE CREATION OF THE WORLD.

God Creating Plants and Trees, c1600. Creator: Antonio Tempesta. God Creating Plants and Trees, c1600. Series: The Creation of the World. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ADAM AND EVE PLACED IN THE GARDEN OF EDEN, 16TH CENTURY. FROM THE CREATION OF THE WORLD.

Adam and Eve Placed in the Garden of Eden, 16th century. Creator: Antonio Tempesta. Adam and Eve Placed in the Garden of Eden, 16th century. From The Creation of the World. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE TEMPTATION OF EVE, 16TH CENTURY. FROM THE CREATION OF THE WORLD.

The Temptation of Eve, 16th century. Creator: Antonio Tempesta. The Temptation of Eve, 16th century. From The Creation of the World. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GOD REPROACHING ADAM AND EVE FOR THEIR DISOBEDIENCE, 16TH CENTURY. FROM THE CREATION OF THE WORLD.

God Reproaching Adam and Eve for Their Disobedience, 16th century. Creator: Antonio Tempesta. God Reproaching Adam and Eve for Their Disobedience, 16th century. From The Creation of the World. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE WALLS OF BABYLON, PUBLISHED 1610. FROM THE SEVEN WONDERS OF THE WORLD, PL. 4.

The Walls of Babylon, published 1610. Creator: Antonio Tempesta. The Walls of Babylon, published 1610. From The Seven Wonders of the World, pl. 4. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

APRIL: A GARDEN, PUBLISHED 1599. FROM THE TWELVE MONTHS I, PL. 4.

April: A Garden, published 1599. Creator: Antonio Tempesta. April: A Garden, published 1599. From The Twelve Months I, pl. 4. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ILLUSTRATION OF 'VARIOUS SUBJECTS', 1779.

Illustration of 'Various Subjects', 1779. Creator: Daniel Nikolaus Chodowiecki. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF THE QUIRINAL PALACE, ROME, C1806.

View of the Quirinal Palace, Rome, c1806. View of the Quirinal Palace, Rome, c1806. Creator: Francois-Marius Granet. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STILL LIFE WITH A SPANIEL CHASING DUCKS ("WATER"), 1719.

Still Life with a Spaniel Chasing Ducks ("Water"), 1719. Still Life with a Spaniel Chasing Ducks ("Water"), 1719. Creator: Jean-Baptiste Oudry. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STILL LIFE WITH DEAD SWAN, A PEACOCK AND A DOG BY A GARDEN FOUNTAIN, 1684.

Still life with dead swan, a peacock and a dog by a garden fountain, 1684. Still life with dead swan, a peacock and a dog by a garden fountain, 1684. Creator: Jan Weenix. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VOLUME. HUMPHRY REPTON (ED.) SKETCHES AND HINTS ON LANDSCAPE GARDENING : COLLECTED FROM DESIGNS AND OBSERVATIONS NOW IN THE POSSESSION OF THE DIFFERENT NOBLEMEN AND GENTLEMEN, FOR WHOSE USE THEY WERE ORIGINALLY MADE [...], 1794.

Volume. Humphry Repton (Ed.) Sketches and hints on landscape gardening : collected from designs and observations now in the possession of the different noblemen and gentlemen, for whose use they were originally made [...], 1794. Volume. Humphry Repton (Ed.) Sketches and hints on landscape gardening : collected..., 1794. Creator: Humphry Repton. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MADONNA AND CHILD, LATE 15TH CENTURY. IN THIS PICTURE OF MARY, WHO IS BREASTFEEDING HER NEWBORN SON, THE DEPICTION OF NATURE AND THE GARDEN PLAYS A LARGE PART IN THE CHRISTIAN SYMBOLISM. THE APPLE OF BABY JESUS REFERS TO THE FORBIDDEN FRUIT FROM THE TREE

Madonna and Child, late 15th century. In this picture of Mary, who is breastfeeding her newborn son, the depiction of nature and the garden plays a large part in the Christian symbolism. The apple of baby Jesus refers to the forbidden fruit from the tree of knowledge, while the enclosed garden corresponds to the idea of Mary’s virginal purity as well as the lost Paradise. The Son of God has regained it by becoming a human being. Madonna and Child, late 15th century. Creator: Master of the Legend of Saint Catherine. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ADAM IN PARADISE, 1914.

Adam in Paradise, 1914. Adam in Paradise, 1914. Creator: Kristian Zahrtmann. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

GARDEN PAVILION AT SKANSEN, 1889.

Garden Pavilion at Skansen, 1889. Garden Pavilion at Skansen, 1889. Creator: Karl Nordstroem. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

FROM COLLIN'S GARDEN IN COPENHAGEN, 1833.

From Collin's Garden in Copenhagen, 1833. From Collin's Garden in Copenhagen, 1833. Creator: Jorgen Pedersen Roed. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EVE IN PARADISE OR THE SERPENT IN PARADISE, 1911.

Eve in Paradise or The Serpent in Paradise, 1911. Eve in Paradise or The Serpent in Paradise, 1911. Creator: Joakim Skovgaard. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EMBROIDERY OF PARTERRE OF THE HOUSE OF TILLET IN SAINT-CLOUD.

Embroidery of parterre of the House of Tillet in Saint-Cloud. The embroidery parterre of la Maison du Tillet in Saint-Cloud. Creator: Israel Silvestre. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BREAKFAST-TIME, 1887.

Breakfast-Time, 1887. Breakfast-Time, 1887. Creator: Hanna Pauli. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BREAKFAST TIME, 1887.

Breakfast Time, 1887. Breakfast Time, 1887. Creator: Hanna Pauli. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

A GARDEN IN GREZ, 1884.

A Garden in Grez, 1884. A Garden in Grez, 1884. Creator: Georg Pauli. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STANDING GIRL IN FLOWER GARDEN, 1834-1911.

Standing girl in flower garden, 1834-1911. Standing girl in flower garden, 1834-1911. Creator: Jozef Israels. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PARK WITH FIGURES ON HORSEBACK, 1834-1911.

Park with figures on horseback, 1834-1911. Park with figures on horseback, 1834-1911. Creator: Jozef Israels. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

COUNTRY HOUSE AND GARDEN, 1834-1911.

Country house and garden, 1834-1911. Country house and garden, 1834-1911. Creator: Jozef Israels. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

OLD MAN LEANING ON HIS CANE, 1834-1911.

Old man leaning on his cane, 1834-1911. Old man leaning on his cane, 1834-1911. Creator: Jozef Israels. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE VELZERBEEK ESTATE NEAR VELSEN, 1754-1820.

The Velzerbeek estate near Velsen, 1754-1820. The Velzerbeek estate near Velsen, 1754-1820. Creator: Hermanus Numan. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MAN WHO READS TO A SMALL CHILD, 1836-1900. OLD MAN AND GIRL IN A GARDEN.

Man who reads to a small child, 1836-1900. Old man and girl in a garden. Man who reads to a small child, 1836-1900. Creator: Elchanon Verveer. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ARBOURS, C.1850.

Arbours, c.1850. Arbours, c.1850. Creator: Petrus Josephus Hubertus Cuypers. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF A ROYAL PALACE SEEN FROM THE GARDEN, 1759-C.1796.

View of a royal palace seen from the garden, 1759-c.1796. View of a royal palace seen from the garden, 1759-c.1796. Creators: Louis-Joseph Mondhare, Anon. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

VIEW OF THE FRONT OF THE GRAND TRIANON IN THE GARDEN OF VERSAILLES, 1700-1799.

View of the front of the Grand Trianon in the garden of Versailles, 1700-1799. View of the front of the Grand Trianon in the garden of Versailles, 1700-1799. Creators: Anon, Jacques Rigaud. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)