After a wonderful morning meandering our way around Hamilton Gardens, we were ready for a spot of lunch. We asked the lovely ladies in the gift shop if they could recommend somewhere, preferably by the river. Without hesitation they suggested Mr. Pickles, a new establishment they hadn’t actually tried but had heard excellent reviews. Despite their detailed directions, we had to ask a couple of locals before finally finding it tucked away off the main thoroughfare.
The interior was light and airy
but on this beautiful day we dined alfresco
overlooking the Waikato River.
The tapas style meal was incredible and we complemented it with a glass of 2018 Seresin Pinot Gris from the Marlborough region.
The first dish, tantalisingly named Saucy Boys, combined fried squid with spring onion, peanuts & house made xo sauce.
Next came baked potato dumplings with crispy bacon, brown butter & chives and beef cheek croquettes with habanero mustard.
Grilled scotch fillet with roast capsicum & zucchini salsa and spiced sticky eggplant with sesame & ginger followed.
With little regard for our cholesterol levels, we couldn’t resist the duck fat crushed potato with parmesan & truffle salt.
Having explored the Hamilton Gardens Paradise Collection, we moved on to the Fantasy Collection where imagination and fantasy are integral to the garden design. Three of these are found along paths leading from Time Court. Bronze characters from Alice in Wonderland are assembled atop a plinth, a plaque quotes: “If you don’t know where you are going, any road will take you there. Lewis Carroll.”
We entered the Surrealist Garden along a disconcerting black & white tiled passageway that led to a fireplace with nothing on the mantlepiece except a pair of egg shaped ornaments.
Surrealist art came to the fore in the 1920s and 30s when artists and writers became fascinated with the mysterious world of dreams and the subconscious mind. In garden design, this was illustrated through distortion of scale, strange forms of topiary & sculptures and elements behaving in an unexpected manner.
Everything in this garden is five times the normal scale
and the lawn edging curves up at the corners like a sheet of paper.
Instead of a dozen white roses, a dozen white noses are dotted throughout the thick foliage bordering the lawn.
I thought I was seeing thing when I saw the ‘branches’ of these trees moving. The ivy covered shapes, known as ‘trons’, appear slightly sinister as their hydraulically controlled arms move when least expected.
The Tudor Garden reflects the fascination 16th century English aristocracy had with geometric patterns and symbolism. A stone pavilion, based on the one at Montacute House in Somerset, overlooks intricate knot gardens that were traditionally outdoor settings for fantasy plays or ‘masques’.
Mythical beasts on green and white striped poles each hold a flag of the Tudor Rose as well as a sculptural crest of some of the notorious personalities of the day. Although some of the shields can’t be seen from the angle of the photo, royalty are represented by the unicorn (Mary, Queen of Scots), the griffin (King Henry VIII) and the dragon (Queen Elizabeth I).
Lord Chancellors of the aforementioned royalty make an appearance with the Centaur (Sir Thomas More) and Satyr (Sir Francis Bacon).
Two favourites of Queen Elizabeth I, both described as a ‘privateer’, are upheld by the sea serpent (Sir Walter Raleigh) and the Phoenix (Sir Francis Drake). The most endearing is the lovable Bottom from Midsummer Night’s Dream holding the shield of Sir William Shakespeare.
Chinese and Japanese imports flowed into Europe in the 18th century and created a fashion craze that became known as ‘Chinoiserie’. Garden design became an expression of the Western fantasy of Oriental art. This Chinoiserie Garden is quite simple. Once through the Bottle Gate and along the path to the Perfume Garden,
there are Chinoiserie seats and a Chinese Pavilion overlooking a sweeping lawn.
The pavilion is modelled on the ‘Chinese House’ at Stowe Landscape Gardens in England which was built in 1738. Like the original, the roof is copper and the colourful decoration gives it a theatrical touch.
Planting in the Tropical Garden has been designed so that the hardier plants offer protection to those more susceptible to Waikato winters. Exotic plants such as bromeliads and orchids sprinkle colour amongst the lush greenery and a trickling stream adds to the tranquil tropical atmosphere.
The next three Fantasy gardens led from Braithwaite Court where a Huddleston airship, full of gardening gadgets, is tethered. The airship is more than ornamental, it glides through the night delivering plants and pruning hard-to-reach hedges.
Essentially a form of outdoor conceptual art, the Concept Garden has been inspired by the square boxes of a legend on a map. Nine types of New Zealand landscape are symbolised in the blocks; pasture is represented by the grass, native bush by Muehlenbeckia astonii, urban areas by White Carpet roses, horticultural by citrus trees, tussock grassland by Carex buchananii, coniferous forest by Pinus mugo, scrubland by Leptospermum scoparium, wetland by Apodasmia and water bodies by the central pool.
Two Māori whakataukī, or proverbs, appear in the garden. He peke tangata, apa he peke titoki, is inscribed on the white wall, meaning ‘the human family lives on while the branch of the titoki falls and decays’. Perhaps a suggestion that as the population grows, it is at the expense of natural environments. The other whakataukī is inscribed on a steel pipe, which will gradually rust away; the interpretation of this message is, ‘but in the end, nature is going to win’.
A change in attitude toward the formality of garden design came about with the Picturesque Garden movement in England during the 18th century. Gardens retained a natural look, some deliberately wild and overgrown, and often had a sequence of features representing a fantasy story or classical legend. The Picturesque Garden at Hamilton makes reference to the story of The Magic Flute, written by Mozart in 1791, along with Masonic symbolism found in the story. We entered through a cave guarded by a pair of sphinxes
and passed the figure of Papageno
before reaching the Woodland Temple of the Queen of the Night.
The number three is significant to the Freemasons, as evinced by the three guardian angels, three portals to enter the temple and, through the dark passage, three temptresses represented in relief sculpture on the wall.
A table of food and wine awaited in a meadow
and the entrance to the cave where Tamino faced his last test is flanked by a brazier and bowl, symbolising fire and water. Opening a door at the end of the path, we wondered what could possibly top that experience.
We weren’t disappointed. One of the foremost pioneers in modern literature, New Zealand born Katherine Mansfield wrote her short story, The Garden Party in 1922. Inspired by an event that took place in Wellington in 1907, the architecture, food and design detail of the Edwardian period has been recreated in the Mansfield Garden. Circular gravel driveways with a pond or fountain in the centre were a common theme
and the Model T Ford was a status symbol of the time.
The lawn tennis court is the setting of the party
and workmen erected a marquee against the karaka hedge, specifically mentioned in the story, on the far side of the court.
The banquet table is laden with mouth-watering fare. Fifteen kinds of sandwiches with the crusts cut off are suggested in the story, although only two were specified; cream cheese with lemon curd and egg & olive. ‘Godber’s famous cream puffs’ were also on the menu, a nod to James Godber, a very successful baker, confectioner and caterer in Wellington at the turn of the century. The delectable spread is actually made from concrete and resin to withstand the elements.
Yet another detail from the story is the placement of the ‘very small band’ in another corner of the tennis court.
Having read Katherine Mansfield’s short stories since our trip, this fantasy garden lacked nothing. Sadly, she died with tuberculosis in 1923 at the age of 34.
I am always on the lookout for beautiful gardens to visit on our travels and was very excited to discover Hamilton Gardens is only an hour drive from Matamata, perfect for a day trip. The world class gardens are situated alongside the Waikato River, an area that was once a thriving Maori settlement and home to Ngaati Wairere chief Haanui. Sadly, after European settlement, the land was used for other purposes including a rifle range, sand quarry, go-cart track and finally the city’s main rubbish dump. In the 1950s, the Hamilton Beautifying Society lobbied for a public garden and, with most development occurring since 1980, the gardens now occupy 54 hectares.
Passing by the Events Centre, we were drawn to a huge wood carving depicting real and imagined life in the gardens. The intricate carving was created from a single camphor laurel tree which grew on the river bank, far too big to capture in one photograph.
At Hamilton Gardens, the emphasis is on different types of garden design rather than plant collections, exploring the history, context and meaning of gardens. The individual gardens are presented in three separate themes – Paradise Gardens, Fantasy Gardens and Productive Gardens – too much to cover in one post so I will start with the Paradise Collection. Each garden radiates from a central court, in this case it is Cloud Court featuring statues of Egyptian gods Horus, the falcon-headed god of the sky and Sobek, the crocodilian ‘Lord of the Waters’.
We started in the Japanese Contemplation Garden, entering into a karesansui, or dry landscape garden, of the Muromachi era from the 14th to 16th century. Often called ‘Zen gardens’ because they are found in Zen temple complexes in Japan, these are designed for quiet contemplation and study.
Beyond the pavilion, a pool surrounded by Japanese Maple trees infuses a serenity felt by even the smallest inhabitants.
The traditional gardens of the Arts and Crafts period in the late 19th and early 20th centuries are the inspiration behind the English Flower Garden. Walls and hedges create a series of outdoor rooms, each with a different planting theme, that are linked by pathways terminating at an arbor, fountain or seat.
It is easy to see why the gardens of this era are often referred to as ‘the gardens of a golden afternoon’.
The art of Chinese gardening dates back to the Han period, at least 2,000 years ago and this influential art form has been called the ‘mother of gardens’. The Chinese Scholars’ Garden represents a traditional Chinese garden from the Sung Dynasty, 10th to 12th century, when a social class of mandarins, scholars and the landed gentry created and maintained these distinctive gardens.
The winding path led to a blooming Wisteria bridge and would eventually reach a pavilion with views of the Waikato River.
Instead, we retraced our steps, past the giant bronze half turtle-half dragon, the Celestial Yuan of Taihu, symbolically protecting the garden from floods.
The 20th century brought the minimalist design of the Modernist Garden, particularly on the U.S. western seaboard and northern Europe in the 1930s. Elements such as swimming pools, barbecues and outdoor eating areas dominated with little ornamentation or formality. Not really my idea of a garden.
In stark contrast, the colourful Indian Char Bagh Garden was stunning. The symbolic four-quartered garden was designed for the Mughal aristocracy and spread throughout the Muslim world between the 8th and 18th centuries. The Mughal emperors, descendants of Genghis Khan, expanded their empire eastwards from Persia into northern India from the 13th century onwards. The design was adapted to local conditions but the basics of geometric layout and a focus on water and irrigation remained integral. In harsh climates, the subtle trickle of water combined with floral perfumes made for a sumptuous living Persian carpet.
Beyond the pavilion, some were making the most of this glorious day on the Waikato River.
We retreated through the decorative entranceway
and made our way to the Italian Renaissance Garden. Many of the elements of earlier Medieval gardens have been retained such as high surrounding walls, square beds and arched trellis work.
The Renaissance designers introduced a strong central axis linking different compartments of the garden and included antique sculptures. A perfect example is the copy of the original 5th century Capitoline wolf with Romulus and Remus, the founders of Rome who, as babies, were thrown into the Tiber River, which carried them to Platine where they were suckled by a she-wolf and then raised by a shepherd.
I could imagine enjoying a beverage on the vine covered terrace but there was much more to see.
We were looking forward to experiencing some Māori culture while in New Zealand and Rotorua is the place to do just that. There are a few options available but we chose Whakarewarewa because it is the only one that is an actual living village. The full name is Whakarewarewa-tanga-o-te-ope-taua-a-Wāhiao (The Uprising of the Army of Wāhiao) and was first occupied in 1325. The full name was adopted when, 300 years ago, a Warrior Chief named Wāhiao, gathered an army to avenge the killing of his father. They waited, hidden by geothermal steam and then performed a Haka before charging into battle. After lunching on a tasty Hangi Pie at the Geyser Café, we entered the village through the memorial archway. Commemorating the fallen soldiers and tribal members who served in the two World Wars, the inscription, Te Hokowhitu a Tū, acknowledges the war god Tūmatauenga and was the motto of the Māori contingent.
Tourism came to the village in the 1800s when the Europeans began arriving in New Zealand. They were fascinated by the geothermal activity and local way of life. Before the bridge was built in 1885, the only way visitors could enter the village was to be carried across the river by the men, often in return for a penny. For generations, local village children have jumped from the bridge to retrieve the coins tossed in by visitors, earning them the nickname ‘Penny Divers’.
The Te Puarenga is also known as ‘Floating Blossom’ due to the yellow sulphur deposits that float on the surface as they make their way downstream.
Just over the bridge is a wharepuni, or sleeping house, traditionally built with natural materials such as tree ferns. A bit too close to the hot springs for my liking but apparently handy to make use of the heat.
The Ancestral Meeting House is named after Wāhaio, the traditional carvings tell stories and legends of his people and their tribal connections.
With time to spare before the afternoon cultural performance, we wandered past thermal lakes, mud pools and steam vents
to the bubbling waters of Te Roto a Tamaheke. Named after a chief living in the area many years ago, the lake has a number of hot springs that heat it above boiling point.
Before the entertainment began, we were introduced to some of the quirks of the Māori language. The explanation of the vowel sounds, none of which are pronounced the same as in the English language, was highly amusing. We were surprised to learn that ‘Wh’ is vocalised as an ‘f’ sound, an interesting concept when the name of the village is shortened to Whaka. The local performing group, Te Pakira, opened the show with a waiata-ā-ringa, an action song where the use of fluttering hand movements support the lyrics, symbolising shimmering waters, heat waves and such like.
A beautiful rendition of the love song, Pokarekare Ana, brought a tear to the eye. First sung at an army camp at Auckland in 1914, the song tells of Paraire Tomoana’s courtship of Kuini Raerena.
Next came the moment we had been waiting for – the Haka. The loud chanting, foot stomping, thigh-slapping war dance accompanied by poking tongues and staring eyes certainly stirred the blood. For me, it is the highlight of any All Blacks rugby game.
The skill and accuracy displayed in the stick games and Poi dances was boggling. The poi is a ball (or two) on a chord that is twirled in perfect unison with others and the direction can be changed by striking the ball on a part of the body, creating a percussive rhythm.
The performance over, we joined our guide for a tour of the village. The guiding tradition began over 200 years ago as tourism developed in the area and became a formalised profession for local Māori guides. The Catholic Church was built in 1905 and, due to the ongoing geothermal activity, in the cemetery the deceased are placed in tombs above the ground.
Retracing our steps down Tukiterangi Street
we turned left at Tuhoromatakaka, the family house built by master carver Tene Waitere in 1909 for guide Maggie Papakura.
The first inhabitants of the village discovered that food can be cooked by harnessing the heat from the ground and the steam box hangi is still used by the twenty one families living in Whakarewarewa.
The largest hot spring in the village, Parekohuru, is used for cooking leaf & root vegetables and seafood. Every 45 minutes or so, the pool pulsates and the water rises. The water level then drops and bubbles rise to the surface, hence the name ‘Champagne Pool’. I must say, I prefer my champagne on the cooler side.
At this point, I was distracted by the spectacular cloud formations.
Storms weren’t forecast but the nearby pools, Purerehua, told a different story. They are affected by the change in atmospheric pressure and when the water level drops, it means a change in the weather is imminent.
Many families in the village bathe in the communal baths known as oil baths because of the oily texture and mineral deposits in the water. It is very good for the skin as well as treating the aches and pains of arthritis and rheumatism.
The view from the Pōhutu Geyser lookout was quite ethereal. There are three active geysers aligned on the sinter terrace, a rock made of very fine-grained silica formed from the waters of the hot springs. The blue pool in front of the terrace is not fed by its own hot spring but collects water from the geysers.
The activity of each geyser affects the others with the largest, Pōhutu, erupting hourly up to a height of 30 metres. Its closest neighbour, Prince of Wales Feathers, always precedes Pōhutu but only to a height of 9 metres. The original name was Te Tohu (The Indicator) but it was renamed in 1901 on the occasion of a visit from the Prince of Wales because the geyser’s plume resembled the feathers on his coat of arms. The third geyser, Kererū, is named after an endemic New Zealand pigeon because the behaviour is as erratic as that of the bird. Unfortunately, we didn’t witness the full spectacle but were most impressed by the display we observed.
According to Māori myths and legends, the Whakarewarewa thermal area was created when Te Hoata and Te Pupu (Goddesses of Fire) travelled from Hawaiki in the form of fire to relieve their brother’s chills. Along the way, they created New Zealand’s volcanoes, mud pools, geysers and hot springs. I think they excelled themselves.
We meandered back through the village, reflecting on the lifestyle in this amazing part of the world
Just in case you didn’t get enough of Hobbiton from my previous post, here is another instalment. When planning our visit, we couldn’t decide whether to do the Movie Set Tour or the Evening Banquet Tour. The obvious solution was to partake in both, after all, it was to be a once in a lifetime experience. The evening sun shed a different light on the hobbit holes and the lovely gardens.
From Bag End at the top of the hill,
the Green Dragon Inn shone invitingly across the water.
Working up an appetite and thirst, we meandered our way to lower ground.
The Green Dragon was one of many inns in the Shire and was actually situated in the neighbouring settlement of Bywater, though it was frequented by Hobbits from both villages. Arriving at our destination, we explored the inn with a complimentary Southfarthing beverage in hand.
We had been here on the morning tour but this time, there was only our group in the whole place. Apologies for the quality of this photo, I could possibly blame the ale?
As the light faded outside
we moved through to the dining room, greeted by tables laden with traditional Hobbit fare.
Is it my imagination or does that lady sitting across the table look like Pippin?
Having indulged in second and third helpings in true Hobbit style, we wandered around the garden while tables were magically transformed for dessert.
Once feasting concluded, lanterns were randomly dispersed among the guests and we ventured into the night to make our way back through the village, past smoking chimneys and hobbit holes glowing warmly, another adventure concluded.