Jacques Boyceau

{{short description|French garden designer}}

File:Portrait of Jacques Boyceau from 'Traité du jardinage' – Gallica RES-S-292 vue 12 (2013) (adjusted).jpg

Jacques Boyceau, sieur de la BarauderieAccording to the inscription on his portrait engraved by Grégoire Huret [http://search.famsf.org:8080/view.shtml?record=45958&=list&=1&=&=And] {{Webarchive|url=https://web.archive.org/web/20070929091616/http://search.famsf.org:8080/view.shtml?record=45958&=list&=1&=&=And |date=2007-09-29 }}, not "Baraudière" as is sometimes reported. (ca. 1560 – 1633) was a French garden designer, the superintendent of royal gardens under Louis XIII, whose posthumously produced Traité du iardinage selon les raisons de la nature et de l'art. Ensemble divers desseins de parterres, pelouzes, bosquets et autres ornements"Treaty of gardening according to the principles of nature and of art. Together with divers designs of parterres, greens, bosquets and other ornaments" was published in 1638. Its sixty engravings after Boyceau's designs make it one of the milestones in tracing the history of the Garden à la française (French formal garden). His nephew Jacques de Menours, who produced the volume, included an engraved frontispiece with the portrait of Boyceau.

A few of the plates show formally planted bosquets, but the majority are of designs for parterres. The accompanying text asserts that some of these designs have been used at royal residences: the Palais du Luxembourg, where the two axes at right angles survive from Boyceau's original plan, the Jardin des Tuileries, the newly built château of Saint Germain-en-Laye, even at the simple château at Versailles.

Boyceau was made a gentilhomme ordinaire de la chambre du roiA "gentleman-in-ordinary to the King's bedchamber" and ennobled for his efforts, as the sieur de la Barauderie.

Boyceau's book is the first French work to treat the esthetic of gardening, not simply its practice. It was designed for the patron rather than for the gardener, but it had an influence on the designs of André Le Nôtre, who transformed the manner of Boyceau and of the Mollet dynasty of royal gardeners—Claude Mollet and André Mollet—to create the culminating French Baroque gardens, exemplified at Vaux-le-Vicomte and Versailles.

An engraving reproduced in Boyceau's Traité du jardinage depicts his parterre design centered on the garden front of the Luxembourg Palace.Boyceau's Luxembourg parterre design [http://gallica.bnf.fr/ark:/12148/bpt6k85648g/f99.image.r=.langEN follows p. 87] of Traité du jardinage (at Gallica). Basically a square within a square, it was crowned at the far end by a half circle the width of the inner square. The great square was centered on a pool of water with a single jet in a sunken plat surrounded by four sloped spandrel compartments, each incorporating an inward-facing monogram of Marie de' Medici (the letter "M" surmounted by the royal crown), and outside this, four framing trapezoids interrupted at their centers by circular motifs bearing outward-facing, smaller versions of the monogram. The compartments, all filled with fine rinceaux executed in clipped boxwood and colored gravels, were set in wide gravel walks.The design, with its semi-circular exedra at the top, provided a model for a standard type of marquetry mirror frame that was produced in Amsterdam and London, c. 1660–1680 (Percy Macquoid, Age of Walnut 1906) The design, likely executed sometime between 1615 and 1629,Hazlehurst 1966, p. 56, suggests that the parterre could have been executed anytime after 11 April 1615, when the first stone for the palace was set, and that the garden had probably reached its definitive form by 1629, when the palace was almost finished (see p. 50). expressed variety within a unified ensemble and was best appreciated from the windows of the piano nobile, as shown in the engraving by Zeillerus. The parterre was much modified by 1652 as evidenced by the map of Gomboust,Hazlehurst 1966, p. 60, suggests modifications were made soon after the exile of Marie de Médicis in 1631, when her monogram would no longer have been regarded as suitable. and even further after 1693 in favour of the broader, simpler parterre of Claude Desgotz.

{{Multiple image |align=center |caption_align=center |direction=horizontal

|header=Parterre of the Luxembourg Garden c. 1615–1629

|image1=Parterre design by Boyceau for the Luxembourg - Met Museum of Art DP105009.jpg

|width1=180

|caption1=Boyceau's design

|image2=Detail from parterre design by Boyceau for the Luxembourg - monogram of Marie de Médicis - Met Museum of Art DP105009.png

|width2=248

|caption2=Detail with monogram

|image3=Parterre of the Luxembourg Garden c1615 engraved by Zeillerus - Hazlehurst 1966 fig25.png

|width3=380

|caption3=View from the palace, engraved by Zeillerus

}}