Sundial

Recessional

            Ever since his commission, an elaborate sundial, was delivered there, Randall has been eager to visit the Blain Mansion, so large and imposing that some call it a villa, others a castle. Since they do not own an automobile, he and May borrow a jalopy to make the trip.  The winding road that takes them to the top of the hill nearly dizzies them.  And then they are in front of a home so large, so imposing, that crossing the threshold into the front hall is the only way to bring them back to scale again.
Their host greets them with hand outstretched.  Randall bows, and May curtsies.  “Walk,” says Mr. Blain.  “Through the house, into the gardens.  Refreshments after you’ve explored.”
            The downstairs rooms are commanding, one after another, each window winking an amazing view of garden, salt marsh, or the Atlantic Ocean a half mile away, reached by way of a magnificent, terraced promenade.  Those swells of grass, lined by lindens, ash and pine, are fronted by statuary.  They exit the patio door. 
            “Let’s walk,” says May, nearly skipping off the patio onto the back lawn.  “So blue, so perfect,” she says of the ocean.
            Randall turns to face the house.  Above each window, in an arched alcove, the head of a Roman emperor looks down on them.  May takes his arm, and turns him toward the ocean.  “Can you imagine living with such a view?” she asks.  “Each and every day?”
            “An emperor’s view, certainly,” says Randall.
            On the promenade, they pass the first statue, their feet sinking into manicured grass.  They act as guides, each to the other.  “Adam, before the Fall,” Randall points.
            “And Eve,” says May.  “And now Eve with snake.”
            “Adam with apple.  Bitten.  And Adam’s apple.  Did you notice his smooth throat in the first statue?”
            “Such detail,” says May.  “What planning.  What adornment.  And we’re here.  Invited because of your clever sundial.”
            They leave the statuary and stand above the ocean.  To one side of them a walled garden invites, roses espaliered, hostas flowering purple and white, violet and cream.  Pink astilbe is planted in rows, almost like hedge, framing triangles of deep purple petunias.  In the middle, a fountain.  Randall walks toward the nymph, nearly human size, water streaming in an arc from her uplifted hand.
            “Such beauty,” May says.
            On the other side of the promenade, a circular garden forces them to walk a labyrinthine path to the middle, past hydrangeas, lavender, summersweet, and anemones, through arches of wisteria and moonseed, clematis and St. John’s Wort.  In the center of this garden, Randall’s sundial notes not only the time of day on its flat disc, but also, in an elaborate circling spire above, the position of the earth around the sun and the moon around the earth.
            “Such a clever device,” says May.  “I’m proud of you.”  She pats Randall’s arm. 
            The dial shadows five o’clock, and they will be expected at the mansion above.  They turn to see it in the distance, timeless and stately.
            “From inside the villa,” Randall says, “everything outside calls for attention.  The ocean, the walkway, the garden.  Nature, shaped and unshaped, invites you to walk outside in its majesty.”
            “And so we did,” says May.
            “But it’s a trick,” says Randall.  “Look there,” and he points at the mansion:  the tiled roof, the perfect symmetry of its architecture, the statues at the corners of the porch, the sculpted gargoyles, the grape-vined marble of the facings, the copper down spouts that turn to sea creatures at the base of the walls.              “That’s why Blain wants us out here.  To turn, finally, and admire him.  To look up.  To see how small we are.  We are invited to make that processional walk, our eyes to the ocean.  Our eyes to the garden.  But once we’re out here, it is all recessional.  We recede into the distance, we are made to feel small, given such grandeur.  That’s what Blain wants.”
            “He has much to admire,” says May, “including your sundial.”  She takes Randall’s hand.
            They walk the long recessional up to the mansion, where Blain awaits them on the patio.
            “I hope you are well-pleased with the gardens,” Blain says.  “I hope I have set your sundial where it belongs, in the center of the circles.  A stunning piece.”
            Randall bows slightly.  “You have placed me rather well,” he says.  He takes the champagne offered him by a servant, drinks it rather too quickly.  “I am well placed,” he says again.
            “Look at the ocean,” May says to Randall and Mr. Blain.  “So blue.  So perfect.”
            “Indeed,” says Blain.  “One never tires of such beauty.”
            Randall reaches for a second flute of champagne.

"Recessional" first appeared in Foliate Oak

 

 

 

 

 

 

 

 

 

Garland

Stone with word "me" carved in it

Sundial

Errant plant

Clump of grass

Quilt of flowers

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