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Ovid’s Garden Party Review

We had a fantastic turn out for Ovid’s Garden Party on Saturday, which featured talks from myself, Miriam BayCultivating Narrative & Composing Landscape, and garden designer and bestselling author Kathryn AaltoCreating Gardens with Narratives, followed by performances of episodes from Ovid’s Metamorphoses by ancient Roman pantomime theatre group Avid for Ovid.

Ovid’s Garden Party marked the official opening of my garden project at Winterbourne House and Gardens, recreating the plantings of Italian Renaissance gardens inspired by ancient botany. Ovid’s Garden is a project that forms part of my PhD research in the Classics Department at the University of Birmingham, exploring the invocation of ancient myth, landscape and botany within Italian Renaissance gardens, transmitted through the writings of Roman mythographer Ovid.

In my talk, Cultivating Narrative & Composing Landscape, I discussed how both my PhD research and Ovid’s Garden were inspired by the idea of landscape as a living link to the past, as conveyed by novelist Margaret Drabble in A Writer’s Britain: Landscape in Literature:

‘The past lives on in art and memory, but it is not static: it shifts and changes as the present throws its shadow backwards. The landscape also changes, but far more slowly; it is a living link between what we were and what we have become.’

I was fascinated by this idea of landscape, and particularly plants, as a living link to antiquity, generating a physical, sensory experience as well as an intellectual, semiotic one. I was particularly drawn by the fact that the same plants cultivated since antiquity are still in cultivation today. This meant they have the potential to be experienced physically, just as they once were, whether for their aesthetic and olfactory properties in a garden setting; or practically, in food, medicine or cosmetics.

I wanted to create a space that could be used as a testing ground to look at the somatic properties of these plantings, in order to explore the sensory experience they generated, alongside their symbolic meaning. The plants grown in Ovid’s Garden represent those cultivated in antiquity, which were also popular features of Italian Renaissance gardens, valued for their aesthetic and practical properties or their symbolic associations.

Lavender lines the front of the garden, its name comes from the Latin lavare, ‘to wash’, as it was used to scent bath water in antiquity. In the two front flowerbeds there’s thyme, rosemary, sage, borage and pennyroyal mint — common herbs used in cooking from antiquity to this day.

In the two flowerbeds at the back of the garden, poet’s narcissus, hyacinths, violets and anemones flower in the spring, as well as saffron crocus in the autumn. The story of Narcissus is well known, the youth who was transformed into a pale daffodil after wasting away with longing for himself, but these other flowers also represent young men who have undergone metamorphosis. From the blood of Hyacinthus, fatally wounded by his lover Apollo’s discus, springs a flower whose petals are inscribed with the god’s mourning cries. In the myth of Adonis, Venus causes an anemone springs to spring from youth’s blood, after he is mauled by a wild boar. Similarly, violets spring from the blood of dying Attis and the saffron crocus appears in place of the body of Crocus. In each myth, flowers signify the youths’ transient masculinity and fleeting lives: in the bloom of youth, their lives cut short before they have transitioned to maturity.

Summer flowering damask and centifolia roses are ancient cultivars, valued in antiquity for their strong scent and abundant petals, their fragrant essential oil was used in ritual, medicines, cosmetics, perfumes and cooking. White Madonna lilies, red poppies and orange calendulas bloom in mid summer — flowers which conjured meadows where girls picking flowers, like Europa and Persephone, were abducted by opportunistic deities. These flowers were used in ritual, medicine and cooking, and the poppy was particularly valued for the opium derived from its sap, as it is today.

Then we have evergreen cypresses, bay laurels and olive trees. According the Ovid, the nymph Daphne, transformed into a laurel to escape the amorous advances of Apollo; whilst cypresses were a symbol of mourning in antiquity, derived from the story of Cyparissus, another unfortunate youth who died in his prime and was transformed into the tree by Apollo.

As well as being a testing ground for my own research, I wanted Ovid’s Garden to be a public facing project, accessible to any one. To function as a living museum without glass cabinets, where any one, regardless of academic background or knowledge of antiquity, could experience this living link to the past.

Kathryn Aalto’s talk, Creating Gardens with Narratives, situated the intertwining of landscape and narrative which I discussed within a broader historical and contemporary context. Kathryn explored how physical landscapes are imbued with symbolism and meaning when a literary dimension is added to them:

Adding a literary dimension to the physical landscape imbues it with additional ‘sense of place’. What does that mean? To me, it’s that invisible layer of memories, history and emotions covering the real landscape we see in front of us. It’s like unseen but powerful strata. And it’s different for each of us. It’s important both in writing as well as designing. We are adding a new layer to our sense of Ovid’s work today, and to the sense of place he evoked in his writing.

You can read Kathryn’s talk on her blog.

Theatre group Avid For Ovid performed four inspirational pieces, each a collaboration between the dancers and musician Malcolm Atkins, who composed and performed music which supported the narrative of each piece. The performances were chosen to complement the garden setting:

We chose stories for this event that had outdoor locations which might be echoed by the real garden; thus Medea’s plant gathering, Circe’s herb garden, and the woods in which the nymphs Syrinx and Daphne flee their pursuers and are themselves transformed into plants.

The first performance was Medea Mother of Dragons, by Marie-Louise Crawley. Medea was the sorceress who aided the hero Jason in his quest for the Golden Fleece and gave Jason herbs that put the dragon guarding the Fleece to sleep. Ovid recounts how Medea traveled the world in a chariot drawn by dragons, in order to procure a myriad of plants to brew a potion that extended Jason’s life.

Susie Crow performed Pan & Syrinx. Syrinx was a huntress nymph who fled the amorous advances of Pan – half god, half goat – and was transformed into hollow water reeds before Pan could seize her. The haunting sound of the wind blowing through the reeds inspired Pan to fashion the pan pipes.

Ségolène Tarte performed Circe the Enchantress. Circe was another sorceress, who Odysseus encountered on his wanderings. Circe brewed a potion from flowers and herbs that she tricked Odysseus’ men into drinking, transforming them into pigs.

The final episode, Apollo & Daphne was performed by Marie-Louise Crawley. Daphne was a nymph who was transformed into a laurel tree in order to evade the sun god Apollo.

I would like to take this opportunity to reiterate the thanks I gave in my talk at Ovid’s Garden Party and acknowledge those who have supported the project:

First of all, thank you to Winterbourne and the AHRC Cultural Engagement Fund, who funded the opening event. The project itself was made possible by generous funding from the AHRC Midlands Three Cities Doctoral Training Partnership, the University of Birmingham and Winterbourne.

Thank you to all the staff and gardeners at Winterbourne who have helped with the project – particularly curator Lee Hale, events manager Anna Fawcett and gardener Leighanne Keasey.

I also want to thank my wonderful supervisor Professor Diana Spencer, who encouraged and supported me from the project’s inception, when Ovid’s Garden was just another one of my crazy ideas!

Thank you to Joel Mills, for kindly offering to photograph the event and for the fantastic pictures you took.

Finally, I want to thank Kathryn Aalto, for her brilliant talk, Creating Gardens with Narratives, as well as the Avid for Ovid – Marie-Louise Crawley, Ségolène Tarte, Susie Crow and Malcolm Atkins – for their fantastic performances.

The primary purpose of this opening event was to showcase Ovid’s Garden as a space for public engagement. There are already plans to run interactive workshops on the uses of plants in ancient cooking, ritual, medicine and perfumery as part of the schools outreach events run by West Midlands Classics For All, and I’m also liaising with the University of Birmingham School to run workshops for their students.

So if you have an interest in using the garden space for outreach events or as a performance space, do contact me: / @mim_bay.


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Ovid’s Garden Party at Winterbourne House – Saturday 18th June

Ovid's GardenIt’s been almost two years since work first began on Ovid’s Garden and I am thrilled to announce our opening event, ‘Ovid’s Garden Party’, will take place on Saturday 18th June, 2-4, at Winterbourne House and Gardens.

Ovid’s Garden Party will include a drinks reception, with talks from myself, Miriam Bay, ‘Cultivating Narrative & Composing Landscape’, and garden designer and bestselling author Kathryn Aalto, ‘Creating Gardens with Narratives’, followed by performances of episodes from Ovid’s Metamorphoses by ancient Roman pantomime theatre group Avid for Ovid.

This event is an opportunity to showcase Ovid’s Garden as an outreach space, and there are already plans to run interactive workshops on the uses of plants in ancient cooking, medicine and perfumery as part of the schools outreach events run by West Midlands Classics For All.

This is a free event and all are welcome to attend, although admission prices to Winterbourne apply – £6, £5 concession, and free for University of Birmingham staff and students.

Ovid’s Garden is a project that forms part of my PhD in the Classics, Ancient History & Archaeology Department at the University of Birmingham, funded by AHRC M3C, recreating the plantings of Italian Renaissance gardens inspired by ancient botany. My research explores the invocation of ancient myth, landscape and botany within Italian Renaissance gardens, transmitted through the writings of Roman mythographer Ovid.

The ancients inscribed their own myth and symbolism onto the natural world, and in Metamorphoses, Ovid portrays a treacherous landscape inhabited by wandering heroes, powerful enchantresses, mischievous nymphs and malevolent deities, into which mortals ventured at their peril. For many of the flowers, trees, rivers, mountains and natural features which comprised this landscape are victims of metamorphosis – like Daphne, transformed into a laurel to escape the amorous advances of the sun god Apollo (Met. 1.473-552); or Narcissus, who wasted away with longing for his own reflection and became a pale daffodil (Met. 3.402-510).

In my talk ‘Cultivating Narrative & Composing Landscape’, I will explore how Ovidian narrative was recreated in the ideological programmes of Italian Renaissance gardens through lushly storyboarded experiences, which enabled visitors to locate themselves within landscapes of mythic encounter. I will also relate how the plants grown in Ovid’s Garden were imbued with symbolism in antiquity and the Renaissance – like the hyacinth, narcissus, saffron crocus, violet and anemone, which embodied metamorphosed men; or the lily, marigold and poppy that conjured meadows where girls picking flowers were abducted by opportunistic deities; whilst trees like the mulberry recalled the story of doomed lovers Pyramus and Thisbe and the laurel evoked Daphne’s fate.

Avid For Ovid will be performing some of these episodes from Ovid’s Metamorphoses within the garden, and Kathryn Aalto’s talk ‘Creating Gardens with Narratives’ will situate the intertwining of garden and narrative within a broader historical and contemporary context.

Kathryn Aalto is a writer, designer, historian and lecturer based in Devon. For the past twenty five years, her focus has been on places where nature and culture intersect: teaching literature of nature and place, designing gardens, and writing about the natural world. She is the author of The New York Times Bestseller The Natural World of Winnie-the-Pooh: A Walk Through the Forest that Inspired the Hundred Acre Wood (2015) and Nature and Human Intervention (2011). Kathryn lectures on literary landscapes and garden topics around the world.

Avid for Ovid is a group comprising three Oxford-based artists, dancers Susie Crow and Ségolène Tarte, and musician Malcolm Atkins, as well as Birmingham-based dancer Marie-Louise Crawley. Working on selected episodes from Ovid’s Metamorphoses, A4O explore the nature of ancient Roman pantomime through the telling of ancient myths with dance and music. They bring together a rich range of dance knowledge both as performers and choreographers, drawing on experience of ballet, contemporary, mime, mask work and butoh. A recent interview with A4O can be found on the Open University Classics blog.

Winterbourne House & Gardens is situated close to the University of Birmingham’s Edgbaston campus, just 10 minutes from Birmingham city centre. More information on getting to Winterbourne by road, rail, bus or bike and parking at can be found on their website here.

We look forward to seeing you and if you require any more information about Ovid’s Garden Party, please contact:

Miriam Bay:

This event is sponsored by the AHRC Cultural Engagement Fund and Winterbourne House & Gardens

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Ovid’s Garden: Design Plans

As part of my PhD exploring the influence of Ovid in Italian Renaissance gardens I am delighted to be working in partnership with Grade II listed Arts & Crafts villa Winterbourne House & Gardens to recreate an Italian Renaissance garden based upon plantings inspired by Ovid’s botany, which has been designed by acclaimed landscape designer Kathryn Aalto.WinterbourneMy research explores how Italian Renaissance gardens were designed to impart a narrative, retelling the mythology of Ovid’s Metamorphoses and Fasti through the use of landscaping, fountains, sculpture and crucially, botany. This garden will form an essential part of my research and enable me to explore the sensory experience of the garden, particularly through the practical uses of its plants in both Roman and Renaissance perfumery, medicine and cooking, as well as demonstrating the symbolism and literary allusion central to the design of Italian Renaissance gardens.


Each tree, shrub, flower or herb in the garden has been chosen for its significance in Ovid’s narrative and the Italian Renaissance garden, whether it had a practical or symbolic function.

Once the garden is planted and growing I will be giving talks and running workshops at Winterbourne, exploring the properties and uses of these plants from ancient times to the modern day, offering a hands-on, interactive experience of plants including food demonstrations, concocting medicines and even making perfumes, so keep an eye on the blog for details nearer the time!

Flower BorderHerb Border copyAfter a long planning and funding application process, we’re now ready to start implementing the design at Winterbourne and digging begins next Tuesday. Follow the blog to receive regular updates on the progress of the garden and feel free to drop into Winterbourne on Tuesday to find out how we’re getting on! Watch this space for Ovid’s Garden…

Ovid's Garden