type of garden that developed in 18th-century England, originating as a revolt against the architectural garden, which relied on rectilinear patterns, sculpture, and the unnatural shaping of trees. The revolutionary character of the English garden lay in the fact that, whereas gardens had formerly asserted man's control over nature, in the new style, man's work was regarded as most successful when it was indistinguishable from nature's. In the architectural garden the eye had been directed along artificial, linear vistas that implied man's continued control of the surrounding countryside, but in the English garden a more natural, irregular formality was achieved in landscapes consisting of expanses of grass, clumps of trees, and irregularly shaped bodies of water.

In the 16th century the English philosopher Francis Bacon was outspokenly critical of the artificiality of “knot gardens.” He was supported in the early 18th century by Joseph Addison and Alexander Pope, who argued that trees should be allowed to grow into natural shapes; by the artist William Hogarth, who pointed out the beauty of a wavy line; and by a new attitude that nature was good. As the factotum of the Whig aristocracy, William Kent (Kent, William) (q.v.) was responsible for beginning the wholesale transformation of the old formal parterres into the new fashion. The classic example of the transformation was at Stowe in Buckinghamshire, where the greatest of England's formal gardens was by stages turned into a landscaped park under the influence of Kent and then of Lancelot Brown.