John Piper’s paintings of follies and garden buildings are well-known, but less familiar are his ceramics decorated with architectural features, including a series of ‘curly dishes’ with his wonderful whimsical interpretations of 18th century designs for rustic follies.
In the 18th century the Campbell family, Earls of Breadalbane, embellished the park around the family seat at Taymouth with temples and mock forts, complementing the natural beauties of the surrounding hills and the River Tay that flows through the estate. Just a couple of miles away, on the shores of Loch Tay, was a more dramatic feature, a rustic shelter and a roaring cascade, which added a sublime element to the beautiful policies of Taymouth.
Conishead Priory, as the name suggests, was a religious house, but after the dissolution it became a private home. In the middle of the 18th century it was home to Thomas Braddyll (1730-1776) who created new pleasure grounds around the Priory, including a number of ornamental features.
As the nation settles into staying at home, forgoing a social life and, more practically, visits to the hairdresser and beauty salon, the Folly Flâneuse got to thinking about those fashionable landscape ornaments called hermitages, in which men (presumably women had more sense than to apply for the vacancy) lived in isolation. With ragged clothing, long fingernails, and unkempt beards, the hermits animated the landscape, whilst creating a little drama for the visitors who caught a (staged) glimpse of the recluse.