Immediately adjacent to the main building of Sanderumgaard lies the old romantic landscaped garden, one of the first of its kind in Denmark, originally established by Johan Bülow in the period 1793 – 1828. The garden acreage is 37 and out of the original design the pavilions TANKEFULD (Thoughtful) and SOMMERLYST (Summer’s delight) still exist. The area is joined together by means of an extensive 1.5 km network of canals which link islands, lawns and park together.

The year before Privy Councillor Johan von Bülow in 1793 had to leave his position as Lord Chamberlain to Crown Prince Frederik, he purchased the Sanderumgaard estate, near Odense. Right from the very beginning he was extremely interested in the running of his new estate, and he was especially intrigued by the garden. On 55 acres of land abounding in water, he established a garden that in the course of time became one of the most beautiful and romantic gardens in Denmark.

Based on his extensive knowledge of gardens from Europe, Bülow embarked on Sanderumgaard. From his library that has been preserved and currently can be found at Sorø Academy and the archives at Sanderumgaard it is apparent that his knowledge of the literary as well as theoretical works of that age was extensive. So from the very beginning his ideas of a romantic garden were ambitious. Bülow’s project was of such a nature – and furthermore one that developed so slowly – that  when he died in 1828, the garden was still not finished.

Prior to his purchase of Sanderumgaard, Johan Bülow had been the Crown Prince Frederik’s advisor concerning the palace gardens at Fredensborg and in connection with the gardens that were established in 1790 by the head gardener, Johan Ludvig Mansa, at Marielyst Palace, near Elsinore. The garden and grounds at Sanderumgaard with alder swamp, lakes, and in addition woodlands and impassable thickets were of a rather different nature than the royal pleasure gardens. Bülow had to start with draining the entire area. Then the landscape required levelling and canals had to be dug to lead all the water through the grounds. When all the extensive work of levelling the garden was finished and paths and vantage points were set up, Bülow embarked on the plantation. Not only did he plant poplar, willow, conifer and birch but also a great many fruit trees were to adorn the garden. The erection of many monuments followed and gradually the area was transformed into a harmonious and romantic garden consistent with the taste of the times.

With great enthusiasm and experience Johan Bülow absorbed himself in the landscape garden to be. As he was his own gardener and forester, he only had workers from the estate for the heavy work. On his daily walks he followed the development of the garden to the minutest detail which can be seen from the many paintings that were done by the young C.W. Eckersberg during his long stay at Sanderumgaard in the summer of 1806. The paintings of Bülow’s new garden document with great precision and empathy how the area developed in the first years and illustrate Bülow’s intentions very precisely.

Sanderumsgaard’s romantic garden clearly reflects Johan Bülow’s great insight into the aesthetics and landscape gardening of that time. He was not only well versed in Rousseau’s and Voltaire’s works but also in theoretical writings, such as C.C.L. Hirschfeld’s “Theorie der Gardenkunst” which was published between 1779 and 1785, and Horace Walpole’s “Essay on Modern Gardening” from 1771. These works are to be found in his library at Sorø Academy, mentioned above, and the Odense library of the Funen diocese (Fyns Stifts Bibliotek).

Bülow was in many ways an enlightened man with a fine sense of judgement, in addition he was a very active man and Sanderumgaard and its garden benefitted from all this. He devoted all his time to his daily work and on his garden walks he was never seen without a spade in his hand, a fact that is also documented in one of Eckerberg's paintings where he is depicted walking together with his dog, Hercules. The copperplate printer Clemens' descriptive etchings from the romantic garden also include Bülow with his spade. This spade was of such importance to him that it was his wish that it should lie on top of his coffin at his funeral instead of all his royal orders of chivalry. Very characteristic of Johan Bülow.

The taste with which Sanderumgaard was landscaped was according to the historian Christian Molbech “simple, natural and modest". It was a sentimental garden for reflection, deep talks and not to forget recollection and longing. On his daily walks in the garden, Johan Bülow could from the sight of the urn, which was reflected in the water and beautifully positioned on a small island surrounded by tall trees, reminisce about his daughter Julie, who died at the early age of 7 to the family’s great sorrow. The garden was full of many other small romantic natural sceneries that were brought together to an entity by the trickling water running through the canals. In the course of time, Bülow had pavilions and small huts erected at chosen spots for the pleasure of sensitive souls that sought solitude and reflection.

In 1808, Sanderumgaard’s gardens were measured by the chartered surveyor Peder Larsen Birk. The detailed map not only shows how many buildings and monuments Bülow had had erected but also how the complete gardens appeared with pathways, plantation, canals, streams and garden sections. From Larsen Birk’s records it appears that the garden was landscaped in two stages. The first part covered an area of approx. 40 acres south of the main building and this area was increased by an additional 17.5 acres in south going direction in 1807. This part of the garden was completed the year Peder Larsen Birk performed his measurements. The detailed map with its intricate recordings is a very important document with regard to interpreting Sanderumgaard’s gardens. Together with J.F. Clemens’ etchings from 1798 and C.W.Eckerberg’s paintings from 1806, Christian Molbech’s travel books from 1811, the poet Mathias Winther’s book from 1816 with illustrations by Johan Hanck and Bülow’s own diaries written between 1795 and 1827, the map from 1808 contributes further to placing the garden among those best documented from that time.

An important element of the therapeutic landscape garden is the many monuments that contribute to staging nature. The soul of the romantic wanderer should at all times be aroused in some way, be surprised or just feel the urge for reflection and contemplation. That is how Bülow intended it to be in his garden. And that is why he had small monuments, humble huts and pavilions erected, in accordance with the directions for romantic gardens. A temple was even dedicated to the Greek god Pan.

Among the pavilions that Bülow had erected was the bark-clad thatched hut, Tankefuld (Thoughtful), which still exists in the garden. In the solitary hut, the sensitive wanderer could seek peace and time for reflection. The paths that led to the hut were narrow and overgrown and as you gradually approached the hut, everything became more and more overgrown and thus also darker. The sinister atmosphere was additionally intensified by a board just before reaching the hut that was painted with the words: “Do you know what lies in front of you?” Later, having crossed a bridge you became elevated by the words "Hope” and "Confidence”. Further on it said: “Proceed only straight ahead!” and further on closer to the goal it said: “Do you fear serious reflections, then do not proceed!” And finally when you reached the hut you were met by a cross with the inscription: “Behold, hope smiles to you through the grave!” On a stone at the threshold it said: “Dust” and above the doorway was a sign with the words: “Death is certain, the hour of death is uncertain.” On the inside of the door it said: “Death is the doorway to at better life!”. Now nobody could doubt the mortality of life.

Not only on the way to Tankefuld (Thoughtful) would you come across memento mori reminders but also inside, on a small table a time glass was placed together with two craniums which supposedly originated from a prince and his slave. Beside the craniums lay the book Thoughtful. It was Johan Bülow’s visitors’ book, one the guests at Sanderumgaard wrote in throughout the years 1799 to 1831. Among the prominent visitors were as mentioned earlier the painter C.W. Eckersberg and the copper plate printer J.F. Clemens.

Sommerlyst (Summer’s delight) was erected close to the main building. This is also one of the garden’s pavilions that is still intact. The house is built in country style where the roof on two sides rests on round columns. It contains a central room which is flanked by two small cabinets from where it is possible to enjoy the gardens and woodland. The décor of the rooms was simple and in the one cabinet hung a small collection of Danish oil paintings. So it was a hut that was intended for a fairly long stay. As it appears from a couple of Eckersberg’s paintings, there was also a bower covered with delicate honey suckle. In addition there was Marieshvile (Marie’s gazebo), Fiskerhytten (the Fisherman’s cottage), Elsehøj (Else’s hill) and the winding round barrow – mandatory to landscaping - from where the grounds could be surveyed from above.

Bülow also had erected an obelisk and a runic stone as was a must in a romantic garden. In this connection it should be mentioned that Bülow was a mason and many of his monuments may by the initiated be interpreted symbolically. However, the most important thing in the garden was that the picturesque scenes constantly changed so new moods and atmospheres arose. The entire garden was scenic and the various parts daintily interlaced into one another in a picturesque way. In accordance with the precepts of sentimental gardens, the place was meant for pensiveness and introspection. This is still the impression with which Bülow’s garden at Sanderumgaard leaves you.

May 1st - September 30th.
Tuesday - Sunday open 11am - 17pm
Monday closed

60,00 kr. per adult - children under 18 years free
For tours please contact Susanne Vind