Sleep-deprivation has a way of working on you. Nine 4-days-long “weekends” of the inaugural Gulf Coast Chinese Lantern Festival, plus the daily work involved in keeping Bellingrath Gardens & Home open to the public and looking at its best, took a toll, but we survived and we’ve emerged as a stronger and even more seasoned organization. Our thanks go to you, plus the 40,000 other guests, who attended this inaugural event! We also thank Tianyu Arts & Culture for placing faith in us as a nonprofit organization to partner with them and host a Chinese lantern festival. Initial plans are already afoot for the 2026 show, and we ask you to make sure to book your calendars with the start and end dates of April 16 and June 21, Thursday through Sunday nights, in 2026!
Because of the success of the Gulf Coast Chinese Lantern Festival, several projects are either underway or have recently been completed. We hope you notice some of these projects as you continue to visit Bellingrath, although some, admittedly, are located in non-public spaces. One of these projects was a $26,000 replacement of the worn-out steel fence and automatic gate opener located to the south of the Admissions Building. This new fence and gate, 8’ tall to exclude plant-hungry white-tailed deer, is up and working beautifully, we’re happy to report. Please note how it matches the other new fence and gate installed by the pet motel last year. Two other GCCLF-funded projects entail much-needed roof work on a couple of back service buildings: a $23,000 roof reseal and gutter replacement on the headhouse building that serves the Greenhouse Complex, and a $11,500 roof replacement on the Horticulture and Development Office Building. With these two roof projects underway, we will have rehabilitated roofs on four buildings over the past three years – the Boehm Gallery Building, the Security Building, and the two aforementioned ones! In Jeremy Schmidt’s article, you’ll also read about the greenhouse heating project, a major portion which was funded through the success of GCCLF. Bellingrath has also completed a $24,000 overhaul of our walk-in freezer that is utilized by the Café, a much-needed project for a critical piece of equipment that must operate in a zero-fail capacity. And lastly, coming soon you will see the first phase of improvements that we have planned for the interiors of the Admissions Building. We’ll be working on new flooring, painting, and wallpaper, with new countertops and other features to come a few months later. We think that all visitors will enjoy this much-needed refresh of Bellingrath’s front door, a building that everyone walks through, forming their essential first impressions of Bellingrath Gardens & Home!
Switching gears, I’m also happy to announce a major new benefit that we’re initiating for a couple of counties in neighboring Mississippi. Starting with this year’s celebration of Mr. Bellingrath’s Birthday, on August 9th Bellingrath Gardens & Home will be open with a $0.00 admissions charge for gardens visitors for residents of Jackson County, Mississippi and George County, Mississippi! Of course, residents of Mobile and Baldwin Counties will continue to receive free gardens admissions, as they have done for several decades on this special day. We feel that this increased geographic range represents a nod to our neighbors who have always considered Bellingrath to be “their” garden, just as much as have residents of Alabama’s two coastal counties.
With excitement for these accomplishments and so many others, we thank you, our patrons and members, and ask that you help us to spread the word about all things BGH!
Beyond the Bottle Room is a room long nick-named as the Sunday Night Supper Room. Guides routinely inform visitors that it received that name from the Bellingraths who often had a simple supper here on Sunday nights after their weekend company had departed. A small table is set with two place settings to reaffirm this tale.
Mrs. Bellingrath’s nephew, Ernest Edgar, Jr. disagreed. He recalled a larger table and said that the room was used during the winter months when they could not use the screened-in Dining Porch. After Mrs. Bellingrath’s 1943 death, her friend Sara Curran, an antiques dealer, was called upon to create an inventory completed in 1947.
Mrs. Curran’s entry for this room is under the title “Winter Breakfast or Dining Room.” She places the large table now on the Dining Porch in this room, noting that with all the leaves in place it could seat 22 people. She had actually sold it to Mrs. Bellingrath so was quite familiar with it. On the “Summer Dining Porch” she listed a “Victorian dining table.” At some point after 1947 the two tables were swapped.
A photograph of the room taken around 1936 reveals yet another, much smaller table in this room. Apparently Mrs. Bellingrath had not yet purchased the large table. Another startling fact is that the room was painted a light cream color.
By 1964 when Margaret Taylor Moore compiled her book, the room was called “The Small Dining Room, sometimes called the Sunday Night Supper Room.” She offers no reason for the nickname and describes the room as being painted “a dark, leaf green.”
When the Home opened to the public in 1956 the tours entered this room by way of the glass door leading to the porch. The “Victorian dining table” was deemed an obstruction and was moved to the basement and later sold to a member of the garden staff. Guests could now easily pass by the diminutive table set for two and head into the Bottle Room.
As the Home approaches its 90th year this room has had its current color scheme for nearly seventy. This year the peach colored carpet which had begun to dry rot was replaced by a handsome Oriental rug with colors that complements its surroundings. And, visitors no longer have to go outside to view this intimate dining room.
Well, here we are, seven weeks out of nine total into the inaugural season of the Gulf Coast Chinese Lantern Festival! Two more weeks are left, and as such we are in the final stretch. It’s hard to believe that I was writing a column announcing this new festival just a short three months ago! What a season it has been, and what a season it will continue to be for the remaining weekends. We cannot thank you, our patrons and visitors, enough for making this new festival such a success.
Back last December when we debated whether we should jump in the swimming pool, so to speak, and launch this festival, there was a lot of uncertainty. 1) We would have to commit somewhere around $130,000 in funds to host and hold the event – which means we stood to lose big if the event failed. 2) Staff would have to commit time and energy to yet another evening event when we hadn’t even finished up the 2024/25 epic, record-breaking Magic Christmas in Lights season. 3) Even though WE thought it was a great concept, would guests and visitors feel the same way, and would they turn up? 4) On the other hand, would too many people show up and overwhelm us?! Six staff at the “director” level and a few at the “manager” level met with me so that we could hash out the pros and the cons. We decided, unanimously, that now was the time to do this – “Damn the torpedoes,” so to speak, from a certain nearby historical landmark!
What do I feel we have accomplished, as a staff and an institution, in holding this new event? 1) We’ve come together to initiate something new and grand, the likes of which we haven’t done since 1995 when Magic Christmas in Lights was launched. 2) We’ve made gigantic strides in improving the quality of our offerings of meals, concessions, and beverages throughout the BGH campus. 3) We’ve greatly streamlined the check-in process, successfully integrating pre-paid ticketing into our daily operating procedures. 4) We pivoted extremely well in being able to close the Gardens an hour early, allowing us critical time to set-up and be ready for “opening” by 5:00 p.m. 5) Lastly, but most significantly, we have delighted tens of thousands of you, our patrons, with a high-quality show that has never before been seen in this region! Our positive reviews stand at 98%, and local partners such as Visit Mobile couldn’t be happier with what we have done.
So, …… where does this lead, you might ask? Well, first off, it will lead to two more years of the Gulf Coast Chinese Lantern Festival, because we signed a three-year contract with Tianyu Arts and Culture! Secondly, it will lead to even better shows in the future, because we will have an entire year to plan the 2026 show instead of only three months to plan this year’s show. Lastly, it will allow what so many of you are already saying, the chance to develop a new family tradition at Bellingrath Gardens & Home!
Thank you, all, for your tireless support and appreciation of Bellingrath. We exist to fulfill the mission of serving as a permanent and fitting memorial to Mrs. Bessie Bellingrath’s artistry and genius, and we’d like to think that she, and Mr. Bell, are smiling down upon us right now.
Exploring Japan’s Camellia Culture: From Shizuoka to Oshima Island
As promised in last month’s article, our journey through Japan continues—this time taking us from the structured elegance of mainland gardens to the wind-swept island of Oshima. Here, the Camellia’s story deepens, rooted not only in cultivation but in centuries of culture, geography, and tradition. From wild species to the caldera of a dormant volcano, this leg of the International Camellia Society’s Congress offered some of the most intimate encounters yet with this remarkable genus.
The International Camellia Society (ICS), a nonprofit dedicated to the cultivation and preservation of Camellias, holds a Congress biennially in a host country. In March 2025, Japan welcomed us. Representing Bellingrath Gardens and Home—where Camellias are a core collection—it felt essential to visit the birthplace of ornamental Camellia breeding and connect with fellow enthusiasts.
Shizuoka Prefecture
Our journey began in Shizuoka, where we visited the late Mr. Shoji Himuro’s Camellia Garden. Despite spanning just over half an acre, the garden grows more than 1,200 Camellias. Familiar varieties like ‘Peter Pan’ and ‘Sundial’ entranced me, as well as unique Japanese cultivars like ‘Himuro Setsugekka.’ Named after the Japanese aesthetic theme setsugekka—snow, moon, and flowers—this variety embodies the ephemeral beauty of nature.
Next, we visited the Komuroyama Camellia Garden, where informative signage highlighted each plant’s flower form, bloom time, and origin. Of particular note was ‘Otome’ —also known as ‘Pink Perfection’ —planted widely as a street tree in Japan. It’s also the Camellia that adorns the Bellingrath logo.
Furthermore, this garden also featured a Camellia-themed art museum. Quilts, woodblock prints, and paintings adorned the walls in a modern take on the traditional Japanese aesthetic.
Interior of the Camellia museum at Komuroyama Camellia Garden.
Oshima Island: A Camellia Sanctuary
After a restful night, we took a ferry to Oshima Island, home to three of Japan’s eight “Gardens of Excellence” and Mt. Mihara, an active volcano. The volcanic ash creates ideal soil for Camellias—nutrient-rich and well-draining. In fact, over three million wild Camellia japonica grow on the island!
We first stopped at Mr. Takashi Yamashita’s Tsubaki-Hana Garden. He prunes post-bloom to promote air circulation and larger flowers. While there, ICS President Mr. Gianmario Motta shared an Italian Camellia pruning tip: “A bird should be able to flit through the canopy”—a bit more poetic than the version I’d heard, involving a cat!
An open canopy of Camellia. Perfect for a bird or cat to pass through.
We then visited a wild C. japonica forest—an awe-inspiring sight. Standing before the wild C. japonica, I felt a deep sense of wonder at how centuries of human care and creativity shaped this simple flower into thousands of stunning, diverse forms. Yet just as human hands have shaped the Camellia’s beauty, they are now needed to protect its origins: this forest faces ongoing threats from Pallas’s squirrel, an invasive species that strips bark and weakens trees. Thankfully, efforts to control the population have shown promising results.
Our next stop was Tokyo Metropolitan Oshima Park, one of my favorite gardens. It was beautifully organized by hybrid origin, species, and even Camellias used in tea ceremonies. Yet despite the structure, the winding paths kept the experience full of surprise.
Tranquil pathway of the Tokyo Metropolitan Oshima Park.C. japonica ‘Jurako.’ Translation: “To collect everlasting pleasures.”
The day ended with a Japanese opera adaptation of The Lady of the Camellias (La Traviata)—a perfect cultural capstone.
Nurturing the Next Generation
The next morning, we visited Oshima Island High School—another Garden of Excellence. Here, students grow up immersed in Camellia culture, not just for beauty but also for practical uses like windbreaks and oil. Their collection of over 300 Camellias impressed me, especially one special cultivar: ‘Toki-no-hagasane’ (“folded feathers of Japanese ibis”), known outside Japan as ‘Bessie M. Bellingrath.’
Timeless elegance of C. japonica ‘Toki-no-hagasane.’
We ended our time on Oshima with a visit to Camellia oil refineries. Though the oil’s production is labor-intensive and yields are low, it remains a treasured commodity for both cosmetic and culinary uses, holding a cherished place in the island’s heritage.
Final Reflections
After this incredible journey through Shizuoka and Oshima, the main Congress concluded. Parting ways with newfound friends and fellow Camellia lovers was bittersweet. Despite language and cultural differences, our shared passion united us. I look forward to staying in touch with many of them.
Stay tuned for the next month’s installment, where I share the Camellia treasures of Osaka and the ancient temples of Kyoto.
And mark your calendars: Bellingrath Gardens and Home will be a featured stop during the 2027 International Camellia Society’s pre-Congress. We’d love to welcome you there!
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Since 1956, guests have begun their tours of the Bellingrath Home in a small room which Mrs. Bellingrath termed her Day Parlor. The guide book to the Home termed it a “Date Parlor” although in the description of the room makes no mention of dates. Instead, Mrs. Moore wrote:
Mrs. Bellingrath used this room frequently when friends she met in the Gardens came in for a short chat, or when she had a business engagement and guests were gathered in the main part of the house.
A photograph of the Day Parlor taken in the late 1930’s shows that the furnishings while recognizable, are no longer in the room. The only objects still here are the pair of table lamps and the chandelier. The sofa which has always been in this room is out of view in the photograph.
Over the years the porcelain, artwork and furnishings were moved to other parts of the Home. A desk, formerly in the First Guest Room was moved here to replace a center table. Paul Morphy’s Chess Table sat in the middle of the room for many years where guests in the 1960’s were photographed holding the chess pieces. It was later moved to Mr. Bellingrath’s bedroom.
The room was redecorated by Wade Lott in 1978 with new draperies and upholstery. The wooden venetian blinds needed to be replaced, but in the late 1970’s there were none being made. Plastic mini-blinds were installed. In 2004 the carpet was replaced and the furniture reupholstered again. Wooden venetian blinds like those in the earlier view were installed.
They say that first impressions are the most important. So in 2025 the well-worn carpet was replaced with a new area rug. Its pale green color compliments the upholstery in the room and its texture was selected for an area of high traffic. The painting over the mantel of Belle Camp makes this room ideal for telling the history of this unique estate to our visitors.
Introduction: A Journey Across Japan’s Living Legacy
In March, I traveled to Japan to represent Bellingrath Gardens and Home at the International
Camellia Society’s Congress—an unforgettable opportunity to learn, connect, and celebrate the
rich history of camellias. With Bellingrath designating the camellia as a core botanical
collection, I focused on engaging with fellow camellia specialists and deepening my knowledge
of the genus through professional exchange and study.
The International Camellia Society, dedicated to education, research, and preservation, hosts a
Congress every two years in countries where camellias thrive. This year’s event in Japan was
especially meaningful, given that three of the four Camellia species native to the country—C.
japonica, C. sasanqua, and C. rusticana—have influenced thousands of ornamental varieties
worldwide.
In the first of three articles, I share highlights from the pre-Congress activities, along with the
insights I gained.
Day 1: Ishikawa Prefecture
A Warm Welcome and a Garden of Sublimity
We began our journey in Ishikawa Prefecture on the west coast of Japan, where our hosts
warmly welcomed us at the Shiinoki Geihinkan. The opening ceremony featured a koto
performance—a traditional Japanese lap guitar and the national instrument of Japan—followed
by a camellia show.
Local camellia organizations gather blooms from their gardens during the winter months for display and judging based on the ideal characteristics of each variety. In the United States, participants traditionally place a single flower with a leaf in a shallow glass dish. In contrast, in Japan, they arrange entire stems with one or more flowers and leaves in ornamental vessels, enhancing the bloom’s splendor and creating a striking presentation (pictured below).
Camellia show at the Shiinoki Geihinkan.
After the warm welcome, we took a short walk to the Kenrokuen Area Cultural Zone. “Kenrokuen” translates to “Garden of the Six Sublimities,” reflecting the ancient Chinese principles of the ideal garden: spaciousness, seclusion, artificiality, antiquity, abundant water, and broad views.
Although camellias were not present in overwhelming numbers, immaculate attention to detail
revealed itself at every turn. For instance, instead of allowing pine trees to shed their needles
naturally, gardeners meticulously remove the previous year’s needles by hand—a practice
known as momiage—giving the trees a fresher, more vibrant appearance. They also build
intricate structures around the trees to support the branches during snowfall.
One of the most remarkable sights was the Karasaki Pine, a tree that began as a seedling centuries ago and has since been carefully trained to stretch over a pond. Each winter, gardeners install rope- like supports to protect its sprawling branches—a breathtaking tradition and a testament to centuries of dedication (pictured below).
The Karasaki pine at Kenrokuen Area Cultural Zone donning its winter protection.
Day 2: Toyama Prefecture
Cultivating Camellia Culture from Classroom to Conservatory
After an incredible start to the Congress, we spent the following day in Toyama Prefecture, visiting the Inokuchi Camellia Center and the Botanic Gardens of Toyama. At the Inokuchi Camellia Center, I found it inspiring to see how deeply the people of Nanto City value the camellia. Local school children welcomed us with a presentation, sharing how they learn from an early age to appreciate the flower, practice propagation, and even explore the basics of breeding attractive new camellia varieties.
Seventh graders share their knowledge of air layering at the Inokuchi Camellia Center.
Beyond serving as a hub for breeding and research, the Inokuchi Camellia Center acts as a
cultural gathering place for the community. Artworks celebrating the camellia fill the building,
and several multifunctional rooms and outdoor recreational areas offer space for public use,
creating an atmosphere that celebrates both the camellia and the spirit of the community.
After spending the morning at the Inokuchi Camellia Center, we took a bus to the Botanic Gardens of Toyama, where we explored a conservatory filled with Chinese species of camellia. I found the signage particularly impressive, which displayed a picture of each bloom along with the scientific name and variety in multiple languages—making the learning experience easily accessible to all. It was here that I first encountered something straight out of a Dr. Seuss book: towering ten-foot columns of reeds. These structures protect plants during winter—specifically Cycas revoluta. While we might use blankets or plastic in the U.S., Japan wraps plants in rolls of reed, offering both protection from the cold and an aesthetically pleasing form.
Signage in the Yunnam Greenhouse at the Botanic Gardens of Toyama.
Reed structures at the Botanic Gardens of Toyama. What could it possibly be?
Day 3: Ishikawa and Tokyo Prefectures
From Labyrinthine Gardens to Urban Oasis
Next on our whirlwind journey, we visited Nonoichi City and Tokyo. In Nonoichi City, we toured Nonoichi Central Park, one of Japan’s eight Gardens of Excellence. The International Camellia Society awards this prestigious accreditation to gardens that meet strict criteria, including a high number of unique Camellia taxa and proper signage and record-keeping. I was particularly struck by the garden’s layout: they displayed 1,700 camellia specimens in two ways—Tsubaki Kan, a pavilion for exhibitions, and Tsubaki Yama, an artificial hill where camellias grow in a labyrinth.
Later that day, we traveled to Tokyo via the Shinkansen, or bullet train. Whizzing through the landscape at 200 miles per hour (320 kilometers per hour), I watched the surroundings rapidly shift from mountainous countryside to urban sprawl—an experience that felt surreal.
Upon arrival, we stayed at the luxurious Hotel Chinzanso Tokyo. Though founded in 1992, the hotel is nestled within a spectacular 700-year-old garden, historically referred to as ‘Camellia Mountain’ in ancient texts due to its wild camellia stands. One of the garden’s most captivating features is its innovative nighttime transformation: instead of closing, it becomes a technicolor display of lights, with fog released every fifteen minutes to create an ethereal atmosphere.
While at Chinzanso, we held the official welcome ceremony, where the Governor of Tokyo, Ms. Yuriko Koike, and Her Imperial Highness Princess Hisako Takamado made special appearances. Princess Takamado shared a fascinating story about birdwatching: she observed that the native warbling white-eye prefers feeding on the C. japonica rather than the showy cultivars. One possible explanation for this preference is that the white-eye recognizes the native, single red flowers as a food source, while the showier cultivars might appear alien to them.
Her Imperial Highness, Princess Takamado—a lovely person indeed.
At the event, I also had the pleasure of meeting Professor Wang Zhonglang, the International Camellia Registrar, who oversees the International Camellia Registry—a comprehensive database with tens of thousands of Camellia taxa. This resource has been instrumental in my work to revitalize Bellingrath’s camellia collection, helping me identify unknown varieties, uncover cultivar histories, and confirm existing identifications.
The charming Professor Zhonglang, International Camellia Registrar and professor at the Kunming Institute of Botany, Chinese Academy of Science.
Conclusion: Looking Ahead
Applying Lessons from Japan to Bellingrath’s Future
After visiting so many incredible locales and connecting with fellow camellia enthusiasts, I was
struck by the profound relationship the Japanese have with the camellia. I not only discovered
hundreds of new cultivars bred in Japan but also saw how a fascination with the genus is
nurtured from a young age, ensuring the continuation of camellia culture. I look forward to
applying what I’ve learned from this journey to advancing Bellingrath’s camellia collection as we
move forward with our critical recovery efforts.
In next month’s installment covering the International Camellia Society’s main Congress, join me
as we discuss Oshima Island’s intimate and ancient history with the camellia as well as the
deeply personal Camellia Gardens of Ito City!
Group photo during award ceremony.
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The shape of a Chinese ginger jar may be traced to ancient China, with their wide covered mouth and tapered body. Their original purpose was to hold salt, spices, and oils and were often packed for shipment to the west. By the late 19th century that purpose had largely given way to their use as decorative objects in homes in the western hemisphere.
The Bellingrath Collection includes two examples. In the Day Parlor is a pair of beautiful porcelain ginger jars with brass bases and cover. These would have been created by a master potter and painted by a skilled artist. The decoration features a prominent cricket above a pair of swimming Mandarin ducks. Asian art often contains layers of meaning and symbols and these are a good example.
Crickets in Chinese art are associated with spring and summer. Here is one perched above a pair of swimming Mandarin ducks which are a motif for a long and happy marriage.
On the desk on the Living Porch is a smaller ginger jar of brass with a pierced rosewood cover, mounted on a wooden base. Around the sides in relief is a pair of dragons reaching for a pearl. The dragon in China has long represented imperial power and divine authority. The pearl between them symbolizes wealth and success. One popular interpretation of this scene is a long life without setbacks.
At first glance these examples of Chinese art are interesting but knowing the happy symbolic meanings of their decoration makes them all the more intriguing.
As the saying goes, “good things come to those who wait.” And I am well aware that the Summer House has been mentioned by me since 2021, when I first noticed that the roof was deteriorating and that the iron lace metalwork was showing signs of corrosion and of being torqued. Last year, we commenced work with TAG Architects to develop the plan for a timber frame roof so that the renovated Summer House can have an open ceiling design. TAG also determined that steel columns would need to be added to support the roof, both because of the age of the cast iron columns and due to the additional lift that an open ceiling design would create under high-wind conditions. As of this writing, I am happy to report that engineering work on the timber frame roof trusses is complete and that the trusses are now being manufactured by our source company. We are using eastern white pine as the wood species, a natural product that is valued for its strength while also being relatively lightweight, and also being less likely to twist at drying.
Within a short amount of time (as of this writing in early May), I will know a ship date on the trusses, and then this will trigger bringing in SOS/AAA Iron Works (a Mobile, Alabama company) to restore the iron lace metalwork and install the steel support columns, on which the roof will later be set. These steel support columns will have concrete footings placed underneath the current bluestone flooring of the Summer House. It is our desire to preserve the original flooring by lifting up and then replacing the stones after the footings and steel columns are poured and set. After this is done, a contractor will assemble the roof trusses on-site, attach roof boards, and build the cupola. A standing-seam copper roof will bring the roof work to completion and will stand as a marquee aspect of the renovated structure. Our plans are to emulate the detail of a standing seam copper roof on the west veranda of the Bellingrath Home, tying in the Summer House to the Bellingrath Home in style and detail. Does this all sound easy, yet?!
Since my years at the JC Raulston Arboretum (Raleigh, North Carolina) from 2000 to 2004, I’ve been involved in garden construction. I learned from my boss of those five years, Dr. Robert E. (Bob) Lyons, about attention to detail during construction, as well as honing and keeping to standards. (Ask me about the Manooch Cascade one day, y’all.) Those lessons served me well at the Paul J. Ciener Botanical Garden (2005-2011) and later at Tulsa Botanic Garden (2011-2020) since both were “start-up” public gardens. Anyone who’s built a home knows that the final product is an admixture of labors of love, creativity, talented artisans and contractors, and the realities of finances.
We are currently working to raise $15,000 in funds to complete the Summer House project. This restoration of an original structure at BGH represents the first commitment toward our new 20-year master plan. As we look to our centennial in spring 2032, we know that planning and diligence today will pay off with beautiful and elegant, while also durable, gardens and garden features as we welcome our second century of existence as the Charm Spot of the Deep South!
Click here to contribute to the Summer House Restoration project.
Bamboo is the largest grass on earth… we all could have guessed that, I suppose. When I am standing in our acre-sized, 60’ tall patch of Moso bamboo (Phyllostachys edulis), I feel like I’m in the movie “Honey, I Shrunk the Kids.” Some types of bamboo, quite simply, are larger than life. Actually, the world’s largest bamboo, “dragon bamboo” aka Dendrocalamus giganteus can reach 150’ tall. We’d try growing it here, except dragon bamboo is not tolerant of our occasional hard freezes. As the soil warms in mid spring, new bamboo culms (fancy word for stalks) emerge from the beneath the ground. Actually, “explode from the ground” is probably a more accurate description. Whether destined to be 1’ tall or 150’ tall, the new culms of most bamboo species go from zero to full size within a single warm season—stacking on up to a foot a day!
No other plant grows like bamboo! So, right now at Bellingrath Gardens and Home, our bamboo groves are pushing up new culms—something truly worth witnessing—a real “culm”-ination of spring.
Bellingrath Gardens is home to a few running bamboo clones, including the aforementioned long-running Moso (Phyllostachys edulis) and a couple unidentified shorter-running, smaller-statured Phyllostachys clones. Some bamboo spreads to create a dense screen, and some runs a very long way—offering only a few culms in comparison to the area it occupies. For most gardens less than a few acres, running bamboo (aka: “leptomorphs”) are simply too aggressive. So what I really want to cover today is clump-forming bamboo (aka “pachymorphs”)—the kind of bamboo that wouldn’t run even if being chased by starving pandas (that’s not my saying, but I cannot say it better!) Visible in the distance from Mirror Lake Bridge, looking to the southwest, you’ll see some very large clumping bamboo. We estimate that in the 1960’s, several clumps of the non-running genus Bambusa were installed as part of the Asian American Garden’s construction. More specifically, these clumps are all likely Bambusa multiplex ‘Riviereorum’. I’m afraid we are beyond the reach of “spell check” at this point.
‘Riviereorum’ tops out at around 30’ tall. But here’s the cool part…it’s unrestricted ground contact footprint in 60 years has only increased to about 10’ wide (or about 2” per year). That’s pretty darn impressive if you look at it like a supersized ornamental grass. Dropping to between 13f and 17F last January, this clone lost its leaves, but did not suffer damage to the actual canes– they are leafing back out as I type. It is also worth mentioning that the unprecedented 8” winter 2025 snow did not flatten the stalks…they bounded right back. Nevertheless, individual culms only survive about five to ten years before they die. After 60 years, our over-mature clumps are composed as much of dead canes as living canes. So, although this year’s cold didn’t kill the clump to ground and the weight of the snow didn’t smash the bamboo flat, it’s time to hit the reset button…it’s time to cut them back to the ground so they can re-emerge fresh.
With culms in excess of 1” diameter, traditional grass cut-back tools like hedge shears and pruners are simply outmatched. I searched the internet for videos or advice on how to cut back a large clumping bamboo. The search returned plenty of hits about killing and removing “invasive” running bamboo, but I found very little about “rejuvenation pruning” a tight clumping bamboo. So, we went with one of our primary horticultural “problem solving” tools…a chainsaw. Disclaimer: when used improperly or misapplied, chainsaws have been found to cause even larger problems than the original problem to be solved—as some of know all too well. However, in this case, the chainsaw proved to be our best tool (within reach and within reason) to cut back the dense canes.
I’m about to share how we cut back bamboo with a chainsaw. I cannot stress enough the importance of chainsaw safety and safety gear. I am in no way claiming that the following method is only way or the best way to rejuvenate clumping bamboo. Please be safe out there!
Dense clumps are more difficult to cut than running bamboo because there is not enough room between canes to target them individually. Additionally, stooping low and awkwardly reaching out with the chainsaw to cut canes within a couple inches of the ground proved not to be the best practice—not only because there are 30’ tall bamboo trees falling everywhere while other canes are trying to bind up the saw, but also because of having to walk across a bed of 6” tall sharpened bamboo stubs. Just no comfortable landing there! We took a careful step back and decided to adjust our approach…the first cut was made at a comfortable 3’ high. Then after we cleared the fallen canes, and with a much more balanced posture, we made our final ground cut. Importantly, we quickly learned to only cut a few canes at a time before shutting off saw and clearing…easy does it. Finally, as a far less aggressive approach, dead canes can generally just be popped out of the living clump by hand—not as complete as a wholesale cutback, but it will go a long way towards tidying up an over-mature mammoth.
Although we could cut the bamboo back any time of year without killing it, we want to cut it back right before the new culms jump out of the ground to reduce “downtime” and so that the clump will return to mature size that season. As the new canes mature this summer, we’ll post a few more photos of the rejuvenated bamboo to our social media outlets.
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In 1870 the author of “Rustic Adornments for Homes of Taste,” advised his readers that “summer houses of some sort are desirable and indeed almost necessary features in gardens of all dimensions and styles.”
By definition, a summer house is a free-standing structure in a garden that provides shelter from the sun or rain. They may be found in both public and private gardens. As early as 1696 a summer house was included in the plans for the public grounds of both Annapolis, MD and Williamsburg, VA, but the idea goes back much further.
There is evidence that both the ancient Egyptians and Romans constructed summer houses as a shelter and place of rest as well as for outdoor social gatherings. In medieval Europe, simple wooden structures with thatched roofs offered shade in gardens.
During the 17th and 18th centuries the idea took off in English garden design and the terms summer house, temple or pavilion became interchangeable and were found in the great estates of the day. And by the Victorian era, Americans used the terms gazebos, belvederes, kiosques or covered seats to convey the same idea.
With this long history of summer houses as an important part of a garden, it comes as no surprise that architect George Rogers included one in his original plans for Belle Camp. His use of salvaged “iron lace” echoes the design of the Bellingrath Home.
He placed it behind Mirror Lake where it is approached by a series of flagstone steps. While providing protection from the rain or the sun it also offers both a termination of a view as well as offering a view down to the lake. Any visitor to Bellingrath Gardens caught in one of Mobile’s frequent summer showers has been happy to have found it.
As it approaches its centennial, the Bellingrath Summer House is being restored and will begin its second century as a welcomed respite for our visitors.
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