Environment Bill

Debate between Lord Inglewood and Lord Russell of Liverpool

Committee stage
Wednesday 23rd June 2021 Lords Chamber

[The Deputy Chairman of Committees (Lord Russell of Liverpool) (CB)]

The noble Baroness, Lady Jones of Moulsecoomb, has withdrawn, so I call the next speaker the noble Lord, Lord Inglewood.

[Lord Inglewood (Non-Afl) [V]]

My Lords, this is the first time I have spoken in this debate so I point first to my interests in the register. Specifically, I point out that I own land of environmental and historic significance. My comments are essentially probing ones attached to amendments in this grouping and relate to the Bill more generally.

My starting point is supporting the general gist of what the noble Lord, Lord Redesdale, has said. In particular, I would like to reiterate comments I made briefly during the Agriculture Act, where I sensed that some of your Lordships were a little bit sceptical about the point I was making, but I believe they were not right in that. It is commonplace to say that all landscape in the UK is, in one shape or another, made land by man. But there is a category—I am specifically referring to landscape parks and gardens—in which the natural and deliberately planned fuse in a kind of hybrid, because humans deploy natural materials to create a work of art. They range in scale from being only a few acres to being what Stephen Switzer, the 18th century designer and author, described as

“aiming at an incomprehensible Vastness, and attempting at Things beyond the reach of Nature”.

To use a contemporary form of words, they are a form of land art.

Our great parks and gardens are probably this country’s greatest distinctive contribution to 18th century visual culture and possibly to global visual culture more generally. I hasten to add that “landscaping” is not used in its general contemporary sense of hard or soft landscaping. “Park” in this context does not have its general contemporary meaning of urban or country and, for that matter, “garden” does not merely mean what it means these days, although it may include them. All these are conceived with a complicated and important cultural, philosophical and intellectual framework which links them to all kinds of other disciplines and art forms. Probably the best-known practitioner is Capability Brown, but he has many predecessors and successors from Charles Bridgeman at the beginning of that century to Humphry Repton at the end of it.

These are landscapes that are incredibly fragile and inherently physically unstable. There is a matter of course because of the inevitability of plants dying. This, though, in some senses, paradoxically, can help to preserve them, but they are easily swept away by changes in taste and in rural land use—things like golf courses and urban development, which, in turn, often lead to physical disintegration and dismemberment. Quite how many there are I do not really know, and I dare say not more, anyway, than 1,000. Sometimes, they can suddenly come out of the undergrowth, like, for example, the well-known Lost Gardens of Heligan. Or, equally, they can disappear more or less completely, like Eastbury in Dorset, designed by Vanbrugh and now green fields. As Sir Thomas Browne put it, “green grass grows where Troy town stood”.

The purpose of these remarks is simply to seek confirmation from the Minister of reassurance that such things as these, which are neither solely natural nor solely manmade, but a hybrid, will be given the highest consideration in the context of what this Bill does in respect of land. They are, after all, one of our nation’s glories and give a large number of people in our country both pleasure and inspiration.