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Strange happenings in Hyde Park: a Bluestocking Belles cross-post

Today on Susana’s Parlour, Jude Knight and I have something special: a stand-alone short story with two characters from the Bluestocking Belles’ holiday box set, Mistletoe, Marriage, and Mayhem. Mary, the heroine of Jude’s story, Gingerbread Bride, meets Agatha Tate, Lady Pendleton, the mother of Julia Tate, the heroine of my story, The Ultimate Escape. In this episode, Lady Pendleton is just returning from a two-week journey into the twentieth century. Yes, she is a time-traveling Regency lady (who has appeared on this blog on several occasions in the past).

Pissarro_Hyde_Park

Agatha Tate staggered backwards as her feet touched the ground until, unable to reclaim her balance, she toppled over onto the soft grass at Hyde Park.

“Wh-at?” She put a hand to her aching temple and tried to regain her bearings. “Where am I?”

Agatha Tate, Lady Pendleton

Agatha Tate, Lady Pendleton

She opened her eyes and could see a vague image of a young girl in front of her. A girl who had likely seen her materialize out of nowhere, she realized as her wits were restored to her. Good heavens! How was she going to explain something was… well… unexplainable?

The girl—a young woman really, Agatha could see as her vision cleared—stepped forward, blinking rapidly. “May I help you?”

“Uh… who are you?” Agatha asked, her head still throbbing. “How long have you been there?”

Agatha pulled herself up into a sitting position and cast about for her shopping bag, which had landed in a nearby bush. “Oh my, can you get that for me, my dear? I need to change my attire before anyone sees me.”

She was still wearing her animal print leather jeans and denim jacket, which was certain to startle an inhabitant of London in 1799. Of course, she should have changed to her original clothing prior to leaving the twentieth century, but she’d been so stricken by the need to see her family again that she’d collected her bag, pulled out the stone, and uttered the gypsy’s spell before the thought could occur to her.

“Well, before anyone ELSE sees me. I shouldn’t want to cause a scandal.”

Mary Pritchard

Mary Pritchard

The bemused young lady fetched the bag and handed it to her. Agatha could see that her bright red hair was tousled and she seemed to be short of breath.

“Mary Pritchard, ma’am, at your service.” The young lady curtseyed politely.

“A pleasure to meet you, Miss Pritchard. Please allow me to introduce myself. I am not usually so rag-mannered, but since we have met in such unconventional circumstances…. Oh dear, there I go again! I am Lady Pendleton. My husband is Lord Pendleton, of Wittersham.”

“I am pleased to make your acquaintance, my lady.” She glanced at their surroundings, and returned her gaze toward Agatha with a reassuring smile. “We are hidden here, I think. I will keep a lookout un case Viscount B… in case anyone comes this way while you are changing.”

Agatha smiled, feeling a bit sheepish. “How very kind of you, Miss Pritchard. I was just about to ask if you would do me that small favor.”

She took the bag behind a bush and began to tug at the tight leather jeans. “Oh, I know I shouldn’t have had that last Big Mac,” she groaned.

Upon seeing the look of bewilderment on Miss Pritchard’s face, Agatha rolled her eyes. She already had a great deal to explain to the kind young woman. She’d better watch her tongue from her on in.

She coughed. “I’m afraid I’ve been over-indulging during the past fortnight. I hope my old clothes will still fit.”

“Have you traveled far?” Miss Pritchard asked politely.

Agatha grinned. “You could say that, I suppose.”

A crashing further back in the woods startled them, particularly Miss Pritchard, whose hand went to her chest as she turned toward the origin of the sound. She appeared frightened out of her skin.

Lady Pendleton pulled her yellow morning gown over her head. “Are you well, my child?”

I’m the one who has traveled 200 years and she’s the one who looks white enough to be a ghost.

“I… ah… you must wondering, ma’am, at my being here without an escort. That sound is, I think, my escort. If he finds me, would you be kind enough to say I am with you?”

The poor girl was trembling! Agatha stepped out from behind the bush and folded the girl into her embrace. Why she looked to be only a year or two older than her own daughter Julia!

“Your escort… attacked you? How did that happen?”

After a brief moment, Mary returned her embrace. She was a brave one—or perhaps foolish—to trust a complete stranger, particularly under these circumstances.

“I refused his proposal, and he thought to force me. I… ah… punched him in… ah… I distracted him and ran.”

What are Miss Pritchard’s parents thinking to allow her to be escorted by such a villain?

Miss Pritchard bit her lip. “I do not know what to do. If I tell my aunt, she will say that we must marry, and I would rather throw myself into the Thames than marry a man who only wants my money.” She sighed. “Actually, I would rather throw him into the Thames.”

Agatha straightened up. “This… this… Boswell won’t harm you as long as I’m here, my child.” She grinned. “The Serpentine is a great deal closer. Will that do instead, do you think?”

No. 42, Grosvenor Square, the Pendletons' London home

No. 42, Grosvenor Square, the Pendletons’ London home

She turned her back. “Hurry, do me up and we’ll away from here. I live in Grosvenor Square; it’s not too far.”

The girl chuckled and hastened to oblige. Agatha gathered her discarded clothing and stuffed them into the bag, realizing she would have to keep on her twentieth century boots since she had left the old ones behind.

“Ma’am, I could not help but notice the manner of your arrival and your attire. Would you think me impertinent if I asked where you came from?”

Agatha swallowed. What to say? Perhaps she could avoid the question… a little while longer.

“It’s a long story. What concerns me most at the moment is what your parents could have been thinking to leave you alone with such a rogue.”

Miss Pritchard sighed. “I came to live with my aunt when my papa died. The rogue is her son, I am afraid. She is as keen to have the inheritance my papa left me as her son is.”

Agatha’s nostrils flared. “How disgraceful! Clearly, she is not a fit guardian. Is there no one else who can offer you protection, my dear?” She pressed her lips together. “My husband and I don’t hold with arranged marriages. Not for our three daughters, or for anyone else, if it can possibly be helped.”

800px-Hyde_Park_London_from_1833_Schmollinger_map

She set a fast pace toward the Grosvenor Gate. She wasn’t about to allow this scoundrel to make off with Miss Pritchard under any circumstances, but it would be best if they avoid a direct confrontation.

“He doesn’t even want me,” her young charge burst out. “I heard him tell his friends that he would park me in the country while spent my lovely money!”

As they approached the gate, Agatha paused and looked cautiously behind her for any sign of a pursuer and sighed with relief at not seeing one. Followed by a moment of uncertainty. The more she thought about her own family and how they must have worried about her disappearance, the more eager she was to hurry home and beg their forgiveness. On the other hand, she wasn’t sure she was quite ready to confront them—particularly not her husband George. In any case, she couldn’t abandon this poor little dove to her mercenary aunt and odious cousin. What to do? What to do?

“I’ve got it,” she said. “Tea!”

“Tea would be very welcome,” said Mary. “I have no wish to go home until I decide what to do about beastly Bosville.”

Agatha knew of a delightful little bookshop on Mount Street that served tea, which frankly she had not enjoyed half so well during her travels into the future.

“Let us have a brief respite at my friend Mrs. Marlowe’s bookshop,” she suggested. “She is very cordial and serves the best tea and biscuits in Town.”

Mary’s face brightened. “I know it!” Mary said. “She has an excellent range of books.”

Suddenly she moved to one side, putting Agatha between her and the carriageway, where a dark-haired dandy was driving a phaeton at a furious pace out of the gate and into the street beyond.

1948-TROTTING-HACKNEY-CARRIAGE-HORSE-PRINT_700_600_QVBO

“Forgive me,” she said, “I am not usually so nervous, but that was my cousin, and I would rather he did not see me at present. Although,” she added, “I suppose it is silly of me, for what could he do in all this crowd? And I will take care not to be alone with him again, you may be sure.”

Agatha shook her head. “He looked very angry. It’s best to avoid a confrontation. Let’s away to Mount Street and refresh ourselves while we plan our strategy.” She was thinking “strategies”, because she had to come up with one for her own situation as well.

The bookshop was as busy as ever, with several customers waiting their turn at the counter. Mary led them up the stairs to the tearoom, where little tables invited friendly conversation.

tea table

“Lady Pendleton, I hope you do not think me rude, but I could not help but notice your attire when you—er—arrived. And—it cannot be true, can it? You seemed to appear out of nowhere!”

Agatha blanched. A more prudent woman would not have considered confiding her situation—as strange as it was—to a young girl such as Mary, but then, Agatha had never been known for her prudence.

“I’ll have a cup of Bohea,” she told the waiter. “And some strawberry tarts if you have them. What would you like, my dear?”

“Souchong, please,” Mary said. “And strawberry tarts sound wonderful.”

After the waiter had departed, Agatha turned to Mary. She might as well get it over with. “When you saw me earlier today, I was wearing clothing from the twentieth century. I-uh- was visiting there for the past two weeks. I suppose you might call me—a sort of time traveler.”

Agatha’s hands were clammy. It sounded so ridiculous to say such a thing, and she wouldn’t have believed it herself if she hadn’t experienced it firsthand. But she was going to have to say it again—soon—to her husband, so she’d best get over her fears now rather than later

Mary opened her mouth and closed it again. “How marvelous,” she said at last. “I have traveled much of the world, but to travel in time? How wonderful!” She sat up straight in her chair, her eyes widened.

“Marvelous, yes, it is at that,” Agatha agreed. “Quite fascinating. An amusing and rather unconventional manner of escaping one’s problems. But now… I find myself having to face them after all.”

Mary nodded. “Running away does not solve things. Though it can win you time to find a solution.”

Their conversation was interrupted by the arrival of the tea. Agatha poured for both of them.

teapot

“You are wise for your age,” she commented as she passed her the plate of tarts.

Mary smiled. “Thank you, ma’am. I am on my own, you see, and must think for myself. And I am of age, though I know I look younger. My youth is a great disadvantage. Were I older, I could move to my own residence, and no one would be in the least scandalized.” She sighed.

Agatha leaned in and lightly stroked Mary’s arm. “I have three daughters at home. Julia, my eldest, is fourteen. I have missed them all so much, and my husband most of all. But I needed time to reflect on my situation, and knew my mother and aunts would only tell me to go back to my husband.”

Lady Julia Tate (at age 27)

Lady Julia Tate (at age 27)

She shook her head. “Marriage is not something to be rushed into. My George and I married for affection and fell in love later. And for the most part, we have rubbed along very well. I never thought he would turn into a—despot.” She winced, knowing in her heart that George was not a despot. Someone had wounded his pride. That holier-than-thou William Wilberforce, who despised some of her political friends because he disapproved of their morals.

Mary grimaced. “But are you going home now?”

Agatha’s mouth went dry and she took another sip of her tea.

“I am,” she said. “I must. I cannot abandon my daughters. Or my husband.”

“Of course not,” Mary agreed.

“But George must know that I won’t have a despot for a husband. While women do not have the sort of freedoms in this century that they will have in the future,”—she saw Mary’s eyes widen in surprised—“we do have options, and he must surely know I would not hesitate to take some of them, undesirable though they would be.”

She licked her lips with cautious hope. “If I know my George, though, he has long ago forgotten his anger amidst his concern for my absence.” She smiled as she imagined a tender reconciliation between them. She felt a sense of calm.

Taking the last sip of tea, she set her cup down. “It appears that my path is quite clear. I must return home and have a serious discussion with my husband. As for you, my dear, I wonder if you haven’t any other relatives you could appeal to, since clearly these Bosvilles are not suitable.”

Mary’s face brightened. “I wonder that I did not think of that! Yes, indeed! I have three more aunts, though I have not met them. Papa said I was to come to London. He thought Aunt Bosville might help me to find a husband.” Her color deepened, her fair skin showing her embarrassment. “I find I am not in the fashionable mode, however. Being raised on a naval ship does not prepare one to talk nonsense, and faint, and be ridiculously frilly and the like. And then…” she gestured at her bright red hair and freckles, “there is how I look.”

Agatha raised an eyebrow. “I see nothing amiss with your appearance. Your coloring may not be the fashion this year, but it does not prevent you from having an appeal of your own. Indeed, my eldest daughter is flame-haired and freckled, and I am quite certain she will grow into her own beauty when she past the tomboy phase.” She grinned. “Red hair is quite popular in the twentieth century. I observed that many of the younger ladies had deliberately colored their hair red, or at least a portion of it.” She frowned. “Of course, there were also shades of blue and green that I could not like at all, but that was the way of things—or will be, I should say. Society is so much more liberated in the future.”

Mary leaned forward. “Lady Pendleton, do you think… Could you tell me how you came to travel through time? Could I do it?”

Agatha wrinkled her brow. “Oh no, my dear! I think it would be quite ill-advised for someone so young to venture off into a completely different world. You may be certain I will not breathe a word of it to any of my daughters, at least not until they are old enough to have learned to resolve their problems rather than try to avoid them. No indeed, dear Mary, we must find a rather more conventional solution to your dilemma.”

“I am familiar with adventures, Lady Pendleton. I have been in a number of tight spots in many parts of the world. Though I have needed rescue from time to time, and I suppose I cannot expect Rick—Lieutenant Redepenning—to follow me two hundred years into the future.”

Now this was a promising development. “This Rick-er-Lieutenant Redepenning… you say he has come to your rescue in the past? Sounds like a delightful young man. The two of you appear to have a great deal in common. Is he eligible, do you think?” She winked. “I must confess that I would like to see my daughter Julia make a match with Oliver, who lives next door to us in Wittersham. They have been close friends forever.” She sighed. “Although it remains to be seen how well they deal with each other as adults.”

“Things can certainly change when one grows up, Mary sighed. “We were good friends when we were younger, but now… Lady Pendleton, a friend would visit a friend, would he not? If he were in London, and she were in London? A lady cannot call upon a gentleman, after all. Aunt would not even allow me to send a note! At first he was recovering from his injury, but he has been seen about Town these past six weeks and has not been to see me.” She sighed again, more deeply this time. “No, eligible or not, Rick the Rogue is not interested in plain Mary Pritchard.”

Then she brightened. “I will go to my aunts in Haslemere, Lady Pendleton. I will make the arrangements today.”

“Do you need a place to stay before you leave, Miss Pritchard?” Agatha patted her hand. “You would be welcome, if you think your return to Lady Bosville’s house would put you at risk.”

Mary shook her head. “I am quite sure that is not necessary, my lady. My cousin is unlikely to dare anything further. If he should return home, that is. He often stays away for days at a time.”

“I do hope that is the case, dear. However,” she added in a maternal tone, “Do not neglect to hire a post chaise, and your own outriders. You have a maid who can accompany you, I take it?”

“The public coach goes straight through to Haslemere, where my aunts live. Yes, I do believe it is the perfect solution. Thank you for your counsel, Lady Pendleton. And best of luck with your own reunion. I am certain your family will be over-the-top excited to have you back again!”

I hope so too, Agatha thought. In any case, it was time she found out. She rose from her seat and reached for Mary’s hand.

“It was a great pleasure to meet you, Miss Pritchard. My sincere thanks for your assistance in the park earlier. I can trust on your discretion, I suppose?”

At Mary’s nod, she clasped Mary’s shoulder. “I wish you well on your journey. And if you need any further assistance, please send for me at Grosvenor Square. Number forty-two.”

And the two of them departed the bookshop to face their own separate destinies.

Click here to read the story from Mary Pritchard’s point of view.

Click here for more information about Mistletoe, Marriage, and Mayhem.

Join us on Facebook for our launch of Mistletoe, Marriage and Mayhem on November 1, 2015.

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Cerise DeLand: Her Beguiling Butler (Giveaway)

About Historical Accuracy…

$_57 copy

With your romance, do you crave accurate history? A sense of time and place? Cerise tells all about Her Beguiling Butler!

Say you like historicals and you often wonder what’s true and what isn’t?

I can’t speak for other authors, but I do desperately try to bring you The Real Stuff.

For example, what’s real in Her Beguiling Butler?

You see a date at the beginning of the book, January 17, 1820. Why?

Because when I plotted the book, I wanted to note precisely when George III (he of the American Revolution!) died and what happened.

So I had to work backwards from that.

Yes. You need to read the book to learn how and when the news reached London!

The Prince of Wales is not considered a fine fellow by most people in the novel. Is that true?

Yes. Prinny, by the time of his ascent to his father’s throne (not official by the way until a year later at his coronation) was considered a spendthrift and profligate. He’d had so many mistresses and appealed to Parliament to spend so much on his homes and his clothes (as well as other debts), many in the Realm were not happy.

In fact, they rather liked old George, his father.

Lady Ranford is being considered by the courts to assume a title on her own. Is that possible for a woman to inherit a title in her own right?

Yes. And hopefully you’ll read the book to learn how that’s done!

The chiming watch piece that Finnley carries around with him to make certain the house runs on time was a real time piece. I did not invent it.

It was delicately made by Ferdinand Berthoud. His work was very popular, aside from being very expensive.

The mourning practices for King George III that most noblemen observed did indeed happen.

What sorts of observances did they have to employ?

Ah. Do read the book for a description!

Does Dudley Crescent exist?

No. I made it up!  I also made up the man who was given the land by Charles II!

So what is the picture on the front cover of the novel?

What do you think it is? Comment here and win a digital copy of Her Beguiling Butler!

Do look for #2 and #3 in series when I give you a governess and a maid who are more than they appear to be!

giveaway

One lucky commenter wins a swag pack containing a Susana Ellis mug and other goodies!

Her Beguiling Butler by Cerise DeLand copy

About Her Beguiling Butler

The lovely widow at No. 10 Dudley Crescent hopes to lead a merry life without any husband to replace the elderly one she recently buried. Yet Lady Ranford finds herself in a pickle. Her new butler, Finnley, is not only the most obstinate man she’s ever met, but he’s a virile enigma.

She’s never been lured to naughtiness with a man. Heaven knows, she certainly shouldn’t fantasize about the tall, dark, scowling creature who runs her household like a finely tuned clock.

But she can’t help herself. She needs to taste him—or dismiss him.
Finnley, poor fellow, has a few risqué dreams of his own about how he’d like to handle the delectable widow. Alone in his rooms, he resolves to deny how her humor riddles his mind and how her beauty steals his breath away.

None of his solutions are proper.

All of his desires are quite…dear me…scandalous.
But what’s a butler to do when the very life of his beloved employer is at stake? And he cannot control his need to protect her and…ahem…bed her?

AMAZON  • ARe  • NOOK  • KOBO

About the Author

Cerise DeLand is #1 bestselling author of Regency romances! And a top selling author of contemporaries too!

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His Naughty Maid by Cerise DeLand copy

His Tempting Governess by Cerise DeLand copy

Vauxhall Gardens: The Music, 1732-1859

vauxhallbook

Vauxhall Gardens: A History

David Coke & Alan Borg

The Vauxhall Pleasure Gardens is one of the places I’d love to slip back in time to visit, just to catch a glimpse of what it was like. After recently splurging to buy this lovely coffee-table book, I thought it might make a wonderful subject for a new blog series. But do buy the book too, if you can! The photos are fabulous!

Before Vauxhall, professional, high quality music was expensive and therefore restricted to the wealthy. Because it was usually performed in private drawing rooms or concert halls, the concept of performing it in the open air was also a novelty. At a time when music from past masters was popular, Tyers introduced music by contemporary English or London-based composers. Oftentimes, the music (and the musicians) were the same as those performing in London theaters during the winter.

Tyers exposed a substantially larger audience to serious music than had ever been possible or even conceivable before. The fact that he did so in a setting where the audience could choose to listen or not, and could choose where to listen from, fundamentally transformed the public’s experience of musical performance, and led to a much wider and easier acceptance of the concert as a public entertainment.

Instrumental Music

Following the construction of the Orchestra building, which resolved several acoustical issues from performing in the open air, in 1735, music became

the crucial ingredient in setting the tone for an evening at Vauxhall. It promoted relaxed enjoyment, and its rational elegance was a catalyst for good behaviour and conversation among the company.

The unusual experience of listening to music in the open air and, after dark… held a very special allure for the audience. There is no doubt that music heard from a distant point of the garden… would have been attractive, providing a good excuse to lure members of the opposite sex away from the crowded Grove… On her eventful visit to Vauxhall, Fanny Burney’s heroine Evelina was particularly impressed by its al fresco music, if not seduced by its freedoms… Despite the disagreeable company, she recounts that

There was a concert, in the course of which, a hautbois concerto was so charmingly played that I could have thought myself upon enchanted ground, had I had spirits more gentle to associate with. The Hautboy in the open air is heavenly.

Click here for a previous post about the Orchestra.

The construction of the Organ building, and the installation of the massive organ, resolved the problem of volume, since its range could reach throughout the gardens, and even beyond. Click here for a previous post about the Organ.

Handel and Vauxhall

Squidgeworth found a friend!

Squidgeworth found a friend at the Foundling Museum

Just as Handel’s statue dominated the Grove, his music dominated Vauxhall’s repertory for a hundred years. Handel and Tyers had a mutually beneficial relationship that likely developed into close friendship. Tyers’s press articles tended to focus only on Handel’s music, and the promotion of his music before the crowds of Vauxhall helped him rise to popular fame.

Vocal Music

Due to a concern for propriety, Tyers resisted song at Vauxhall for at least a dozen years. By this time, Vauxhall was being criticized for “the absence of song on the grounds that, without lyrics, music ‘lacked interpretation,’ and was therefore less conducive to good humour among the audience.”

Soon after, Cecilia Young, a soprano who later married Vauxhall’s music director, Thomas Arne, was engaged, and the “introduction of song as a regular element of the programme launched the most perennial popular feature of the Vauxhall evening.”

Thomas_Augustine_Arne_portrait_by_Zoffany

Thomas Arne

Thomas Arne’s ballads “were, from 1745, regularly performed at the gardens to huge applause, and they were published in the first Vauxhall songbook, Lyric Harmony, which appeared in September of that year.” Arne’s songs, which were lighthearted and natural, appealed to a wide array of people, and thus fit in with Tyers’s own philosophy to make the arts available to all.

The lyrics of Vauxhall songs… are basically in the pastoral and romantic ballad style that evolved in the late seventeenth century from a long tradition of popular song… Over the next few decades, ballads absorbed influences from other popular music forms, particularly Italian opera, to become the genre known as the Vauxhall song.

rule_britannia_01a

Thomas Arne’s version of “God Save the King” was first performed at Drury Lane in 1745. He also wrote, “Rule Britannia,” another patriotic song. Click here to hear the latter song on the BBC website. I’m sure you will find it familiar.

A second genre that was to become popular with Vauxhall audiences was the patriotic song, one of the earliest types to be regularly heard at the gardens. Exploiting topical events as they did, they highlighted the link between the dutiful virtus of victorious military action and the pleasurable voluptas enjoyed by Vauxhall’s visitors, fully complementing the ideals behind Tyers’s management.

The songs regularly sung at Vauxhall and the other gardens enjoyed a wide currency. They were published not only as songsheets and in songbooks, but also in periodicals, particularly women’s magazines. Among the moral tales, romances, fashion hints, poetry, recipes and other items thought suitable for female consumption, editors of magazines such as the Ladies Complete Pocket Book or the Universal Magazine would often slip in the ‘favourite new songs’ being featured at the pleasure gardens in the current season, to be enjoyed by Vauxhall’s many “armchair” visitors around the country.

Besides the salary paid by Tyers and passes to allow them to come and go as they wished, “well-loved singers were rewarded by the audience who threw money at their feet.”

A thirty-two-year-old Oliver Goldsmith described a visit to the gardens around 1760, full of praise for the singers and the band.

The satisfaction which I received the first night I went there was greater than my expectations; I went in company of several friends of both sexes, whose virtues I regard and judgments I esteem. The music, the entertainments, but particularly the singing, diffused that good humour among us which constitutes the true happiness of Society.

Music after Jonathan Tyers’s death

After 1761, ownership was taken over by Tyers’s son, Jonathan Tyers the younger, and very little changed at first, until the early 1780’s, when strolling bands were introduced, possibly as an economic gesture, and the quality of music declined.

The introduction of Haydn’s compositions in 1783 marked the faltering start of a new era at Vauxhall. Haydn soon gained a wide following, even toppling Handel from his long-running supremacy.

Regular press advertisements detailing the evening’s program appeared in 1786, when Bryant Barrett, Jonathan Tyers the younger’s son-in-law, took over management of the gardens. Apparently he believed the audience to be more sophisticated about music and thus more interested in knowing beforehand what would be included.

James Hook

James Hook

James Hook, Vauxhall’s music director from the early 1770s until 1821, composed over two thousand songs specifically for Vauxhall and performed an organ concerto every evening at closing time.

…each season introduced an entirely new crop of songs, numbering between thirty and forty-five, with no repeats from previous years; the most popular songs received as many as fifty performances through the season… Most of the half dozen or so singers employed each year appeared every evening, Monday to Saturday, from mid-May to late August. This represented around eighty-five evenings out of a hundred—a tough programme for any performer, especially when singing out of doors.

The Vauxhall Effect

As a music promoter, Tyers was unusual at the time in not being a professional musician himself; it was his judgement and business sense that determined his visitors’ experience, and dictated the selection of people he employed to take his vision forward. The renown of his performers was less important than their ability to express a particular house style.

Performers at Vauxhall

For a list of performers at Vauxhall (musical and otherwise), check this website: Vauxhall Gardens: 1661-1859.

 

Susana’s Vauxhall Blog Post Series

  1. Vauxhall Gardens: A History
  2. Vauxhall Gardens: Jonathan Tyers—“The Master Builder of Delight” 
  3. Vauxhall Gardens: A New Direction
  4. Vauxhall Gardens: The Orchestra and the Supper-Boxes 
  5. Vauxhall Gardens: The Organ, the Turkish Tent, and the Rotunda
  6. Vauxhall Gardens: Three Piazzas of Supper-Boxes
  7. Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”
  8. Vauxhall Gardens: The Competition
  9. Vauxhall Gardens: The Artwork, Part I
  10. Vauxhall Gardens: The Artwork, Part II
  11. Vauxhall Gardens: The Music, 1732-1859
  12. Vauxhall Gardens: The Business Side
  13. Vauxhall Gardens: Developments from 1751-1786
  14. Vauxhall Gardens: Thomas Rowlandson’s Painting (1785)
  15. ‎Vauxhall Gardens: The Third Generation of the Tyers Family and the Jubilee of 1786
  16. Vauxhall Gardens: An Era of Change (1786-1822), Part I
  17. Vauxhall Gardens: An Era of Change (1786-1822), Part II
  18. Vauxhall Gardens: An Era of Change (1786-1822), Part III
  19. Vauxhall Gardens: The Final Years, Part I
  20. Vauxhall Gardens: The Final Years, Part II
  21. Vauxhall Gardens: The Final Years, Part III
  22. Vauxhall Gardens: The Final Years, Part IV
  23. Vauxhall Gardens: Farewell, for ever

Vauxhall Gardens: The Artwork, Part II

vauxhallbook

Vauxhall Gardens: A History

David Coke & Alan Borg

The Vauxhall Pleasure Gardens is one of the places I’d love to slip back in time to visit, just to catch a glimpse of what it was like. After recently splurging to buy this lovely coffee-table book, I thought it might make a wonderful subject for a new blog series. But do buy the book too, if you can! The photos are fabulous!

The Paintings in the Pillared Saloon

The Pillared Saloon was built onto the Rotunda in 1750-51 to provide more wall space for paintings and, of course, draw more visitors. The original idea was to have allegorical paintings of the royal family—Prince Frederick and his family—demonstrating how love of the arts manifested his virtue and patriotism. Frederick’s untimely death in 1751 put paid to this idea and delayed the project for almost ten years.

Two full-length portraits of George III and Queen Charlotte in their coronation robes did appear soon after their marriage in 1761. The royal pair is known to have sat for the painter—undoubtedly Frances Hayman—in person as a special favor to Jonathan Tyers.

The Seven Years’ War Paintings

In contrast to the lightheartedness of the supper-box paintings and the drama of the Shakespearean scenes, the four remaining paintings for the Pillared Saloon were to be patriotic history paintings. These were not the typical classical scenes or representations of events from the distance past, but “very recent military actions populated by real living people wearing contemporary costume.”

[Hayman] chose not the violence of heroic death or even topographical portrayals of military action, but rather its aftermath, in order to convey the virtues of the individual British military commanders, magnanimous and humane in victory.

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The Surrender of Montreal to General Amherst

Amazingly, this painting appeared in the Pillared Saloon in 1761, only eight months after the event it depicts.

It was the most overtly propagandic of the four military scenes, emphasising the selfless humanity of General Jeffrey Amherst: Hayman showed him handing out food to the starving and defeated population and returning to them their possessions; this was intended to be in stark contrast to the merciless treatment they might have expected from the French, had they been victorious, and especially from their Indian allies.

In the Description (1762), much is made of the contrast between the defeated and miserable French and the victorious but humane British, and the author instructed readers to view the paintings as a true representation of one of ‘the most glorious transactions of the present war’.

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The Triumph of Britannia

The second painting, which was installed for the opening of the 1762 season, was a representation of the defeat of the French fleet at Quiberon Bay in November 1759. “As its allegorical title would suggest, it was intended to glorify the British military leaders involved in the action and the natural alliance of Britannia with Neptune that had given Britain mastery of the seas.”

However, because it did not entirely succeed in capturing the essential majestic dignity that was necessary to this type of allegorical work, the Triumph of Britannia was not always taken seriously by its audience. It is specifically and humorously singled out in Fanny Burney’s novel Evelina of 1778; during a visit to Vauxhall, Mr. Smith ridiculously mistakes the figure of Neptune for that of a famous general, despite the fact that he is wearing ‘the oddest dress for a general ever I see’.

Lord Clive, Hayman, 1760

Lord Clive Receiving the Homage of the Nabob

A companion piece to the Surrender, this painting was installed in time for the 1763 season. The historical event depicted was the Battle of Plassey, at which Robert Clive ousted the ruling Nawab of Bengal, Siraj-ud-daula and, “in an apparently magnanimous act, [Clive] then supported the claim to supremacy of the elderly general Mir Jafar (c. 1691-1765), Nawab of Murshidabad, who had actually fought against the British, but who was more easily persuaded to the British point of view.”

In that battle the British forces were famously outnumbered by twenty to one, but were nevertheless victorious with the loss of only eighteen men (according to Clive), lending it the heroic ideal; in fact this was undeserved, and the British were saved from probable defeat only by the quick thinking of their artillerymen who covered their weapons and powder during a downpour, while the enemy did not.

The description of the painting started with “The subject of this picture is of the most interesting nature, to every Briton who regards the honour and propsperity of this country’, no doubt insinuating that it would be unpatriotic to criticize it.
The second description

praises General Clive for his leadership, and for his generosity in giving the sultanate to Mir Jafar;

therefore performing for his Country a most important Service, as well as procuring for the India Company and Individuals the Sum of Three Millions Sterling, for their Losses sustained at Calcutta; with such Privileges, Immunities, and Advantages, as they never enjoyed before. And this Revolution hath been moreover the Means of the India Company’s acquiring the Territorial Possessions, to the Amount of Seven hundred thousand Pounds per Annum.

In retrospect, General Clive’s generosity seems less altruistic considering the huge commercial gains resulting from the acquisition of this territory.

Britannia Distributing Laurels

A companion piece to the Triumph of Britannia, Britannia Distributing Laurels was installed in 1764. Unfortunately, no version of this piece is known to be in existence. However, it is known to have depicted the full-length figures of Generals Granby, Monckton, Albemarle, Coote, Townshend and Wolfe, all in Roman costume, allegorical in nature.

The story goes that, when Granby came to Hayman’s studio in St. Martin’s Lane, he challenged Hayman to a boxing match before the sitting. After a hesitant start, which Granby overcame by saying that the exercise would give animation to his portrait, Hayman apparently floored the marquis with a tremendous punch to the stomach, and Mrs. Hayman, hurrying upstairs to see what the noise was, found them ‘rolling over each other on the carpet like two bears.’

Tyers as the Ultimate Patron of 18th century British Art

The inscription under the engraving of Hayman’s Triumph of Britannia describes him as a ‘”Lover and Encourager of the Arts.’” He was described by Henry Angelo as having “laid out more money in the encouragement of English art than any man of his time. Indeed, his house was so full of pictures, that after hanging them, even on his stair-case, there were still some to spare.”

Jonathan Tyers didn’t just use art to further his commercial ambitions; he was a true conoisseur. And it was his dream to open up the arts to all layers of society, not just the upper class.

The huge developments in British art through the middle of the eighteenth century were in large part due to the concurrence of Vauxhall Gardens, the Foundling Hospital, the Society of Artists and the Royal Academy and to the men involved in those institutions, notably Hogarth, Hayman and, of course, Tyers… After the collaboration of Tyers and Hayman, the visual arts at Vauxhall never again received the same degree of patronage from its proprietors.

The paintings and sculpture at Vauxhall Gardens would have been the best-known works of art in England at the time, seen by tens of thousands of people, including significant numbers of artists, every year. Although Tyers owed much to Hogarth, initially the driving force behind the artistic concept of the gardens, it was Hayman, Tyers’s artistic director, who could be seen as the more influential figure. This was partly because of the huge exposure of his original work at Vauxhall, and also because he was the linchpin that held together the London art profession, with a finger in all the principal artistic pies of the time—the St Martin’s Lane Academy, Vauxhall Gardens, the Foundling Hospital, the Society of Artists and, eventually, their august offspring, the Royal Academy.

Susana’s Vauxhall Blog Post Series

  1. Vauxhall Gardens: A History
  2. Vauxhall Gardens: Jonathan Tyers—“The Master Builder of Delight” 
  3. Vauxhall Gardens: A New Direction
  4. Vauxhall Gardens: The Orchestra and the Supper-Boxes 
  5. Vauxhall Gardens: The Organ, the Turkish Tent, and the Rotunda
  6. Vauxhall Gardens: Three Piazzas of Supper-Boxes
  7. Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”
  8. Vauxhall Gardens: The Competition
  9. Vauxhall Gardens: The Artwork, Part I
  10. Vauxhall Gardens: The Artwork, Part II
  11. Vauxhall Gardens: The Music, 1732-1859
  12. Vauxhall Gardens: The Business Side
  13. Vauxhall Gardens: Developments from 1751-1786
  14. Vauxhall Gardens: Thomas Rowlandson’s Painting (1785)
  15. ‎Vauxhall Gardens: The Third Generation of the Tyers Family and the Jubilee of 1786
  16. Vauxhall Gardens: An Era of Change (1786-1822), Part I
  17. Vauxhall Gardens: An Era of Change (1786-1822), Part II
  18. Vauxhall Gardens: An Era of Change (1786-1822), Part III
  19. Vauxhall Gardens: The Final Years, Part I
  20. Vauxhall Gardens: The Final Years, Part II
  21. Vauxhall Gardens: The Final Years, Part III
  22. Vauxhall Gardens: The Final Years, Part IV
  23. Vauxhall Gardens: Farewell, for ever

Susana’s 2015 English Adventure: Week 4

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On Monday I hopped on a train to Birmingham, then changed to one for Kidderminster. (I just love these English names, don’t you? Mousehole is my favorite, but I’m assured that it is a lovely place to visit despite the name.) At Kidderminster, I took a taxi to The Elms Hotel in Abberley, where I was met by the lovely Heather King and her fabulous, quadralingual dog, Roxy. Heather is an amazingly talented author of Regency stories (and, as Vandalia Black, of rather darker paranormal ones). Heather and I are online friends and have been part of two Regency anthologies, Beaux Ballrooms, and Battles and Sweet Summer Kisses. It was truly awesome to meet her in person, as well as Roxy and the ponies, Merlin and Dub-Dub, and Sootie, the black cat whose offspring were too high-in-the-instep to become acquainted with a Yankee. Heather served me Toad-in-the-Hole, which turned out to be a sort of English comfort food: sausages baked in a sort of pancake batter and served with hot gravy. Besides being very tasty, it served to warm us up inside and outside, after a day spent mucking about the ruins of Witley Court in the pouring rain. (It rains in England. Deal with it.)

Witley Court

Witley Court was once one of the great houses of the Midlands, but a devastating fire in 1937 left it in ruins. While one cannot but regret the loss of such a beautiful home, the exposure of the “bare bones” has proved to be valuable to historians interested in learning about historical building practices.

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Witley Court, 1900

Witley Court today

Witley Court today

Thomas Foley (whose grandson became the 1st Baron Foley) built the house in 1665 on the site of a manor house. Additions were made by John Nash in the 19th century, and the house was sold to the Dudley family (later to be given an earldom) in 1837.

Tramping about the ruins of the house turned out to be much more appealing than one might have expected, even in the pouring rain! The gardens are lovely, particularly the fountain (see video here), and the parish church on the property—which is not a ruin—is magnificent.

See photos here.

Berrington Hall

On Tuesday Heather, Roxy, and I visited Berrington Hall, a splendid country home in Leominster (pronounced Lemster, or so they tell me). It was designed in the late 18th century by Henry Holland, whose talent, although not eclipsing that of my favorite, Robert Adam, puts him solidly in second place, in my estimation.

In addition to the rich furnishings and décor, there was an exhibit of Georgian fashion throughout the house, which included—believe it or not—costumes from the 1995 BBC production of Pride and Prejudice. Yes, I was close enough to touch the costumes worn by Darcy and Lizzie during the final proposal scene, as well as many others. Truly an awesome experience!

Henry Holland!!!

Henry Holland!!!

The vast grounds include a walled garden with some vintage apple trees, a ha-ha, a lake, and some lovely paths. Heather and I enjoyed a delicious picnic before exploring further some of those paths. And not a drop of rain!

See photos here.

Waddesdon Manor

On Wednesday I took a train to Aylesbury, in Buckinghamshire (where, incidentally, the estate of my hero in The Third MacPherson Sister is located) to visit Waddesdon Manor.

Waddesdon Manor was built in neo-renaissance style in the late 19th century as a sort of French château by the Baron Ferdinand de Rothschild of the Austrian banking family. The baron fell in love with his second cousin, Evelina, and married her, only to lose her in childbirth eighteen months later. The baron never married again, but became a compulsive collector instead. The furnishings are considered to be among the richest of any stately manor anywhere.

These stairs are reminiscent of those at the Château de Chambord in France

These stairs are reminiscent of those at the Château de Chambord in France

Unfortunately, I was only able to tour the house due to time considerations, but I plan to visit again to get a good look at the extensive grounds and other buildings, such as the Aviary and the Dairy.

Although cloudy, it didn’t rain until I had returned to London, where I got promptly soaked making a last round of Piccadilly Street and Fortnum & Mason. But hey, it rains in England. That’s why it’s so beautiful!

See photos here.

Adieu to England

Squidgeworth enjoyed his orange juice on the plane.

Squidgeworth enjoyed his orange juice on the plane.

It was with a tear in my eye as Squidgeworth and I said goodbye to England on Thursday. For now. We had a marvelous time and were fortunate to be able to visit many wonderful places, but there are still lots more on our bucket list. I’ve already booked our flight and flat for next year’s trip in August.

So much to see, so little time!

Next week: Squidgeworth and I have some travel tips for you!

Susana’s 2015 English Adventure: Week 2

Hatfield House

Hatfield House is a Jacobean manor built by Robert Cecil, the son of William Cecil, the most trusted advisor of Elizabeth I. Robert succeeded his father as Elizabeth’s advisor, eventually becoming an advisor of James I as well. Robert Cecil is the one who discovered the plot of Guy Fawkes and others to blow up the House of Lords. A later Cecil (James) was made Marquis of Salisbury, and the Salisburys still own and live at Hatfield House more than 500 years later.

Hatfield Palace, which stood nearby (of which only a banquet room remains) was where all of Henry VIII’s children (Mary, Elizabeth, and Edward) were raised. It was here where Elizabeth learned that she was queen after the death of her sister Mary.

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Elizabeth I

Photos of Hatfield House

Kenwood House

William Murray, 1st Earl of Mansfield, bought the house in 1754 and commissioned Robert Adam to remodel it, which he did from 1764-1779. The library is a masterpiece of Robert Adam genius, but the rest of the house is equally splendid. It is a pity that most of the original Adam-designed furniture was dispersed long ago, but a later owner, a Lord Iveagh, purchased the house in 1925 and displayed his fabulous collection of paintings there before leaving the house and its contents to the nation in 1927.

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Lord Mansfield and his wife never had children of their own, but they did take in two young daughters of nephews: Lady Elizabeth Murray and Dido Belle, who was a mixed-race daughter of an enslaved West Indian woman. Dido Belle was the subject of a recent film, Belle.

Dido Belle and Elizabeth Murray

Dido Belle and Elizabeth Murray

Pictures of Kenwood House

Buckingham Palace

Buckingham Palace needs no introduction from me. I scheduled my trip this year so that I could visit, since it’s only open to visitors when the Queen is on holiday in Scotland (August and September). No photographs allowed, so I pinned these from other people’s Pinterest boards.

Here’s Squidgeworth ready to enjoy a coffee and scone with me after the tour.

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Pictures of Buckingham Palace

Osterley Park

Built by Sir Thomas Gresham, financial advisor of Elizabeth I, Osterley Park was later purchased by Robert Child, a wealthy banker, who left it (and his entire fortune) to his granddaughter, Sarah Fane, who married George Villiers and became Lady Jersey (yes, Sally Jersey, one of the patronesses at Almack’s during the Regency period) a year later. But the house has been little used, as the Jerseys preferred spending their time at other properties. Here you will see not only the Robert Adam touches, but also nearly all of the original furniture, including the room where Adam worked and some of his drawings.

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Pictures of Osterley Park

Devizes & the Bear Hotel

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The Bear Inn was once owned by the father of a young Thomas Lawrence, who used to charm the clientele by reciting poetry and drawing likenesses. He was quite good, and was eventually knighted for his portrait painting. See my blog post here.

Pictures of Devizes

Bath

Squidgeworth and I had a very enjoyable two days in Bath, staying at the Brooks Guesthouse, where I stayed three years ago on my Rick Steves tour. Here I visited No. 1 Royal Crescent, the Jane Austen Centre, the Victoria Art Gallery, the Holburne Museum, the Assembly Rooms and Fashion Museum (second visit), and Sally Lunn’s.

Here’s Squidgeworth saying goodbye to Bath.

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Pictures of Bath

Vauxhall Gardens: The Artwork, Part I

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Vauxhall Gardens: A History

David Coke & Alan Borg

The Vauxhall Pleasure Gardens is one of the places I’d love to slip back in time to visit, just to catch a glimpse of what it was like. After recently splurging to buy this lovely coffee-table book, I thought it might make a wonderful subject for a new blog series. But do buy the book too, if you can! The photos are fabulous!

A Statue for the Greatest Composer of English Music (1738)

The life-sized sculpture of George Frideric Handel by Louis François Roubiliac (1702-62) was

the most important of Tyers’s early series of artistic commissions for the gardens. This work epitomised the explosive moment of the English Rococo style, not for any inclusion of outwardly Rococo motifs, but for the new spirit of playfulness and informality that it embodied, and it came to personify Vauxhall Gardens.

handel statue

There is now near finished a Statue of the justly celebrated Mr. Handel, exquisitely done by the ingenious Mr. Raubillac, of St. Martin’s-Lane, Statuary, out of one entire Block of white Marble, which is to be placed in a grand Nich, erected on Purpose in the great Grove at Vaux-hall Gardens.

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Note the Handel statue in its “Grand Nich” (original placement) at right

The “Grand Nich” or “Grand Alcove” was demolished after a decade to make room for more supper-boxes, and the statue was left free-standing until 1762, when it was arranged under a Doric portico similar in size to the “Grand Nich.” In 1786, following the Vauxhall Jubilee celebrations, it was removed to the back of the Orchestra. Before it was removed from the gardens in 1818, it held court in the New Supper Room built in 1791, and then, in 1813, “to its own small circular domed temple behind the Orchestra.”

Victoria and Albert Museum

The Handel statue can be seen today at the Victoria and Albert Museum in London, along with a group of the original supper-box paintings and Roubiliac’s terracotta model for the portrait bust of Jonathan Tyers.

In spite of many years’ exposure to the elements, to vandalism, accidental damage, relocations and restorations, the surface of the sculpture still bears the sculptor’s marks and finished, evidence of his high degree of skill and craftsmanship, equally of his mastery and love of the material.

“A mass audience for contemporary art”

Francis Hayman by Sir Thomas Lawrence

Francis Hayman by Sir Thomas Lawrence, 1760’s

Artwork was an important element in Jonathan Tyers’ vision of capturing his visitors’ emotions and induce them “to enjoy themselves, to refresh their spirits and to spend their money.” In order to do this, Tyers formed an alliance with his friend William Hogarth’s nearby academy to produce the work he needed, which included buildings, paintings, sculptures, furnitures, tableware, glass, interiors, and lighting. This arrangement benefitted both parties, providing Tyers with the high-quality artisans he needed at a reasonable cost, and an opportunity for Hogarth’s students’ work to be displayed to the public in a way not seen before. The person chosen to manage the project was the theatrical scene-painter, Francis Hayman (1708-76).

Francis Hayman and studio, The Milkmaids' Garland, oil on canvas, c. 1740 (Victoria and Albert Museum, London)

Francis Hayman and studio, The Milkmaids’ Garland, oil on canvas, c. 1740 (Victoria and Albert Museum, London)

The Supper-Box Paintings

To add color and enhance the visitor’s mood, the back upper wall of each supper-box in the 1730’s and 40’s was decorated by an eight foot by five painting, designed by Francis Hayman and H.F. Gravelot and painted by the students at St. Martin’s Lane Academy. These paintings

represent people from all sectors of society, from villagers, peasant children and milkmaids to aristocratic and fashionable ladies and gentlemen. Painted on a large scale, some of the figures are nearly life-sized and close enough to the picture plane for the viewer to discern their expressions and interrelationships.

Francis Hayman and stuido, Country Dancers round the Maypole, oil on canvas, late 1730's (Victoria and Albert Museum, London)

Francis Hayman and stuido, Country Dancers round the Maypole, oil on canvas, late 1730’s (Victoria and Albert Museum, London)

The pictures depicted scenes of theatre, daily life and rustic amusements. A Toupee letter (see post here) of 28 June 1739 states that, when the paintings were revealed,

the eye is relieved by the agreeable surprise of some of the most favoured fancies of our poets in the most remarkable scenes of our comedies, some of the celebrated dancers, &c. in their most remarkable attitudes, several of the childish diversions, and other whims that are well enough liked by most people at a time they are disposed to smile, and every thing of a light kind, and tending to unbend the thoughts, has an effect desired before it is felt.

Francis Hayman and studio, The Play of See-saw, oil on canvas, 1740-43 (Tate, London)

Francis Hayman and studio, The Play of See-saw, oil on canvas, 1740-43 (Tate, London)

The Display of the Paintings

In the 1730’s the supper-boxes were open on all sides during daylight hours, to allow visitors to enjoy the views over the neighbouring countryside. However, as dusk fell, Tyers had created two extraordinary surprises for his guests. The first was the almost magical instantaneous illumination of the gardens with oil lamps. This wonder was swiftly followed by a second spectacular special effect, namely:

a master piece of machinery, by which all the English ladys and delicate gentlemen are in a moment screend from the damps of the night air. […] When the clock strikes nine, there is heard a third sound of the whistle, and immediately there rises, as out of the earth, a vast number of rollers, which unfolding themselves as they rise, cover all the boxes in three of their sides, and fasten themselves in the extremitys of each box. All these coverings are painted with elegant designs, in lively colours, so that each box is enclosed by three large pictures, and at the same time that they completely protect the company from the injurys of the air, present a numerous collection of grand and pleasing paintings.

By 1741, all the paintings were fixed in position on the back or side wall of the boxes… Tyers had introduced further improvements and the supper-boxes had been adapted to make them more weatherproof, more robust and more firmly divided from each other.

Francis Hayman and studio, Bird-catching, by a Decoy with a Whistle and Net, oil on canvas, c. 1740 (Victoria and Albert Museum, London)

Francis Hayman and studio, Bird-catching, by a Decoy with a Whistle and Net, oil on canvas, c. 1740 (Victoria and Albert Museum, London)

In spite of all the damage inflicted on these paintings by their exposure to the weather, the proximity of food, wine, candles, and oil lamps—not to mention the early days of being rolled up and down on a nightly basis—many of these paintings remained at Vauxhall for a hundred years.

 

Susana’s Vauxhall Blog Post Series

  1. Vauxhall Gardens: A History
  2. Vauxhall Gardens: Jonathan Tyers—“The Master Builder of Delight” 
  3. Vauxhall Gardens: A New Direction
  4. Vauxhall Gardens: The Orchestra and the Supper-Boxes 
  5. Vauxhall Gardens: The Organ, the Turkish Tent, and the Rotunda
  6. Vauxhall Gardens: Three Piazzas of Supper-Boxes
  7. Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”
  8. Vauxhall Gardens: The Competition
  9. Vauxhall Gardens: The Artwork, Part I
  10. Vauxhall Gardens: The Artwork, Part II
  11. Vauxhall Gardens: The Music, 1732-1859
  12. Vauxhall Gardens: The Business Side
  13. Vauxhall Gardens: Developments from 1751-1786
  14. Vauxhall Gardens: Thomas Rowlandson’s Painting (1785)
  15. ‎Vauxhall Gardens: The Third Generation of the Tyers Family and the Jubilee of 1786
  16. Vauxhall Gardens: An Era of Change (1786-1822), Part I
  17. Vauxhall Gardens: An Era of Change (1786-1822), Part II
  18. Vauxhall Gardens: An Era of Change (1786-1822), Part III
  19. Vauxhall Gardens: The Final Years, Part I
  20. Vauxhall Gardens: The Final Years, Part II
  21. Vauxhall Gardens: The Final Years, Part III
  22. Vauxhall Gardens: The Final Years, Part IV
  23. Vauxhall Gardens: Farewell, for ever

Vauxhall Gardens: The Competition

vauxhallbook

Vauxhall Gardens: A History

David Coke & Alan Borg

The Vauxhall Pleasure Gardens is one of the places I’d love to slip back in time to visit, just to catch a glimpse of what it was like. After recently splurging to buy this lovely coffee-table book, I thought it might make a wonderful subject for a new blog series. But do buy the book too, if you can! The photos are fabulous!

“Imitation is the sincerest form of flattery.”

The success of Vauxhall naturally spawned imitators, but Vauxhall “outstripped all of them, not only in visitor numbers and longevity, but in the national and international renown achieved by the gardens, its use by writers as a setting in plays and novels, and the fact that its name became synonymous with the pleasure garden throughout Britain and all over the world.”

Ranelagh and Marylebone, however, did give Vauxhall’s founder a run for his money. S. Toupée, a correspondent from Scots Magazine (see last week’s post), writes:

It may not be amiss to tell you, the spirit of imitation increases amongst us every day. Vaux-hall has produced tickets and accommodations of the same nature, at Marybone, on this side of the Thames, and at Caper’s gardens, on t’other.”

Marylebone Gardens

John Donowell, A View of the Orchestra with the Band of Music, the Grand Walk &c. in Marybone Gardens, watercolor, 1755.

John Donowell, A View of the Orchestra with the Band of Music, the Grand Walk &c. in Marybone Gardens, watercolor, 1755.

Prior to its purchase by Daniel Gough, landlord of the neighboring Rose Tavern in 1737, Marylebone Gardens was “little more than a bowling green and gaming house.” In his attempt to imitate Vauxhall, “Gough built an outdoor Orchestra there… and installed an organ by Richard Bridge. In the winter of 1739-40 he added a Great Room for balls and suppers, facing the Orchestra.”

High quality music was the main attraction at Marylebone, and fireworks were added here decades before Vauxhall.

However, Marylebone did not even try to compete with Vauxhall in the visual arts, or in the order maintained in the gardens, and this proved to be its downfall; it was less selective of its visitors, and less proscriptive in the activities enjoyed by them, allowing the garden to become a haven for card-sharps and gamblers… Marylebone Gardens eventually closed, unmourned and leaving little trace, in 1778.

Ranelagh Gardens

T. Bowles after J. Maurer. Raleigh House and Gardens with the Rotunda, engraving, 1745.

T. Bowles after J. Maurer. Ranelagh House and Gardens with the Rotunda, engraving, 1745.

Opened in April 1742 by a syndicate of businessmen who saw the problems Vauxhall was having with inclement weather, Ranelagh featured a huge rotunda, inspired by the Pantheon in Rome.

Giovanni Antonio Canal, il Canaletto. The Interior of the Rotunda at Ranelagh, oil on canvas, c.1751.

Giovanni Antonio Canal, il Canaletto. The Interior of the Rotunda at Ranelagh, oil on canvas, c.1751.

Large numbers of people could saunter, take refreshments and listen to music without any of the natural inconveniences of an English summer. The building itself, especially the great domed space inside, became an architectural wonder in its own right, attracting crowds just to see, even during construction. With its grand central orchestra stand rising to the roof, its two levels of supper-boxes around the walls, its elaborate plaster decorations and chandeliers, this mostly timber Rotunda, 185 feet in diameter, was a remarkable space… During its first year at least, the Rotunda was the subject of much talk among fashionable society; Catherine Talbot wrote to Elizabeth Carter just two months after it had opened, saying that London’s neighborhood

is enriched since you was here, with a building which I am told exceeds in taste and magnificence every one in Europe: to untravelled eyes like mine ’tis to be sure an amazing fine thing, and quite worth your coming to see it next year, by which time they may possibly have found all that it wants to make it complete; some use for it answerable to the fineness and stateliness of the structure, for to be sure it is quite vexatious at present to see all the pomp and splendour of a Roman amphitheatre, devoted to no better use than a twelvepenny entertainment of cold ham and chicken.

Ranelagh did give Vauxhall a run for its money, however, even “beating Vauxhall at its own game” for a time. However,

once it lost its novelty it also lost much of its appeal. It was always the least disreputable of the pleasure gardens, being free of strong liquor and of gambling. This attracted the older generation and the more conservative sector of the public, as did the half-crown admission cost (to include tea and coffee), which excluded a large section of the London population. It was this very respectability, and the limited opportunities for change, that eventually drove away the fashionable set of the next generation and led to Ranelagh’s final downfall.

Like Marylebone, and indeed like Vauxhall itself, Ranelagh started to run into real difficulties around 1780, when, because of riots in London and perceived threats of invasion from across the Channel, the public enjoyment of frivolous pleasures had become socially less acceptable. Its proprietors battled on for another twenty years, but finally gave up 1803, unable to adapt to the demands of a new and more demanding public.

Vauxhall Reigns Supreme

…the al fresco character of Vauxhall, and its intimations of physical and moral danger, were essential features of its popular appeal. The Rotunda undeniably kept Ranelagh’s visitors’ feet dry, and eliminated any element of risk, but once everybody had seen and been seen by everybody else, the circular promenade became profoundly dull and repetitive. The walks at Vauxhall, although all straight and at right angles to one another, were at least all different, and allowed visitors to choose which way they walked, and to escape the bright lights, while still hearing the music.

None of Vauxhall’s rivals encompassed such a strong moral ideology as Vauxhall, and few invested anything like the same amounts as Tyers in the design or in the artworks that decorated and themed their gardens. It is certainly due in part to these factors that Vauxhall succeeded above its competitors.

Susana’s Vauxhall Blog Post Series

  1. Vauxhall Gardens: A History
  2. Vauxhall Gardens: Jonathan Tyers—“The Master Builder of Delight” 
  3. Vauxhall Gardens: A New Direction
  4. Vauxhall Gardens: The Orchestra and the Supper-Boxes 
  5. Vauxhall Gardens: The Organ, the Turkish Tent, and the Rotunda
  6. Vauxhall Gardens: Three Piazzas of Supper-Boxes
  7. Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”
  8. Vauxhall Gardens: The Competition
  9. Vauxhall Gardens: The Artwork, Part I
  10. Vauxhall Gardens: The Artwork, Part II
  11. Vauxhall Gardens: The Music, 1732-1859
  12. Vauxhall Gardens: The Business Side
  13. Vauxhall Gardens: Developments from 1751-1786
  14. Vauxhall Gardens: Thomas Rowlandson’s Painting (1785)
  15. ‎Vauxhall Gardens: The Third Generation of the Tyers Family and the Jubilee of 1786
  16. Vauxhall Gardens: An Era of Change (1786-1822), Part I
  17. Vauxhall Gardens: An Era of Change (1786-1822), Part II
  18. Vauxhall Gardens: An Era of Change (1786-1822), Part III
  19. Vauxhall Gardens: The Final Years, Part I
  20. Vauxhall Gardens: The Final Years, Part II
  21. Vauxhall Gardens: The Final Years, Part III
  22. Vauxhall Gardens: The Final Years, Part IV
  23. Vauxhall Gardens: Farewell, for ever

Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”

vauxhallbook

Vauxhall Gardens: A History

David Coke & Alan Borg

The Vauxhall Pleasure Gardens is one of the places I’d love to slip back in time to visit, just to catch a glimpse of what it was like. After recently splurging to buy this lovely coffee-table book, I thought it might make a wonderful subject for a new blog series. But do buy the book too, if you can! The photos are fabulous!

The Toupee Letters

Scots Magazine ran a series of articles in 1739-40 purporting to be “from a London correspondent, a certain ‘S. Toupee’, portraying the social scene in London, and at Vauxhall in particular, to the Scottish readership.”

The letters begin by explaining that because ordinary people of the London beau monde in search of simple pleasures were no longer satisfied with the traditional pastime of enjoying the beauties of nature, for their own sake, more fashionable amusements had been brought in from overseas, in particular the ridotto al fresco. Just how popular the gardens had become is illustrated by the fact that, despite the ingrained British dread of damp evenings, and the gentry’s habit of moving to the country in the summer, the average nightly number of paying visitors… was around a thousand. From this, it is possible to calculate that, as the Vauxhall season lasted for about one hundred evenings between May and September, the annual admissions income would amount to £5000 to £6000, a healthy figure that must have been substantially more than the normal revenue expenditure to run such a venture.

The type of entertainment provided was considered to be very new; it was well received, especially by fashionable ladies whose social life hitherto had been restricted to calling on acquaintances or going to the occasional ball, all within a very small circle of friends and relatives. Pleasure gardens opened up a whole new world to these people—a polite and exciting world where they could go with their family or friends, where they were free to entertain and mix socially with an infinitely broader circle than had been possible previously.

J. Maurer, A Perspective View of Vaux Hall Garden, etching, hand-coloured, 1744 (David Coke's collection). The view looking down the Grand South Walk before the classical triumphal arches were installed, with Roubiliac's Grand Alcove on the right.

J. Maurer, A Perspective View of Vaux Hall Garden, etching, hand-coloured, 1744 (David Coke’s collection). The view looking down the Grand South Walk before the classical triumphal arches were installed, with Roubiliac’s Grand Alcove on the right.

A Typical Visit to Vauxhall (from 7-10 p.m.)

The journey usually began with a boat ride from Whitehall or Westminster. On one occasion, Toupee writes about accompanying “a family group including Tom, a young musician who played the latest opera melodies on his French horn, while Miss Kitty was asked by her mother to sing one of the latest Italian songs.”

Others on their way to the gardens in neighbouring boats included ‘Sir John, from Fenchurch-street’, with his wife and all his children, attended by a footman. A Cheapside apprentence called William was on an illicit outing with Sukey, his master’s daughter… ‘An honest old mechanick’ and his wife followed; he was returning to Vauxhall after many years’ absence, to see how it had changed, reassuring his wife that the gardens must be a respectable place for her to be going, because the Prince of Wales himself was a regular visitor. This piece is clear evidence for the type of social mix that Tyers wanted to see at Vauxhall, although it is equally clear that, just because people inhabited the same space and came into direct contact, they did not necessarily interact in any meaningful way.

Pet dogs were not allowed in the gardens, but that did not stop people bringing them along for the ride, maybe to occupy the liveried footman who would not be admitted by Tyers’s gatekeeper, but could walk the dog in the fields of Lambeth. Having entered the tardens, Toupee’s party saw all the sights, listened to the music and strolled around the walks, watching and being watched by the other visitors.

The third letter, concerning the hour before closure at 10 p.m., starts with a detailed description of the dinner, accompanied by music from the Orchestra. The dramatic finale to the letter is the boat trip home, recounting the dangers of the riverside and the traditional ‘Thames ribaldry’, long-winded insults from the occupants of nearby boats that were suffered by voyagers as far apart in time as Addison’s Sir Roger in 1711 and Oakman’s John Gilpin in 1785.

“Sexual freedom was intrinsic to the gardens”

The overriding topic that runs flagrantly throughout the three letters is the meeting of the sexes, and the self-evident truth that human nature takes full advantage of any liberty offered to it. If Toupee is to be believed, Tyers was promoting his gardens as a place for lovers to meet, for initiating and nurturing romantic attachments, for sexual intrigue and adventures, and for illicit affairs; or, if he was not promoting these activities as such, he created an environment that made them possible and, indeed, inevitable. The river-crossing, the music, the paintings, the food, the walks and even the weather were all seen by Toupee as legitimate means to this one specific end.

The focus for most of the licentious activity in the gardens was not the Grove or the surrounding supper-boxes, which were too public, but the Druid’s Walk or Lover’s Walk, an unlit avenue running between and parallel with the Grand South Walk and Kennington Lane. It was distinguished from the other avenues by the fact that the trees met overhead, plunging it into shadow even before dusk. This concealing shade was unrelieved by artificial light until 1764, when magistrates forced Tyers to act against the immoral behaviour that the darkness encouraged, and to install lighting there.

At its eastern end, the Druid’s Walk met the avenue that ran around the eastern and northern edges of the gardens, always known as the Dark Walks; the darkness heightened the receptivity of impressionable young minds to emotional seduction, and no female reputation was safe…

Tyers employed constables to patrol the end of each walk in an attempt to keep such incidences to a minimum, but even they were not able to watch everybody all the time.

“The… cold and miserable spring of 1740”

I was blown through and through, in such a manner, as to drink four full glasses of French wine, before I knew I was alive. And, in that cold condition, as returning by water would have endanger’d my life, I was forced to be shook in a most unmerciful hack, till one half of my joins were distorted, and the other bruised to a jelly.

Indeed, all of the Toupee letters highlight the fact that the pleasures of the evening were never without their discomforts; and that a full enjoyment of the experience was predicated upon a full participation in the inconveniences, dangers and risks, whether perceived or real.

“The outstanding fashionable attraction of the London summer season”

In a sample letter from a young lady in town to her aunt in the country, published in 1741, the novelist Samuel Richardson confirmed that regular visits to the gardens had become an obligatory feature of the fashionable lifestyle, having his subject comment… that ‘I went on Monday last to Vaux-hall Gardens, whither every body must go, or appear a sort of Monster in polite Company.’

Susana’s Vauxhall Blog Post Series

  1. Vauxhall Gardens: A History
  2. Vauxhall Gardens: Jonathan Tyers—“The Master Builder of Delight” 
  3. Vauxhall Gardens: A New Direction
  4. Vauxhall Gardens: The Orchestra and the Supper-Boxes 
  5. Vauxhall Gardens: The Organ, the Turkish Tent, and the Rotunda
  6. Vauxhall Gardens: Three Piazzas of Supper-Boxes
  7. Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”
  8. Vauxhall Gardens: The Competition
  9. Vauxhall Gardens: The Artwork, Part I
  10. Vauxhall Gardens: The Artwork, Part II
  11. Vauxhall Gardens: The Music, 1732-1859
  12. Vauxhall Gardens: The Business Side
  13. Vauxhall Gardens: Developments from 1751-1786
  14. Vauxhall Gardens: Thomas Rowlandson’s Painting (1785)
  15. ‎Vauxhall Gardens: The Third Generation of the Tyers Family and the Jubilee of 1786
  16. Vauxhall Gardens: An Era of Change (1786-1822), Part I
  17. Vauxhall Gardens: An Era of Change (1786-1822), Part II
  18. Vauxhall Gardens: An Era of Change (1786-1822), Part III
  19. Vauxhall Gardens: The Final Years, Part I
  20. Vauxhall Gardens: The Final Years, Part II
  21. Vauxhall Gardens: The Final Years, Part III
  22. Vauxhall Gardens: The Final Years, Part IV
  23. Vauxhall Gardens: Farewell, for ever

Vauxhall Gardens: Three Piazzas of Supper-Boxes

vauxhallbook

Vauxhall Gardens: A History

David Coke & Alan Borg

The Vauxhall Pleasure Gardens is one of the places I’d love to slip back in time to visit, just to catch a glimpse of what it was like. After recently splurging to buy this lovely coffee-table book, I thought it might make a wonderful subject for a new blog series. But do buy the book too, if you can! The photos are fabulous!

A Splash of the Exotic

The… striking similarity between the Grove and travellers’ descriptions of the great piazza of San Marco in Venice, where citizens were able to arrive by water, take refreshments, listen to music and watch street entertainers, would have highlighted Vauxhall’s exotic pedigree, evoking images of faraway places. This fusion of the familiar with the foreign, a constant feature of the gardens, is likely to have been a deliberate move to give visitors the thrill of romantic and magical scenes without the discomfort of distant travel.

In contrast to the aristocratic or amateur owners of great private gardens, whose wealth allowed them to indulge themselves with indiscriminate allusions to the classical past, ancient mythologies and dreamworlds, Tyers’s overriding consideration in all his investments at Vauxhall was the commercial imperative. Providing that it also furthered his aims, every improvement had to attract more people and increase his profits if it was to justify itself. The sales of food and drink represented the bulk of his income, so the more people he could persuade to purchase refreshments in the gardens, the better it was for his business. Increasing the number of supper-boxes by inserting several sweeping ‘piazzas’, or crescents of supper-boxes, was a very effective and elegant way of achieving this.

The Temple of Comus (later the Chinese Pavilions)

The Temple of Comus was named… after the god of cheer and good food… Ben Jonson described Comus as the ‘Prime master of arts, and the giver of wit;’ he is also associated with music and with floral decorations. The god thus encompassed all the purposes of the new building, which, although primarily devoted to dining, allowed for the appreciation of the arts and music as well as polite conversation in civilised surroundings.

J.S. Muller after Canaletto, A View of the Temple of Comus &c. in Vauxhall Gardens, an engraving hand-colored, 1751 (David Coke's collection). Families with small children are promenading in the foreground.

J.S. Muller after Canaletto, A View of the Temple of Comus &c. in Vauxhall Gardens, an engraving hand-colored, 1751 (David Coke’s collection). Families with small children are promenading in the foreground.

Initially, the building was “classical in style, with a colonnade of Ionic columns supporting a straight entablature, topped with urn finials; the semicircle flowed in a smooth curve out of the straight colonnade of the northern range of supper-boxes.” However, the designer also incorporated Gothic arches and “broad-ramped scrolls [that] acted as buttresses for the dome” and other unorthodox details. “The apparent breaking of architectural rules, mingling different styles in the same building, was deliberate and entirely typical of the unorthodox design of the English Rococo, which aimed to create playful, light-hearted works.”

piazza002 copy

T. Bowles after S. Wale. A View of the Chinese Pavillions and Boxes in Vaux Hall Gardens, engraving. c. 1840 (David Coke’s collection). This is a reprint of Bowles’ plate of 1751, published by Francis West, a Fleet Street optician and printseller who acquired many original plates of London views, probably after the sale of trade stock by Robert Wilkinson, Bowles’ successor, in 1825. The buildings of the Temple of Comus are shown with their newly applied elaborate surface decoration.

The Handel Piazza

piazza003 copy

J.S. Muller after S. Wale, The Triumphal Arches, Mr. Handel’s Statue &c. in the South Walk of Vauxhall Gardens, engraving, c. 1840 (David Coke’s collection). The early version of the Handel Piazza.

The Handel Piazza on the Grand South Walk started life as a small semicircular colonnade of plain boxes, little more than an open setting for Roubiliac’s statue of the composer… The piazza was built in the simplest Doric order, although the domes of the two terminal pavilions were topped with Gothic lanterns. The rebuilding of 1750-51 created a much broader colonnade, with twenty-two flat-roofed boxes, still of the Doric order, but with urn finials on the roof over each column. As in the Temple of Comus, the central pavilion was more elaborate, marked out by the use of the Ionic order, with swagged decorations between the columns, but here in the Handel Piazza the classical order and restraint were maintained… This new structure added considerably to the number of supper-boxes available on the Grand South Walk… The opposing arrangement and contrasting decorative styles of the Chinese Pavilions and the Handel Piazza epitomise Tyers’s ideological belief in the balance between excess and moderation, with Comus appropriately representing pleasure and excess, and Handel, in his simpler classical architectural setting, representing virtuous sobriety.

piazza004 copy

J.S. Muller after Canaletto, A View of the Grand South Walk in Vaux Hall Gardens, with the Triumphal Arches, Mr. Handel’s Statue, &c. Engraving, 1751 (British Library, London). On the right is the second version of the Handel Piazza, with more supper-boxes.

The Gothic Piazza

The Gothic Piazza, looking down the Grand South Walk from its western end, is not shown from the front in any engraving of Vauxhall, although Wale’s General Prospect shows it from the back just to the south (right) of the Prince’s Pavilion). It is, however, fully described in Lockman’s Sketch, as

a little Semi-circle of Pavillions, in an elegant Gothic Style […}. At each Foot of this Semi-Circle, stands a lofty Gothic Tent, each having a fine Glass Chandelier, the Lamps in which are of a very peculiar frame, as are those in the grand Tent, built in the Grove, &c. In the Center of this Semi-Circle is a Pavilion, with a Portico before it; and over the Pavillion, a kind of Gothic Tower, with a Turret at Top. Here a Glass Moon was to have been seen; but its Light was found too dazzling for the Eye. Those who survey’d the Alley, the Grove, &c. thro’ this Glass, saw a lovely Representation of them in Miniature. As the painted triumphal Arches before mentioned are in the Grecian Style, and these Pavillions in the Gothic, they form a very pleasing Contrast.

…The implication is that visitors could climb to the top of the central pavilion of this piazza, to look down on the gardens through an optical device or lens during daylight, and after that, after dark, a light was shone through it towards visitors in the Grove, possibly spotlighting courting couples. [Scandal!]

“A remarkable body of original and innovatory architecture”

The group of structures in and around the Grove at the end of the 1740’s, comprising the Orchestra and organ buildings, the supper-boxes and three piazzas, the Prince’s Pavilion, the Turkish Tent and the Rotunda, represent a remarkably body of original and innovatory architecture that was both decorative and practical, achieved by Tyers and his team in the space of just thirteen years. Few other patrons could boast of such a diverse collection of modern works of architecture. The sheer expense incurred in this building spree is evidence of the level of Tyers’s income; as Hogarth’s friend the enameller Jean-André Rouquet wrote at the time, ‘The director of the entertainments of this garden acquires and expends very considerable sums of money there every year. He was born for undertakings of this kind. He is a man of an elegant and bold taste; afraid of no expence, when the point is to divert the public’—or rather, to attract the paying public to Vauxhall.

The fact that this elegant and bold taste was devoted to a pleasure garden, and that the buildings no longer exist, should not detract from their importance in the context of the development of British architecture, and in particular, of British interior design in the eighteenth century. They would have been some of the best-known modern buildings in the country, seen by tens of thousands of visitors every year.

Supper-Box Furniture

furniture001 copy

In the 1730’s and 1740’s, furniture at Vauxhall… was plain and serviceable, the tables usually covered with baize on linen. Rectangular square-legged farmhouse tables and foxed plain benches served the supper-boxes, with free-standing backless benches and plain tables out in the Grove. The Grove also boasted a number of slatted wooden garden seats, their circular inward-facing form, accessed through a single opening, providing the ideal setting for polite conversation for an intimate rendezvous.

furniture002

By the early 1750’s, however, contemporary engravings show a number of more elaborate and expensive tables and benches in the supper-boxes. The carved Rococo table-legs, showing below the tablecloths, appear to be ornamented with double-C scrolls.

After this brief period, however, the furniture again reverted to a simple farmhouse style. Indeed, it would be unsurprising if the carved Rococo tables of the 1750’s were found to be too delicate for the abuse they would have received at Vauxhall from the visitors and weather.

Susana’s Vauxhall Blog Post Series

  1. Vauxhall Gardens: A History
  2. Vauxhall Gardens: Jonathan Tyers—“The Master Builder of Delight” 
  3. Vauxhall Gardens: A New Direction
  4. Vauxhall Gardens: The Orchestra and the Supper-Boxes 
  5. Vauxhall Gardens: The Organ, the Turkish Tent, and the Rotunda
  6. Vauxhall Gardens: Three Piazzas of Supper-Boxes
  7. Vauxhall Gardens: “whither every body must go or appear a sort of Monster in polite Company”
  8. Vauxhall Gardens: The Competition
  9. Vauxhall Gardens: The Artwork, Part I
  10. Vauxhall Gardens: The Artwork, Part II
  11. Vauxhall Gardens: The Music, 1732-1859
  12. Vauxhall Gardens: The Business Side
  13. Vauxhall Gardens: Developments from 1751-1786
  14. Vauxhall Gardens: Thomas Rowlandson’s Painting (1785)
  15. ‎Vauxhall Gardens: The Third Generation of the Tyers Family and the Jubilee of 1786
  16. Vauxhall Gardens: An Era of Change (1786-1822), Part I
  17. Vauxhall Gardens: An Era of Change (1786-1822), Part II
  18. Vauxhall Gardens: An Era of Change (1786-1822), Part III
  19. Vauxhall Gardens: The Final Years, Part I
  20. Vauxhall Gardens: The Final Years, Part II
  21. Vauxhall Gardens: The Final Years, Part III
  22. Vauxhall Gardens: The Final Years, Part IV
  23. Vauxhall Gardens: Farewell, for ever