DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1213#0324
234 TALLIS'S ILLUSTRATED LONDON ;
Vauxhall was known for centuries antecedent to the time
of Guy, and that it derives its name from a loyal knight,
aad not a traitorous knave. More authentic evidence
represents the gardens to have been planted in the reign
of Charles I., for we learn from Aubrey that they were
well known in 1667, when Sir Samuel Moreland, the pro-
prietor, added a public room to them; "the inside of
which," says the historian, " is all looking-glass and foun-
tains, very pleasant to behold, and which is much visited
by strangers." Addison, and contemporary essayists,
notice Vauxhall, or Spring Gardens, as a place of fashion-
able resort. In No. 383 of the Spectator, Addison gives
a delightful narrative of his visiting Spring Gardens with
Sir Koger de Coverley, performing the voyage with the
worthy knight in a boat from Temple stairs to Vauxhall.
The entertainments were chiefly confined to music, until
rather more than a century back the premises were taken
by Jonathan Tyers, who altered the house considerably,
planted additional trees, formed shady walks, and enriched
the gardens with the paintings of Hogarth and Hayman,
and the statuary of Roubiliac.
The coup a"ceil, on entering this agreeable resort at night,
is certainly very effective. Emerging from passages pur-
posely darkened, a blaze of illuminations almost dazzle the
sight as we enter the gardens. A covered quadrangle,
forming an agreeable promenade, is lighted with many
thousand variegated lamps, formed into devices, initials,
and other glittering objects. Attached to this quadrangle
are numerous pavilions or recesses, adorned with paintings,
in which supper is provided for the guests. Opposite to
the west door is a magnificent gothic orchestra, radiant
with light, where we have heard Mrs. Bland, Miss Ste-
phens, Miss Love, Braham, Sinclair, and all the great
native vocalists of the last generation, and where the mu-
sical entertainments are still of a very meritorious cha-
racter. To the left of the orchestra is an extensive
rotunda, handsomely fitted up with stage boxes, fee, in
which the chief amusements are equestrian feats, varied
Vauxhall was known for centuries antecedent to the time
of Guy, and that it derives its name from a loyal knight,
aad not a traitorous knave. More authentic evidence
represents the gardens to have been planted in the reign
of Charles I., for we learn from Aubrey that they were
well known in 1667, when Sir Samuel Moreland, the pro-
prietor, added a public room to them; "the inside of
which," says the historian, " is all looking-glass and foun-
tains, very pleasant to behold, and which is much visited
by strangers." Addison, and contemporary essayists,
notice Vauxhall, or Spring Gardens, as a place of fashion-
able resort. In No. 383 of the Spectator, Addison gives
a delightful narrative of his visiting Spring Gardens with
Sir Koger de Coverley, performing the voyage with the
worthy knight in a boat from Temple stairs to Vauxhall.
The entertainments were chiefly confined to music, until
rather more than a century back the premises were taken
by Jonathan Tyers, who altered the house considerably,
planted additional trees, formed shady walks, and enriched
the gardens with the paintings of Hogarth and Hayman,
and the statuary of Roubiliac.
The coup a"ceil, on entering this agreeable resort at night,
is certainly very effective. Emerging from passages pur-
posely darkened, a blaze of illuminations almost dazzle the
sight as we enter the gardens. A covered quadrangle,
forming an agreeable promenade, is lighted with many
thousand variegated lamps, formed into devices, initials,
and other glittering objects. Attached to this quadrangle
are numerous pavilions or recesses, adorned with paintings,
in which supper is provided for the guests. Opposite to
the west door is a magnificent gothic orchestra, radiant
with light, where we have heard Mrs. Bland, Miss Ste-
phens, Miss Love, Braham, Sinclair, and all the great
native vocalists of the last generation, and where the mu-
sical entertainments are still of a very meritorious cha-
racter. To the left of the orchestra is an extensive
rotunda, handsomely fitted up with stage boxes, fee, in
which the chief amusements are equestrian feats, varied