The chief feature of the Grove was its open-air orchestra, at first no more than a modest structure bearing the unambitious title of the 'rustic music-house.' But about 1758, this made way for a much more ornate building 'in the Gothic manner,' having, like its predecessor, pavilions beneath for the accommodation of supper-parties. Above, it contained a magnificent organ, in front of which, encircling an open space for the singers, were ranged the seats and desks of the musicians. This second orchestra, which was lavishly ornamented with niches and carvings, was surmounted by the ostrich plumes of the Prince of Wales. The decorations were modelled in a composition said to be known only to the 'ingenious architect,' a carpenter named Maidman, and the whole was painted 'white and bloom colour.' Immediately behind the orchestra was a building described as 'a Turkish tent,' with a carved blue and gold dome supported on eight internal Ionic, and twelve external Doric columns. This was profusely embellished, both within and without, by rich festoons of flowers. A good idea of the orchestra in its renovated form may be gathered from a little plate by Wale, in which the supper-tables are shown laid out in front. These for a long time were covered with red baize, an arrangement that added greatly to the general effect, which was further enhanced by arches of coloured lamps and other contrivances. There is a tinted design by Rowlandson--one indeed of his most popular efforts--depicting a motley group in front of the orchestra during the performance of Mrs. Weichsell, and numbering among the crowd of listeners the Prince of Wales, 'Perdita,' the Duchess of Devonshire, Lady Duncannon, and other distinguished personages. In a supper-box at the side are Johnson, Boswell, Goldsmith, and Mrs. Thrale. The musical performances in the orchestra generally began at six. At first they were wholly instrumental, and confined to 'sonatas and concertos.' In time, however, songs were added to the programme; and later still these were diversified by catches and glees, which generally came in the middle and at the end of the sixteen pieces to which the entertainment was restricted. Before the introduction of glees and catches, it was the practice to wind up with a duet or trio, accompanied by a chorus. In the old Vauxhall song-books may be studied the species of lyric which was trilled or quavered nightly from the Gothic aviary in the Grove. There is not much variety in these hymns to 'Jem of Aberdovey' or 'Kate of Aberdare, and the prevailing tone is abjectly sentimental. A favourite form was the 'Rondeau,' a much more rudimentary production than the little French plaything now known by that name, and characterized chiefly by its immoderate use of the refrain.= ````'Tarry awhile with me, my Love, ````O tarry awhile with me.'=