If, turning your back upon the picture of ruins and running water, you followed the Cross Walk behind the pavilions which formed the north side of the Grove, you came upon the South Walk, which ran parallel to the Grand Walk. The speciality of this promenade was its 'three splendid triumphal arches.' The vista through these arches was, at first, closed by a pictorial representation of the Ruins of Palmyra. But the simulated ruins themselves grew ruinous, and finally made way for 'a noble view of architecture designed by Sand by [no doubt the brother of Hogarth's opponent], and painted by Mortimer.' At night the same painter's work was exhibited in the form of an illuminated transparency. Where the South Walk ran parallel to the right side of the Grove was a further range of pavilions, part of which formed a semicircle shaded in front by lofty trees. In the centre of this semicircle stood, for some time, the cynosure of Vauxhall, L. F. Roubiliac's statue of Handel, rather less than life-size, in the character of Orpheus playing on his lyre. It was, however, frequently moved; and its different positions are a source of considerable mystification to the student of the old prints of the place. In 1774, according to Smith's 'Nollekens,' it had its habitat 'under an inclosed lofty arch, surmounted by a figure [of Saint Cecilia] playing the violoncello, attended by two boys; and it was then screened from the weather by a curtain, which was drawn up when the visitors arrived.' In Canaletto's view of six years later it is disporting itself in the open, as above described; but after the new Gothic orchestra was erected, it seems to have returned to its original retreat, and later still had found an asylum in a new supper-room which was added to the Rotunda. Rartolozzi is credited with a fine engraving of this statue, which was reputed to be the first original work Roubiliac carved in England. It did not always remain at Vauxhall, and ultimately passed into the keeping of the descendants of the proprietor of the garden, where, at present, we need no further follow its fortunes. * * For some supplementary particulars respecting this statue, see 'Eighteenth Century Vignettes,' 2nd series, 1894, pp. 53-4. As already stated, each of the four sides of the quadrangle which enclosed the Grove was occupied by pavilions, alcoves, or booths fitted up for the accommodation of supper-parties. These were of varying importance, since we are expressly informed, in 'The Citizen of the World,' that some were more 'genteel' than others, and that those in that 'very focus of public view' affected by Goldsmith's Beau and his lady, were appropriated more or less by persons of position. The one that fronted the Orchestra was larger than the rest, having been specially built for Frederick, Prince of Wales. It was decorated by Hayman with paintings from 'The Tempest,' 'King Lear,' 'Macbeth,' and 'Henry the Fifth,' and had behind it a handsome drawing-room.