The London pleasure gardens of the eighteenth centuryWroth, Warwick William
History
The London pleasure gardens of the eighteenth century
Wroth, Warwick William
London (England) -- History -- 18th century; Parks -- England -- London -- History
The account of _England’s Gazetteer_ of 1751 is naturally more prosaic,
but takes the exalted tone that characterises the old descriptions of
the gardens:--“This (Foxhall) is the place where are those called
Spring Gardens, laid out in so grand a taste that they are frequented
in the three summer months by most of the nobility and gentry then
in and near London; and are often honoured with some of the royal
family, who are here entertained, with the sweet song of numbers of
nightingales, in concert with the best band of musick in England.
Here are fine pavilions, shady groves, and most delightful walks,
illuminated by above one thousand lamps, so disposed that they all take
fire together, almost as quick as lightning, and dart such a sudden
blaze as is perfectly surprising. Here are among others, two curious
statues of Apollo the god, and Mr. Handel the master of musick; and
in the centre of the area, where the walks terminate, is erected the
temple for the musicians, which is encompassed all round with handsome
seats, decorated with pleasant paintings, on subjects most happily
adapted to the season, place and company.”
The usual approach to the gardens until about 1750, when it became
possible to go by coach, was by water. At Westminster and Whitehall
Stairs barges and boats were always in waiting during the evening.
Sir John, from Fenchurch Street, with his lady and large family, came
on board attended by a footman bearing provisions for the voyage. The
girls chatter about the last city-ball, and Miss Kitty, by her mamma’s
command, sings the new song her master has taught her. Presently, “my
lady grows sick” and has recourse to the citron wine and the drops. At
the Temple Stairs a number of young fellows, Templars and others, hurry
into the boats, and Mr. William, the prentice, takes the water with
Miss Suckey, his master’s daughter. The deepness of their design is an
inexhaustible fount of merriment, for _she_ is supposed to be gone
next door to drink tea, and _he_ to meet an uncle coming from the
country.[326]
[Illustration: VAUXHALL TICKET BY HOGARTH (“SUMMER”).]
Public-domain text, read in full here on John Shaqi.
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