In 1745 Mr. Thomas Gray had written to a friend[215] that he had no intention of following the stream to Ranelagh, and he touched a weak spot in the delights of the London Pleasure Gardens--the uncertainty of the London weather. “I have never been at Ranelagh Gardens since they were opened.... They do not succeed: people see it once, or twice, and so they go to Vauxhall. Well, but is it not a very great design, very new, finely lighted? Well, yes, aye, very fine truly, so they yawn and go to Vauxhall, and then it’s too hot, and then it’s too cold, and here’s a wind and there’s a damp.” But in August 1746 we find Gray declaring[216] that his evenings lately have been chiefly spent at Ranelagh and Vauxhall. Other literary people, at least as interesting, as Walpole’s Dukes and Princes, frequented Ranelagh. The learned Mrs. Carter was there in 1748, and found the gardens very pleasant on a June evening, though she did not relish such “tumultary torchlight entertainments.” Goldsmith and Reynolds used to go there together about 1771, and Dr. Johnson “often went to Ranelagh,” which he deemed, as the Rev. Dr. Maxwell apologetically observes, “a place of innocent recreation.” § 2. _The Rotunda_ The guide-books abound with architectural details of the Ranelagh Rotunda.[217] A sufficient idea of its general appearance may be gained by glancing at some of the contemporary prints and by noticing a few salient features. Writers of the time compare it to “the Pantheon at Rome”: the Londoner of to-day will think rather of the British Museum Reading Room which it resembled in size and, to some extent, in general appearance. The circumference was 555 feet and the internal diameter 150 feet. It was entered by four Doric porticoes opposite one another, and the interior architecture corresponded with the exterior. On the exterior was an arcade encircling the building, and above this arcade was a gallery reached by steps placed at the porticoes. In the interior was a circle of fifty-two[218] boxes, separated by wainscotting. Each box had its “droll painting” and its bell-lamp with candles; and in each seven or eight people could be accommodated with refreshments. Benches covered with red baize were dispersed about the area, and the plaster floor was covered with matting. Above the circle of boxes was a gallery containing a similar range of boxes which were entered by folding-doors from the gallery outside the building. The Rotunda was lighted by sixty windows, and the chief material used in its construction was wood. The ceiling was painted an olive colour, with a rainbow round the extremity, and there hung from it numerous chandeliers, each ornamented with a gilt crown and containing crystal bell-lamps of candles. When all the candles were lighted, the sight, we are told, was “very glorious.”