Ice skating in Regency London

Skating Lovers (1800)
Drawn by Adam Buck; published William Holland; engraved by
Piercy Roberts & JC Stadler © The Trustees of the British Museum
Used under Creative Commons Licence (CC BY-NC-SA 4.0) 

I love to use real historical events in my novels and in A Reason for Romance, book 2 in The Merry Romances series, set in 1810, some of my characters go skating on the Serpentine in Hyde Park, London. The downside of wanting to be historically accurate is my sometimes-frantic searching for details. In this instance, amongst other things, I wanted to know whether it would have been possible for a lady to go skating. 

Skating on the Serpentine

Winter, figures skating (1790-1811)
Drawn by Isaac Cruikshank
© The Trustees of the British Museum
Used under Creative Commons Licence (CC BY-NC-SA 4.0)  

According to Feltham’s Picture of London for 1810 under almanac of amusements:

In time of frost, the Canal in St. James's park, and the Serpentine River in Hyde-park, are covered with skaiters; here a stranger will find much amusement.1

The Picture of London for 1810 gave more details under Promenade of Hyde Park and Kensington Gardens:

In severe winters, when the Serpentine River is frozen over, the ice is almost, covered with people. In one winter there were counted more than 6000 people at one time on the ice. A number of booths were pitched for the refreshment of the populace; and here and there was a group of six, eight, or more, fashionable young men, skaiting, and describing difficult figures, in the manner of a country dance, with peculiar neatness and facility of execution. In general, however, the English do not excel in this exhilarating and wholesome exercise.2

The London freeze of January 1810

Fashionable figures ice skating (c1795-1810) French school (?)
© The Trustees of the British Museum
Used under Creative Commons Licence (CC BY-NC-SA 4.0)  

On 13 January 1810, the temperature dropped below freezing and continued to fall. The Serpentine River froze, attracting skaters from all walks of life, both beginners and experts.

The Morning Post on Monday 22 January reported:

The Serpentine River

Was yesterday a scene of attraction. The banks on the north-side were lined with elegant equipages, and those on the south with numerous groups of pedestrians. The day was cheered by the rays of the sun having dispersed the fog. The air, although keen, was invigorating. The ice was good, and the skaiters were in numbers incalculable. 

A subscription of several guineas having been made for the sweepers (they forming a strong phalanx) the circles were kept in good order. As is customary the best performers were confined within a very narrow space next to the edge nearest the carriages. 

Here exhibited their skill in circles and figures; on Saturday, the Honourable Mr Byng, of the Torrington Family, Mr Cavendish Bradshaw, Colonel Arthur Upton, Mr Stanhope, and Mr Grant. Mr Upton particularly excelled in what school-boys call a Turk’s-cap ie cutting the figure of three, three times, and thus forming an entire circle. We have seen Mr Cavendish Bradshaw skait more adventurously, but never with a greater degree of elegance and precision. – Lord Cochrane performed very well for a British tar; his efforts never exceeded a straight forward movement. Mr Chisholm, that elegant young man of fashion, and Mr Scott, were among the learners.3

The only mention of a lady was as a pedestrian, not a skater:

The beautiful Mrs Russell Manners was among the humble pedestrians on the ice on Saturday. She was habited in buff kerseymere, with a broad margin of blue velvet; the costume was strictly a la Spaniola.4

A female skater

Winter Amusements - A Scene in France (1803)
Published by Laurie & Whittle © The Trustees of the British Museum
Used under Creative Commons Licence (CC BY-NC-SA 4.0)  

I was delighted when I discovered the following newspaper report from a few days earlier. It confirmed that there were a few ladies who skated, and in this instance, the lady ‘decidedly excelled’ her companions. The report is from The Morning Post on Friday 19 January 1810:

Among the fashionables who took the diversion of skaiting on the Serpentine River on Wednesday was the Duke of Argyle. An elegant female, in a green spotted dress, with a scarlet Spanish mantle, was attended by two Gentlemen. They were allowed by the amateurs to be perfect masters of the art; but the Gentlemen were decidedly excelled by the Lady, who cut out the letters O.P. with a precision and neatness truly astonishing.5

It does not say what the letters meant. Though I suppose the letters O P could have been her initials, I wondered whether it was a reference to the Old Price riots which had plagued Covent Garden Theatre during the preceding months. You can read about the OP riots here.

A sliding swan

Not everyone skated on the ice. Sliding was also very popular. The Morning Post on Saturday 20 January 1810 mentioned a young lady slider, notable because of her dress:

Serpentine River

The skaiters continue to be very numerous. A young Lady made a very conspicuous appearnce yesterday. She was attended by a servant, and appeared to take particular delight in sliding. The peculiarity attached to her was her dress, which resembled the covering of a swan, being a pelisse made entirely of swan’s down, and white feet.6

The Persian ambassador

During his stay in London, Mirza Abul Hassan, the Persian ambassador, observed the skating on the Serpentine River:

I went in the carriage with Sir Gore Ouseley and some other friends to the park. The weather was so cold that the river was frozen over and a large crowd of men and women was gathered there. Some of them had razor-sharp iron blades fixed to the soles of their boots and they moved like arrows across the ice. They say that ice-skating is a healthy winter exercise. If the ice should break and someone fall in, small boats are at hand to come to the rescue.

I conceived a fancy to slide on the ice in the English manner and we got out of the carriage. But there was such a crowd of milling people that I soon lost courage.7

The Humane Society

Boat house of the Royal Humane Society from
The story of the London Parks by J Larwood (1874)

Skating on the Serpentine was not without mishap. Sometimes people fell through the ice. Feltham’s Picture of London for 1810 wrote:

From the number of accidents which happen annually on this river when frozen over, his majesty gave the Humane Society a spot of ground on its banks, on which they have erected a most convenient receiving-house for the recovery of persons apparently drowned; it cost upwards of 500l and is worthy the inspection of the curious. The society, during the time of frost, keep men on the river to guard the unwary from danger, and to relieve those who may require their aid.8

Cold Broth and Calamity by Thomas Rowlandson
after Henry Wigstead (1792) The Met Museum DP885280

The great frost of 1813-14

The winter of 1813-14 was particularly harsh. George Davis’s book Frostiana gave a first-hand account of the freeze and the Frost Fair on the frozen River Thames. Davis wrote:

All the ponds and rivers in the neighbourhood of London were completely frozen, and skating was pursued with great avidity on the Canal in St James’s, and the Serpentine in Hyde Park. On Monday, the 10th of January, the Canal and the Basin in the Green Park were conspicuous for the number of steel-shod heroes who covered their glossy surfaces, and who, according to their respective qualities, administered to the pleasure of the throng which crowded their banks; some by the agility and grace with which they performed their evolutions, and others by the tumbles and other accidents which marked their clumsy career. There was, as usual, a motley collection of all orders of his Majesty’s subjects, engaged in the busy scene, who seemed all alike eager candidates for the applause of the multitude, and whether sweep, dustman, drummer, or beau, each seemed conscious of possessing some claim, not only to his own good opinion, but to that of the fair belles who viewed his movements. There were several accidents in the course of the day, but none we believe of a serious nature.

While these Parks were thus numerously attended, Hyde park had to boast of a more distinguished order of visitors, who, in the course of the afternoon, flocked in prodigious crowds to the banks of the Serpentine, which was covered with most excellent ice. Notwithstanding the keenness of the breeze, several females of dash, clad in robes of the richest fur, bid defiance to tis chilling embrace, and, on the fragile bosom of the river ventured their fair frames. The skaters were in great numbers, and were of first-rate note. Some of the most difficult movements of the art were executed with an agility and grace which excited universal admiration.

A lady and two officers performed a reel with a precision scarcely conceivable, and attracted a very numerous circle of spectators, whose boisterous applause so completely terrified the fair cause of their ecstasy, as to induce her to forego the pleasure she herself received from the amusement, and to put an end to that which she afforded to such as were disposed to admire her in silence.

Two unfortunate accidents occurred; one skating lady dislocated the patella or kneepan, and five gentlemen and a lady were immersed in the icy fluid, but received no farther injury than a severe ducking.9

It continued:

On the 22d of January, and for some days afterwards, the ice on the Serpentine River exhibited a singular appearance, from the mountains of snow which the sweepers had collected together in different situations. The spaces allotted for the skaters were in the forms of circles, squares, and oblongs. Next to the carriage ride (on the north side) were many astonishing evolutions displayed. Skipping on skates, and the Turk-cap backwards, were among the most conspicuous.10

What did Regency skates look like?

English skates from Skating by JM Heathcote et al (1892)

The skates were not separate shoes but fixed to the boots by way of straps. Early skates were wooden but by around 1800, blades were generally made of metal.

Frostiana stated:

The English, though often remarkable for feats of agility upon skates, are very deficient in gracefulness; which is partly owning to the construction of the skates. They are too much curved in the surface which embraces the ice, consequently they involuntarily bring the users of them round on the outside upon a quick and small circle; whereas the skater, by using skates of a different construction, less curved, has the command of his stroke, and can enlarge or diminish the circle according to his own wish or desire.11

It compared the English to the Dutch:

To the native of Holland, skating is quite as familiar as walking, and he puts on his skates with the same indifference as we do our shoes; - the instruments, indeed, are indispensable to the Dutch in the winter season; and are used by men, women and children, constantly … Skating is pursued in England as an amusement only, and for a single week, perhaps, in the course of the year; but in Holland, it is absolutely necessary, and supplies a cheap and commodious method of transport to all classes of people.

The Dutch skates are not so finely shaped as those we use; and the skaters are more remarkable for the ease, than elegance of their execution.12

How fast could they go?

Skaters on the reservoir at La Villette (1813)
Fashion in Paris (1898) from British Library

Frostiana stated:

We have heard that some skaters in the fens of Cambridgeshire and Huntingdonshire, have skated two miles in two minutes, the strokes on an average being each ten yards. This velocity exceeds that of most race horses, and the fatigue occasioned by it is much less.

A very remarkable skating-feat is said to have taken place during the late frost. A Mr Maxwell, celebrated for his skill and dexterity in this useful art, skated from Long Acre to St James’s Park in four minutes and fifty seconds. This was for a wager, and the given time was five minutes.13

Did Jane Austen skate?

I have not come across anything to say that Jane Austen skated, but her brother Frank loved to skate. Jane Austen wrote to her sister Cassandra from Southampton in January 1807:

We did not take our walk on Friday, it was too dirty, nor have we yet done it; we may perhaps do something like it to-day, as after seeing Frank skate, which he hopes to do in the meadows by the beech, we are to treat ourselves with a passage over the ferry. It is one of the pleasantest frosts I ever knew, so very quiet. I hope it will last some time longer for Frank's sake, who is quite anxious to get some skating; he tried yesterday, but it would not do.14

Rachel Knowles writes clean/Christian Regency era romance and historical non-fiction. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

Find out more about Rachel's books and sign up for her newsletter here.

If you have enjoyed this blog and want to encourage me and help me to keep making my research freely available, please buy me a virtual cup of coffee by clicking the button below.

Notes

1. Feltham, John, The Picture of London for 1810 (1810).

2. Ibid.

3. The Morning Post, Monday 22 January 1810 from British Newspapers Archive.

4. Ibid.

5. The Morning Post, Friday 19 January 1810 from British Newspapers Archive.

6. The Morning Post, Saturday 20 January 1810 from British Newspapers Archive.

7. Hassan Khan, Mirza Abul, A Persian at the Court of King George 1809-10, edited by Margaret Morris Cloake (1988)
8. Davis, George, Frostiana; or a history of the River Thames in a frozen state (1814)
9. Ibid.
10. Ibid.
11. Ibid.
12. Ibid.
13. Ibid.
14. Jane Austen to Cassandra, January 7, 1807 in Austen, Jane, The Letters of Jane Austen selected from the compilation of her great nephew, Edward, Lord Bradbourne ed Sarah Woolsey (1892)

Sources used include:

Adams, Douglas, Skating (1892)

Andrews, William, Famous Frosts and Frost Fairs in Great Britain (1887)

Austen, Jane, The Letters of Jane Austen selected from the compilation of her great nephew, Edward, Lord Bradbourne ed Sarah Woolsey (1892)

Brokaw, Irving, The art of skating (1915)

Davis, George, Frostiana; or a history of the River Thames in a frozen state (1814)

Feltham, John, The Picture of London for 1810 (1810)

Feltham, John, The Picture of London for 1818 (1818)

Hassan Khan, Mirza Abul, A Persian at the Court of King George 1809-10, edited by Margaret Morris Cloake (1988)

Heathcote, John Moyer; Tebbutt, CG; Buck, Henry A; Kerr, John; Hake, Ormond; Witham, T Maxwell, Skating (1892)

The Gentleman’s Magazine (1810)

The Morning Post (January 1810 from British Newspapers Online, British Library)

Finding your way around Vauxhall Gardens in Regency London

The Orchestra at Vauxhall from London Pleasure
 Gardens of the 18th Century by W & AE Wroth (1896)

Vauxhall Pleasure Gardens were a fashionable outdoor entertainment during the Georgian era. You can find out what the gardens were like in my earlier blog: Vauxhall Gardens in the Regency. 

When setting a scene in Vauxhall, I have found it helpful to know my way around the pleasure gardens and to know what features would have been present at different times. The rest of this blog post is based on my research.

Vauxhall from T Rowlandson's drawing from London
 Pleasure Gardens of the 18th Century 
 by W & AE Wroth (1896)

The layout of the gardens

The picture below is from an engraving dated 1751, but the layout of the gardens would have been much the same in the Regency period. I have worked out where different features are in the print and where I think future features were, based on the ground plans in Coke and Borg (see bibliography). The numbering is my interpretation and hopefully is a reasonable representation of where things were.

Vauxhall Gardens from an engraving dated 1751
from South London by W Besant (1899)

A visitor entered (2) the gardens through the proprietor’s house (1) which opened onto the Grand Walk (3), with the Rotunda (4) and Pillared Saloon (5) on the left and the Grove (6) with the Orchestra (7) on the right and the Grand South Walk (8) beyond, and the Druid’s or Lover’s Walk (9) beyond that. The Dark Walk (10) is at the edge of the garden furthest from the entrance.

Below is the same annotated print split into three vertically to show more detail and make the numbers more visible.

Vauxhall Gardens from an engraving dated 1751
from South London by W Besant (1899) - left section

Vauxhall Gardens from an engraving dated 1751
from South London by W Besant (1899) - middle section

Vauxhall Gardens from an engraving dated 1751
from South London by W Besant (1899) - right section

Key to the map

1. The Proprietor’s House
2. The original entrance through the Proprietor’s House with the Water Gate outside it. This remained the nearest entrance for visitors who came by boat.
3. The Grand Walk
4. The Rotunda
   
   

   

   The Rotunda at Vauxhall 1752 from London Pleasure
    Gardens of the 18th Century by W & AE Wroth (1896)

5. The Pillared Saloon
6. The Grove
   
   

   

   Vauxhall Gardens from an engraving dated 1751 from South London
    by W Besant (1899) - close up to show the Grove

7. The Orchestra – this is the original in the 1751 print, with the Organ Room behind. The Gothic Orchestra was built in the same place.
   
   

   

   Vauxhall Gardens from The Microcosm of London (1808-10)

8. The Grand South Walk
9. The Druids or Lovers Walk
10. The Dark Walk
11. The Prince’s Pavilion
12. The Gothic Piazza
13. The Handel Piazza
14. The Chinese Temples and Arcade
    
    

    

    The Chinese Pavilion, Vauxhall
    from Old and New London by E Walford (1878)

15. The Cascade - you can read about the Cascade here: The Cascade at Vauxhall Gardens
16. The Turkish Tent
17. Supper-boxes
    
    

    

    The Chinese temples and arcade with supper-boxes, Vauxhall
    from an engraving dated 1751 from South London by W Besant (1899)

18. Triumphal Arches
    
    

    

    Vauxhall Gardens from an engraving dated 1751 from South London
     by W Besant (1899) - close up to show triumphal arches

19. Site of an outdoor painting or transparency, and later of the Firework Tower
20. The Hermitage – the walk parallel to the Grand Walk leading to it became known as Hermits Walk.
21. Site of an outdoor painting or transparency, and later of the Submarine Cave
22. The Ballet Theatre or Rope-Dancing Theatre
23. The Octagon Rooms
24. The Centre Cross Walk
25. The Prince’s Gallery and Ante-Room or Long Room (behind the Handel Piazza)
26. The Grand Chinese Entrance
27. The Coach Gate onto Kennington Lane was to the right of this
28. The Necessary House was to the left of this, at the corner of the gardens
29. The Supper Room or Saloon or Ballroom was attached to the Rotunda - known by 1814 as the Promenade Room or Turkish Saloon

Some of the more important changes between 1751 and 1830 were:

• The original Orchestra and Organ Building were demolished in 1757-8 and replaced by the Gothic Orchestra.
• A new entrance was added onto Kennington Lane around 1762 and this was rebuilt with waiting rooms and cloakrooms in 1786. This is sometimes called the Coach Gate (to the right of 27).
• 1769 The Covered Walks were created by erecting a canopy over the parts of the Grand Walk (3) and Grand South Walk (8) within the Grove (6) with an awning between them (in front of the supper-boxes behind 16) which covered the new dancing area.
• 1785 The ice house was built (behind the Pillared Saloon (5)).
• 1786 The Supper Room was built (29).
• 1791 The Prince’s Gallery and Ante Room (25) were built behind the Handel Piazza and these lasted until about 1820.
• 1810 The Covered Walks were rebuilt with a new vaulted colonnade and the Octagon Rooms added (23).
• 1813 The Firework Tower was added at the end of the Grand South Walk. This was replaced by the Moorish Tower in 1823 (19).
• 1813 The Hermitage was built (20).
• 1822 The Submarine Cavern was added (21).
• 1823 The Ballet Theatre/Rope-Dancing Theatre was built (22).
• 1823 The Grand Chinese Entrance onto Kennington Lane opened (26).
• 1823 The Temple of Arts or Grand Musical Temple opened (near the Coach Gate end of the Lover’s Walk (to the right of 27).

Here is another map of Vauxhall Gardens, based on a survey of 1826. The main difference between this and my annotated map above is that there appears to be a second Octagon Room on the opposite corner of the Grove.

Map of Vauxhall Gardens in 1826 from London Pleasure
 Gardens of the 18th Century by W & AE Wroth (1896)

Rachel Knowles writes clean/Christian historical romance set in the time of Jane Austen. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

Find out more about Rachel's books and sign up for her newsletter here.

If you have enjoyed this blog and want to encourage me and help me to keep making my research freely available, please buy me a virtual cup of coffee by clicking the button below.

 

Sources used include:

Ackermann, Rudolph and Combe, William, The Microcosm of London or London in miniature Volume 3 (Rudolph Ackermann 1808-1810, reprinted 1904)

Besant, Walter, South London (1899)

Coke, David and Borg, Alan, Vauxhall Gardens, a history (2011)

Feltham, John, The Picture of London for 1810 (1810)

The Mirror of Literature, Amusement and Instruction (1830)

Walford, Edward, Old and New London: A narrative of its history, its people, and its places (Cassell, Petter & Galpin, 1878, London) Vol 6

Wroth, Warwick and Wroth, Arthur Edgar, The London Pleasure Gardens of the eighteenth century (1896)

Vauxhall Gardens in the Regency

Vauxhall Gardens from The Microcosm of London (1808-10)

Vauxhall Gardens appear in numerous novels written in the Georgian period, such as Evelina and Cecilia by Fanny Burney and The Expedition of Humprhy Clinker by Tobias Smollett – the source of the following excerpt:

Image to yourself, my dear Letty, a spacious garden, part laid out in delightful walks, bounded with high hedges and trees, and paved with gravel; part exhibiting a wonderful assemblage of the most picturesque and striking objects, pavilions, lodges, groves, grottoes, lawns, temples and cascades; porticoes, colonnades, and rotundas; adorned with pillars, statues, and paintings: the whole illuminated with an infinite number of lamps, disposed in different figures of suns, stars, and constellations; the place crowded with the gayest company, ranging through those blissful shades, or supping in different lodges on cold collations, enlivened with mirth, freedom, and good humour, and animated by an excellent band of music.1

William Makepeace Thackeray’s Vanity Fair published in 1848, but set earlier in the century, also includes a scene played out in the famous Vauxhall Gardens. Unsurprisingly, historical romance authors today have continued the tradition and many Georgian and Regency romances include passages set in Vauxhall. 

I am no exception. Both A Perfect Match and A Reason for Romance include scenes set in Vauxhall Gardens. What is it about Vauxhall Gardens that draws us in and compels us to use it as a backdrop for our writing?

Vauxhall from Vauxhall Illustrated: Scrapbook of miscellaneous
British 18th and 19th century prints (1883)
© The Metropolitan Museum of Art DP259953

What is so special about Vauxhall?

Vauxhall Gardens were pleasure gardens situated in Lambeth, Surrey, south of the River Thames, not far from where Vauxhall Bridge is today. Although this is now very much part of London, during the Georgian period, this was a rural area. The gardens were a popular place to go to breathe fresher air and be entertained outside, not just for the gentry, but for anyone who could pay the entrance price.

This was one of the attractions of Vauxhall – the cross-section of society to be found there – and it is one of the reasons that it is such a good site for action in a novel to unfold. It was a place where the nobility could rub shoulders with shopkeepers and merchants. It also attracted some of the less desirable elements of society such as pickpockets and prostitutes. Anything could happen at Vauxhall.

When were Vauxhall Gardens fashionable?

The Spring Gardens were established at Vauxhall shortly after the Restoration in 1660 and were visited by many celebrated people including John Evelyn and Samuel Pepys. However, it was not until Jonathan Tyers leased the gardens in 1729 that they began to be developed into the famous pleasure gardens. The newly refurbished gardens were opened in 1732 with a grand Ridotto al Fresco.

Over the years, the fortunes of the gardens went up and down, their profitability adversely affected by bad weather and how their rivals, like Ranelagh Gardens, were doing. Although at their most popular before 1786, they were still visited by thousands of people every year during the Regency.

The Picture of London for 1810 claimed ‘from five thousand to sixteen thousand well-disposed persons are occasionally present.’2

They attained the accolade of being called The Royal Gardens, Vauxhall, in 1822. The coming of the railways, allowing people to travel out of town, and the gardens’ inability to attract the Victorian public, finally led to their closure in 1859. Sadly, all that remains are the street names and a few placards in the park depicting the pleasure gardens as they once were.

Vauxhall Pleasure Gardens (2012)

As you read this post, it is important to keep in mind the long period of time during which Vauxhall Gardens operated as opening times, prices, buildings and entertainments were continually changing.

When was Vauxhall open?

The Vauxhall season was typically from May to August but opening and closing dates varied and the season was occasionally extended into September if the weather was good. The opening days also varied. During the early years, Vauxhall was open every day of the week, but Sunday opening was stopped in the 1760s. According to The Microcosm of London (1808-10), at that time, Vauxhall was only open three nights a week:

These gardens are opened for the season about the latter end of May, and continue their amusements for about three months. Company is admitted three nights in the week, Mondays, Wednesdays, and Fridays.3

Vauxhall was an evening entertainment, primarily to be enjoyed after dark when the lamps had been lit, but at some points in the gardens’ history, a concert would be given in the daylight, from about 5pm. 

In Fanny Burney’s novel of the same name, Evelina describes how her party argued about when to go to the gardens:

There were twenty disputes previous to our setting out; first, as to the time of our going: Mr. Branghton, his son, and young Brown, were for six o’clock; and all the ladies and Mr. Smith were for eight; the latter, however, conquered.4

How much did it cost?

Vauxhall season ticket by Hogarth (Summer)
from London Pleasure  Gardens of the 18th 
Century by W & AE Wroth (1896)

The standard entrance fee was one shilling until 1792 when it was raised to two shillings. The Picture of London for 1810 wrote:

The original price of admission to these gardens was one shilling, but of late years it has been raised to two shillings, (on gala nights three shillings,) a sum comparatively very trifling, when we consider the great nightly expenditure of the proprietors to render their property convenient and attractive.5

However, it appears that The Picture of London was out of date. The Microcosm of London (1808-10) wrote that ‘the price of admission is three shillings and sixpence.’6

Special events cost more. The gardens also offered season tickets which gave entry for two for the whole season. Each year, the silver season ticket bore a new design. In 1738, it cost 1 guinea 3s.

According to The Mirror of Literature, Amusement and Instruction (1830):

The Gardens were originally opened daily (Sundays excepted); and till the year 1792, the admission was 1s; it was then raised to 2s including tea and coffee; in 1809, several improvements were made, lamps added, &c the price was raised to 3s 6d and the Gardens were only opened three nights in the week; in 1821 the price was again raised to 4s.7

Vauxhall season ticket by Hogarth (Amphion on dolphin)
from London Pleasure  Gardens of the 18th 
Century by W & AE Wroth (1896)

How did visitors travel to Vauxhall?

Up until 1750, when Westminster Bridge opened, the easiest way to get to Vauxhall for many people was by wherry along the River Thames from Westminster or the City. After 1750, more visitors chose to arrive by coach or sedan chair or even on foot, but most still travelled by boat. After the opening of Vauxhall Bridge in 1816, most visitors came by road.

In Evelina, published in 1778, the party argued about how to travel to Vauxhall:

Some were for a boat, others for a coach, and Mr. Branghton himself was for walking; but the boat at length was decided upon. Indeed this was the only part of the expedition that was agreeable to me; for the Thames was delightfully pleasant.8

In The Expedition of Humprhy Clinker, Lydia Melford records her experience of travelling to Vauxhall:

At nine o’clock, in a charming moonlight evening, we embarked at Ranelagh for Vauxhall, in a wherry so light and slender that we looked like so many fairies sailing in a nutshell. My uncle, being apprehensive of catching cold upon the water, went round in the coach, and my aunt would have accompanied him, but he would not suffer me to go by water if she went by land; and therefore she favoured us with her company, as she perceived I had a curiosity to make this agreeable voyage—After all, the vessel was sufficiently loaded; for, besides the waterman, there was my brother Jery, and a friend of his, one Mr Barton, a country gentleman, of a good fortune, who had dined at our house—The pleasure of this little excursion was, however, damped, by my being sadly frighted at our landing; where there was a terrible confusion of wherries and a crowd of people bawling, and swearing, and quarrelling, nay, a parcel of ugly-looking fellows came running into the water, and laid hold of our boat with great violence, to pull it ashore; nor would they quit their hold till my brother struck one of them over the head with his cane.9

What were the gardens like?

Vauxhall Gardens from an engraving dated 1751
from South London by W Besant (1899)

We can find out what the gardens were like by looking at maps and prints, and by reading what contemporary writers said about the gardens in their letters, journals and novels. You can find an annotated version of the above engraving on another of my blogs: Finding your way around Vauxhall Gardens in Regency London.

The Picture of London for 1810 described the gardens:

These gardens are beautiful and extensive, and contain a variety of walks, brilliantly illuminated with variegated coloured lamps, terminated with transparent paintings, and disposed with so much taste, that they produce an enchanting effect on first entering the garden. Facing the west door is a large and superb orchestra, decorated with a profusion of lights of various colours. The whole edifice is of wood, painted white and bloom colour. The ornaments are plaistic, a com position something like plaister of Paris, but only known to the ingenious architect who designed and built this beautiful object of admiration. In fine weather the musical entertainments are performed here by a select band of the best vocal and instrumental performers. At the upper extremity of this orchestra, a very fine organ is erected, and at the foot of it are the seats and desks for the musicians, placed in a semi circular form, leaving a vacancy at the front for vocal performers.

Fronting the orchestra is a large pavilion of the composite order, which particularly attracts the eye by its size, beauty, and ornaments. It was built for his late royal highness Frederic Prince of Wales ... In cold or rainy weather, on account of sheltering the company, the musical performers is in a great room, or rotunda, which is seventy feet in diameter, and contains an elegant orchestra. The roof of this rotunda is so contrived, that sounds never vibrate under it; and thus music is heard to the greatest advantage.10

The Rotunda at Vauxhall 1752 from London Pleasure
 Gardens of the 18th Century by W & AE Wroth (1896)

Lighting up Vauxhall Gardens

Vauxhall was famous for creating a fairytale-like atmosphere by the huge number of lights, and for the dramatic effect produced when these lamps were lit at dusk. In 1741, there were 1,000 lamps and these could be lit, using a system of linked fuses, in about two minutes. Apparently, the train of oil from whale or seal blubber gave the gardens a distinctive smell! By the end of the 1770s, this number had more than doubled, and by 1822, there were in excess of 20,000 lamps.

There were globe lamps on trees and lamp posts and from the ceilings of supper boxes, with smaller lamps attached to arches and obelisks. Originally these lamps were uncoloured, but coloured (mostly blue) lamps were introduced from 1786, and lamps of all colours were used from around 1806.

The Picture of London for 1810 wrote:

The grove is beautifully illuminated in the evening with about fifteen thousand glass lamps, which glitter among the trees, and produce a brilliant effect.11

The Microcosm of London (1808-10) thought there were rather more lamps:

Vauxhall is a very fascinating place of amusement; but its principal feature is the illumination. Thirty-seven thousand lamps, of various colours, sometimes lighted in these gardens, in the most tasteful forms and brilliant devices, with their associated transparencies, produce a splendour of decoration, unrivalled in any place of amusement in Europe. It is a curious circumstance, and proves the extraordinary change in our manners and habits, that, in a description of these gardens in 1760, the illumination at that time, proceeding only from fifteen hundred comparatively dim lamps, of the same kind, but of a smaller size, as those which now light our streets, is mentioned in as glowing terms as would suit the present extraordinary and accumulated brilliance of the gardens.12

Supper in Vauxhall Gardens

Colonnades of supper-boxes were first introduced in 1736 and these became an ongoing feature of the gardens. Below is a bill of fare for 1762. According to Coke and Borg, the waiters had to pay for food when they collected the orders from the kitchens, so they bore the risk of customers refusing to pay. The gardens were notorious for the thinness of the slices of ham and for the alcoholic beverage arrack or arrack punch that was served. 

A bill of fare for Vauxhall for 1762 from London Pleasure
 Gardens of the 18th Century by W & AE Wroth (1896)

The Picture of London for 1810 wrote:

Passing from the intellectual attractions of this fashionable place of resort, to the more solid allurements of sense and appetite, we must observe that the best kind of refreshments is provided with the utmost attention, and charged according to a reasonable bill of fare, with the prices annexed.13

In Vanity Fair, Thackeray wrote:

The two couples were perfectly happy then in their box: where the most delightful and intimate conversation took place. Jos was in his glory, ordering about the waiters with great majesty. He made the salad; and uncorked the Champagne; and carved the chickens; and ate and drank the greater part of the refreshments on the tables. Finally, he insisted upon having a bowl of rack punch; everybody had rack punch at Vauxhall. ‘Waiter, rack punch.’14

The arts at Vauxhall

Vauxhall had strong links with several renowned artists of its day. The supper boxes and other buildings were decorated with paintings by a variety of artists including Francis Hayman and William Hogarth. The gardens displayed the sculpture of Louis François Roubiliac, notably that of George Frideric Handel, whose music was frequently played in the gardens.

The Picture of London for 1810 wrote:

The different boxes and apartments of these gardens are adorned with a vast number of paintings, many of which are executed in the best style of their respective theatres. The labours of Hogarth and Hayman are the most conspicuous. Hayman has chosen his subjects from the works of Shakespeare; but as the pictures are too numerous to be particularized, we leave them and their merits for the inspection of the curious.15

According to The Microcosm of London:

The grove, principal entrance, and other parts of the gardens, are furnished with a great number of small pavilions, ornamented with paintings, chiefly by Hogarth and Hayman; each containing a table and seats, to which the company retire, at the conclusion of the concert, to enjoy the refreshments prepared for them. Some of these pavilions are very elegant. That which is opposite the orchestra, and is called the Prince's pavilion, having been erected for the accommodation of Frederic, Prince of Wales, his present Majesty's father, is a very beautiful example of Palladian architecture. During the remainder of the evening, bands of wind-instruments, of different kinds, are placed in different parts of the gardens, which contribute to enliven the scene and invite the dance.16

The statue of Handel was moved around the gardens somewhat over the years. According to The Picture of London for 1810:

In the middle of the piazza is a grand portico of the Doric order, and under the arch, on a pedestal, is a beautiful marble statue of Handel, in the character of Orpheus, playing on his lyre, done by the celebrated Mr Roubiliac.17

However, The Microcosm of London (1808-10) recorded:

At the end of this [supper] room was the statue of the immortal Handel, in white marble, and in the character of Orpheus singing to his lyre; but is now removed behind the orchestra in the garden. This fine specimen of sculpture first introduced the abilities of Roubiliac to the notice of the public. It was begun and completed in the place of which it is the ornament, while the noble subject and the superior artist were enjoying the friendly and protecting hospitality of Mr Jonathan Tyers. It is said to bear a strong resemblance to the great musician.18

Entertainment at Vauxhall

The main entertainment at Vauxhall was promenading in the gardens and listening to music, from the Orchestra or in the Rotunda or one of the other buildings. 

Firework shows were very popular and featured at Vauxhall from 1798. The gardens sought to rival the excitement of Astley’s with acrobats and tightrope walkers, including the famous Madame Saqui who performed at Vauxhall from 1816 to 1820. 

Other entertainments included mechanical attractions such as the Cascade which operated for about fifteen minutes during the evening for many years. You can read more about the Cascade at Vauxhall here.

Special events included balloon ascensions and masquerades and displays celebrating, for example, the Battle of Waterloo.

Vaux-Hall by Thomas Rowlandson (1785) © British Museum 1880,1113.5484 (22)

A description of the gardens from Evelina

In Fanny Burney’s novel of the same name, Evelina describes the gardens:

The garden is very pretty, but too formal; I should have been better pleased, had it consisted less of straight walks, where 'Grove nods at grove, each alley has its brother'.

The trees, the numerous lights, and the company in the circle round the orchestra make a most brilliant and gay appearance; and had I been with a party less disagreeable to me, I should have thought it a place formed for animation and pleasure. There was a concert; in the course of which a hautbois concerto was so charmingly played, that I could have thought myself upon enchanted ground, had I had spirits more gentle to associate with. The hautbois in the open air is heavenly.19

A description of the gardens in 1811

In a letter by Samuel Morse written in 1811, he described Vauxhall Gardens:

A few evenings since I visited the celebrated Vauxhall Gardens, of which you have doubtless often heard. I must say they far exceeded my expectations; I never before had an idea of such splendor. The moment I went in I was almost struck blind with the blaze of light proceeding from thousands of lamps and those of every color.

In the midst of the gardens stands the orchestra box in the form of a large temple and most beautifully illuminated. In this the principal band of music is placed. At a little distance is another smaller temple in which is placed the Turkish band. On one side of the gardens you enter two splendid saloons illuminated in the same brilliant manner. In one of them the Pandean band is placed, and in the other the Scotch band. All around the gardens is a walk with a covered top, but opening on the sides under curtains in festoons, and these form the most splendid illuminated part of the whole gardens. The amusements of the evening are music, waterworks, fireworks, and dancing.20

The Orchestra at Vauxhall from London Pleasure
 Gardens of the 18th Century by W & AE Wroth (1896)

A more detailed note on the history of the ownership of the gardens

Jonathan Tyers owned the gardens until his death in 1767, after which the gardens were managed by his wife Elizabeth, then by his son, Jonathan Tyers the younger, and then from 1786-1809, by the younger Jonathan’s son-in-law, Bryant Barrett. After this, the gardens passed to Bryant’s sons, George and Jonathan Tyers Barrett. 

According to The Mirror of Literature, Amusement and Instruction (1830):

In 1818, the entire property was advertised for sale, but no purchaser was obtained. In 1821 it was purchased by the London Wine Company; and it is but bare justice to say they have done all in their power to revive the fashionable celebrity of Vaux-hall. Had not a purchaser been found at the last-mentioned date, the fairy groves and palaces would have fallen before the mere speculator, and the site would be now covered with houses— for the whole was, in the language of the roadside, ‘to be let as building ground.’21

The gardens were not, in fact, bought by the London Wine Company in 1821, but leased by its owner, Frederick Gye, and his business partner Thomas Bish. Under their management, the gardens gained the accolade of The Royal Gardens, Vauxhall. Gye went on to buy the gardens from the Barrett family with Richard Hughes in 1825. The gardens were sold to Thomas Fowler, Bish’s son-in-law, in 1841, and he leased the gardens to a variety of people during the 1840s and 1850s. Ultimately, the gardens failed to develop in such a way as to appeal to the Victorian public and opened for the last time on Monday 25 July 1859.

Rachel Knowles writes clean/Christian historical romance set in the time of Jane Austen. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

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Notes

1. Smollett, Tobias, The Expedition of Humphry Clinker (1771).
2. Feltham, John, The Picture of London for 1810 (1810).
3. Ackermann, Rudolph and Combe, William, The Microcosm of London or London in miniature Volume 3 (Rudolph Ackermann 1808-1810, reprinted 1904).
4. Burney, Fanny, Evelina or the history of a young lady’s entrance into the world (1778).
5. Feltham iop cit.
6. Ackermann op cit.
7. The Mirror of Literature, Amusement and Instruction (1830).
8. Burney op cit.
9. Smollett op cit.
10. Feltham op cit.
11. Ibid.
12. Ackermann op cit.
13. Feltham op cit.
14. Thackeray, William Makepeace, Vanity Fair (1848).
15. Feltham op cit.
16. Ackermann op cit.
17. Feltham op cit.
18. Ackermann op cit.
19. Burney op cit.
20. Morse, Samuel FB, Samuel Morse, His letters and journals, edited and supplemented by his son Edward Lind Morse (1914).
21. The Mirror op cit.
22. Used under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Sources used include:
Ackermann, Rudolph and Combe, William, The Microcosm of London or London in miniature Volume 3 (Rudolph Ackermann 1808-1810, reprinted 1904)
Besant, Walter, South London (1899)
Burney, Fanny, Cecilia or Memoirs of an Heiress (1782)
Burney, Fanny, Evelina or the history of a young lady’s entrance into the world (1778)
Coke, David and Borg, Alan, Vauxhall Gardens, a history (2011)
Feltham, John, The Picture of London for 1810 (1810)
Hassan Khan, Mirza Abul, A Persian at the Court of King George 1809-10, edited by Margaret Morris Cloake (1988)
Morse, Samuel FB, Samuel Morse, His letters and journals, edited and supplemented by his son Edward Lind Morse (1914)
Smollett, Tobias, The Expedition of Humphry Clinker (1771)
Thackeray, William Makepeace, Vanity Fair (1848)
The Mirror of Literature, Amusement and Instruction (1830)
Walford, Edward, Old and New London: A narrative of its history, its people, and its places (Cassell, Petter & Galpin, 1878, London) Vol 6
Walpole, Horace, Horace Walpole and his World, Select passages from his letters ed LBSeeley (1884)
Wroth, Warwick and Wroth, Arthur Edgar, The London Pleasure Gardens of the eighteenth century (1896)

Vauxhall Gardens website
Vauxhall and Kennington website