Cover

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Title

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pp. iii-iii

Copyright

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pp. iv-iv

Contents

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pp. v-vi

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Introduction

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pp. 1-28

When London’s Vauxhall Gardens closed in July 1859 many felt that it represented the end of an era. Whether under the moniker ‘‘New Spring Gardens,’’ ‘‘Vauxhall Gardens,’’ or ‘‘Royal Vauxhall Gardens,’’ at its close the Lambeth resort could claim a history stretching back to the Restoration, almost two ...

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Chapter 1. Theaters of Hospitality: The Forms and Uses of Private Landscapes and Public Gardens

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pp. 29-48

One of the central issues of eighteenth-century English garden history is how we might situate within our habitual narratives the phenomenon of Vauxhall Gardens (and indeed other so-called public pleasure grounds in London and the provinces). A cluster of more specific issues emerges in the process of answering the general ...

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Chapter 2. Pleasure Gardens and Urban Culture in the Long Eighteenth Century

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pp. 49-77

For well-off visitors to London in the eighteenth century, a trip to one or preferably both of the great pleasure gardens of Vauxhall and Ranelagh was de rigueur. Dazzling and vibrant, particularly once illuminated at night, they were among the top tourist attractions of the capital; in 1772 M. Grosley thought ...

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Chapter 3. Guns in the Gardens: Peter Monamy’s Paintings for Vauxhall

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pp. 78-99

The reopening of the Vauxhall pleasure gardens in 1732 under the proprietorship of Jonathan Tyers has been identified as a key moment in the development of the relationship between British visual culture and the public sphere. In an effort to deliver the gardens from their former reputation— the fictional ...

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Chapter 4. Performance Alfresco: Music-Making in London’s Pleasure Gardens

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pp. 100-126

Pausing in Paris on a tour through France and Italy in 1770, the English music-historian Charles Burney noted his impressions on visiting a French version of a familiar haunt: I went to one of the Vaux Halls (they have 3 or 4 here) paid half a crown for ...

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Chapter 5. Pleasure Gardens of America: Anxieties of National Identity

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pp. 127-149

Regularly described in very positive tones as ‘‘object[s] worthy at once of the notice of the connoisseur and the admiration of the community at large,’’ the pleasure gardens of eighteenth- and nineteenth-century America were a source of pride, touted as a symbol of cultural accomplishment.1 These sites ...

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Chapter 6. Pleasure Gardens in Nineteenth-Century New Orleans: ‘‘Useful for All Classes of Society’’

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pp. 150-176

British-born architect Thomas Kelah Wharton (1814–62) came to New Orleans in 1853 as superintendent for the construction of the Customs House, and for nine years, during a golden age of urban growth and prosperity, he wrote about contemporary life in the antebellum community.1 On 2 May 1854, he described ...

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Chapter 7. Night and Day: Illusion and Carnivalesque at Vauxhall

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pp. 177-194

Few literary evocations of Vauxhall Gardens fail to mention the presence or absence of light, and why should it be otherwise in accounts of a place visited almost exclusively at night? Fanny Burney’s 1778 heroine, Evelina, remarks on the ‘‘numerous lights’’ illuminating the scene at Vauxhall but ends by focusing ...

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Chapter 8. ‘‘Strange Beauty in the Night’’: Whistler’s Nocturnes of Cremorne Gardens

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pp. 195-216

The American painter James McNeill Whistler’s series of nocturnal paintings, particularly the paintings of Cremorne Gardens, has gained historical significance as one of the key markers for early modernism, where the site—the spectacle at Cremorne—intersects with its avant-garde representation. As a ...

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Chapter 9. Edwardian Amusement Parks: The Pleasure Garden Reborn?

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pp. 217-245

In early 1907, the Manchester Evening Chronicle made an intriguing announcement. Manchester’s Royal Botanical Gardens, opened in 1829 at Old Trafford, were undergoing a radical transformation. Under the direction of American businessman John Calvin Brown, the plant houses, fruit trees, flower ...

Notes

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pp. 247-297

Select Bibliography

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pp. 299-301

List of Contributors

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pp. 303-305

Index

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pp. 307-314

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Acknowledgments

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pp. 315-316

The impetus for this volume was ‘‘Vauxhall Revisited,’’ a conference held at Tate Britain and the Garden Museum which brought scholars from a number of disciplines together with works of art and music associated with pleasure gardens. Thanks are due first and foremost, therefore, to the institutions ...