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Acknowledgments 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 whose support made this event possible, to our host museums and to the Paul Mellon Centre for Studies in British Art, the Royal Musical Association, the Music and Letters Trust, and the University of Southampton. In particular I would like to thank Brian Allen, Rachel Beckles-Wilson, Anne Curry, Peter Holman, Kasha Jenkinson, Madeleine Keep, David Owen Norris, Martin Postle, Sir Curtis Price, Victoria Walsh, and Christopher Woodward. Several chapters in this book began as papers delivered at this conference; others were especially commissioned for the book. Some papers not included here have been published separately, and readers interested in pleasure garden music in particular should note articles by David Hunter and Berta Joncus in London Journal listed in the Bibliography. This book would not have appeared without the ongoing encouragement of the contributors, all of whom remained patient and supportive, as well as many others who attended ‘‘Grounds for Pleasure’’ and felt something permanent should come of it. For this I thank Peter Borsay, John Brewer, Penelope Corfield, Lake Douglas, Lawrence Klein, David Owen Norris, Bill Weber, and above all John Dixon Hunt, series editor of the Penn Studies in Landscape Architecture. A Visiting Fellowship at Dumbarton Oaks Research Library and Collection in the summer of 2010 provided much-needed space to edit contributions and write the introduction. I thank John Beardsley, Michael G. Lee, Jane Padelford, and my fellow Fellows in Garden and Landscape Studies for making my time in Georgetown so pleasant and productive. The illustrations to this volume were made possible by a publication grant 316 Acknowledgments from the Paul Mellon Centre. Vicky Burrett set the reduction of the musical example on pages 116–17. Ahren Lester did a sterling job of handling the resulting paperwork and liaising with contributors. The final result owes much to them as well as to Noreen O’Connor-Abel, Jo Joslyn, Jerry Singerman, and Caroline Winschel at Penn Press, who pulled it all together. ...

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