Vauxhall
The Dark Walk and Long Alleys were also not without their terrors. Evelina, who had unwittingly strayed thither, was surrounded by a circle of impudent young men, and the Branghton girls were also detained, though they had gone more with their eyes open. “Lord, Polly,” says the eldest, “suppose we were to take a turn in the Dark Walks?” “Ay, do,” answered she, “and then we’ll hide ourselves, and then Mr. Brown will think we are lost.” A quarrel in public between two angry gentlemen was also a not uncommon incident, and the affair sometimes assumed the heroic proportions of a Vauxhall “Affray.” For example, one day in June 1772 two gentlemen, Captain Allen and Mr. Kelly, created a scene. The words “scoundrel” and “rascal” were heard, and Allen who had a sword would have overpowered Kelly who had only his cane, if the bystanders had not interposed.[342] But the Vauxhall Affray par excellence, was the affair of Bate, “the fighting parson,” and Mr. Fitzgerald.[343] The Rev. Sir Henry Bate Dudley, Bart. (as he afterwards was) was at Vauxhall on the evening of 23 July, 1773, in company with Mrs. Hartley and some friends. A party of gentlemen sat down near them, and made a deliberate attempt to stare the beautiful actress out of countenance. Captain Crofts and Mr. George Robert Fitzgerald were among the offenders, or at any rate took their part. Bate expostulated loudly with Crofts, and a crowd gathered round. The next day Bate and Crofts met at the Turk’s Head Coffee House in the Strand, where matters were being peaceably adjusted, when Fitzgerald appeared on the scene insisting on satisfaction for his friend Captain Miles, who wanted to box the parson. Bate declared that he had offered no insult to Miles, but ultimately the party adjourned to the front dining-room of the Spread Eagle Tavern close by, and there in fifteen minutes Bate had completely beaten Miles. A few days afterwards Bate discovered that the supposed Captain Miles was Fitzgerald’s footman, esteemed an expert bruiser. Bate published an account of the affair in the papers, and Fitzgerald’s conduct was generally condemned, though he tried to make out that the footman had only pretended to be beaten. A further quarrel arising out of this incident led to a meeting between Fitzgerald and a Captain Scawen in Flanders. As a finishing touch to our picture of the Vauxhall manners of the period, we must recall an evening in August 1782, when the Prince of Wales and a party of gay friends visited the gardens. When the music was over the Prince was recognised by the company, and being surrounded, crushed, and pursued, had to beat a hasty retreat. The ladies followed the Prince, the gentlemen pursued the ladies; the curious and the mischievous increased the tumult, and in a few minutes the boxes were deserted, the lame overthrown, and the well-dressed demolished.[344]
On May 10, 1769, a Ridotto al fresco was given at which not less than ten thousand people are said to have been present. The Rotunda was lit with nearly five thousand glass lamps, and a platform under an awning was laid down in the gardens for dancing. The fancy dresses were not numerous, and Walpole, who was there with his friend Conway, only walked twice round, and was glad to get out of the mob and go home. Some years later, on 29 May, 1786, there was another Ridotto to celebrate (approximately) the Jubilee of Vauxhall Gardens. Fourteen thousand additional lamps were displayed, and most of the company appeared in dominoes, as at the original Ridotto of 1732.
A Collection
of Favorite
SONGS
During this period (1768–1790) the principal tenor was Vernon, who had taken Lowe’s place in 1764. His répertoire appears to have been somewhat less conventional than that of his predecessor, and his gay and energetic manner rendered him popular in such songs as the “English Padlock,” the “Crying and Laughing” Song, and “Cupid’s recruiting Sergeant.” He was a constant singer at Vauxhall till the end of the season of 1781. In 1783 Arrowsmith, a young tenor, pupil of Michael Arne, aspired with some success to take Vernon’s place. He sang till 1785, but in the summer of next year (1786) a more celebrated tenor, Charles Incledon, then only twenty-two, made his appearance, and sang till 1790.
The principal female singers were Mrs. Baddeley (about 1768); Mrs. Weichsell (1769–1784); Miss Jameson (1770–1774); Miss Wewitzer (circ. 1773); Mrs. Hudson (1773–1776); Mrs. Wrighten (1773–1786); Mrs. Kennedy (1782–1785); Miss Leary (1786–1789); Mrs. Martyr, the actress (1786–1789). Of these vocalists, Mrs. Baddeley and Mrs. Kennedy were the well-known actresses. The latter possessed a powerful voice, and often assumed male parts at Covent Garden. Mrs. Wrighten had a vivacious manner and a bewitching smile, and her “Hunting Song” was popular. Mrs. Weichsell, the mother of Mrs. Billington the actress, was an especial favourite at the gardens. A magazine poet of 1775[345] celebrates her among the best Vauxhall singers.—
Sweet Weichsell who warbles her wood-note so wild,
That the birds are all hushed as they sit on each spray,
And the trees nod applause as she chaunts the sweet lay.