The boast and delight of Mankind.
The gardens had now (1822) completely assumed their nineteenth-century aspect and Vauxhall, lit with “20,000 additional lamps,” began to supply a constant succession of variety entertainments.
DARLEY IN THE ORCHESTRA AT VAUXHALL.
The Rotunda was decorated as an Indian Garden Room, and at a later date was fitted up with seats and boxes and used for the equestrian performances. In the Saloon (or Picture Room) adjoining, where historical pictures by Hayman were still hanging, was an exhibition called by the erudite managers Heptaplasiesoptron. On plates of glass ingeniously distributed manifold reflections were produced of revolving pillars, palm-trees, twining serpents, coloured lamps and a fountain.
The old Cascade had been abolished about 1816, and a stage for rope-dancing occupied its site (1822). A Submarine Cavern and a new exhibition of Waterworks appear to have covered the Rural Downs.
At the eastern end of the garden was a building of wood and canvas representing a Hermit’s Cottage, wherein might be seen—all in transparency—the Hermit himself pursuing his studies by the aid of a lamp, a blazing fire and a brightly-shining moon. At this end of the gardens was the Firework Tower, where the fireworkers Hengler, Mortram and Southby were now (1822) at work, preparing for the ascent of Longuemare, which was to take place at twelve o’clock à la Saqui.
The South Walk (so much of it at least as remained uncovered) was now known as the Firework Walk, and the three Triumphal Arches had disappeared.
The Dark Walk of Vauxhall now began at the Submarine Cavern, passed along the left hand and eastern boundaries of the garden and terminated at the right hand end of the Grand Cross Walk, the last branch of it being thus identical with the Lovers’ Walk of old days. The Cross Walk was now usually denominated the Chinese Walk from its being lit with Chinese lanterns. Four cosmoramas had taken the place of its Ruins.
