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Over 200 outdoor pleasure gardens and tea gardens proliferated in London from the 16th to the early 19th centuries.  Primarily frequented by working class people who lived in the city, they were located in the pleasanter parts of London’s suburbs. In days of yore, the countryside was only a walk (or short carriage drive or ferry ride) away from the city center. Tea and pleasure gardens afforded the populace a respite from the sights, smells, and congestion of city life. In his essay on Tea Gardens, William Boulton writes:

“It was the citizens of such a town, sober merchants and shopkeepers, apprentices, sempstresses, and artisans who worked continuously, but leisurely and without much stress, during the week and spread themselves over an area of many square miles on Sundays, who formed the chief patrons of the al fresco entertainment. The lawyers and military men who filled the chief of the few recognised professions of the last century, supplied their quota of course, and the aristocracy came to most of the alfresco entertainments at one time or another, but merely as incidental visitors.”

Even the humblest tea gardens situated in inns and taverns vied for customers by offering special attractions like cake and ale, a bowling green, play tables, or a pond. Larger more luxurious gardens, such as Vauxhall or Ranelagh, offered a myriad of entertainments in the form of musicales, fireworks, illuminated groves, balloon rides, and theatricals. Considered the forerunners of today’s amusement parks, pleasure gardens provided extensive walks, private arbors, supper boxes, rotundas, and Chinese pavilions. Regardless of their size, the competition among these open air recreational gardens was fierce. Open only for a short season, the proprietors had to earn enough income to keep their establishments open and make a decent living.


Text not availableThe London Pleasure Gardens of the Eighteenth Century By Warwick Wroth, … assisted by Arthur Edgar Wroth With sixty-two illustrations By Warwick William Wroth, Arthur Edgar Wroth

Various strata of social classes commingled in these public spaces, although the upper classes tended to visit less frequently. When they did honor an establishment with their presence, they could create a stir.

“In 1733, in the month of May, it occurred to the Princesses Caroline and Amelia to attend [Islington Spa] regularly and take its waters. These royal ladies were duly saluted with twenty-one guns, and all London flocked to the gardens to see a real princess.” – London’s Tea Gardens, An Essay by William B. Boulton

Profits shot up sky high for the owner after these royal visits, making the Islington Spa a commercial success. The White Conduit House, situated just 2-3 miles north of Marlyebone Gardens,  was another popular garden destination. In 1753, the proprietor, Mr. Bartholomew, ran the following enterprising advertisement:

whiteconduit

For the better accommodation of ladies and gentlemen, I have completed a long walk, with a handsome circular fish-pond, a number of shady pleasant arbours, inclosed with a fence seven feet high to prevent being the least incommoded from people in the fields; hot loaves and butter every day, milk directly from the cows, coffee, tea, and all manner of liquors in the greatest perfection; also a handsome long room, from whence is the most copious prospects and airy situation of any now in vogue. I humbly hope the continuance of my friends’ favours, as I make it my chief study to have the best accommodations, and am, ladies and gentlemen, your obliged humble servant, Robert Bartholomew. Note. My cows eat no grains, neither any adulteration in milk or cream.

The White Conduit House, also known as the “Minor Vauxhall”, began to offer balloon ascents, fireworks, and evening concerts. But its popularity gradually waned and the establishment offered its last entertainments in 1849.

Food and entertainments depended on the time of day. In Bagninne Wells, for example, morning visitors tended to be invalids who would drink the mineral waters and partake of an early breakfast.

Bagnigge Wells

Bagnigge Wells

As the day wore on the invalids withdrew and the place was prepared for another class of customers. The citizens, their wives and daughters, came for their afternoon outing; the long room if the weather threatened, and the arbours if the sun shone, were filled with sober parties of shopkeepers or with boys and their sweet hearts, drinking tea and eating the bread and butter and the buns baked on the ground for which the place was famous. Negus was another of the products of Bagnigge held in much favour, and there were cider and ale for the more jovial spirits who smoked under the shade of the Fleet willows and watched the games of skittles and Dutch pins which were played in the eastern part of the gardens during the long summer evenings.

In the afternoon tea was served, as well as stronger drinks, like negus.  Visitors could relax,  drink syllabub, eat cake, and listen to the music of Handel. Or an amorous couple could sit and flirt in a private arbor. At night the pleasure gardens glittered with illuminated walks and fireworks. These public venues weren’t all pleasure. Pickpockets, “frail women”, sharpers, and other less desirable visitors would mingle among the crowds, adding a hint of danger and seaminess.

Rotunda at Ranelagh Gardens, 1754

Rotunda at Ranelagh Gardens, 1754

Towards the end of 1810, Bagnigge Wells was increasingly frequented by the lower classes, or as one late 19th century writer termed, “Cockney Crowds.” By 1813 the gardens were put up for auction. Vauxhall lasted until 1857.  Ranelagh’s famed rotunda closed in 1803 and was demolished in 1805. Today the site provides part of the grounds of Chelsea Hospital where the Annual Chelsea Flower Show is held.

Definition of

A Tea Garden: A tea garden was a place to drink tea and stroll around lawns, ponds and view statues. These smaller versions of pleasure gardens flourished in the late 18th century. Examples were Cuper’s Gardens and the area that became the Caledonian Cattle Market in London, England.en.wikipedia.org/wiki/Tea_garden

A Pleasure Garden is usually a garden that is opened to the public for recreation. They are differentiated from other public gardens by containing entertainments in addition to the planting; for example, concert halls or bandstands, rides, zoos or menageries.

Learn more about Pleasure Gardens at these sites

Domestic Happiness, Morland

Domestic Happiness, Morland

When we think of artists during the Georgian era, painters like Hogarth, Gainsborough, Reynolds, and Lawrence immediately come to mind. These days we rarely include George Morland. A prolific painter of rural scenes, he lived from 1763 to 1804. Many of his simple subjects would have been familiar to Jane Austen – children playing, women sewing, a family sitting by a fire, two men sitting outside an inn, people gathering firewood, men walking on a windy day, etc. Click on the first link below to view the most extensive collection on the web of this prolific artist’s paintings.

libraryThe abstract of What Was Mr. Bennet Doing in His Library and What Does it Matter? by H.J. Jackson states:

In this article, Jackson uses the familiar example of the Bennet household in Pride and Prejudice to outline some of the practices associated with the establishment and maintenance of a library about 1800. Besides gathering clues from the novel itself and providing information about the resources likely to have been available in or near a market town like Meryton, this essay speculates that Mr. Bennet might have been writing in his books and surveys some of the ways of writing that would have been available to him.

This vastly interesting essay, part of a series of essays on Romantic Libraries, is filled with insights like these:

The possession of a library—of a dedicated space, as well as of a private collection of books—is a clear indicator of status in the novel, reflecting relatively recent social developments. The Bingleys, renting Netherfield, have a room but not many books; their new money will be put to use in this generation by the purchase of property and the beginning of a collection. Darcy has a fine library at Pemberley, “the work of many generations,” to which he is constantly adding. His idea of a “truly accomplished woman” is one who would put it to use, a goddess capable of improving “her mind by extensive reading”. “I cannot comprehend the neglect of a family library in such days as these,” he says. His is the standard to which all aspire. The Bennet library is one of the bonds between Elizabeth’s family and the one that she will marry into: “He is a gentleman; I am a gentleman’s daughter,” as she defiantly but rather disingenuously declares to Lady Catherine. They have the same social values.

Princess Charlotte's Court Dress, 1814-16, also known as the Bellflower Dress

Princess Charlotte's Court Dress, 1814-16, also known as the Bellflower Dress

embroidered-bellsWhen I saw Princess Charlotte’s bellflower court dress (1814-16) at the Museum of London I remember being transfixed and standing in front of the glass case for a half hour. I could not get over the exquisite details and embroidery of this gossamer thin gown, and wondered at the hours it took to create it, the number of seamstresses that must have toiled over it, and its cost. It was so beautiful that I mistook it for a wedding dress. The train, which showed slight damage where some of the embroidered bells were missing, is similar to the one on Princess Charlotte’s silver net wedding gown. Tradition has it that this court dress was made for Princess Charlotte on her engagement in 1814. The bellflowers were fashioned from silk covered wire and net decorated with silver thread darning and the tiny beads were made from blown glass. (The London Look, p 22)

The Museum of London website states that this sumptuous dress, which is “covered with hundreds of tiny three-dimensional bellflowers, exemplifies the technical excellence of London’s dress-makers in this period. The dress needed 600 hours of conservation work and is so fragile it may never be shown in public again.”

Detail of bells and net embroidery

Detail of bells and net embroidery

Short in stature and slightly dumpy, and not known for her fashion sense, Princess Charlotte could easily afford elaborate costumes. Her provisioners included the William King of Pall Mall, a silk mercer, and Mrs. Triaud and Mrs. Bean, London dressmakers who worked on her trousseau. (The London Look, p 22.)

According to a contemporary description, the Princess entered her mother’s drawing room in May 1815 in an exquisitely beautiful dress that (from the description) looked similar to the bellflower dress:

Gold lama and white draperies over a petticoat of rich white satin and gold twisted trimming; train of rich figured white satin, body elegantly trimmed with rich gold and blond lace; head-dress, plume of ostrich feathers, with a beautiful diadem of brilliants; necklace and ear-rings of diamonds. – The London Look, p 24

  • The London Look, Fashion from Street to Catwalk. By Christopher Breward, Edwina Ehrman, Caroline Evans, 2004

princess-charlotte-court-dress3Front of gown, Museum of London

Image of Jane Austen's pelisse coat

Image of Jane Austen's pelisse coat

Isn’t Jane Austen’s pelisse coat pretty? It has an oak pattern on a beige and brown ground. The pelisse was donated to the Hamphire Museum in 1993 and can be viewed in this link. View close ups of the coat here.

According to Fashion-Era: “Both the late 18th century and the early 19th century pelisse were three quarter length coat. Later versions had a shoulder cape or capes. It was often trimmed with fur, ruched silk trimmings or satin along its edges.” Pelisses can be without sleeves or with sleeves and vary in length.

1819 Walking Dress, Ackermann's Repository

1819 Walking Dress, Ackermann's Repository

Lara Corsets and Gowns reproduced a pelisse coat from an 1819 Ackermann fashion plate.  The following is Catherine Decker’s description of this coat: “Walking Dress, featuring Pelisse. This grey pelisse is trimmed with ruby velvet and has a matching ruby velvet bonnet, with ostrich feathers dyed to match. The huge fur muff would stay popular for the next few years, but muffs in the late 1820s were generally of a more reasonable size.”

  • Click here to see the modern reproduction and for ordering information.