Consuming Passions: Leisure and Pleasure in Victorian Britain (92 page)

14
Trevor Fawcett,
The Rise of English Provincial Art: Artists, Patrons, and Institutions outside London, 1800-1830
(Oxford, Clarendon Press, 1974), p. 156.

15
William Wordsworth,
The Prelude, or, Growth of a Poet’s Mind
, in
Wordsworth’s Poetical Works
, ed. William Knight (London, Macmillan & Co., 1896), vol. 3, VII, pp. 230-59.

16
Fawcett,
Rise of English Provincial Art
, pp. 153-4.

17
Puückler-Muskau,
Pückler’s Progress
, p. 129.

18
Barbara J. Black,
On Exhibit: Victorians and their Museums
(Charlottesville, University Press of Virginia, 2000), pp. 67-8.

19
Playbill cited in Jane Moody,
Illegitimate Theatre in London, 1770-1840
(Cambridge, Cambridge University Press, 2000), p. 133.

20
Martin Meisel,
Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England
(Princeton, Princeton University Press, 1983), pp. 217-18, 221.

21
Petipa cited in Roland John Wiley,
Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker
(Oxford, Clarendon Press, 1985), p. 183.

22
Sybil Rosenfeld, ‘The Grieve Family’, in [S. Rosenfeld, ed.],
Anatomy of an Illusion: Studies in Nineteenth-Century Scene Design: Lectures of the Fourth International Congress on Theatre Research
(Amsterdam, International Federation for Theatre Research, 1969), p. 42.

23
R. Derek Wood, ‘The Diorama in Great Britain in the 1820s’,
History of Photography
, 17, 3,
passim.

24
Klingender,
Art and the Industrial Revolution
, p. 145.

25
Burney,
Evelina
, p. 122.

26
Brendon,
Thomas Cook
, p. 20.

27
William Thackeray,
The Newcomes: Memoirs of a Most Respectable Family
(1853-5), ed. Andrew Sanders (Oxford, Oxford University Press, 1995), p. 209.

28
R. Davenport-Hines, ‘William Palmer’, in
Oxford Dictionary of National Biography.

29
Jim Steinmeyer,
Hiding the Elephant: How Magicians Invented the Impossible
(London, Arrow, 2004), pp. 29-31.

30
James Robinson Planché,
The New Planet; or, Harlequinade Out of Place
(London, S. G. Fairbrother, 1847),
passim.

31
Cited by Undine Concannon in ‘Anna Maria Tussaud’, in
Oxford Dictionary of National Biography.

32
[Charles Lamb], ‘The Old and the New Schoolmaster’,
London Magazine
, 3 (1821), p. 495.

33
Cited in Meisel,
Realizations
, p. 63.

34
[Pardon],
The London Conductor
, pp. 46-7.

35
All these pieces of sheet music can be found in the British Library.

36
Cited in Altick,
English Common Reader
, p. 114.

37
Cited in Francis E. Mineka,
The Dissidence of Dissent: The Monthly Repository, 1806-1838
(Chapel Hill, University of North Carolina Press, 1944), p. 57.

38
The Times
, 23 September 1809.

39
Cited in A. H. Saxon,
Enter Foot and Horse: A History of Hippodrama in England and France
(New Haven, Yale University Press, 1968), p. 104.

40
Pepys,
Diary
, vol. 8, p. 240.

41
A Description of Vauxhall Gardens. Being a proper companion and guide for all who visit that place
(London, 1762), pp. 9, 32.

42
Ibid., p. 9.

43
‘Descriptions of Southwark, Lambeth, Newington &c.’, [1796], in the collection made by Henry Jacob Burn and held at the British Library as ‘Vauxhall Gardens: A Collection of tickets, bills of performances, pamphlets, MS notes, engravings and extracts and cuttings from books and periodicals relating to Vauxhall Gardens, originally made by Jacob Henry Burn’. It is worth noting that substantial portions of this 1796 pamphlet are lifted wholesale from the anonymous
A Description of Vauxhall Gardens
of 1762 cited above.

44
Ibid., p. 23.

45
W. S. Scott,
Green Retreats: The Story of Vauxhall Gardens, 1661-1859
(London, Odhams Press, 1955), p. 86.

46
Pückler-Muskau,
Pückler’s Progress
, pp. 128-9.

47
Cited in Scott,
Green Retreats
, p. 95.

48
Mollie Sands,
The Eighteenth-Century Pleasure Gardens of Marylebone, 1737-1777
(London, Society for Theatre Research, 1987), p. 94.

49
Burney,
Evelina
, p. 471.

50
T. J. Edelstein,
Vauxhall Gardens
(New Haven, Yale Center for British Art, 1983), p. 15.

51
Burney,
Evelina
, pp. 209-10.

52
Most of these spas, with descriptions, appear in Edelstein,
Vauxhall Gardens
,
passim.

53
Joseph Strutt,
The Sports and Pastimes of the People of England
, ‘a new edition much enlarged and corrected’ by J. Charles Cox (London, Methuen and Co., 1903), pp. 200-201.

54
Mark Judd, ‘The Oddest Combination of Town and Country’, in Walvin and Walton,
Leisure in Britain
, p. 15.

55
Cunningham,
Leisure in the Industrial Revolution
, p. 173.

56
Wordsworth,
The Prelude
, VII, pp. 695-723.

57
Michael J. Turner, ‘Abraham Thornton’, in
Oxford Dictionary of National Biography.

58
My thanks to Jill Grey, Keith Ramsey and Sheldon Goldfarb for supplying the crucial links to this murder case.

59
All fair exhibitors listed in Judd, ‘The Oddest Combination of Town and Country’, in Walvin and Walton,
Leisure in Britain
, pp. 19-21; the conclusion about the concurrent spread of newspapers and increasing representation of crime is my own.

60
[G. A. Sala], ‘Leicester Square’,
Household Words
, 7 (1853), pp. 64-5.

61
Max Schlesinger,
Saunterings in and About London
, tr. Otto Wenckstein (London, Nathaniel Cook, 1853), pp. 18-20.

62
Nevett,
Advertising in Britain
, pp. 20-21, 53.

63
Cited in Clear,
The Story of W. H. Smith
, p. 14.

64
Sampson,
History of Advertising
, p. 27.

65
Ibid., p. 31.

8 :
Penny Plain, Tuppence Coloured: The Theatrical Spectacular

1
Brewer,
Pleasures of the Imagination
, p. 49.

2
Vickery,
Gentleman’s Daughter
, pp. 234-5.

3
Borsay,
English Urban Renaissance
, pp. 119-20.

4
Booth,
Theatre in the Victorian Age
, p. 16.

5
Borsay,
English Urban Renaissance
, p. 148; J. H. Plumb, ‘The Commercialization of Leisure’, in McKendrick, Brewer, Plumb,
Birth of a Consumer Society
, p. 277.

6
Fawcett,
Bath Entertain’d
, pp. 82-3.

7
Hembry,
British Spas from 1815
, p. 3.

8
Brewer,
Pleasures of the Imagination
, pp. 60-61.

9
Fawcett,
Rise of English Provincial Art
, p. 158.

10
Cited in Brewer,
Pleasures of the Imagination
, p. 385.

11
Fawcett,
Rise of English Provincial Art
, p. 166.

12
Booth,
Theatre in the Victorian Age
, p. 6.

13
Jacky Bratton,
New Readings in Theatre History
(Cambridge, Cambridge University Press, 2003), p. 55.

14
J. Ewing Ritchie,
Here and There in London
(London, W. Tweedie, 1859), p. 111-16.

15
Bratton,
New Readings in Theatre History
, p. 49.

16
Rappaport,
Shopping for Pleasure
, p. 182.

17
Maria Edgeworth,
The Absentee
(1812), ed. W. J. McCormack and Kim Walker (Oxford, Oxford University Press, 2001), p. 98.

18
Booth,
Theatre in the Victorian Age
, p. 62.

19
Cited in Rees,
Theatre Lighting in the Age of Gas
, p. 188.

20
Cited in ibid., pp. 175-6.

21
Moody,
Illegitimate Theatre
, p. 172.

22
This figure, a conflation of Charles Booth and Walter Besant, is suggested by Booth,
Theatre in the Victorian Age
, p. 4.

23
Ibid.

24
Ibid., p. 13.

25
Wolfgang Schivelbusch,
Disenchanted Night: The Industrialization of Light in the Nineteenth Century
, tr. Angela Davies (Berkeley, University of California Press, 1995), p. 31.

26
Sala,
Gaslight and Daylight
, p. 159.

27
Cyril Rollins and R. John Witts, eds.,
The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875-1961
(London, Michael Joseph, 1962), p. 23.

28
Booth,
Theatre in the Victorian Age
, pp. 18-19.

29
Peter Thomson, ‘Henry James Byron’, in
Oxford Dictionary of National Biography.

30
Kean and Byron: Booth,
Theatre in the Victorian Age
, p. 13. The remaining figures: John Pick,
The West End: Mismanagement and Snobbery
(Eastbourne, John Offord, 1983), p. 31.

31
Booth,
Theatre in the Victorian Age
, p. 35.

32
Brewer,
Pleasures of the Imagination
, pp. 328-9.

33
La Belle Assemblée
, almanac for 1842, p. 7.

34
Altick,
Shows of London
, p. 185.

35
Bratton,
New Readings in Theatre History
, p. 40.

36
Terence Rees and David Wilmore,
British Theatrical Patents
(London, Society for Theatre Research, 1996), pp. 18ff.; Booth,
Theatre in the Victorian Age
, p. 38.

37
Rees and Wilmore,
British Theatrical Patents
, pp. 7ff.

38
Booth,
Theatre in the Victorian Age
, p. 1.

39
Citd in ibid., pp. 36, 18.

40
Midsummer Night’s Dream
and fairytale literature: Michael R. Booth,
Victorian Spectacular Theatre: 1850-1910
(London, Routledge & Kegan Paul, 1981), pp. 37-8, 36. W. S. Gilbert: cited in Rees,
Theatre Lighting in the Age of Gas
, p. 181.

41
Pückler-Muskau,
Pückler’s Progress
, pp. 79-81.

42
Planché,
The Extravaganzas of J. R. Planché
, vol. I, p. 46.

43
Summary derived from Booth,
Theatre in the Victorian Age
, p. 195, with additional information from Pick,
The West End
, p. 31.

44
Charles Dickens,
David Copperfield
(1850), ed. Jeremy Tambling (Harmondsworth, Penguin, 1996), p. 270.

45
Rosenfeld, ‘The Grieve Family’, in [Rosenfeld, ed.],
Anatomy of an Illusion
, p. 40.

46
Rees,
Theatre Lighting in the Age of Gas
, pp. 44-5, 84, 49.

47
Maureen Dillon, “Like a Glow-worm who had lost its Glow”, The Invention of the Incandescent Electric Lamp and the Development of Artificial Silk and Electric Jewellery’,
Costume
, 35 (2001), p. 78.

48
Rees,
Theatre Lighting in the Age of Gas
, pp. 181-2.

49
Booth,
Victorian Spectacular Theatre
, pp. 82-3.

50
Booth,
Theatre in the Victorian Age
, pp. 34-5.

51
J. C. Cross,
Circusiana, or A Collection of the Most Favourite Ballets, Spectacles, Melo-drames, &c., Performed at the Royal Circus, St George’s Fields
(2 vols., London, Lackington, Allen & Co., 1809), pp. 93-4.

52
Paris in Uproar
,
The Champ de Mars
and
Bagshot-Heath Camp
: Moody,
Illegitimate Theatre
, pp. 27-8.
The British Glory in Egypt
and ad: Altick,
Shows of London
, p. 176.

53
Moody,
Illegitimate Theatre
, pp. 27-9.

54
The Times
, 2 June 1800, p. 1, col. a.

55
I have relied heavily on A. H. Saxon’s two books,
Enter Foot and Horse
and
The Life and Art of Andrew Ducrow and the Romantic Age of the English Circus
(Hamden, Conn., Archon, 1978) for much of the information on hippodrama, except where otherwise stated. The Royal Circus advertisement:
Enter Foot and Horse
, pp. 39-40.

56
Saxon,
Enter Foot and Horse
, p. 49.

57
Ibid., pp. 45, 49.

58
Cited in ibid., pp. 83-7.

59
Ibid., pp. 89, 96.

60
Ibid., p. 90.

61
Pückler-Muskau,
Pückler’s Progress
, pp. 66-7.

62
Saxon,
Enter Foot and Horse
, p. 94.