Summary

Warwick William Wroth Cremorne and the later London gardens

The opening day at Cremorne was bright and sunny, and the procession of 300 made its entrance in imposing style: heralds in their gaudy tabards, yeomen in Lincoln green, men-at-arms in glittering armour—a whole Ivanhoe in motion. The tournament King, the Queen of Beauty, and their suite, were escorted to a tapestried tribune, and their gorgeous array contrasted strangely with the tall-hatted and coal-scuttle-bonneted spectators who occupied the seats on every side.
Source: Gutenberg

Warwick William Wroth Cremorne and the later London gardens

A description that I have found in a London guide-book of 1846 of the tea and tavern gardens of that date has already an old-world air: ‘The amusements are innocent, the indulgence temperate; and a suitable mixture of female society renders it [our guide means them] both gay and pleasing.’ The public-house was then, as now, no inconspicuous feature of the Metropolis; yet in the earlier half of the nineteenth century it had, if not exactly gaiety and innocence, some characteristics which tended in that direction—its little gardens in summer, its tavern concerts in winter-time.
Source: Gutenberg

Warwick William Wroth Cremorne and the later London gardens

The Eagle garden presented itself to such visitors as a large paved square, which, judging from its two surviving trees, could never have been truthfully described as thickly wooded. Conspicuous features were the large rotunda opposite the entrance, with its pit, now floored over, and the ‘new’ theatre (of 1877) , adjoining Shepherdess Walk, practically unaltered, though dingy and dirt-begrimed beyond description.
The Oriental orchestra in the garden still showed traces of its gaudy colouring, and a melancholy brick wall displayed remnants of primitive grotto-work.
Source: Gutenberg

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