lordship has been defunct this hundred and fifty years. A horse race then was a much more sober affair than in these enlightened days

when every head is full and every tongue vocal with mental and moral reform.

VAUXHALL GARDENS.

VAUXHALL is alive. At one time it was thought dead, and people affirmed the fact to be an evidence of the improved state of the metropolis. (Moralists are too prone to be thankful for small mercies.) Had the fact been so, the inference was a fallacy; but we need not trouble ourselves about that, as the fact is otherwise. It is a mistake to suppose that progress is made only in one direction. Vauxhall is associated with the fast life of centuries. It was born in the general and fearful profligacy—the fearful price England paid for the Restoration. In 1661 Evelyn writes of it as a pretty contrived plantation. In 1665, in the diary of Pepys, we find entries of sundry visits to Fox-hall and the Spring Gardens, and "of the humours of the citizens pulling off cherries, and God knows what." Again we are told, 66 to hear the nightingales and the birds, and here fiddlers, and there a harp, and here laughing, and there the people walking, is mighty

diverting." That respectable Secretary of the Admiralty also tells us of supper in an arbour, of ladies walking with their masks on, and his righteous soul was shocked to see "how rude some of the young gallants of the town are become," and "the confidence of the vice of the age." To Vauxhall Addison took Sir Roger de Coverley, and Goldsmith the Citizen of the World, who exclaimed, "Head of Confucius, this is fine! this unites rural beauty with courtly magnificence." Here Fielding's Amelia was enraptured with the extreme beauty and elegance of the place. Here Miss Burney gathered incidents for her once popular but now forgotten tales. And here Hogarth, for suggesting paintings, some of which still remain, was presented with a perpetual ticket of admission, and which was last used in 1836. Strange scenes have been done here. One of them is described by Horace Walpole, who graphically narrates how Lady Caroline Petersham stewed chickens over a lamp; and how Betty, the fruit girl, supped with them at a side table. All that is past. Dust and ashes are the fine lords and fine ladies who made Vauxhall the resort of folly and fashion-the fashion is gone, the folly remains.

Yet never were there

more funds subscribed for the conversion of the Jews, or more missionaries sent out to Timbuctoo.

Vauxhall is one of the delusions of London life. It lives on the past—a very common practice in this country, where real knowledge travels very slowly. When Smith comes up to London, his first Sunday he goes to hear the Rev. Mr. Flummery, thinking he is the popular preacher. Ah, Smith! Flummery has ceased to be a popular preacher these twenty years. "What a sweet girl is gone!" exclaims old Jones, as he hears of the death of an ancient flame. Jones forgets the sweet girl had become an old maid of seventy, and had not a tooth in her mouth or a lock of hair on her head but what was artificial. So with Vauxhall. It lives as many a man, or newspaper, or magazine, or institution, on its name. Judge for yourself if you won't take my word. A cab will take you there from the Strand in half an hour, and for the very moderate sum of one shilling the gate will be unlocked and entrance effected. The specialty of the place is the blaze of lights from thousands of lamps. Supposing you to have got over the bewilderment created by their lustre, to eyes not accustomed to such "hall sof dazzling light," you perceive a

kind of square (the precise definition of it I leave to the mathematicians) with a dancing platform in the middle, a supper room on one side, and boxes all round, where refreshments and seats are supplied. Opposite to the supper-room is a lofty orchestra, glittering all over with many coloured lamps; further on and behind are walks, and trees, and a fountain, with gigantic horses snorting water through their nostrils, and a space for fireworks, the demand for which on the part of the pleasure seekers of the metropolis, if we may judge by the supply, is insatiable. Let us not forget also the Rotunda, a large building with pit, boxes, and gallery, chiefly devoted to horsemanship, neither worse nor better than what is usually seen at such places. The comic singing is a feature of the place. Popular comic songs are not very fresh, nor very witty nor refined, and require, when delivered in public, a good deal of elocution. The point must be apparent, and the emphasis clearly enunciated, but they are much the same here as elsewhere. When you have heard one or two of them, you have heard them all. So much by way of description. The people who come here are the people whose pleasures are of the lowest