Vauxhall Gardens. Vauxhall Gardens was a pleasure garden in Kennington, London, England, on the south bank of the River Thames. It was accessed by boat until the erection of Vauxhall Bridge in the 1810s. The area was absorbed into the metropolis as the city expanded in the early to mid-19th century. It was one of the leading venues for public entertainment in London from the mid-17th century to the mid-19th century. Originally known as New Spring Gardens, it is believed to have opened before the Restoration of 1660, being mentioned by Samuel Pepys in 1662. The Gardens consisted of several acres of trees and shrubs with attractive walks. Initially entrance was free, with food and drink being sold to support the venture. The site became Vauxhall Gardens in 1785 and admission was charged for its attractions. The Gardens drew enormous crowds, with its paths being noted for romantic assignations. Tightrope walkers, hot-air balloon ascents, concerts and fireworks provided entertainment. The rococo Turkish tent became one of the Gardens' structures, the interior of the Rotunda became one of Vauxhall's most viewed attractions, and the chinoiserie style was a feature of several buildings. A statue depicting George Frideric Handel in the Gardens later found its way to Westminster Abbey. In 1817, the Battle of Waterloo was re-enacted, with 1,000 soldiers participating. It closed in 1840 after its owners suffered bankruptcy, but re-opened in 1841. It changed hands in 1842, and was permanently closed in 1859. The land was redeveloped in the following decades, but slum clearance in the late 20th century saw part of the original site opened up as a public park. This was initially called Spring Gardens and renamed in 2012 as Vauxhall Pleasure Gardens. It is managed as a public park by the London Borough of Lambeth. Vauxhall Gardens is depicted in a tile motif at Vauxhall tube station by George Smith. Eminent 18th-century scholar John Barrell, writing in the Times Literary Supplement, brings out Vauxhall's significance. Vauxhall pleasure gardens, on the south bank of the Thames, entertained Londoners and visitors to London for 200 years. From 1729, under the management of Jonathan Tyers, property developer, impresario, patron of the arts, the gardens grew into an extraordinary business, a cradle of modern painting and architecture, and. music. A pioneer of mass entertainment, Tyers had to become also a pioneer of mass catering, of outdoor lighting, of advertising, and of all the logistics involved in running one of the most complex and profitable business ventures of the eighteenth century in Britain. References to Vauxhall are, for 150 years, as ubiquitous as references to Broadway later would be. The Gardens are believed to have opened just before the Restoration of 1660, on property formerly owned by Jane Fauxe, or Vaux, widow, in 1615. Whereas John Nichols in his History of Lambeth Parish conjectures that she was the widow of Guy Fawkes, executed in 1606, John Timbs in his 1867 Curiosities of London states for a fact that there was no such connection, and that the Vaux name derives from one Falkes de Breaute, a mercenary working for King John who acquired the land by marriage. Jane is stated to be the widow of John, a vintner. Perhaps the earliest record is Samuel Pepys' description of a visit he made to the New Spring Gardens on 29 May 1662. The then name distinguished the gardens from the Old Spring Gardens at Charing Cross; however Pepys implies that there were both Old and New Spring Gardens at Vauxhall; and indeed Spring Gardens appears to have been a longstanding appellation for a variety of entertainment enterprises. The Gardens consisted of several acres laid out with walks. Initially admission was free, the proprietors making money by selling food and drink. John Evelyn described the New Spring Garden at Lambeth as a very pretty contrived plantation in 1661. John Aubrey, in his Antiquities of Surrey gives the following account: At Vauxhall, Sir Samuel Morland built a fine room, anno 1667, the inside all of looking-glass, and fountains very pleasant to behold, which is much visited by strangers: it stands in the middle of the garden, covered with Cornish slate, on the point of which he placed a punchinello, very well carved, which held a dial, but the winds have demolished it. A plan of 1681 shows the circular central feature planted with trees and shrubs, and the formal allies that were to remain a feature as long as the Gardens lasted. Sir John Hawkins, in his General History of Music, says: The house seems to have been rebuilt since the time that Sir Samuel Morland dwelt in it.