Philip Astley was a distinguished soldier who opened a riding school in Lambeth in 1768. Together with his wife Patty, Astley began to exploit the late Georgian fascination with outdoor spectacles by performing horseback tricks and equestrian skills to the paying public. Astley’s displays of horsemanship were gradually complimented by other visual spectacles of strength and skill, such as acrobatics and tight-rope walking. After his original premises were burnt to the ground in the late 18th century, Astley quickly re-established himself by opening his new ‘Royal Amphitheatre’ in 1795, itself rebuilt following a further fire in 1804 (and pictured here).
Astley’s Amphitheatre is often considered to be the first genuine British ‘circus’ owing to its many features that are still familiar today. Horses travelled at speed around a ring while acrobats and clowns also topped the bill. The Amphitheatre, however, combined other elements of performance more akin to traditional theatres, such as drama and song. Note in this image, for example, the combination of both a stage and circus ring in front of the audience. The Amphitheatre was particularly famed for its battle re-enactments that were often accompanied by explosions and sound effects, and which remained hugely popular with visiting Londoners well into the Victorian period.
Background to the Microcosm of London collection of prints
The Microcosm of London was published in three volumes between 1808 and 1810 as a result of an ongoing collaboration between publisher Rudolph Ackermann, cartoonist and illustrator Thomas Rowlandson, architectural draughtsman Auguste Charles Pugin, engravers John Bluck, Joseph Constantine Stadler, Thomas Sunderland, John Hill and Richard Bankes Harraden, anonymous hand-colourists and authors William Henry Pyne and William Combe.
The Microcosm of London tapped into the demand for highly-coloured prints of real-life subjects that proved something of a publishing sensation during the Regency period. As such, the prints stand as a fascinating historical record of London life in the early years of the 19th century. While Pugin’s fine architectural drawings capture the size and shape of the capital’s principal buildings (both externally and from within) Thomas Rowlandson’s keenly observed figures depict the sheer colour and vitality of late Georgian society, rich and poor alike.
- Full title:
- Astley's Amphitheatre from Microcosm of London
- 1808-10, London
- Book / Illustration / Image
- Rudolph Ackermann, W H Pyne, William Combe, Augustus Pugin, Thomas Rowlandson
- Usage terms
- Public Domain
- Held by
- British Library
- Article by:
- Paul Schlicke
- Popular culture
Industrialisation had a dramatic effect upon all aspects of Victorian life. Paul Schlicke examines how it led to the growth of commercial entertainment and the presence of these new cultural forms in the novels of Charles Dickens.
- Article by:
- Matthew Sangster
- Transforming topography, Town and city
Advances in print technologies, a growing consumer base and the interventions of clever entrepreneurs led to a burgeoning of prints of London in the 18th and 19th century. Matthew Sangster considers the ways in which these prints represented and organised the city, placing them onto a digital map of London to reveal the geographical and cultural patterns they trace.
- Article by:
- Elliot Sinclair
- British Library on Sky Arts: Famous faces explore the Library
Downton Abbey actor Jim Carter visits the Library to explore his secret passions for magic and circus.