she failed at the first attempt but she succeeded at her second try. She walked from Battersea Bridge to the Cremorne Gardens, watched by 20,000 people. Carlo Valerio would die in another tight rope demonstration at Cremorne Gardens. The famous artist James Abbott McNeill Whistler painted several nocturnes of Cremorne Gardens between 1872 and 1877. He was a resident of Cheyne Walk, a mere few hundred yards from the Gardens. His painting Cremorne Gardens No 2 is full of fashionable and active figures and parallels to some extent the ‘modern life’ paintings of his French associates Manet and Tissot with whom he was in close contact during the early 1870s. Cremorne Gardens was doubtless a most attractive location, not only for its light displays but also for the brilliant array of fashionable people who gathered there. They provided the setting for Nocturne in Black and Gold: the Firewheel and Nocturne in Black and Gold: the Falling Rocket of c.1874, the latter resulting in the Whistler versus Ruskin trial of 1878. Walter Greaves was the son of a Chelsea boat-builder who used to ferry Turner across the river; Walter and his brother Harry also performed the same service for Whistler, and in about 1863 became his unpaid studio assistants and pupils. They adored Whistler, accompanied him wherever he went, imitated his dress and manner, made the frames for his canvases, bought his materials and prepared his colours. Walter said; "He taught us to paint, and we taught him the waterman’s jerk". Their close association lasted well into the 1890s, Whistler favouring Walter as he was the more gifted of the two brothers. Two of his most successful images were Regatta at Hammersmith Bridge and Chelsea under Snow; like Whistler he concentrated on areas around the Thames. He died in poverty, having been taken in by the Charterhouse. Greaves chooses to depict Whistler near the Crystal Platform. A reporter in the Illustrated London News (30 May 1857) admired the structure's "inclosing ironwork...enriched, by Defries and Son, with devices in emerald and garnet cut-glass drops, and semicircles of lustre and gas jets, which have a most brilliant effect." The pavilion was about three hundred and sixty feet in circumference. It was encrusted with ornamental pillars, gas jets, and over forty plate-glass mirrors in black frames. In the upper portion of the pagoda (seen here), where the orchestra played, there were seventeen gas lit