Curzon Street

Within the Picture of Dorian Gray by Oscar Wilde, there are themes and motifs/attributes and allusions that are aimed at Victorian society through the use and significant stereotypes and realizations about Aestheticism within this time period. In Curzon street and in Mall Pall, there are accounts and descriptions of these places that relate to the book and the actions/what takes place along the streets according to the plot of the novel.

Curzon street lies among the city of Westminster and runs from park lane to Berkeley Square. It is home to many people who are rich in status and live among that street living a high life of pristine and elegance.  In the picture of Dorian Gray, Lord Henry walks down that street to visit his uncle. His uncle is described as “an old bachelor whom the outside world called selfish because it derived no particular benefit from him, but who was considered generous by Society as he fed the people who amused him” (Chapter III). It shows (although the street is only mentioned that one time) that the rich people living on this street think very highly of themselves, and much like Lord Henry and his uncle, most likely think poorly of the impoverished citizens that reside in the East end of London. It goes to show how this reveals the inherent nature of Lord Henry and how his influence over Dorian will soon be completely corrupted by the false image of “beauty” that in turn will reveal Dorian’s inner “ugliness” later on in the novel. Furthermore, the essence and  essential notion that beauty plays for Dorian Gray will be an intricate plot point revealing the theme of the novel, as the gray area dividing both the “East and West” ends of London and the “beauty and ugliness” of Dorian will go hand in hand. Thus, showing an intricate relationship between the individual and the society in which they live and how they influence each other.

In the Old Bailey online archive, there are many reports of what it turns out to be a high number of robbery of theft. the accounts are of rich people condemning poor people of stealing household items such as silverware, and selling them to make money (or possibly using them to eat, Because that is what silverware is for). Some of the accounts relay a vast number of religious themes as many of the rich people called the peasants “unchristian” or any other term saying they were abominations in the eyes of God, thus showing the importance of adhering to a religious belief that could be favored in the eyes of the country (Christianity). This archive shows that for Dorian Gray, the importance of religion shows a sort of high standard of living and a specific amount of intelligence and grace that can be seen as a form of art. This would allure to Dorian and his obsession with elegance and artistic things, as well as Basil and Lord Henry’s obsession with Dorian Gray.

mrsid2jpeg this map on the Charles Booth Poverty Map shows what is stated above: it is predominantly upper middle class and wealthy citizens that live along this street, which has also been known to be visited by many famous people of whom are of Lordship or any high standing label. The citizens of the middle class color (pink) and the citizens of high middle class (red) are the ones who were most likely to cause the chaos and rob people along this street leading for the accounts in the Old bailey archive to label these important people as “unchristian” or barbaric due to their upheld standing as a wealthier citizen of London.

Therefore it can be deduced that this street has a huge effect upon Dorian Gray based upon the high class and wealthy citizens that live along that street, whom also show a high quality obsession with elegance and aesthetic things much like Dorian himself, thus showing that the society in which one lives, and the attributes and lifestyles of said culture, can shape and influence a person into whatever that society sees as “valuable”. This is evident among the plot and course of Dorian Gray.

Works Cited:

“Booth Poverty Map & Modern Map (Charles Booth Online Archive).” Booth Poverty Map & Modern Map (Charles Booth Online Archive). N.p., n.d. Web. 07 Dec. 2015.

“The Picture of Dorian Gray (1891)/Chapter 3.” – Wikisource, the Free Online Library. N.p., n.d. Web. 07 Dec. 2015

“The Proceedings of the Old Bailey.” Browse. N.p., n.d. Web. 07 Dec. 2015

Russell & Allen (Old Bond Street)

Russell & Allen appears in Amy Levy’s The Romance of a Shop on page 79, as an elite dressmaker and supply shop where Constance, as a newly engaged women, tries on a ball dress. (pg. 79)

Unfortunately, while looking for more information on Russell & Allen’s shop, including what the storefront may have looked like, I could find no surviving images, as it would appear the store disappeared sometime in the late 1890s to early 1900s. The most information I could find on the store came from the footnotes on page 79 of The Romance of a Shop: “Messrs. Russell and Allen, Old Bond Street, London, W.” was an exclusive dress designer and supplier shop, according to photographs on the website of the Victoria and Albert Museum.” (pg. 79)

However, I did manage to find photos of preserved clothing that were made and sold via Russell & Allen’s shop, courtesy of the Victoria & Albert museum website.

Screenshot (38)

It’s clear to see that Russell & Allen made many high quality outfits, and it’s interesting that Amy Levy chose to include Constance’s engagement with the fact that she is trying a dress there. Perhaps she meant to express that Constance would only spend the money required for a Russell & Allen dress for an extremely special occasion, such as an engagement.

According to the Charles Booth Poverty Map, Russell & Allen, located on Old Bond Street, was surrounded by middle-class and upper middle-class dwellings, which seems obvious since Russell & Allen was a very expensive store. Only the upper middle class could afford to shop there, or have custom-made outfits made there. Even today, Old Bond Street is home to many expensive stores housing designer artifacts, such as Gucci outfits, who supply goods to the British Royal Family.


The only crime I could find being committed in the vicinity of Russell & Allen was a case of fraud, in which the defendant was found guilty. A man by the name of Adolf Beck appears to have tried to trade stolen jewelry for forged checks, one of which was made out to Russell & Allen.


Old Bailey Proceedings Online (, version 7.2, 10 December 2015), February 1896, trial of ADOLF BECK, Unlawfully (t18960224-277).

Booth, Charles. “Old Bond Street.” Charles Booth Online Archive. Web. 10 Dec. 2015.

“Bond Street.” Shops and Art Galleries in New Bond Street and Old Bond Street, London. Street Sensation, n.d. Web. 10 Dec. 2015. <>.

“Wedding Dress: Russell & Allen.” Victoria & Albert. N.p., n.d. Web. 10 Dec. 2015. <>.
Levy, Amy. The Romance of a Shop. Peterborough, Ont.: Broadview, 2006. Print.


The Orleans Club (King St)

The phrase “country club” immediately connotes the utmost pretention and affluence; to the average person, this is the location where men in nine-hundred dollar suits go to play golf and talk about their money in posh accents. While the stereotypes associated with these places are certainly not true for every member, they certainly are for Lord Henry Wotton. He says: “I can sympathise with everything except suffering…I cannot sympathise with that. It is too ugly, too horrible, too distressing” (Chapter 3). His credo is hedonistic at best and a direct result of his wealth; he especially does not sympathize with the suffering of the lower classes because they cannot afford the same self-indulgences and thus, they are deemed ugly. For Lord Henry, the “country club stereotype” holds true—he is, in fact, linked with the Orleans Club in the text. This elite club, based out of Twickenham, provided a town house on King St. (near Covent Garden) for both members as well as a non-members (for a fee).

We are not given any evidence to support whether or not Lord Henry is a member, only that he must “meet a man at the Orleans.” Either way, money is involved. If one was a member of the Twickenham Orleans Club, then the annual fee for the London Orleans Club was £8.8 (not including the £15.15 entrance fee and the £10.10 annual fee necessary for membership to Twickenham). In the year 2000, that roughly translates to £3,042 which, in 2015, is approximately $6,388. If he was not a member of the Twickenham branch but was only a member of the London branch, then he would have to pay the same annual fee of $6,388 plus the cost for each additional visit of $3,992. According to “Golf Digest,” the average cost of American country clubs is $6,245, so it follows that The Orleans Club has very high standards.

Because of the amount of money that is required to visit the Orleans club, one would imagine that it would be located in a wealthy district. According to the Charles Booth Poverty Map however, if the Orleans Club is located on King St. near Covent Gardens, it is surrounded by predominantly middle-class citizens with few poor districts interspersed throughout.

Orleans Club

This inconsistency could mean one of two things: either 1) that it could be located on a different King St. in London or 2) that it would account for the Orleans Club rule that “No person is eligible for admission who is not received in general society.” If the surrounding area was of a lower class, then rules are already in place to keep them out—coinciding completely with Lord Henry’s belief system and the classist disposition of many aristocrats. Either way, wealth is praised and poverty is admonished.


Avery, Brett. “Golf & Money: How To Join A Private Club.” Golf Digest. N.p., 12 Aug. 1012. Web. 17 Dec. 2015.

“Booth Poverty Map & Modern Map (Charles Booth Online Archive).” Booth Poverty Map & Modern Map (Charles Booth Online Archive). N.p., n.d. Web. 16 Dec. 2015.

Gaskins, Robert, and Randall C. Merris. “Calculate Modern Values Of Historic Concertina Prices.” Concertina. N.p., 1 June 2005. Web. 17 Dec. 2015.

“Orleans Club.” The Dictionary of Victorian London. Victorian Web. Web. Dec. 2015.

Wilde, Oscar. “The Picture of Dorian Gray.” Chapter 2.” – Wikisource, the Free Online Library. N.p. 1891. Web. 16 Dec. 2015.

Euston Road- Final Project

The Vane family (Sibyl, James, and their mother) lives on the residential street, Euston Road. Their apartment is in close proximity to the Euston Station. According to the Charles Booth Online Archive, the area surrounding Euston Square is mixed. The majority of residents are Middle Class, well-to-do, and the rest are split between comfortable and poor and Upper class and wealthy.

Screen Shot 2015-12-10 at 4.01.46 PM      Screen Shot 2015-12-10 at 4.02.07 PM


The poverty maps are very important in understanding the life of Sibyl Vane. Mrs. Vane brought up her children with the intentions of bettering their lives. She does this through upgrading them in appearances. When James is leaving for Australia and remarks how he will be leaving London hopefully for good, Mrs. Vane objects his disdain. When he returns she hopes he will make a name for himself in London and become a gentleman. Mrs. Vane’s approval of Dorian stems from exactly that;

“Of course, if this gentleman is wealthy, there is no reason why she should not contract an alliance with him. I trust he is one of the aristocracy. He has all the appearance of it, I must say. It might be a most brilliant marriage for Sibyl. They would make a charming couple. His good looks are really quite remarkable; everybody notices them” (Chapter 5).

Her lack of familiarity with Dorian is erased by the fact he is established in society. This is the reasoning behind the location of their apartment. Mrs. Vane is indebted to Mr. Isaac yet they still live in an area with easy access to affluence. Euston Square is within walking distance and King’s Cross Station is nearby as well. residential Euston Road. Sibyl and James have access to all of London from their location. Therefore, she increases the opportunities for her family.

Screen Shot 2015-12-11 at 3.40.57 PM

Euston Road, originally named New Road was constructed by the Metropolitan Railway Company. Tracks covered Euston Road entirely which, in turn, tore up the road. After completely the railway whilst simultaneously destroying the roadway, the company re-made the road, turning it into one of the finest in London. It was sanctioned by Act of Parliament in 1756 (Euston Road and Hempstead Road). The buildings on Euston Road had rather large yards with shrubbery in front to maintain a residential atmosphere. Euston Road was designed to accommodate the growing population of London. Although there were wealthy families living in the area, there was a represented lower class population, such as the Vane family.
The crime is abundant in the area. There are cases of stealing from one’s master, manslaughter, forgery, theft, deception, killing and disturbing of peace. From the information on Old Bailey Online, it is evident that there was a fair amount of criminal activity in the neighborhood. This is suggestive of the types of citizens who live in the area. Although there are parks nearby and Euston Square, there are still people there who are struggling to make ends meet. Euston Road is described as dreary in Picture of Dorian Gray, but the park is described as a place for swell people.
Thus, drab and fabulous are juxtaposed next to each other in Sibyl’s neighborhood. James walking with his sister on Euston Road is a “common gardener walking with a rose” (Chapter 5). Sibyl’s beauty contrasts her surroundings suggesting that she does not belong there and a place that better suits her is nearby (Euston Square/ Dorian Gray).

Works Cited
“Booth Poverty Map & Modern Map (Charles Booth Online Archive).” Booth Poverty Map & Modern Map (Charles Booth Online Archive). N.p., n.d. Web. 11 Dec. 2015.

“The Proceedings of the Old Bailey.” Results. The Proceedings of Old Bailey. Web. 11 Dec. 2015.

Walford, Edward. ‘Euston Road and Hampstead Road.’ Old and New London: Volume 5. London: Cassell, Petter & Galpin, 1878. 301-309. British History Online. Web. 9 December 2015.

Holborn Theatre Royal

Not much research can be found if a location has gone through three name changes and had burned down 135 years ago; however, it is not the significance of the Holborn Theatre as it relates to the grand scheme of history that makes it important, but rather its importance lies in its personal history’s relation to the characters in The Picture of Dorian Grey. The theatre opened in 1866 and was built in a yard that had previously held mail-carts and post-office omnibuses. It was the first playhouse built after the Theatres Act 1843 which stated that the Lord Chamberlin could only terminate a production if he believed it to be “fitting for the preservation of good manners, decorum or of the public peace so to do”—greatly limiting the ultimate power over London theatres that he had previously possessed. Fortunately, this meant that the Lord Chamberlain was unable to close theatres for any reason concerning classism (as would occur before the Theatres Act 1843); this was especially favorable for the Holborn Theatre as it was located amongst a very poor to middle class section of London. The theatre burned down in 1880 but was never rebuilt.

It is the fire that interests me most—fire that destroyed a place of art. But for Dorian Grey, it was not a home of art; it was in a lower class neighborhood that was not rich with aesthetic beauty—he describes it as “a wretched hole of a place” (Chapter 4).

Holborn Theatre

The art for him in the Holborn Theatre was Sibyl Vane. Dorian first see Sibyl in the role of Juliet in Shakespeare’s Romeo and Juliet, but the reader soon find out that she has played many a Shakespearean tragic heroin: Ophelia, Desdemona, Cordelia, etc. And like each of these characters, Sibyl dies because of a man in her life. Wilde writes, “They felt that the true test of any Juliet is the balcony scene…if she failed there, there was nothing in her” (Chapter 7). Unfortunately, her acting ability faltered and she did fail this crucial moment. Thus, Dorian falls in love with her for her art and falls out of love because of her lack of art; this causes her to commit suicide. The significance of the Holborn Theatre in all of this is that, like Sibyl, a vessel of Shakespearean drama and art is ultimately destroyed; the location most intimately linked with her also shares her fate. This poetic end (while not necessarily intentional) does add another layer of analysis to the novel and gives location a profound significance within the story.

“Booth Poverty Map & Modern Map (Charles Booth Online Archive).” Booth Poverty Map & Modern Map (Charles Booth Online Archive). N.p., n.d. Web. 17 Dec. 2015.

“Holborn Theatre Royal – The Theatres Trust.” The Theatres Trust. The National Advisory Public Body for Theatres, n.d. Web. 17 Dec. 2015.

Walford, Edward. ‘Red Lion Square and neighbourhood.’ Old and New London: Volume 4. London: Cassell, Petter & Galpin, 1878. 545-553. British History Online. Web. 17 December 2015.

Wilde, Oscar. “The Picture of Dorian Gray.” Chapter 2. – Wikisource, the Free Online Library. N.p. 1891. Web. 16 Dec. 2015.


The Grosvenor Gallery- Final Project

The Grosvenor Gallery

The Grosvenor Gallery is mentioned only once in The Picture of Dorian Gray by Oscar Wilde. However, the history on the building is plentiful. It is referred to in the first chapter of the book by Lord Henry. Lord Henry enters the studio where Basil is admiring his greatest work on an easel and says,

“It is your best work, Basil, the best thing you have ever done,” said Lord Henry languidly. “You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. Whenever I have gone there, there have been either so many people that I have not been able to see the pictures, which was dreadful, or so many pictures that I have not been able to see the people, which was worse. The Grosvenor is really the only place.”

Screen Shot 2015-12-16 at 9.55.29 PM(Plate 35: No. 19 Grosvenor Square, Gallery, staircase and stables in 1919).

Lord Henry is referring to The Royal Academy of Arts or Burlington House in Piccadilly, London when he says “The Academy.” According to Lord Henry, The Grosvenor Gallery is better suited to display the painting of Dorian by Basil. This is very important to the theme of the book of how art is displayed. Dorian believes artwork, including people, should be appropriately displayed. He believes Sibyl Vane is a work of art in human form and should be displayed as his wife (until he discovers she can no longer act). He also believes Shakespearian works should not be shown in an unworthy theater, such as The Royal Theater, where Sibyl performs.

“I must admit that I was rather annoyed at the idea of seeing Shakespeare done in such a wretched hole of a place” (Chapter 5).

Lord Henry believes that Basil’s painting of Dorian should be displayed in the Grosvenor Gallery where people who will truly appreciate it would see it.

The Grosvenor Gallery was founded by Sir Coutts Lindsay and his wife, Lady Blanche Lindsay as an alternative venue to view art to The Royal Academy. The gallery displayed the work of progressive artists who’s work was ignored due to its lack of adherence to traditional tastes. “The Lindsays’ innovative approach to art, audiences, and exhibition display made the gallery an influential force not only in Victorian art and society but also in the evolution of modern-day museum practice” (Yale University Press).

Previously occupied by Lord Grosvenor until June of 1808, The Grosvenor House was “thrown open to the ‘Fashionable world’” (Old Grosvenor House). The gallery was home to an eclectic collection of art described by The Morning Post as such;

“‘truly magnificent’ chandeliers and Grecian lamps, the vast and beautiful mirrors, the grand staircase, ‘superbly illuminated’ and ‘adorned with the most rare specimens in the art of sculpture’, and the richly gilded ornamental ceilings and cornices…Not everybody was enthusiastic however: Lord Lonsdale, who visited the house in the company of the architect Robert Smirke, found it ‘most expensively furnished, but in a bad taste'”(Old Grosvenor House).

The gallery provided a space for a collection of atypical works of art. It showcased aesthetic art otherwise dismissed by 19th century British standards. It began as a display room for a collection of beautiful things. Similar to Dorian’s aim in life, the gallery was a home for all things pleasing.

Works cited

‘Old Grosvenor House.’ Survey of London: Volume 40, the Grosvenor Estate in Mayfair, Part 2 (The Buildings). Ed. F H W Sheppard. London: London County Council, 1980. 239-250. British History Online. Web. 15 December 2015.

‘Plate 35: No. 19 Grosvenor Square, Gallery, staircase and stables in 1919.’ Survey of London: Volume 40, the Grosvenor Estate in Mayfair, Part 2 (The Buildings). Ed. F H W Sheppard. London: London County Council, 1980. British History Online. Web. 17 December 2015.
“The Grosvenor Gallery: A Palace of Art in Victorian London.” New Haven: Yale University Press, 1996. Print.

Wilde, Oscar. “The Picture of Dorian Gray (1891)/Chapter 1.” Wikisource, the Free Online Library. N.p., n.d. Web.10 Dec. 2015.

New Street

In Amy Levy’s Romance of a Shop, New Street is briefly mentioned by Phyllis as she, Conny, and Gertrude travel to their new home on Upper Baker Street. “‘What number did you say, Gertrude?’ asked Phyllis, as the carriage turned into New Street, from Gloucester Place” (Levy 75). It’s purpose is minimal, serving as a transitional landmark as the sisters approach their new home on Upper Baker Street. In the footnotes of the text, it is even mentioned, “…. New Street runs eastward into Upper Baker Street” (Levy 75).

Here is a view of it on the Victorian map:


And here is a map of it on the Charles Booth Online Archive:


Now in comparison to Campden Hill, which was filled with red and yellow indicating that it was a pretty well off area. In comparison, the areas all around New Street are a mixture of light and dark blues, indicating a poorer status. In addition to being a transitional setting from Campden Hill to Upper Baker Street, New Street also serves as a transition in surroundings. The Lorimer sisters used to live in an area very well off, and now are traveling into London, passing on this street, which seems to be of the poorer population.

It was hard to locate crimes on Old Bailey as it wasn’t specifically taking New Street, but all the streets in London into account. However I seem to have found some results and the most crimes committed on New Street include burglary, royal offences, and grand larceny (Old Bailey).

Works Cited:

Amy Levy. Romance of a Shop. N.p., 1888. Print.

“Map of New Street.” Charles Booth Online Archive. N.p., n.d. Web. 16 Dec. 2015.,181456,1,large,0

“The Proceedings of the Old Bailey.” London History. N.p., n.d. Web. 16 Dec. 2015. <>.

Campden Hill

In Amy Levy’s Romance of a Shop, Campden Hill is one of the first settings we are introduced to. In the first paragraph of the novel, the location is described: “There stood on Campden Hill, a large, dun-colored house, enclosed by a walled-in garden of several acres in extent. It belonged to no particular order of architecture, and was more suggestive of comfort than of splendour, with its great windows, and rambling, nondescript proportions” (Levy). What Levy suggests, just by the description of the home, it is modest, though large and with an impressive quality of land. So at the very least it is a well-to-do setting we are introducing our readers to the characters.
Located in South Kensington, near Holland Park, it is the location of the home belonging to the Lorimer sisters. The first three chapters of the book are set in Campden Hill before the Lorimer sisters are forced to sell their possessions and move elsewhere.

The Lorimers seemed to have once been a well-to-do family before their father’s death. Likewise their neighbors, for example Connie and her family, seem to be in favorable status as well. But when the sisters no longer have any money to support themselves, they decide to pursue photography as a serious profession; thus, they lose their home in Campden Hill and move to Upper Baker Street in London.

Here is a view of Campden Hill on the Victorian Map:


And here are other Victorian era pictures of Campden Hill to better showcase what its surroundings were:

images campden-hill-gardens-with-water-tower-pc664

Once the sisters leave Campden Hill, it is the last time it is revisited in the novel, though it remains important as it establishes the status quo of the sisters and who they are before the plot of the novel really begins.

Also here is a picture to show what kind of area Campden Hill was from the Charles Booth Online Archive:


As I had mentioned, the area itself contained many well-to-do middle class families with the wealthy classes. Because of the lack of black, there isn’t much criminal activity.

According to Old Bailey, the crime rate seems low in the area. The only crimes I was able to locate included forgery, theft, arson, embezzlement, fraud, and perjury (def: lying in court after taking an oath). Most of the punishments included imprisonment with either penal servitude or hard labor. Only one case, which was forgery by a man named Richard Armitage, ended in death (Old Bailey).

Works Cited:

Amy Levy. Romance of a Shop. N.p., 1888. Print.
“Map of Campden Hill.” Charles Booth Online Archive. N.p., n.d. Web. 16 Dec. 2015. <,179900,1,large,0>.
“The Proceedings of the Old Bailey.” London History. N.p., n.d. Web. 16 Dec. 2015. <>.

Hertford Street, Mayfair


The address of 152 Hertford Street does not exist. However Hertford Street is a real street in London, which originated during the building boom in 1760’s and is believed to be named after Hertford Arms which was an Inn and is no longer in operation. Hertford Street is home to Buckingham Palace and is known to be the high end area of London. The people who lived on Hertford Street were either well off or famous as we can see from the Booth Poverty Map. The crimes committed in the area are minimal such as theft (History of the area, n.d.).


1524                                                                                 Charles Booth Poverty Map

This address is that of Alan Campbell, a young chemist that Dorian Gray has called for. His character is mentioned only briefly and then never to be mentioned again. However because of his part in the novel he is not forgotten. He looked up his name in the book. He was curious if he would come as he seemed a dark part of his past. Dorian calls him to dispose of Basil’s body after he has killed him. He refuses to do so at first but Dorian threatens him to expose him if he did not do what he asked. He reluctantly sends a servant to get the materials he needs to dispose of the body.

Alan Campbell lived in the apartment building and was a single guy. He seemed dependent on Dorian Gray even though he did not want to do his dirty deed for him. He had a hard time letting go of the past. In the novel Gray seemed to go after the younger men in an attempt to savor his youth. The painting aged him so much that he wanted to savor any part that he could.  After Alan Campbell did away with the body Gray made him, he also committed suicide. Maybe his aesthetic lifestyle is just a show and he is a fraud.


1522                                                                           Hertford Street Victorian London

Works cited:

History of the area. (n.d.). Retrieved December 12, 2015, from

“Charles Booth Online Archive.” Charles Booth Online Archive. Web. 16 Dec. 2015.

“Booth Poverty Map & Modern Map (Charles Booth Online Archive).” N.p., n.d. Web. 12 Dec. 2015.


New Bond Street


New Bond Street

While researching New Bond Street, I noticed on the map the street is divided into two sections; New Bond Street and Old Bond Street. It is a wealthy section of London with many top of the line stores. Charles Booth Online Archive the crimes in the area were minimal with pick pocketing, theft and the like.  From looking at the Booth Poverty Maps I can tell there are mainly wealthy to middle class living in the area which is a good indication why there are such few crimes.

In the novel Portrait of Dorian Gray, Bond Street is where Dorian Gray is looking for a hansom to give him a ride. Before he gets to Bond Street he is out of sorts when Lord Henry questions him about his whereabouts the previous night, He gets nervous because he killed Basil the night before. His guilty conscience gets the best of him and makes him not know what direction to turn. He goes home and burns Basil’s belongings that he hid in the wall and soon goes off to New Bond Street. Once he gets there he calls for a “hansom with a good horse” (The Picture of Dorian Gray, 1891). He asked him for a ride, but when he whispers he address to him he says it is too far to travel. Dorian offers him monetary compensation and he agrees to take him there. He told the driver there will be more if he hurries to which he tells him they will be there in an hour.

In Victorian London New Bond Street was known for art, as it had many high end art dealers and is located so close to the Royal Academy of Arts. This location connects to the art theme in the story. Dorian was a symbol of beauty, and beauty was a symbol of art. It also is significant that art was a reflection of moral compass. Dorian’s portrait that Basil painted of him ended up being his demise because his immoral acts were reflected in the painting. Basil wanted to display his portrait at the art gallery, perhaps it was the one on this road. Dorian goes between good and evil and high and low class during the novel. On New Bond Street he is currently in the high class area, but is headed to the low class to the opium den to calm his nerves. This is almost as a turning point in Grays character. He goes to a super ritzy neighborhood to get a cab to the poor area. (Revolutionary road –

New Bond Street was an elegant premier shopping area of London. It had all of the high end stores and mostly the rich were found there. After all these years it has not lost its glam and still remains the shopping choice for many. The pictures below are Victorian London New Bond Street and modern day New Bond Street on the right. Both look beautiful and it is clear to see why it is known for the best shopping.

bond stbond2


The Picture of Dorian Gray (1891). (n.d.). Retrieved December 12, 2015, from

Revolutionary road – (n.d.). Retrieved December 12, 2015, from

“Charles Booth Online Archive.” Charles Booth Online Archive. Web. 16 Dec. 2015.

“Booth Poverty Map & Modern Map (Charles Booth Online Archive).” N.p., n.d. Web. 12 Dec. 2015.