I must apologize in case the screen shot that appeared appeared too small. Wardour street runs through Oxford street in the Soho district of the west end of London. This district is known as the party district, as Chinatown, prostitution clinics, and the vast chains of entertainment and commerce industries are located among this street.
According to the Old Bailey archive, Booth Poverty Map, and the Locating London’s past archives, this residential area is consumed with people who are both rich and poor, however the street itself is not safe and full of danger and violence. There are many accounts and testimonies of theft and grand larceny’s that appeared on the street, most prominently because the street is connected to other streets in the surrounding district; all of which are connected to Oxford street. On the poverty map it shows that on the street itself, that the people are poor or comfortably middle class (purple) and the rest are well-to-do regular middle class (red). With this in mind, it can show that by mixing two classes in the same street can cause conflict based on the differences in culture, attitude amongst each other, and overall availabilities and opportunities that are given to the people.
Thus as depicted and showed on this map, it is not unreasonable to see that violence and robbery were apparent amongst the people that live on this street. Furthermore, this street is home to sex industries which were very frowned upon by society. From a religious standpoint, those that partake would be scrutinized and condemned to the jurisdiction and harsh consequential acts of the patriarchal system. People that came to the Soho district, and to this street, came to get drunk, laid, or come to be entertained. Thus, many writers and poets/songwriters and other liberal art talents came to get inspiration from this street. However, due to the nature of the party district, many of them did not stay sober long enough, or in cases, survived, in order to publish their works.
Within “Picture of Dorian Gray” by Oscar Wilde, this street comes up in chapter 4 when Dorian is talking with Lord Henry, and Henry tells Dorian that he went to barter and trade an old brocade. Lord Henry then continues to recount how it is difficult to trade things and barter things as people put such a high price on it because of the impoverish settings surrounding the area. e recounts saying the people know the”value of everything and the price of nothing” thus noting that people wish to have as much as they could because they come to this street to thrive and better their lives, but in the end, since nobody knows the price (metaphorically and literally) nobodies situation actually changes. This is the only mention of Wardour street between chapters 1-5, however it plays a significant role as this street is where the “sins” of London ultimately reveal themselves to the readers.
Whitechapel is a hamlet, a village without a church of its own that belongs to another village’s parish and is located in the East End of London. Proximity to the street seems to be indicative of belonging to a higher socio-economic bracket, with the well-to-do and middle class living right next to the street and the less well-off living farther away.
As shown in records from The Proceedings of the Old Bailey, most of the crimes in Whitechapel were theft, with a smaller division of the thefts having been violent. Whitechapel is also known for prostitution and its high immigrant population.
Even before 1888, Whitechapel’s history is still shrouded by mystery and murder. British History Online gives background information about the namesake of the St. Mary Matfelon Church. Mary Matfelon was a devout widow to the church who was gruesomely killed by her new husband. After killing her and taking her most valued possessions, he attempted to run away, but was caught by Mary’s fellow wives; together, along with the police, they brought him to justice and the parish soon purchased Mary’s name for the church.
The mention of Whitechapel so early in the novel sets the tone for what important themes will soon be introduced. The East End is where Henry indulged himself with Dorian; it was also indicative of corruption and immorality, outwardly in the form of opium dens and brothels.
Self-awareness of one’s higher place in society is a shocking realization shown in a time when literature was commonly romanticized. Through his line “Still, the East End is a very important problem,” Sir Thomas shows that he is able to acknowledge the economic differences between himself and those of the less fortunate.
The exchange between Lady Agatha and Lord Henry highlights the latter’s purposeful ignorance of the poor’s struggles. Henry (or Harry) only values what has aesthetic pleasure: youth and beauty, two qualities that he observes that Dorian Gray himself has.
The Achilles Statue, or The Wellington Monument, is a bronze statue that rests in Hyde Park, London and was built by Sir Richard Westmacott in 1822. According to British History Online, it’s construction was subscribed by the ladies of England as a monument in honor of the Duke of Wellington and his military successes. It was received with a lot of controversy because it was the first nude statue to be put on public display in London. The statue features an entirely nude Achilles (save for a single olive leaf over his family jewels), his armor next to him, and his sword raised in the air preparing to strike. A writer of the Tour of a Foreigner in England wrote, “His [Westmacott’s] ‘Achilles,’ which has been erected as a monument to the Duke of Wellington, is merely a colossal Adonis.” Adonis is another character in Greek mythology, often used to describe handsome young men, he is a vegetation god that is eternally youthful and beautiful as well as a deity for life, death, and rebirth. I think the statement that Westmacott’s Achilles looks more like Adonis is fair, but this shouldn’t mean that Achilles wasn’t also a beautiful man–he was able to disguise himself as a girl on the island of Scyros. I think both Adonis and Achilles fall under the criteria of “pretty boys”.
This relates to the themes in Oscar Wilde’s Dorian Gray in many ways. It speaks to this idea of translating people into art (what Basil wishes to do with Dorian) and capturing their beauty forever. The creation of the statue parallels Basil’s creation of Dorian’s portraits, in the sense that the beauty of these figures is being captured and translated into art, which will last forever, eventually outliving the people that inspired the art in the first place (something that perplexes and upsets Dorian). I think it’s easy to say that Dorian wishes to be Adonis, ever-youthful and beautiful, but I think that Dorian really wants to be Achilles, the statue itself. He wishes to be trapped in time, unchanging, unaging. This also relates to the theme of art, specifically the purpose of art, which Wilde addresses directly in this novel. Wilde, and other members of the aestheticism movement, are arguing that art shouldn’t have to serve a purpose, it should just be beautiful. The creation of the statue seemed to have to have been justified as a war monument for it to be able to be displayed, when it could have just been a work of art created solely to be looked on and enjoyed by the public.
Hyde Park, one of the must see sites in London. Being one of the only places in London full of lush green as far as the eye can see it was a get away from the hustle and bustle of city life.
The Park was first meant to be a private hunting ground for Henry VIII. In 1637 the Park was opened to the public by Charles I. During the Victorian Era, the Park was a place of leisure for the “fashionable world”. You could be at leisure in Hyde Park but not for long. According to W.S. Gilbert, one was to be on their toes in the Park where there was action on every corner. He says, “in the inner mind you must be observant, prepared to enjoy either the solitude of the crowd, or to catch the quick glance, the silvery music of momentary merriment, then have a few seconds of rapid, acute dialogue, or perhaps be beckoned into a carriage by a friend with space to spare.” A time in the Park was a social gathering of the most fashionable in London, including Queen Victoria herself. She hated London but loved to be in the Park (R.D.Blumenfeld). Max Schlesinger says” By far more interesting, and indeed unrivalled, is Rotten-row, the long broad road for horsemen, where, on fine summer evenings, all the youth, beauty, celebrity, and wealth of London may be seen on horse-back.” Hyde Park was inhabited by the beautiful people of London and it was readily seen by all who went there.
Hyde Park was surrounded by Upper Class, Upper Middle, and Middle Class
In Oscar Wilde’s The Picture Of Dorian Gray, the Park is talked about a few times. Lord Henry brings up the Park first in chapter three. Dorian begs the Lord to allow him to go with him as he wants to listen to him talk some more. Lord Henry responds:
“Ah! I have talked quite enough for to-day,” said Lord Henry, smiling. “All I want now is to look at life. You may come and look at it with me, if you care to.”
Readers of the Victorian era would make the connection to the active social area that was Hyde Park. Lord Henry, who had a view of life that fascinated Dorian Gray, wanted to observe the life that would inevitably be happening in the Park.
The Park is mentioned again in chapter four.Dorian is talking to Lord Henry again and mentions how the Lord has inspired Dorian to observe those in the Park, as he did in the chapter before. He also mentions the Park when he is talking about his new found love, an Actress named Sibyl Vane. He describes her as an extraordinary woman, different than those fashionable women who “ride in the park in the morning and chatter at tea-parties in the afternoon”. Lord Henry and Dorian believe that beauty is what one needs to strive for in life. The ever changing beauty of the actress night to night appeals to Dorian more than the fashionable and traditional women who socialize in Hyde Park.
The Park is mentioned another time in chapter five. Sibyl and her brother James are planning to go for walk. Sibyl suggests a walk in Hyde Park but James says “I am too shabby,” he answered, frowning. “Only swell people go to the park.” Hyde Park’s reputation and normal visitors would be known by the reader and this line would ring true to them. The line also lends itself to an overwhelming theme of the importance of beauty in the novel. It is important to multiple characters to look their best and to stay that way, including the park.
In chapter 11 the Park is brought up again. Basil had just been question Dorian about his morals and how much he has changed. He talks about a past liaison of Dorian’s named Lady Gwendolen. Lady Gwendolen was an upstanding citizen until Dorian. Now not ” a single decent woman in London now who would drive with her in the park” (chapter 11). Dorian has apparently influenced this woman so much that she would not be able to be in the upstanding place that is Hyde Park. Basil saying these words and with what we know about Hyde Park, we know that Lady Gwendolen must have changed in a way that made her unfashionable and not suitable for the Park.
Dorian is back in the Park in chapter 18. He has joined a shooting-party with some elites of London. As they were shooting a hare had run in front of them into a bush where Sir Geoffrey Clouston then decided to shoot. When the shot rang out there were two screams, the one of the hare and the other of a man. In the end of the chapter we find out the man is none other then James Vane. James Vane had been stalking Dorian to get revenge for his sister death.When the hare had run past and Geoffrey Clouston readied himself to shoot at it, Dorian tried to get Geoffrey to not shoot at it. He had appreciated the look of the hare and did not want that to be taken away. When Clouston thought that to be ridiculous and shot anyway we are reminded that Dorian’s appreciation for beauty is much different then many others in the story. Vane himself had mentioned earlier in the story that he was too “shabby” to be in the Park. In a way it’s as if the Park has taken an extreme measure to retain it’s beauty when the “shabby” Vane is shot and killed instantly.
In chapter 19 Lord Henry brings up the Park again when speaking to Dorian. In the end of the chapter Dorian is obviously not himself and Henry invites him to lunch and a visit to the Park the next day. Dorian does not want to go and asks if he must. Henry comes back and says of course he must, because “the Park is quite lovely this time of year” (chapter 19). Instead of saying something perhaps about spending time together or meeting with old friends it’s about seeing the beauty in the park because that is the only reason Henry wants to be there, to take in the natural beauty of the Park.
The Park meant a lot to Dorian and Lord Henry alike. Mostly because the beauty that was there. Not only was the park naturally full of beautiful sights but only the beautiful people of London were there and both of our beauty obsessed characters knew that. They spent their time there to appreciate as much beauty as they could within England.
Work Cited
Blumenfeld, R.D.B. “Diary: June 27, 1887”. Victorian London. Lee Jackson. Web. 17 December 2015.
The Charles Booth Poverty Map reveals that Piccadilly was largely populated by the upper and middle classes with “fairly comfortable” in some areas. On The Proceedings of Old Bailey the results for crimes committed on Piccadilly show that the majority of them were variations of theft ranging from burglary to shoplifting and only a few of the crimes were considered violent. The high amount of theft seems logical considering it was a richer area with plenty of shops. There would have been quite a few places to target.
According to British History Online, “Piccadilly has for centuries been one of the two most important highways leading to the metropolis from the west” (BHO). Clearly, this street has always been well-traveled and essential to getting around the city. There were several well known places on this street such as Burlington House, Burlington Arcade—described as “a long, covered avenue lined with small, but beautiful shops”—, the Royal Academy, and the Egyptian Hall (Historical Eye). In The Picture of Dorian Gray, this street is mentioned by Dorian Gray when he is explaining to Lord Henry how he had reacted to Henry’s words which had “filled [him] with a wild desire to know everything about life” (Chapter 4). To quell this wild desire, Dorian explains that he strolls down Piccadilly and watches people: “As I lounged in the park, or strolled down Piccadilly, I used to look at every one who passed me and wonder, with a mad curiosity, what sort of lives they led” (Chapter 4). Piccadilly would be a good place to watch a variety of people, especially considering the attractions located along the street; the shops and other popular places drew in all sorts of people. Dorian’s adventures on Piccadilly—a relatively safe street, at least in terms of violence—eventually lead to his exploration of the “grimy streets” of London—presumably a more dangerous, lower class area—where he discovers Sibyl Vane (Chapter 4).
In Oscar Wilde’s The Picture of Dorian Gray, Dorian Gray’s fiancé, Sibyl Vane, lives on Euston Road with her mother and brother James. Euston Road runs parallel to the Thames, between The Regent’s Park and Hyde Park, and is the closest main road to the Euston Station, which connects to the road via Euston Grove (Victorian Google Maps). Camille Cauti, who provides the Introduction and Notes for my edition of Dorian Gray, comments that Euston Road is a, “Street in North London lined with inexpensive lodging” (69). Euston Road, originally called the “New Road,” was sanctioned to be built in 1756 to connect Paddington and Islington within London (Walford, “Euston Road”). Not only was the road constructed to further connect one end of London to the other, but Euston Road was also meant to provide a residential living area for the growing population of London: “The result was that the road was wholly residential, with long gardens in front of the houses and this pleasant effect was increased by laying out open squares which faced one another, such as Park Square and Crescent, Endsleigh Gardens and Euston Square. Mackenzie’s view (Plate 82a) shows the road in 1825 at the height of its fashion” (“Euston Road”). But by the time Oscar Wilde was writing Dorian Gray though, which would be at least fifty years from 1825, the beauteousness of Euston Road seemed to fade into what Wilde refers to as, “the dreary Euston Road.” (Wilde, 69). In the novel, Sibyl suggests to Jim that they visit the Park, unto which Jim responds, “‘I am too shabby,’ he answered, frowning. ‘Only swell people go to the Park” (Wilde 67). The siblings decide to go to the Park that is above their class anyway, and must walk down Euston Road to reach the Park. Sibyl and Jim’s walk down Euston Road is important in understanding Sibyl’s shift from poverty to prestige–or at least the facade of prestige that Dorian Gray is as a park is to nature. Euston Road, both historically and fictionally, seems to represent a type of transition, or rather fading, from one state of being to another.
Camille Cauti, Introduction. The Picture of Dorian Gray. By Oscar Wilde. New York: Fine Creative Media Inc., 2003. Print.
“Euston Road.” Survey of London: Volume 24, the Parish of St Pancras Part 4: King’s Cross Neighbourhood. Ed. Walter H Godfrey and W McB. Marcham. London: London County Council, 1952. 114-117. British History Online. Web. 15 November 2015.
Victorian Google Maps. Google Imagery 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. 15 November 2015.
Marble Arch has a twofold meaning; the actual Arch is a famous monument, and the area surrounding the relocated arch took up the name. The Arch was originally intended to be a grand entrance way for Buckingham Palace, but it was relocated after Queen Victoria moved in and the palace was reconfigured. The Arch was relocated to Hyde Park, and served as an entrance into the park (in the modern time, it sits on a traffic island). The area surrounding the Arch took on the name Marble Arch. Marble Arch is located in the City of Westminster, and therefore was dominantly well off individuals. This map shows the area was mainly middle and upper middle classes.
The actual Arch was located at a major crossroad, and therefore most likely a hot spot for attracting the attention of carriages or omnibuses. The Marble Arch was also based off the Arch of Constantine, in Rome, and the structural similarities can be seen in the following pictures.
St. George Street is located in at the corner of George Street and Margaret street. According to Charles Booth, this area consisted mostly of middle and upper class citizens. The church first opened its doors on September 4 1850, and it was created to serve a Roman Catholic population of immigrants coming from Ireland. The two architects were Joseph and Charles Hansom and their builder Ralph Witherly from York.
In Romance in a Shop, Conny has a conversation with Gertrude about how she spends much of her time at Saint George and how she has no interest in getting married. She is much more content spending time under a glass ceiling (conservatories). Compared to how much life is changing for her other sisters, while hers seems to not give in to giving up on the new woman idea.
‘Parish Church of St. George.’ An Inventory of the Historical Monuments in City of York, Volume 5, Central. London: Her Majesty’s Stationery Office, 1981. 20. British History Online. Web. 30 October 2015. http://www.british-history.ac.uk/rchme/york/vol5/p20.
The Royal Academy of Arts in Burlington on Piccadilly is mentioned in chapter twelve of author Amy Levy’s The Romance of a Shop. Mr. Darrell, a painter and wealthy associate of the Royal Academy has grown fond of a beautiful young maiden, Phyllis, who works in a photography shop. He expressed his desire to paint a picture of her and rather than hanging it in “the profanum vulgus Burlington House” as he originally suggested, he preferred to hang it in his home as “it will show up better at his place” (133). According to The Latin Lexicon online source “profanum” and “vulgus” are Latin terms meaning an “unholy” object and vulgus refers to the state of being ordinary (Alexander). The book references “profanum vulgus, i.e., the vulgar rabble” and according to Merriam-Webster “rabble” refers to the “disorganized collection on things” or a low class of people who could be considered violent (The Romance of a Shop. 133) (The Merriam-Webster Dictionary).
The Charles Booth Online Archives states the Burlington House was situated in direct proximity to the “upper-middle class area and mostly consisted of inhabitants who are “comfortable others poor” and some “middle class” (Charles Booth Online Archives). Also, documented crimes in The Proceedings of Old Baily indicate that starting in the year 1837 and onward offenses in this area consisted of simple theft such as pickpocketing (Old Baily).
These statistics are extremely important to note. Mr. Darrell is considered to be wealthy and of the upper-middle class. He believes Burlington House is a place in which common people congregate to display art forms other than photography. Although The Burlington House is deemed as a world-renowned institution for displaying art, Mr. Darrell prefers not to have his painting of Phylis displayed there. He does not view the inhabitants of the area as being intellectually on his level or of the same socio-economic class as himself. Nevertheless, he perceives the painting of Phyllis in which he depicts a lower class maiden, an employee of a photography shop is not worthy of being exhibited there. To him, although he has captured the working girl’s true beauty he believes her persona would be diminished if her portrait were to be displayed in the gallery with the otherwise disorganized and commonplace collection of art pieces of the Royal Academy.
According to The Historical Eye in the article entitle Piccadilly to Regent Street: Then and Now 1896, the Burlington House is dedicated to the Royal Academy of Arts established in 1768, which hosts “painting and sculptures” by British artists (Rees). The British History Online in the article Burlington Arcade states the Italian Renaissance mansion was bequeathed to the Dukes of Devonshire. These high-ranking noblemen lived on Piccadilly and were distinguished in both rank and affluence. In 1854, the venerated house was sold to the British Crown. (Burlington Arcade. British Histories Online).
In the article Burlington House on Dictionary of Victorian London online, the building was partitioned into five collections that were called “The Society of Antiquaries,” “The Linnaean Society”, “The Royal Society of Chemistry”, “The Geological Society” and “The Royal Astronomical Society.” The Royal Academy of Arts, located on the same property, “held the annual exhibition of pictures” (Jackson).
The Chemistry Room
According to Peter Cummingham, Hand-book of London located on Dictionary of Victorian London online; The Royal Academy of Arts was previously located on Trafalgar Square and then at Somerset House. The government expanded the Academy’s art collection and in 1866 chose to move it to Burlington House. The Academy was widely known as “a private society” but, its’ doors were that of a “school open to the public.”
The entrance of The Royal Academy of Arts
The Royal Academy of Arts entrance to Burlington House
Students selected to attend the program at the Academy were chosen based on their artistic ability. Discerning students were awarded yearly medals based on their astute distinction. Students could choose to study in one of the three branches of learning which included antiquity, living models, and painting. As Mogg’s New Picture of London and Visitor’s Guide to its’ Sights states, professors of the Royal Academy of Arts were known as highly esteemed artists in the fields of “painting, sculpture, architecture, [chemistry] and engravers” (Jackson). The article Pall Mall, South Side, Past Buildings: The Royal Academy in British Histories Online states that complimentary tuition was given to all students. Additionally, seasonal “lectures” were available to the general public, with summer being the prime time for lecturing on painting (Pall Mall, South Side, Past Buildings: The Royal Academy. The British Histories Online).
An exhibition was held yearly at the Royal Academy of Arts in which all artists could enter their creations. However, artistry could not consist of previously exhibited pieces, copies, vignette portraits and no “drawings without backgrounds” were to be entered (Mogg’s New Picture of London and Visitor’s Guide to its’ Sights . Jackson). Also, only art pieces that consisted of painting, sculptures, architect, engraved, seal-cut and medal pieces could be submitted. The proceeds collected from this exhibit went directly to funding the school and other charities (Pall Mall, South Side, Past Buildings: The Royal Academy. The British Histories Online).
This exhibition is referred to as being “one of the most interesting spectacles to an intelligent mind that the capital can boast” (Mogg’s New Picture of London and Visitor’s Guide to it Sights. Jackson). Professional artists were allowed to enter up to eight pieces of work. In contrast, “unprofessional artists” were permitted to enter only one piece of work that would then be presented to the council to be adjudicated. Charles Dickens in his Dickens’s Dictionary of London, states that the yearly exhibit was known as one of the “largest picture shows in the world” (Jackson).
Throughout my research, I could not find references to the practice of photography. Clearly, photography was not considered a legitimate art form. Therefore, a vignette or small portrait photograph was not accepted for submission to the contest. When Mr. Darrell decides not to give the painting of Phyllis to the Burlington House it is perhaps because he is acknowledging the art world does not recognize photography, Phyllis’s’ livelihood as a legitimate art and, in essence, would be rejecting her beauty and her abilities as a working woman and gifted artist.
The Burlington House and The Royal Academy are prominent institutions and lend much credibility to the surrounding area. As such, the region received world recognition for being the hub of esteemed intellect, art, and science. Consequently, the five societies were distinct foundations. They greatly enhanced the credibility of the humanity of the arts and sciences in London. In our class, we have debated the notion of photography being either an art form or science. Clearly, today we view photography as serving both fields. However, during the Victorian Era it was more widely known as science.
Works Cited
‘Burlington Arcade.’ Survey of London: Volumes 31 and 32, St James Westminster, Part 2. Ed. F
H W Sheppard. London: London County Council, 1963. 430-434. British History Online. Web. 26 October 2015. http://www.british-history.ac.uk/survey-london/vols31-2/pt2/pp430-434.
Alexander, Keith. “Profanum.” The Latin Lexicon. Keith Alexander. Web. 31 Oct. 2015.http://latinlexicon.org/definition.php?p1=1013239&p2=p.
‘Burlington Arcade.’ Survey of London: Volumes 31 and 32, St James Westminster, Part 2. Ed. F .H W Sheppard. London: London County Council, 1963. 430-434. British History Online. Web. 26 October 2015. http://www.british-history.ac.uk/survey-london/vols31-2/pt2/pp430-434.
Lee, Jackson. “Dictionary of Victorian London – Victorian History – 19th Century London –Social History.” Dictionary of Victorian London – Victorian History – 19th Century London – Social History. Dictionary of Victorian London. Web. 31 Oct. 2015.http://www.victorianlondon.org/index-2012.htm.
Jackson, Lee. “Dictionary of Victorian London”- “Victorian London – Entertainment and Recreation – Museums, Public Buildings and Galleries – Royal Academy of Arts.” Victorian London – Entertainment and Recreation – Museums, Public Buildings and Galleries – Royal Academy of Arts. Web. 31 Oct. 2015.http://www.victorianlondon.org/entertainment/royalacademy.htm.
‘Pall Mall, South Side, Past Buildings: The Royal Academy.’ Survey of London: Volumes 29 and 30, St James Westminster, Part 1. Ed. F H W Sheppard. London: London County Council, 1960. 346-348. British History Online. Web. 31 October 2015. http://www.british-history.ac.uk/survey-london/vols29-30/pt1/pp346-348.
Rees, Simon. “Piccadilly to Regent Street: Then and Now 1896.” The Historical Eye. The
In Amy Levy’s novel The Romance of a Shop, Waterloo Place is mentioned when talking about The Waterloo Gazette, a newspaper created in the area. Although the women in the story do not visit Waterloo Place, Gertrude turns down an interview with the magazine about her family’s photography shop and her career in general. The text also states, however, that later on “some unauthorised person wrote a little account of the Lorimers’ studio in one of the society papers…” (Levy 135)
As it is clear to see from the map above, courtesy of the London OS Town Plan, Waterloo Place is surrounded by a plethora of clubs, most likely meeting places for upper class citizens, and is also populated by war monuments and artistic statues, including a memorial to commemorate the Crimean War. One of the clubs visible on the map, the Athenaeum Club, was a clubhouse for gentlemen of the upper middle class, who enjoyed the arts, science, and were known for their artistic accomplishments. It was only in 2002 that the club, which still operates to this day, began to admit female members.
According to the Charles Booth Poverty Map as well, it is obvious that Waterloo Square is in a very wealthy area of London, as if the various sculptures and clubs in the area are not proof enough. On Booth’s charts, both red and orange represent middle class and upper middle class establishments being present, and the overwhelming amount of both colors suggest that Waterloo Place was in the center of a very affluent area. Its close proximity to Piccadilly Circus and the Royal Academy of the Arts also backs up this claim. However, it is interesting to note that on the left side of St. James Square, there is a row of blue dwellings, which indicates that was a smattering of poor families living in the area as well.
Works Cited
Levy, Amy. The Romance of a Shop. Ed. Susan David Bernstein. Canada: Broadview Editions, 2006. p. 135. Print.
Charles Booth Online Archive. Booth Poverty Map and Modern Map. Web. 30 October 2015. http://booth.lse.ac.uk/cgi-bin/do.pl?sub=view_booth_and_barth&args=529583,180350,1,large,0
London – OS Town Plan 1893-6. Web. 30 October 2015. https://mapsengine.google.com/07550989709782409818-08328807677136535917-4/mapview/?authuser=0
I must apologize in case the screen shot that appeared appeared too small. Wardour street runs through Oxford street in the Soho district of the west end of London. This district is known as the party district, as Chinatown, prostitution clinics, and the vast chains of entertainment and commerce industries are located among this street.
Thus as depicted and showed on this map, it is not unreasonable to see that violence and robbery were apparent amongst the people that live on this street. Furthermore, this street is home to sex industries which were very frowned upon by society. From a religious standpoint, those that partake would be scrutinized and condemned to the jurisdiction and harsh consequential acts of the patriarchal system. People that came to the Soho district, and to this street, came to get drunk, laid, or come to be entertained. Thus, many writers and poets/songwriters and other liberal art talents came to get inspiration from this street. However, due to the nature of the party district, many of them did not stay sober long enough, or in cases, survived, in order to publish their works.
