4928 x 3264 px | 41,7 x 27,6 cm | 16,4 x 10,9 inches | 300dpi
Date de la prise de vue:
12 mars 2016
Lieu:
Lupus Street, London, UK
Informations supplémentaires:
In 1825, Thomas Cubitt was contracted by Lord Grosvenor to develop Pimlico. The land up to this time had been marshy but was reclaimed using soil excavated during the construction of St Katharine Docks. Cubitt developed Pimlico as a grid of handsome white stucco terraces. The largest and most opulent houses were built along St George's Drive and Belgrave Road, the two principal streets, and Eccleston, Warwick and St George's Squares. Lupus Street contained similarly grand houses, as well as shops and, until the early twentieth century, a hospital for women and children. Smaller-scale properties, typically of three storeys, line the side streets. An 1877 newspaper article described Pimlico as "genteel, sacred to professional men… not rich enough to luxuriate in Belgravia proper, but rich enough to live in private houses." Its inhabitants were "more lively than in Kensington… and yet a cut above Chelsea, which is only commercial." Although the area was dominated by the well-to-do middle and upper-middle classes as late as Booth's 1889 Map of London Poverty, parts of Pimlico are said to have declined significantly by the 1890s. When Rev Gerald Olivier moved to the neighbourhood in 1912 with his family, including the young Laurence Olivier, to minister to the parishioners of St Saviour, it was part of a venture to west London "slums" that had previously taken the family to the depths of Notting Hill. Through the late nineteenth century, Pimlico saw the construction of several Peabody Estates, charitable housing projects designed to provide affordable, quality homes. Laurence Olivier, actor, lived at 22 Lupus Street
Uniquement disponible pour une utilisation éditoriale.
Utilisation pour des reportages d’actualités, des avis et des critiques, la communication d’informations concernant des personnes, des lieux, des choses ou des événements.
Par souci de clarté, l’utilisation éditoriale exclut tout usage en rapport avec la publicité, la promotion (par exemple, des sites web promotionnels), le marketing, les emballages ou les produits dérivés.
