William Brown Street

Coordinates: 53°24′36″N 2°58′48″W / 53.410°N 2.980°W / 53.410; -2.980 William Brown Street in Liverpool, England is a road that is remarkable for its concentration of public buildings. It is sometimes referred to as the "Cultural Quarter"

Originally known as Shaw's Brow, a coaching road east from the city, it is named after William Brown, a local MP and philanthropist, who in 1860 donated land in the area for the building of a library and museum. This area gives its name as the William Brown Street conservation area.

The conservation area contains:

  • Lime Street Station
  • St George's Hall
  • William Brown Library and Museum — housing part of World Museum Liverpool and part of Liverpool Central Library
  • Great North Western Hotel
  • Walker Art Gallery
  • Picton Reading Room and Hornby Library — part of Liverpool Central Library
  • County Sessions House
  • College of Technology and Museum Extension — part of World Museum Liverpool
  • The Wellington Memorial
  • The Steble Fountain
  • St John's Gardens
  • Liverpool Empire Theatre
  • Entrance to Queensway Tunnel

  • Lime Street Station

  • St. George's Hall

  • Liverpool Central Library

  • World Museum Liverpool

  • Great North Western Hotel

  • Walker Art Gallery

  • County Sessions House

  • Wellington's Column

  • Steble Fountain

  • Liverpool Empire Theatre

  • Queensway Tunnel

Famous quotes containing the words brown and/or street:

    “I had rather munch a crust of brown bread and an onion in a corner, without any more ado or ceremony, than feed upon turkey at another man’s table, where one is fain to sit mincing and chewing his meat an hour together, drink little, be always wiping his fingers and his chops, and never dare to cough nor sneeze, though he has never so much a mind to it, nor do a many things which a body may do freely by one’s self.”
    —Miguel De Cervantes (1547–1616)

    “The invention of photography provided a radically new picture-making process—a process based not on synthesis but on selection. The difference was a basic one. Paintings were made—constructed from a storehouse of traditional schemes and skills and attitudes—but photographs, as the man on the street put, were taken.”
    —Jean Szarkowski (b. 1925)