Gothic Architecture, Sexuality, and License at Horace Walpole's Strawberry Hill Matthew M
Gothic Architecture, Sexuality, and License at Horace Walpole's Strawberry Hill Matthew M. Reeve You will express yourself in your home whether you want to or immortality after his death. Not only did he frequently allude not.—Elsie de Wolfe, The House in Good Taste, to his house as a lover to whom he was singularly faithful,^ thereby enacdng the central trope of narcissism, but he often The New York interior designer's famous proclamadon joked that his architectural self would leave as litde to pos- might serve as a warning to all patrons of domestic architec- terity as his physical self ("I am no poet, and my casde is of ture and interiors. Its admonitory message applies particu- paper, and my casde and my attachment and I, shall soon larly to "eccentric" men of taste, such as Horace Walpole vanish and be forgotten together!").'^ The symbiotic relafion- (1717-1797), whose life and home, the neo-Gothic villa ship between Walpole and Strawberry Hill was a dominant called Strawberry Hill in Twickenham, near London, have mythology of the house in the eighteenth century: a harshly been subject to sustained critical attention from his own day pardsan cridque, for example, called it "a picttire of the to the present. The house's design and decorafion emerged master's mind" in which there was "nothing great," however from close collaboration within his coterie of male friends filled with "elegant knowledge" and presented with "superior between about 1747 and 1777, particularly the designers polish and amusement."'^ John Chute (1701-1776) and Richard Bentley (1708-1772), Cridcal inquiry on Strawberry Hill culminated in its recent and a number of prominent architects, including Robert and ongoing restoration, the 2009-10 exhibitions at the Adam (Eig.
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