From my perspective, 18 Stafford Terrace has shown a mixture of authenticity and uncanniness. In a way, great efforts were made to maintain the historic imagery, with even further refurbishment and purposed layout. However, due to its over-complete conservation, there existed a sense of resistance towards visitors.

Formerly inhabited and later on, well preserved, for the visitors, the house has restored a typical Victorian look via its evident Italianate appearance and a multitude of furniture pieces. Also mirrored is a leisured middle-class life of Edward Linley Sambourne and Marion Herapath, over a century ago. The houseowners’ outstanding aesthetic taste for interior furnishing was salient. A luxurious wallpaper in rooms on the ground and first floor, where the entertaining and socializing took place. Therein also stand cupboards and shelves with fine china collections, reflecting the ‘Aesthetic Movement’ of that era. The rest of the property was decorated in a similar fashionable style with slight differences based on functions.

Figure 1: Dining Room

Figure 2: China Cupboard

Upon that, an extra sense of intimacy was strengthened upstairs, where the principal room and the couple’s son, Roy’s room sit. A majority of bedroom furniture remains to the present with little alterations. It also stands out that Roy has filled his room with various photographs, illustrations and actresses’ portraits, depicting a lively life he enjoyed. On the top floor are Edward’s studio and the maid’s room with a separate bathroom on the mezzanine.

Figure 3: The Principal Bedroom

Figure 4: Roy's Bedroom

Unlike a traditional gallery where viewers’ comprehension is, to a certain extent, confined within the institution, 18 Stafford Terrace demonstrates a broader and more comprehensive view. Its rich collection of personal possessions is further recontextualized, in the geographical company of a great number of artist studios. Visitors are placed in a vivid construction of memory bits, interactively exposed to the affable unfamiliar. 

Nevertheless, evidence is to be found to indicate an invisible enclosure. Engaging as the exhibition seems, no further are you allowed to go across a warning line, which has put the majority of the collection out of reach. Consequently, little more than a vague overall impression remains after the visit. The house’s intactness thus constitutes its utmost imperfection.  Moreover, as all on display is genuine, they conjoin to serve as a historical reproduction, one thorough, overwhelming and thus enclosed. I, a viewer from the 21^st century, was constantly reminded of a pre-finished narrative and my attempts to approach were largely declined.

Figure 5: In front of such a rich collection, we were only allowed to stand behind a warning line at the door. 

Picture:

1. Gu, F. (2018) Dining Room. [photograph] London.
2. Gu, F. (2018) China Cupboard. [photograph] London.
3. Gu, F. (2018) The Principal Bedroom. [photograph] London.
4. Gu, F. (2018) Roy's Bedroom. [photograph] London.
5. Gu, F. (2018) Drawing Room. [photograph] London.