Leighton House Museum, the house Frederic Leighton built for himself in Holland Park, which I visited yesterday, will start a big improvement programme soon, due for completion in 2021.
Leighton House is famous for its Orientalist decoration, furnished from Leighton’s travels in the near East, and notable for walls covered in Iznik and Persian tiles set in glazed turquoise panels by William de Morgan. (No photos allowed, but good illustrations in the guidebook ISBN 0902242237.) Its lavish and exotic public spaces contrast with Leighton’s monastic bedroom. He fiercely guarded his privacy and left almost no personal documents, but the design of the house suggests that he never intended to marry and it is now generally supposed that he was gay, which influences the way we look at paintings like Daphnephoria, (above), where the youths are painted with more conviction than the girls.
The peculiar design of the house, with a large studio, one bedroom and public rooms unsuitable for family living, made it unsaleable on his death in 1896. The sale of the contents, however, raised enough to keep it as a museum. But it was really only eighty years after Leighton’s death that it began to be run as a proper monument to him. Disagreements between his sisters and Mrs Emilie Barrington, his adoring neighbour and biographer, blocked development for years. On their death the property was sold to the local council, then managed in a half-hearted way, a victim of indifference to Victorian art, and by the 1950s it had fluorescent lighting and cream-painted walls and was being used for exhibitions of modern art. John Betjeman spearheaded its revival, which began in the early 1980s, since when it has been carefully restored and appropriately furnished, original contents recovered wherever possible.
The final phase of the restoration will remove some late additions, restore the Perrin Wing, make a new entrance, improve disabled access and create stronger links with the local community.