The idea of historic restoration was fairly new in the 70s. Coming out of the post-WWII age of progress, the cultural shift of the 1970s focused on reusing and recycling old relics. Historic restoration began to gain popularity, and in 1976 those who preserved buildings according to government guidelines instead of building new ones were treated more favorably.
The aesthetic philosophy of the victorian style
The Victorian era (1837-1901) was an era of sexual repression. Sex was a taboo topic, especially for women, but this is an era in which men were also sexually repressed. Even within marriage sex was seen as a shameful necessity. Husbands and wives had sex only for procreation, even going as far as to sleep in separate bedrooms. As repressed as the Victorian's were, homosexuality was surprisingly common. Though sex between two men was technically illegal, a Victorian man could have sex with another man and not fancy himself at all 'abnormal' as long as he stayed away from 'flamboyant tendencies'. The Victorian era was a contradictory time of both repression and self-expression. Perhaps this is why Bruce Bechdel was so attracted to it.
Victorian architecture was heavy and restrictive. Characterized by rich, vibrant colors, patterns, and heavy wood materials you could almost describe the style as smothering. Despite its restrictive nature, Victorian design was also very expressive. The interior of a Victorian home reflected the personality of the owner or the builder. What aspect of Victorian design might reflect Bruce's personality? The exterior of a Victorian home was inspired by Italianate or Renaissance style. These homes were more asymmetrical and elaborate than traditional boxy American homes.
Ginia Bellafante from the New York Times so perfectly said, "The era’s mores were charged with the tension between vagrant urges and the enforced repression of them. If Bruce Bechdel aimed to keep the truth of his life hidden, one could argue that he also put it flamboyantly on display."
The counter movement: Aestheticism
Aestheticism promoted the idea of creating art for art's sake and to exalt taste, the pursuit of beauty, and self-expression over moral expectations and restrictive conformity. Does that remind you of anything?
Houses designed by aesthetes deviated from classical architectural styles by bringing together a hodgepodge of ideas to create a unique structural layout. Some of these ideas were taken from Asian, Middle-eastern, and Italian cultures. In place of a traditional British parlor or tea room, aesthetic homes had something called an Arab Hall, which was an elaborately decorated domed room. The famous Peacock Room is also an example of aestheticism. This room was inspired by a Japanese lacquer box.
Aestheticism was a revolt against Victorian art and architecture. Aesthetes chose flamboyant designs that expressed unconventional colors, patterns, and ideas. Aestheticism is to Victorian architecture as Alison is to Bruce. I wonder if Bruce ever thought of this comparison.
The process of restoration
The process of historic restoration is not as solitary as it might appear. It requires knowledge of a unique process of compliance and review. Anyone restoring a historic home must work closely with their local historical society to maintain accuracy in every piece of restoration.
There are five steps to the preservation process: Identify, Investigate, Develop, Execute, and Educate. Many people make their career out of historic restoration and there are fourteen disciplines to choose from. Bruce restored homes as a hobby, not as a job, but he still would have had to follow strict rules of architecture and design to stay in the good graces of the historical society. When Bruce tells Mrs. Bochner, "Oh yes, I've done all the work myself" it is not a throwaway statement. His solo work as a restorer is actually quite remarkable.
The Bechdel House
Alison describes her childhood home as a museum. This 1880 Victorian home was decorated in the restrictive style of the Victorian era. The 4,000 square feet and 7 bedrooms provided each family member with a living space separate from the others. While living in this museum, no matter how many times she tried, Alison was not allowed to rearrange her room. Everything had to be as her father wanted it.
In 2006 Alison went back to visit her childhood home. While she stood in her bedroom she said, “I hated this room. I told my father that I hated it but he wouldn’t let me arrange the room the way I wanted it. I’d move my desk over and he’d put it back exactly where it was.” You can read the rest of that article here.
Much of Alison's childhood home has stayed the same. In her bedroom, the floral wallpaper and heavy chandelier that looked made of skulls both still remain. Much of the rest of the house also remains the same. The living room walls are still covered in a chrysanthemum-print William Morris pattern wallpaper. The foyer is still a baroque red, and an enormous glass-fronted cabinet still sits in the library. The heavy dark curtains that used to hang in the living room have been replaced.
Bruce's hobby of historic restoration that Alison brings to light in her graphic novel is presented as a metaphor for her father's life, and her relationship with him. In the book, Bruce picks out pink floral wallpaper for Alison's room, and even though Alison tells him she hates it, he insists. A similar scene occurs in the book and in the musical when Bruce wants Alison to wear a dress to a party. I encourage you to look for other moments where this metaphor is evident.
