The music room
Music room – The room's open interior was used for recitals and dances. Its woodwork and furnishings were designed by Richard Van der Boyen and completed by Jules Allard and Sons. The room has a gilt coffered ceiling lined with silver and gold, as well as an elliptical ceiling molding which bears the inscription in French of song, music, harmony and melody. Around the edge are the names of well-known composers. The fireplace is of Campan marble and the tables were designed to match. Mr. Vanderbilt was known to play the violin and Mrs. Vanderbilt the piano, which is a Second Empire French mahogany ormolu mounted piano.
Music room – The room's open interior was used for recitals and dances. Its woodwork and furnishings were designed by Richard Van der Boyen and completed by Jules Allard and Sons. The room has a gilt coffered ceiling lined with silver and gold, as well as an elliptical ceiling molding which bears the inscription in French of song, music, harmony and melody. Around the edge are the names of well-known composers. The fireplace is of Campan marble and the tables were designed to match. Mr. Vanderbilt was known to play the violin and Mrs. Vanderbilt the piano, which is a Second Empire French mahogany ormolu mounted piano.
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Materials
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• Foundation: brick, concrete, and limestone
• Trusses: steel
• Walls: Indiana limestone
• Roof: red terra cotta tile
• Wall panels: platinum leaf (eight reliefs of mythological figures only)[14]
• Other: marble (plaques), wrought iron (gates and fences)
The architect
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The Breakers was designed by Richard Morris Hunt, one of the country's most influential architects. It is regarded as a definitive expression of American Beaux-Arts architecture. Hunt's final project, it is also one of his few surviving works, and is valued for its architectural excellence. The home made Hunt the "dean of American architecture", as he was called by his contemporaries,[15] and helped define the Gilded Era in American history.
edit
• Foundation: brick, concrete, and limestone
• Trusses: steel
• Walls: Indiana limestone
• Roof: red terra cotta tile
• Wall panels: platinum leaf (eight reliefs of mythological figures only)[14]
• Other: marble (plaques), wrought iron (gates and fences)
The architect
edit
The Breakers was designed by Richard Morris Hunt, one of the country's most influential architects. It is regarded as a definitive expression of American Beaux-Arts architecture. Hunt's final project, it is also one of his few surviving works, and is valued for its architectural excellence. The home made Hunt the "dean of American architecture", as he was called by his contemporaries,[15] and helped define the Gilded Era in American history.
en.m.wikipedia.org
Editing The Breakers - Wikipedia
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https://en.m.wikipedia.org/wiki/Marble_House
Marble House, a Gilded Age mansion located at 596 Bellevue Avenue in Newport, Rhode Island, was built from 1888 to 1892 as a summer cottage for Alva and William Kissam Vanderbilt and was designed by Richard Morris Hunt in the Beaux Arts style. It was unparalleled in opulence for an American house when it was completed in 1892.[1] Its temple-front portico resembles that of the White House.
Marble House, a Gilded Age mansion located at 596 Bellevue Avenue in Newport, Rhode Island, was built from 1888 to 1892 as a summer cottage for Alva and William Kissam Vanderbilt and was designed by Richard Morris Hunt in the Beaux Arts style. It was unparalleled in opulence for an American house when it was completed in 1892.[1] Its temple-front portico resembles that of the White House.
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William A. Clark House - New York, New York
A fabulously rich entrepreneur from Montana spared no expense building this 121-room behemoth that once stood on the corner of Fifth Avenue and 77th Street in Manhattan. Completed in 1911, the house cost $7 million (that's $178,075,000 by today's standards), in large part because of the extravagant materials used to construct it. Italian marble, parts of French châteaux, and wood from England’s Sherwood Forest once graced the elaborate home, which was reduced to rubble by 1925 and replaced with a luxury apartment building.
A fabulously rich entrepreneur from Montana spared no expense building this 121-room behemoth that once stood on the corner of Fifth Avenue and 77th Street in Manhattan. Completed in 1911, the house cost $7 million (that's $178,075,000 by today's standards), in large part because of the extravagant materials used to construct it. Italian marble, parts of French châteaux, and wood from England’s Sherwood Forest once graced the elaborate home, which was reduced to rubble by 1925 and replaced with a luxury apartment building.
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https://en.m.wikipedia.org/wiki/William_A._Clark_House
The William A. Clark House, nicknamed "Clark's Folly",[2] was a mansion located at 962 Fifth Avenue on the northeast corner of its intersection with East 77th Street on the Upper East Side of Manhattan, New York City. It was demolished in 1927 and replaced with a luxury apartment building (960 Fifth Avenue).
The William A. Clark House, nicknamed "Clark's Folly",[2] was a mansion located at 962 Fifth Avenue on the northeast corner of its intersection with East 77th Street on the Upper East Side of Manhattan, New York City. It was demolished in 1927 and replaced with a luxury apartment building (960 Fifth Avenue).
Wikipedia
William A. Clark House
building in Manhattan, New York, United States
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Palmer Mansion - Chicago, Illinois
https://en.m.wikipedia.org/wiki/Palmer_Mansion
nce the largest private residence in Chicago, Bertha and Potter Palmer’s home was one of the first to be built on the city’s famed Gold Coast along the shores of Lake Michigan. Erected in 1885 and torn down in 1950, the Romanesque mansion featured an 80-foot central spiral staircase and a collection of masterpieces by artists like Degas and Picasso. Many of these works now reside at the Art Institute of Chicago.
Construction
At the time of the construction of the mansion, Potter Palmer was already responsible for much of the development of State Street. After the Great Chicago Fire of 1871, the buildings on State Street were destroyed, and Palmer was yet again responsible for its redevelopment.[7] Construction on the mansion began in 1882, and its exterior work was completed in 1883. However, interior decoration would continue for another two years before the building was entirely complete.
https://en.m.wikipedia.org/wiki/Palmer_Mansion
nce the largest private residence in Chicago, Bertha and Potter Palmer’s home was one of the first to be built on the city’s famed Gold Coast along the shores of Lake Michigan. Erected in 1885 and torn down in 1950, the Romanesque mansion featured an 80-foot central spiral staircase and a collection of masterpieces by artists like Degas and Picasso. Many of these works now reside at the Art Institute of Chicago.
Construction
At the time of the construction of the mansion, Potter Palmer was already responsible for much of the development of State Street. After the Great Chicago Fire of 1871, the buildings on State Street were destroyed, and Palmer was yet again responsible for its redevelopment.[7] Construction on the mansion began in 1882, and its exterior work was completed in 1883. However, interior decoration would continue for another two years before the building was entirely complete.
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Chetwode Mansion - Newport, Rhode Island
With a white and gold interior inspired by the king's quarters at Versailles, this lavish 1903 mansion was purchased in 1934 by a young John Jacob Astor III as a home for himself and his new bride. They divorced five years later and placed the home and its contents on the auction block. The residence passed through a series of hands, then was burned and razed in 1973.
With a white and gold interior inspired by the king's quarters at Versailles, this lavish 1903 mansion was purchased in 1934 by a young John Jacob Astor III as a home for himself and his new bride. They divorced five years later and placed the home and its contents on the auction block. The residence passed through a series of hands, then was burned and razed in 1973.
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El Marisol - Palm Beach, Florida 13/15
Another lost masterpiece by Addison Mizner, this bubblegum pink Spanish Colonial Revival mansion stood on Ocean Boulevard in Palm Beach from 1920 to the 1950s. A beach house for investment banker Edward T. Stotesbury, it boasted an auditorium, a 40-car garage, and a private zoo.
Another lost masterpiece by Addison Mizner, this bubblegum pink Spanish Colonial Revival mansion stood on Ocean Boulevard in Palm Beach from 1920 to the 1950s. A beach house for investment banker Edward T. Stotesbury, it boasted an auditorium, a 40-car garage, and a private zoo.
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Whitemarsh Hall - Wyndmoor, Pennsylvania
Edward T. Stotesbury’s Main Line home, often called the “American Versailles,” was one of the largest private homes ever built in America. Erected in 1921, the 147-room mansion was stuffed with paintings, tapestries, and sculptures, many of which later ended up in the Philadelphia Museum of Art. The building was torn down in 1980 and replaced by a townhouse development.
https://en.m.wikipedia.org/wiki/Whitemarsh_Hall
Whitemarsh Hall was a large estate located on 300 acres (1.2 km2) of land in Wyndmoor, Pennsylvania, United States, and owned by banking executive Edward T. Stotesbury and his wife, Eva.[2] Designed by the Gilded Age architect Horace Trumbauer, it was built in 1921 and demolished in 1980. Before its destruction, the mansion was the third largest private residence in the United States. Today, it is regarded[by whom?] as one of the great losses in American architectural history.
Edward T. Stotesbury’s Main Line home, often called the “American Versailles,” was one of the largest private homes ever built in America. Erected in 1921, the 147-room mansion was stuffed with paintings, tapestries, and sculptures, many of which later ended up in the Philadelphia Museum of Art. The building was torn down in 1980 and replaced by a townhouse development.
https://en.m.wikipedia.org/wiki/Whitemarsh_Hall
Whitemarsh Hall was a large estate located on 300 acres (1.2 km2) of land in Wyndmoor, Pennsylvania, United States, and owned by banking executive Edward T. Stotesbury and his wife, Eva.[2] Designed by the Gilded Age architect Horace Trumbauer, it was built in 1921 and demolished in 1980. Before its destruction, the mansion was the third largest private residence in the United States. Today, it is regarded[by whom?] as one of the great losses in American architectural history.
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https://en.m.wikipedia.org/wiki/Caesarea
Caesarea, a city name derived from the Roman title "Caesar", was the name of numerous cities and locations in the Roman Empire:
• Caesarea, a former name of the island of Jersey in the Channel Islands
• Nova Caesarea, the Latin name applied to the colony of New Jersey, now a US state, derived from the name of the island
Caesarea, a city name derived from the Roman title "Caesar", was the name of numerous cities and locations in the Roman Empire:
• Caesarea, a former name of the island of Jersey in the Channel Islands
• Nova Caesarea, the Latin name applied to the colony of New Jersey, now a US state, derived from the name of the island
Wikipedia
Caesarea
Wikimedia disambiguation page
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Old World & Hidden Truths pinned «https://en.m.wikipedia.org/wiki/Caesarea Caesarea, a city name derived from the Roman title "Caesar", was the name of numerous cities and locations in the Roman Empire: • Caesarea, a former name of the island of Jersey in the Channel Islands • Nova Caesarea…»
New Jersey Coppers 1786-1790: Introduction
On June 1, 1786, the New Jersey legislature authorized Walter Mould, Thomas Goadsby, and Albion Cox to mint three million copper coins at a weight of 150 grains each over a two-year period in return for a ten percent royalty to the state and the posting of a £10,000 surety bond. The coppers were to circulate at fifteen to the shilling and were to be produced within New Jersey. The design of the coins was not resolved, the legislation simply stated they were to have "Marks and Inscriptions as shall be directed by the Justices of the Supreme Court, or any one of them."
https://coins.nd.edu/ColCoin/ColCoinIntros/NJ-Copper.intro.html
On June 1, 1786, the New Jersey legislature authorized Walter Mould, Thomas Goadsby, and Albion Cox to mint three million copper coins at a weight of 150 grains each over a two-year period in return for a ten percent royalty to the state and the posting of a £10,000 surety bond. The coppers were to circulate at fifteen to the shilling and were to be produced within New Jersey. The design of the coins was not resolved, the legislation simply stated they were to have "Marks and Inscriptions as shall be directed by the Justices of the Supreme Court, or any one of them."
https://coins.nd.edu/ColCoin/ColCoinIntros/NJ-Copper.intro.html
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https://learn.apmex.com/coin-guide/guide-to-colonial-values/nova-eborac-1787/
Nova Eborac – 1787
Nova Eborac Latin for New York…
With Roman Laurel Wreath on the Head…
Nova Eborac – 1787
Nova Eborac Latin for New York…
With Roman Laurel Wreath on the Head…
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