National Park Service U.S. Department of the Interior

Resource History and Description of Existing Conditions
Bardini, a Florentine dealer via Heilbronner in Paris. 631 There is a pair of cannons and a pair of
painted and gilded torcheres. The space also contained a model of the yacht Warrior. 632
Living Room
The "Living Room" was a new term in the 1890s and implied a more informal space than
a drawing room or parlor. A living room could be the setting for dancing, cards, reception of
guests, conversation after dinner, or informal leisure gatherings of the family alone. 633 In the
original plan for the renovation of the Langdon house, a Drawing Room, Living Room, and
Reception Room were included. After the McKim, Mead & White redesign for an entirely new
structure the Reception Room and Living Room remained, while the Drawing Room was
eliminated. The fact that Frederick and Louise opted for a Living Room rather than a Parlor or
Drawing Room reiterates their more informal conception of the way they were going to use the
house. Other comparable spaces in The Breakers, Marble House, and Woodlea were all
decorated in the Louis XV or Louis XVI style. The Living Room occupies the entire south end
of the mansion and is parallel in size and fenestration to the Dining Room. It is Renaissance in
style with panels of carved Circassian walnut. The pair of large marble columns flanking the
doorway matches another pair in the Dining Room, purchased by Stanford White. 634 The
ceiling is divided into panels with heavily ornamented molded borders. The use of a central
panel surrounded by outer compartments is similar to the ceiling of the Lounging Room of the
University Club. McKim designed the Living Room and there are four drawings by Merz and
Hunter. 635 In 1897 he envisioned the decoration:
Walls to be covered with paneling in English oak, floor ditto; ceiling stucco; all to be
executed under contract here. Chimney pieces and columns at entrance in stone or marble;
arrangement of one, two or three rugs desired; two ample side tables; 2 cabinets at either end
of the room; 2 pieces to be used as book-cases, backing on wall adjoining den and reception
room. Type of single and armchairs, to be covered with silk; old Florentine or Roman
mirrors. 636
Some changes were made between the drawings and construction. In addition, Whitney
Warren made further alterations in 1906. The delicate carved mantels drawn were not installed,
but faint pencil lines on the drawing suggest that a larger mantel may have been requested in
1898. The large marble mantels in place are believed to be original to the room. They were
631
See bill, SW Papers, Box 49:3. These tapestries stand out because they conflict with McKim and
Vanderbilt's instructions not to buy tapestries. Van Alen 1940 says that they were purchased from
Duveen. There is a reference in the SW Papers to a payment to Duveen for importing tapestries, as well as
reference on the same sheet to paying duties. The paper is titled "Payments made to Stanford White since
Nov. 1, 1900," and was presumably from Frederick Vanderbilt, Box 19:2.
632
Conversation between Francis Ronalds and Margaret Van Alen, recorded in 1940: "I mentioned it was
too bad that a model of his famous yacht Warrior, which once stood in the hall near the drawing room,
was no longer there. Mrs. Van Alen telephoned at once to New York, and arranged to have it returned to
the house." "Miss Eskstand returned the model yacht Warrior from Point Inn. Shears had given it to her.
Mrs. Van Alen asked for it." Fred Traudt Report, Vanderbilt #46, June 7, 1940. The model is currently on
view in the Pavilion.
633
Hewitt, 97.
634
See bills SW Papers, Box 49:3 and Box 19:2.
635
Drawing # 180 (2/9/98), Elevation, #183 (4/11/98), Plan of Ceiling, #187 (2/23/98), Elevation, #193
(2/25/98) Floor plan.
636
CFM to SW, 9/17/97, SW Papers, Box 19:2.
120