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Analysis of Historical Significance and Integrity by Resource Type Much of McKim, Mead & White's career paralleled the latter half of what many Americans call the Victorian period of American architecture, which is really an amalgamation and progression of many different styles, beginning with the romantic Gothic Revival of the late 1830s and 1840s and the Italianate circa 1850. 1254 Innumerable other styles evolved in the following decades and into the early twentieth century, including the French Second Empire or Mansard, Queen Anne, Romanesque, the Renaissance Revival, the Stick Style, the Shingle Style, Chateauesque, Neoclassical, the Colonial Revival, and Beaux-Arts expression. These latter styles carried the "Victorian" era of architecture through its middle period and into its waning years. But only the Stick, Shingle, and Colonial Revival styles were truly American expressions of the period, even though they were based on precedents found in classical architecture and drew on details from the later English Tudor and Georgian styles. For the latest period, Beaux- Arts planning and details and the purest of Colonial Revival designs brought "Victorian"-era architecture a full 360 degrees - really into the Edwardian era - with a more academic expression of classical detailing and constancy than had been employed previously. For the most part, the classically based designs were the ones that remained popular in residential work into the twentieth century. They represented the culmination of the era, which in turn caused some reactionary factions to look to other, more functional forms in their later expressions. 1255 Charles McKim, William Rutherford Mead, and Stanford White were very different personalities, and their designs often reflected the differences. McKim was the most classically trained and the only one to attend the Ecole des Beaux-Arts in Paris; Mead did little designing, instead acting as the chief administrator of the office; and White had the least formal training but was the most prolific. However, the partners initially functioned as a unit, with each partner contributing to or approving all of the designs that left the office. As more work came into the office and the individuals matured, less of this unified approach could occur: Thus, because of the tighter organization, the stylistic maturation of the firm, and the physical absence of the partners from the drafting room, the fusion of personal styles which had marked the first period changed toward more individualized expressions characteristic of the partners. Whereas White had protested vigorously in 1886 that "no member of our firm is ever individually responsible for any design which goes out from it," by 1893 this was no longer literally true. 1256 However, internal collaboration did not cease entirely. The record clearly shows that time and time again, throughout the life of the partnership, McKim and White, McKim and Mead, or Mead and White worked together on specific projects; and one partner was often influenced by the other's work, either completed or in progress. 1257 This influence should not be discounted in those designs that are attributed to only one partner. 1254 Although these were early styles of the Victorian era, they should not be considered immature expressions due to their sequence within the period. 1255 The later classical styles led to Louis Sullivan and Frank Lloyd Wright's reactionary work, where they required the hidden structural framing to be expressed through exterior design, most often simplifying overall architectural lines and shapes. 1256 Roth, 115-6. 1257 Roth, 143, 152, 190, 215, 234, 249, 260, 266, and 296; White, 238; and McKim, Mead & White, The Architecture of McKim Mead & White in Photographs, Plans and Elevations, (New York: Dover Publications, Inc., 1990), x: Richard Guy Wilson notes in his introduction that, "McKim, Mead & White existed as a partnership; the members criticized, interacted with and learned from one another. . . . Certainly, as the years passed and the projects grew in size and complexity, each of the partners became 226
Analysis of Historical Significance and Integrity by Resource Type McKim, Mead & White's earliest design phase began in the middle of America's Victorian period. Richard Guy Wilson refers to this first period as the firm's attempt "to create evocative images based on America's past": The partners were reacting against the High Victorian architecture with which they had grown up and begun their professional careers. They disliked the unselective and unscholarly eclecticism of the High Victorians and, while they would always remain eclectic in their work, they attempted to provide a raison d'être for their selection of styles. 1258 This early period manifested itself in the development of shingled country houses, either with formal Colonial Revival plans and forms or with more naturalistic and free-flowing elements, which have been classified the Shingle Style. McKim, Mead & White began with its peer firms to develop and promote this American style, and their firm evolved into a leader of its expression. The Newport Casino (1881) in Rhode Island may be the most famous of this type, but other representative domestic commissions included the H. Victor Newcomb house (1880) at Elberon, New Jersey, and the William G. Low house (1887) at Bristol, Rhode Island. 1259 Wilson concludes that shared elements and details of this type were elicited from a consortium of sources: the English Queen Anne style, the American colonial past, and European forms. 1260 The Samuel Tilton House (1880-2), also in Newport, displays the firm's foray into using a combination of construction materials. While the overall style of the house can be classified as Shingle Style, McKim, Mead & White also used granite and half-timbering - an English element - filled with pebbledash to construct and decorate the exterior. 1261 This represents Stanford White's approach to design during the earlier periods, experimenting with "disparate component elements and . . . textured surfaces and ornament. 1262 Pebbledash continued to be used within contained elements and with a combination of other materials in later work, but was used exclusively only for the entire body of White's own country home, Box Hill (1885-1902), at St. James, Long Island, and the majority of the body of the Pavilion at the Frederick Vanderbilt estate, Hyde Park. 1263 White attributes the firm's move into its transitional period to one of its competitors, Richard Morris Hunt, and his several works for the Vanderbilt family and other wealthy Americans. 1264 While Hunt was experimenting in finding a satisfactory expression or expressions for a proper residence for America's old wealth and nouveau riche, McKim, Mead more individually responsible for his own work. But it was never an office of isolated teams, and ideas and work continued to be traded back and forth." 1258 Robert B. MacKay, Anthony K. Baker, and Carol A. Traynor, eds., Long Island Country Houses and Their Architects, 1680-1940 (New York: Society for the Preservation of Long Island Antiquities in association with W.W. Norton & Company, 1997), 277. 1259 Roth, 67-78. 1260 MacKay, 277. 1261 White, 36-45. 1262 Roth, 29. 1263 White, 118-120, 126. 1264 White, 75-6. 227
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National Park Service U.S. Departme
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Vanderbilt Mansion, 1898. Wurts Bro
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Cover illustration: Vanderbilt Mans
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Gardens and Greenhouses............
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Transportation, Power, and Mechanic
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Illustrations begin on p. 273. LIST
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LIST OF DIAGRAMS 1. The Management
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PREFACE When the Vanderbilt Mansion
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properties in their assessments. Wh
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EXECUTIVE SUMMARY The Historic Reso
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gardens. The site represents the ru
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many new plantings. The farm side o
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The Gilded Age and Country Places A
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CHAPTER TWO HISTORICAL OVERVIEW EVO
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Historical Overview ownership, whil
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Historical Overview horses. . . ."
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Historical Overview Frederick's kno
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Historical Overview According to Cl
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Historical Overview their expense.
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Historical Overview From 1885 to 19
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Historical Overview and entertainme
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Historical Overview death, the Vede
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Historical Overview office handling
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Historical Overview MANAGING THE ES
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Historical Overview Mr. Burnett suc
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Historical Overview the boarders as
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Poultry house Historical Overview T
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Historical Overview After cutting t
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Valet and 2nd Man 3 rd Man Secretar
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Historical Overview The butler and
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Kitchen Maid Historical Overview In
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Valet Historical Overview The secon
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Historical Overview each employee."
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Historical Overview his boathouse t
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Historical Overview Shortly thereaf
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Resource History and Description of
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THIRD FLOOR Resource History and De
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Pink Bedroom Resource History and D
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Empire Bedroom Resource History and
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Dumbwaiter Resource History and Des
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Service Laundry Resource History an
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FIRST FLOOR BUTLERS' PANTRY Resourc
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276 Figure 2. Vanderbilt Mansion, S
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278 Figure 4. Vanderbilt Mansion, W
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280 Figure 6. Vanderbilt Mansion, B
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282 Figure 8. Vanderbilt Mansion, S
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284 Figure 10. Vanderbilt Mansion,
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286 Figure 12. Vanderbilt Mansion,
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Figure 14. Vanderbilt Mansion, 1898
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290 Figure 16. The Vanderbilt Mansi
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292 Figure 18. The Vanderbilt Mansi
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Figure 20. Stone Crusher. The stone
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APPENDICES
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p.57 Nov. 7, 1896 Volume 6 On House
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p.231 August 12, 1897 On House at H
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p.388 July 13, 1898 On House, Lodge
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Herter Brothers Dining Room 3,000.0
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him explicit instructions on what h
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them as sub-contractors. 1451 Among
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From the mid 1880s to the mid 1890s
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South Foyer Rug 6.5' x 16.2' Living
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Mrs. Vanderbilt's Boudoir Pair of M
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Third Floor Stairway 2 desk lamps a
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APPENDIX 4 CHRONOLOGY OF LANDSCAPE
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APPENDIX 5 JAMES L. GREENLEAF BIOGR
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APPENDIX 6 THE HYDE PARK LANDSCAPE
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Vitale and Geiffert, Ferruccio Vita
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158 cu. yds. 3/4" stone June 25, 18
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November 8, 1899 Wm. A. Caire: pipe
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may be significant in their own rig
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Comments Character-defining Feature
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Comments Character-Defining Feature
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Character-Defining Features of Indi
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feed grown on the adjacent estate f
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Circulation Bard Rock Road Road has
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Lower Gate House Designed by the fi
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dry-laid stone retaining walls. Wal
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half-circle in plan, rubble filled
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Landscape Characteristics of the Hy
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GLOSSARY OF ARCHITECTURAL TERMS Thi
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"Châteauesque buildings, always of
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not only in the 1860s, but also the
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argeboards, hood molding over windo
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Louis XVI Style - The nineteenth ce
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their ridges meeting at right angle
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"Rustic Work - Decoration by means
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"That of the reign of Queen Victori
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BUSINESS LIFE OF FREDERICK VANDERBI
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EDWARD WALES Ruth Wales (daughter)
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HYDE PARK HISTORICAL SOCIETY The co
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VASSAR COLLEGE LIBRARY, SPECIAL COL
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Andrews, Wayne. The Vanderbilt Lege
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Granger, Alfred Hoyt. Charles Folle
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O'Brien, Raymond. J. American Subli
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ARTICLES AND PAMPHLETS "American Pl
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Metcalf, Pauline. "The Interiors of
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REPORTS Albee, Peggy A. Home of Fra
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_____. Historic Structure and Groun
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_____. Untitled journal. 1904. Tran
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