The Ochre Point Avenue entrance is marked by baroque forged wrought iron gates, and the 30-foot-high (9.1 m) walkway gates are part of a 12-foot-high (3.7 m) limestone-and-iron fence that borders the property on all but the ocean side. The footprint of the house covers approximately one acre (0.4 hectares) or 43,000 square feet of the 14-acre (5.7-hectare) estate on thecliffs overlooking Easton Bay of the Atlantic Ocean.[3]
Cornelius Vanderbilt II purchased the grounds in 1885 for $450,000 (equivalent to $15.7 million in 2024).[4] Theprevious mansion on the property was owned byPierre Lorillard IV; it burned on November 25, 1892, and Vanderbilt commissioned famed architectRichard Morris Hunt to rebuild it in splendor. Vanderbilt insisted that the building be made as fireproof as possible, resulting in a structure composed of masonry and steel trusses, with no wooden parts. He even required that the boiler be located away from the house in an underground space below the front lawn.[5]
The designers created an interior using marble imported fromItaly andAfrica, and rare woods and mosaics from countries around the world. It also included architectural elements purchased from chateaux inFrance, such as the library mantel. Expansion was finally finished in 1892.[6][clarification needed]
The Breakers is the architectural and social archetype of the "Gilded Age", a period when members of the Vanderbilt family were among the major industrialists of America.[7] It was the largest, most opulent house in the Newport area upon its completion in 1895.
Vanderbilt died from acerebral hemorrhage caused by a stroke in 1899 at age 55, leaving The Breakers to his wifeAlice Gwynne Vanderbilt. She outlived him by 35 years and died at the age of 89 in 1934. She left The Breakers to her youngest daughterCountess Gladys Széchenyi (1886–1965), essentially because Gladys lacked American property; in addition, none of her other children were interested in the property, while Gladys had always loved the estate.[citation needed]
In 1948, Gladys leased the high-maintenance property to The Preservation Society of Newport County for $1 per year. The Preservation Society bought The Breakers and approximately 90% of its furnishings in 1972 for $365,000 (equivalent to $2.74 million in 2024)[4] from Countess Sylvia Szapary, Gladys's daughter, although the agreement granted her life tenancy. Upon her death in 1998, The Preservation Society agreed to allow the family to continue to live on the third floor, which is not open to the public.[8] This occupancy ended in 2018.[9]
As of 2017[update], it was the most-visited attraction inRhode Island, with approximately 450,000 visitors annually.[10]
The pea-gravel driveway is lined with maturing pin oaks and red maples. The trees of The Breakers' grounds act as screens that increase the sense of distance between The Breakers and its Newport neighbors. Among the more unusual imported trees are two examples of theBlue Atlas Cedar, a native of North Africa. Clipped hedges ofJapanese yew and Pfitzer juniper line the tree-shaded footpaths that meander about the grounds. Informal plantings ofarbor vitae,taxus,Chinese juniper, anddwarf hemlock provide attractive foregrounds for the walls that enclose the formally landscaped terrace.
The grounds also contain several varieties of other rare trees,copper andweeping beeches. Today’s pattern for the southparterre garden was determined from old photographs and laid out inpink and white alyssum and blueageratum. The wide borders paralleling the wrought iron fence are planted withrhododendrons,mountain laurel,dogwoods, and many other flowering shrubs that effectively screen the grounds from street traffic and give visitors a feeling of seclusion.
Great hall (50 ft × 50 ft × 50 ft [15 m × 15 m × 15 m]) – Over each of the six doors that lead from the Great Hall arelimestone figure groups celebrating humanity's progress in art, science, and industry:Galileo, representing science;Dante, representing literature;Apollo, representing the arts;Mercury, representing speed and commerce;Richard Morris Hunt, representing architecture; andKarl Bitter, representing sculpture.
Main staircase
Arcade
Library – The library hascoffered ceilings painted with a dolphin, symbolic of the sea and hospitality, supported byCircassian walnut paneling impressed with gold leaf in the form of a leather-bound book. Between the ceiling and the gold paneling lies green Spanish leather embossed with gold, which continues into the library from the alcove used for cards. Inside the central library are two busts: a bronze of William Henry Vanderbilt II, the oldest child of Cornelius II and Alice, who died of typhoid at the age of 21 while attendingYale University; and a marble of Cornelius Vanderbilt II. The fireplace, taken from a 16th-century French chateau (Arnay-le-Duc, Burgundy), bears the inscription "I laugh at great wealth, and never miss it; nothing but wisdom matters in the end."Mrs.Cornelius Vanderbilt II (Alice Claypoole Vanderbilt) and her daughters,Gladys Vanderbilt Széchenyi andGertrude Vanderbilt Whitney, having tea in the library at The Breakers, Newport, Rhode Island,William Bruce Ellis Ranken, 1932Thelibrary at The Breakers
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 byJules 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 ofCampan marble and the tables were designed to match. Mr. Vanderbilt was known to play the violin and Mrs. Vanderbilt the piano, which is aSecond Empire French mahoganyormolu mounted piano.The music room
Morning room – Designed by the French company head Jules Allard, this communal sitting room faces east to admit the morning sun, and was used throughout the day. Placed around the room are platinum-leafed panels illustrated with 8 of the 9 muses. All interior woodwork and furnishings were designed and constructed in France, then shipped to America before assembly.
Lower loggia
Billiards room – Designed in the style of ancient Rome, this room shows mRichard Morris Hunt’s competence in stone works. The great slabs of Cippolino marble from Italy form the walls, while rosealabaster arches provide contrast. Throughout the room there is an assortment of semi-precious stones, formingmosaics of acorns (the Vanderbilt family emblem, intended to show strength and longevity) and billiards balls on the top walls. TheRenaissance style mahogany furniture provides further contrast with that of the colored marble.
Dining room – The 2,400 sq ft (220 m2) dining room is the house's grandest room and has 12 freestanding rose alabasterCorinthian columns supporting a colossal carved and giltcornice. Rich in allegory, this room serves as an exemplar of what 19th-century technology could do with Roman ideas and 18th-century inspiration. On the ceiling, the goddessAurora is depicted bringing in the dawn on a four-horse chariot as Greek figures pose majestically. A 16th-century style table of carved oak seats up to 34. TwoBaccarat crystal chandeliers light the room with either gas or electricity, and 18, 22 or 24 carat gold gilt is adhered to the wall withrabbit-skin glue.
Breakfast room – The breakfast room, with its modifiedLouis XV style paneling and furnishings, was used for family morning meals. The furnishings, colors and gilt, although still extravagant in their use, contrast with the dining room's more lavish decoration.[11][12]
Pantry – A centraldumbwaiter brought additional china and glassware down from themezzanine level. The pantry was also used for the storage of the family's table silver; this was brought with the family when they traveled, and stored in a steel vault. An intercom system allows the butler to direct the necessary servants to their needed locations, and each number on the caller corresponds to a number on a room.The kitchen
Kitchen – The kitchen, unlike others in the time period, was situated on the first floor away from the main house to prevent the possibility of fires and cooking smells reaching the main parts of the house. The well-ventilated room supports a 21 ft (6.4 m) cast iron stove, which heats up as a single element through a coal burning stove. The work table is made ofzinc, a metal which served as the forerunner to stainless steel; in front of it is a marble mortar used to crush various ingredients. Ice cut in winter from the local ponds kept the side rooms cool where food was stored, and facilitated a colder room for the assembling ofconfections.[13] The kitchen and baking pantry each have one dumbwaiter that travels to the basement level where groceries were delivered and refuse removed.
Mr. Vanderbilt's bedroomMr. Vanderbilt's bedroom – As with the rest of the second floor, Ogden Codman designed this room, choosingLouis XIV Style. The bed is made of carved walnut and the mantel is of rouge royal marble, which hosts a large mirror above to bring more light into the room. There is much memorabilia of family and friends, though Cornelius Vanderbilt II lived only a year at the Breakers in good health, before dying the following year, 1899, of a stroke.
Mrs. Vanderbilt's bedroom – A perfect oval, Alice Vanderbilt's room has multiple doors connecting it to other bedrooms. Four closets allowed for her possible seven clothing changes per day, and a pager to administer and delegate family needs to the servants. This room also served as her study and had many bookshelves. Additionally, there are discreetly designed corridors that permitted female servants to maintain the laundry and costume needs of the family in a seemingly invisible fashion.
Miss Gertrude Vanderbilt's bedroom –Gertrude, daughter of Cornelius II and Alice, was a less conforming character who wished to be loved for her personality rather than her wealth and family; later she found her match inHarry Payne Whitney and became an artist. Multiple pieces of her artwork are featured in the room, including "The Engineer", which was inspired by her brother duringWorld War I, "Laborer", and another that commemorates the American Expeditionary Force of World War I. She moved into The Breakers when she was 19. Above her bed is a portrait of her at age 5 byRaimundo de Madrazo y Garreta, and beside it, to the left of the bed, a sketch of her as a young woman.Miss Gertrude Vanderbilt's bedroom
Upper loggia – Opening east to the Atlantic, the upperloggia served as an informal living room. During the summer the glass doors overlooking the great hall could be opened to allow a breezeway. The walls are painted marble, and the ceiling is designed to depict threecanopies covering the sky. The lawn, designed by James and Ernest Bowdwitch, hosted many parties and was well kept by a gardening staff of 20, who also introduced and maintained various non-indigenous trees.
Guest bedroom – This room exemplifies theLouis XVI style through furniture, woodwork and light fixtures, withNeoclassical style abounding in the interior. The wall paneling has never been retouched, though the rest of the room has been restored by the preservation society.
Countess Szechenyi's bedroom – Designed byOgden Codman in 18th-century simple elegance style, this room features an ivory and cream-colored motif.[13]
There are also two other rooms located on the second floor, possibly a nursery and a nanny's bedroom.
The third floor contains eight bedrooms and a sitting room decorated in Louis XVI style walnut paneling by Ogden Codman. The north wing of the third-floor quarters were reserved for domestic servants. Using ceilings nearly 18-foot-high (5.5 m), Richard Morris Hunt created two separate third floors to allow a mass aggregation of servant bed chambers. This was because of the configuration of the house, built inItalian Renaissance style, which included a pitched roof. Flat-roofed French classical houses built in the area at the time allowed a concealed wing for staff, whereas the Breakers' design did not permit this feature.
A total of 30 bedrooms are located in the two third-floor staff quarters. Three additional bedrooms for the butler, chef, and visiting valet are located on the mezzanine "entresol" floor, located between the first and second floor just to the rear of the main kitchen.
The attic floor contained more staff quarters, general storage areas, and the innovativecisterns. One smaller cistern supplied hydraulic pressure for the 1895Otis elevator, still functioning in the house even though the house was wired for electricity in 1933. Two larger cisterns supplied fresh and salt water to the many bathrooms in the house.
Over the grand staircase is astained glassskylight designed by artistJohn La Farge. Originally installed in the Vanderbilts' 1 West 57th Street (New York City) townhouse dining room, the skylight was removed in 1894 during an expansion of that house.
The Breakers was designed byRichard Morris Hunt, one of the country's most influential architects. It is regarded as a definitive expression of AmericanBeaux-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 theGilded Era in American history.[citation needed]
The house makes an appearance at the end of the establishing shot of the 1990 American dramaReversal of Fortune, where it stands in as the Newport mansion of Sunny andClaus von Bulow, which was instead the nearbyClarendon Court.
The Music room was used in the HBO seriesThe Gilded Age (2022–present), the room was featured on the season 1 finale as the Russels' ballroom when they threw a coming out ball for their daughter Gladys.
Between July 2024 and July 2025, The Great Elephant Migration[16] will display a herd of 100 elephants[17] – sculpted from the vines ofLantana camara – across the United States. Various sites aroundNewport, Rhode Island – including The Breakers,Salve Regina, and other spaces along the Cliff Walk – will host the collection before it is moved toNew York,Miami,Montana, andLos Angeles. Lantana camara is aninvasive weed inIndia, and threatens elephants and other herd populations by restricting their access to more viable vegetation necessary for survival. By harvesting and making use of these weeds for the elephant sculptures, more than 200 indigenous artists are able to both promote and live a path of coexistence and conservation, and the funds raised by the sale of these elephants goes to help further that initiative.
^"Breakers, The".National Historic Landmark summary listing. National Park Service. Archived fromthe original on August 12, 2009. RetrievedJune 28, 2008.
^Gannon, Thomas (1982).Newport Mansions: the Gilded Age. Fort Church Publishers. p. 8.
^Miller, G. Wayne (July 7, 2000)."Fortune's Children".A Nearly Perfect Summer. Providence Journal. RetrievedAugust 10, 2007.The Breakers left family ownership three decades ago, when the Preservation Society bought it for $365,000, a pittance—but let Paul, Gladys and their mother continue summering on the third floor, formerly servants' quarters. Mother died in 1998 but her children summer there still, hidden from the hundreds of thousands of tourists who explore below.
Downing, Antoinette F.; Scully, Vincent J. Jr. (1967).The Architectural Heritage of Newport, Rhode Island (2nd ed.). New York: Clarkson N. Potter.OCLC1051091.
Ferree, Barr (1904).American Estates and Gardens. New York: Munn and Company.OCLC418824.
Gannon, Thomas (1982).Newport Mansions: the Gilded Age. Fort Church Publishers.OCLC218461407.
Gavan, Terrence (1998).The Barons of Newport: A Guide to the Gilded Age. Newport, RI: Pineapple Publications.ISBN0-929249-06-2.OCLC40933005.
Jordy, William H.; Monkhouse, Christopher P. (1982).Buildings on Paper. Brown University, Rhode Island Historical Society and Rhode Island School of Design.OCLC313752449.
Lints, Eric P. (1992).The Breakers: A Construction and Technologies Report. Newport, RI: The Newport Preservation Society of Newport County.
Metcalf, Pauline C., ed. (1988).Ogden Codman and the Decoration of Houses. Boston: The Boston Athenaeum.ISBN978-0-87923-777-6.OCLC18416459.
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
