George Champlin Mason (1820-1894) can be credited as one of the most influential people who helped make Newport what it is today. He was born in the old Colonial town in 1820 and after a brief period working in New York City in dry goods, he traveled to Europe in his twenties to study art in Rome, Paris, and Florence, specializing in landscape paintings. Mason spent the 1840s trying unsuccessfully to make a living as landscape painter and published Newport and Its Environs, a collection of 11 engravings of his landscape views of Newport that is one of the earliest books about Newport to showcase its potential as a vacation destination. In 1851, Mason switched professions and became part owner and editor of the Newport Mercury newspaper. He often wrote on architectural subjects. In around 1858, he took his love for art and architecture and became an architect/developer, just as Newport was seeing early stages of development as a summer colony. He was hired by some early summer residents to design their homes, and did not disappoint, gaining notoriety all over the northeast. His son George C. Mason, Jr. (1849-1924), followed in his father’s footsteps and is said to have been the first professional architectural preservationist in the United States. George Sr., built this house as his primary residence in 1873, a stunning and rare example of Swiss Chalet architecture in New England, notable for the use of pierced bargeboards, board-and-batten sheathing, and cut-out railings. The property also included a charming stone English Revival tower in the rear yard, built in the 21st century as a workshop for the previous owners. How cool!
Samuel P. Tilton Cottage // 1880
One of the most well-designed and least-pretentious summer cottages in Newport is this charming dwelling on a dead end street. The Samuel P. Tilton Cottage was designed in 1880 by the prestigious firm of McKim, Mead & White as an idiosyncratic blending of Queen Anne and Shingle architectural styles. Mr. Tilton was a milliner (maker and seller of women’s hats) with stores in Boston and Paris, France. He had this cottage built to summer close to the nation’s wealthiest, likely marketing some hats at elaborate Gilded Age events. The facade is assertively Queen Anne with its massing and decorative panels, with shingled side elevation seemingly sprouting from the earth. The architectural terminology for these unique decorative panels is “sgraffito” where here, cement or plaster siding is set and adorned with shells, pebbles, colored glass, and pieces of coal into a cartouche design. The house is one of the finest in Newport, and shows that bigger isn’t always better!
De La Salle // 1884
The Weld family has long been a prominent family in Boston, with ancestors dating back to the 17th century in New England. One of these men was William Fletcher Weld, a merchant, later making investments in railroads and real estate. By the time of his death in 1881, he had an estate of approximately $20 million, or more than half a billion in today’s dollars, and he left nearly all of it to his family. His eldest son, William Gordon Weld II, received a large inheritance and he began construction on this summer “residence”cottage” in Newport. The house was designed by local architect Dudley Newton, who had the estate built of locally-quarried granite. Architecturally, the dwelling is eclectic in style with Dutch Renaissance gables with conical roof forms seen typically in Queen Anne and Romanesque buildings. Weld spent his summers here for over a decade until his death in 1896. His widow Caroline, summered in the mansion until her death in 1918. By this point, Newport was beginning to fall out of favor as a wealthy resort community, and the many Gilded Age mansions were increasingly viewed as costly white elephants from a previous era. This property was sold by the Weld family in the early 1920s and became the De La Salle Academy, a Catholic school for boys, and remained in use until it closed in the early 1970s. After the school closed, the mansion was converted to condominiums and some townhomes were built on the expansive property.
“Snug Harbor” – Charles H. Baldwin Cottage // 1877
One of the finest Queen Anne style residences New England is this 1877 summer cottage, named “Snug Harbor”. The mansion was designed by architects William Appleton Potter and Robert Henderson Robertson for Charles H. Baldwin, a prominent admiral in the United States Navy. The design utilizes a brick first floor with shingle siding above, a high cross-gabled roof, panels and half-timbering, asymmetrical form, and a porte cochere at the entry. Later owner Arakel Bozyan, painted the entire exterior a deep red color and renamed the house “Gamir Doon”, Armenian for “Red House”. The house was restored back to a traditional color scheme and sold in 2020. The interiors are STUNNING!
Berkeley House // 1885
In 1885, a 28-year-old Leroy King (1857-1895) and his wife Ethel Rhinelander King (1857-1925) hired one of the country’s most prominent architects, Stanford White, to design a Newport home for their family. Leroy was the son of Edward King, a prominent local merchant, and upon his fathers death in 1875, inherited some of the $100+million dollar fortune he had amassed in today’s dollars. The corner lot at Bellevue and Berkeley avenues was purchased and work was underway on the new mansion. The house is a really interesting take on the Shingle style, but instead of cedar shingle siding, employs fireproof construction. A central hall, large gabled masses, picturesque window arrangements, and a spectrum of surface textures (here conveyed largely in natural stone and brick with flourishes of shingle and pebble dash work), align this house with McKim, Mead & White’s earlier efforts in this style. The interior has been meticulously preserved and maintained by the owners.
Villa Rosa // 1900-1962
Built as the summer residence of Mr. Eben Rollins Morse and Mrs. Marion Steedman Morse of Boston and New York, Villa Rosa was one of the finest summer cottages in Newport. The property was purchased by Mr. and Mrs. Morse, which originally included three, large estates two of which were featured previously. Mr. Morse was a stockbroker and investment banker, and the couple lived on Commonwealth Avenue in Boston, maintaining a summer home in Beverly, Massachusetts. In 1900, the couple hired Ogden Codman, Jr., a society architect and historian from Boston, to design a townhome in New York (their new permanent home) and Newport, where they could summer with other wealthy New Yorkers. Their cottage, Villa Rosa, was a huge statement, likely to insert themselves into the high-society of Newport summers. Oriented to the south, rather than to Bellevue Avenue, the house took maximum advantage of its long narrow setting. The exterior of the house was covered in pastel pink stucco offset with white bas-relief panels and was crowned by a copper dome. The heart of the house was the green trellised circular Music Room or Ballroom, the first room in the United States to incorporate lattice design as a decorative scheme. The property was eventually sold for $21,500 to E.A. McNulty, a Rhode Island contractor. Ogden Codman’s masterpiece was demolished in December of 1962 and an apartment complex built on the site in 1965. Townhouse condominiums replaced the gardens in the 1970s and the gateposts, a final vestige, were cleared in 2004.
Image courtesy of Newport Historical Society.
The Elms – Gardens // c.1911
For my last post on the spectacular Elms Mansion in Newport, Rhode Island, I wanted to highlight something I rarely feature on this page, a garden. When the mansion was completed by 1901, architect Horace Trumbauer and his firm went to work to produce plans for a natural landscape with a large lily pond at the far edge of the property. After 1907, the Berwind’s and high-society shifted and landscape ideals were influenced by newer theories in American landscape architecture, which sought influence from historical European gardens. Trumbauer reworked The Elms’ garden to reflect this new emphasis on reviving classical European garden design alongside landscape architects Ernest W. Bowditch and Jacques Greber advising on the parterre design in the sunken garden. A grand allée on the scale of 18th century French palace gardens extends across an expansive lawn toward two formal marble pavilions situated along a minor cross axis above a sunken garden. The marble pavillions appear to have been designed by Trumbauer and are inspired by 18th-century French garden pavilions. The grand context for the gardens is a park-like collection of specimen beech, elms, maples, linden and other large canopy trees. Many of the large trees have since succumbed to disease, but the formal Italian sunken garden remains one of the finest in the United States.
The Elms – Stable and Garage // 1911
By 1911, the Berwind’s wooden stable at their summer home, The Elms, was deemed inadequate and the couple’s new automobiles needed an appropriate structure to protect them from the elements. Edward Berwind purchased a large estate from Ms. Ida Powell Johnson, abutting his sprawling property and razed it to have a new stable and garage structure built there. The two structures are modeled after the Louveciennes Pavillon de Goury in France, built originally for Madame du Barry. Above the garage space lived the stable keepers and gardeners. As the space shifted from stable to garage, it is said that the head coachman, in order to keep his job, became the family driver, but he could never learn to back up, so a large turntable had to be installed in the garage. The complex originally held space for ten carriages, stalls for six horses and room for eight automobiles, as well as harness repairs, laundry rooms and living quarters. The Beaux Arts style building employs the best of French architecture, including a mansard roof, corbels, and raised central pavillion.
The Elms – Dining Room // 1899
The Dining Room of the Elms Mansion in Newport, Rhode Island, is represents the Gilded Age in all the best ways. The room sits just off the ballroom and like all of the other rooms in the summer residence of the Berwinds, it was designed by famed interior designer Jules Allard. The dining room was specifically to display a collection of early18th-century Venetian paintings purchased by Mr. Berwind from the Ca’ Corner estate in Venice (the Berwinds were avid collectors of 18th century French and Venetian paintings). The iconic coffered ceiling is not of wood, but of molded plaster, grained and painted to imitate oak. Each coffer is decorated with the winged lion of Saint Mark, the patron saint of Venice. Pour custom-made crystal chandeliers hang in the four corners of the room. At the end of the room is a stunning green marble, agate and onyx fireplace that is framed by a ceiling-high pediment supported by carved Ionic columns. Could you see yourself entertaining in this dining room?
The Elms – Stair and Gallery Hall // 1899
Immediately upon entering the main entrance of The Elms, one of the finest Gilded Age mansions in Newport, you are enveloped in the Stair Hall or foyer. The space is stunning, with walls lined in limestone and purple Breccia marble pilasters and columns with bronze capitals and bases. The floors are of white marble bordered in green with stairs in white Italian marble. At the beginning of the stairs, there are two large urns of green marble and pink granite, each with four bronze female figures. The urns bear the name of the decorator, Allard et Fils of Paris, who was responsible for crafting the details of the period rooms for the mansion. At the top of the first set of stairs is the Gallery Hall, a long hall connecting many rooms on the first floor and also serving as a gallery of irreplaceable art including two early 18th-century oil paintings depicting episodes in the history Scipio Africanus, the ancient Roman general who conquered Carthage by Venetian artists Paolo Pagani and Giovanni Antonio Pellegrini. The space is grand, yet cozy and feels more like a home than the larger Breakers mansion.