Like many other buildings on campus, Vanderbilt Hall is named for its wealthy sponsors, but its foundation is one of family tragedy. One of Yale’s stunning Collegiate Gothic structures, the building is named after William Henry Vanderbilt II (1870-1892), who attended Yale in the early 1890s. William contracted typhoid fever from a water pump while touring the western United States and died during his junior year. His father, railroad tycoon Cornelius Vanderbilt, constructed Vanderbilt Hall in 1894 as a memorial to his son and donated it to the University. The highly prized Vanderbilt room, which is located above the archway, is apparently one of the finest residential spaces on the campus. Architect Charles C. Haight designed the building which enclosed the southern edge of the yard, created a gateway, and is one of the early architectural statement pieces for the campus in the Collegiate Gothic style. Haight would receive later commissions at Yale based on his work on Vanderbilt Hall.
Originally owned by marble dealer Daniel Kent (1793-1858) in the 1850s at the height of marble quarrying in the town of Dorset, Vermont, this house shows the history of Dorset very well in its alterations and ownership. After the marble dealer Kent passed away, the property was owned by watchmaker Luke B. Gray (1825-1878). Soon after, homeopathic physician Charles Farrar Harwood (1833-1902) and family moved in. His son, Elmer Harwood (1885-1960), the first Rural Free Delivery mailman in Dorset, continued living here, likely renovating the home with the oversized front porch and charming rustic quality. Harwood oversaw the delivery of mail to the rural farmhouses and village of Dorset, which previously made individuals living in remote homesteads had to pick up mail themselves at sometimes distant post offices or pay private carriers for delivery. In 1965, the home was remodelled and sold it to Hugh Vanderbilt, the son of Robert Thurlow Vanderbilt (yes of that family) whose primary residence was in Greenwich, Connecticut. This new ownership showed how the town of Dorset became popular as a rural/country retreat for the wealthy, many of those families remain here today, preserving these old homes.
Possibly my favorite room in The Breakers mansion is the Morning Room, found on the first floor, just off the Great Hall and lower loggia. The Morning Room is executed in a late Renaissance style and faces east to catch the morning sun and provides sweeping views of the Atlantic. It served as a family sitting room at all times of the day. The interior design, including the fixtures, woodworking, and furniture, were designed by French architect Richard Bouwens van der Boijen and designer Jules Allard. The predominant grey, and gold colors of the Morning Room are echoed in its fireplace which is made of Campan marble. On the walls, you will find the most stunning shimmering silver wall panels, depicting ancient Greek goddesses. It was originally believed that these features were silver leaf, but the Newport County Preservation Society investigated further, determining it is actually platinum! The Vanderbilts clearly wanted this room to shimmer with the sunrise, so the use of platinum, which never tarnishes, was a great solution!
The most opulent of all summer ‘cottages’ in Newport is the iconic Gilded Age mansion, The Breakers. This mansion was completed in 1895 as a summer residence for Cornelius Vanderbilt II. Cornelius’ grandfather, Commodore Cornelius Vanderbilt (1794-1877) established the family fortune in steamships and later in the New York Central Railroad. Cornelius Vanderbilt II became President of the New York Central Railroad system in 1885, and bought a wooden summer house called The Breakers in Newport during that same year. The original Breakers Mansion burned in a fire in 1892 and was rebuilt, but more substantially. Vanderbilt commissioned famed architect Richard Morris Hunt to rebuild it. Vanderbilt insisted that the building be made as fireproof as possible, so the structure of the building used steel trusses and no wooden parts. He even required that the boiler housed in an underground space below the front lawn. The Italian Renaissance-Beaux Arts style mansion was likely the most expensive home constructed in New England at the time at a cost of over $7 Million USD (equivalent to over $150 million today).
Cornelius Vanderbilt died from a cerebral hemorrhage in 1899 at age 55, leaving The Breakers to his wife Alice Gwynne Vanderbilt. She outlived him by 35 years and died at the age of 89 in 1934. She left The Breakers to her youngest daughter Countess Gladys Széchenyi (1886–1965). In 1948, Gladys leased the near-impossible to maintain 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 ($2.3 million today) from Countess Sylvia Szapary, Gladys’ daughter, although the agreement granted her life tenancy. Upon her death in 1998, The Society agreed to allow the family to continue to live on the third floor, which is not open to the public. The last-remaining family members residing there were evicted from the third floor due to safety concerns, but others state it is retaliation for the Szápárys’ opposition of the controversial Breakers Welcome Center, the plan for which other members of their family, including Gloria Vanderbilt, also opposed.
Buildings of New England 