In this weeks episode of LANDMARKED we are touring The Most Expensive Gilded Age Mansion in America - THE BREAKERS located in Newport Rhode Island. Constructed by the once Richest family in American History - The Vanderbilts. Built by architect Richard Morris Hunt in 1892-95 this home is an Italian Renaissance Inspired monument full of sacred geometry and esoteric secrets.
VISIT THE BREAKERS: https://bit.ly/3Z6Q3nS
Special Thanks to Audrain: https://www.audrainautomuseum.org/
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Filmed by: @DroneHubMedia
Brenton Wadsworth https://www.instagram.com/brentonwads?igsh=MTJ4ZHQyc3NjbjVsaQ==
Edit by: Gerard Zarra, Sean Chupich and Erik Van Conover
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Listing Description:
Built by Cornelius Vanderbilt II, one of the richest men in America, The Breakers was everything a millionaire of the Gilded Age could want in a summer getaway. A classic Italian palazzo design, the finest American and European craftsmanship, views of the sea, and modern technology combined to make the ideal setting for luxurious living and entertaining.
The Breakers was built from 1893-1895 to replace a smaller, wooden house that had been destroyed by fire. To reduce the risk of another fire, Vanderbilt and his wife, Alice, commissioned architect Richard Morris Hunt, a leading architect of the Gilded Age, to design the new structure of steel, brick and limestone; utilities such as the boilers were placed underground and away from the house.
In keeping with the Italian Renaissance style, classical Roman influences are seen in the exterior columns and arches. The breathtaking central Great Hall, with its 50-foot-high ceiling, was inspired by the open-air courtyards of Italy but exudes the grandeur of the Gilded Age. The exquisite tile mosaics in the Billiard Room and double loggia were hand-set by European artisans. The Music Room was constructed by Allard & Sons in France then disassembled and shipped to the United States for reassembly inside the house. The Breakers décor includes the finest materials in the world, including Baccarat crystal for the chandeliers in the Dining Room and platinum leaf in the Morning Room.
Allard and Sons of Paris assisted Hunt with furnishings and fixtures, Austro-American sculptor Karl Bitter designed relief sculpture, and Boston architect Ogden Codman decorated the family quarters. The mansion covers nearly an acre of the 13-acre property and has 70 rooms including 48 bedrooms for family and staff. There are 27 fireplaces. It was equipped with electricity – still a novelty in houses during the Gilded Age – as well as gas for lighting.
In 1948, Countess Széchenyi, a daughter of Cornelius and Alice Vanderbilt to whom ownership of The Breakers had passed, allowed the fledgling Preservation Society of Newport County to begin offering tours of the first floor to the public. In return, the Preservation Society agreed to pay $1 per year and cover operating expenses and maintenance. In 1972, the Preservation Society purchased the house and property from her heirs. The Breakers was designated a National Historic Landmark in 1994.
The Breakers has entertained presidents, royalty and guests from across the world for more than 125 years and today is visited by hundreds of thousands of people each year. It is the flagship of the Newport Mansions and a world-famous iconic image of the City-by-the-Sea.
Original Builder: Mr. and Mrs. Cornelius Vanderbilt II
Architect: Richard Morris Hunt
Construction dates: 1893-1895
Materials: Brick faced with Indiana limestone
Ownership transferred to the Preservation Society: 1972
Chapters
0:00 Mansion Stats
2:32 History of the Vanderbilt's Wealth
4:25 The Great Hall
7:24 Formal Dining Hall
10:36 Butlers Pantry
12:15 Fireproof Kitchen
13:48 Billiards Room / Sacred Geometry
15:36 Grotto / Breakfast Room
17:12 Grand Arcade / Morning Room
19:16 Music Room
20:45 Dark Academia Library
22:45 Grand Staircase / Stonework
24:27 Gladys Vanderbilt's Bedroom
25:13 Master Bedrooms
27:12 Best Bedroom
28:08 Loggia
29:26 Third Floor Guest Wing
34:39 Gilded Age Preservation Rooms
36:24 Staff Quarters
37:50 Tunnels Under The Home...
46:11 Closing Thoughts
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