The architecture & art for an American civilization Watters, Sam 1954- creator author. text bibliography biography dcu 2024 monographic eng

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312 p. : ill. ; col. ; plans ; 27 cm "Celebrated internationally in the nineteenth century as America's premier architect, Richard Morris Hunt (1827-1895) is best known for his opulent Gilded Age mansions, including Biltmore, the Breakers, Marble House, and other landmark works. Yet Hunt's impact on American culture after the Civil War ranges far beyond his elegant palaces. In The Gilded Life of Richard Morris Hunt, historian Sam Watters reveals Hunt's remarkable influence in creating the institutions and conventions that transformed Old World values into his generation's idea of an American civilization, through architecture, interior design, sculpture, painting, and the ardent advocacy of artisan trades. The first American to study at the renowned École des Beaux-Arts in Paris, Hunt cultivated a transatlantic network of wealthy, influential men during a period of class revolution. Fearful of losing their industrial fortunes and values to the laboring immigrant poor-and driven by a moral obligation to instruct the masses in what was beautiful, true, and good-Hunt's society concurred on what was needed to define, protect, and perpetuate their ideas of a civil society. To this end and to instill the Eurocentric culture required for global acceptance and dominance, they conceived and built museums, libraries, skyscrapers, apartment houses, and castles. Watters repositions Hunt's life and forty-year career in light of new discoveries and connections made through his meticulous study of the Richard Morris Hunt Collection at the Library of Congress. Featuring Hunt's drawings, images he collected, and portraits of his family and privileged inner circle, this dynamic biography evokes the powerful social and financial networks that defined the contours and content of American culture. This visually rich portrait of life and thought among America's ruling one percent features 200 illustrations that include selections from the Library's archives, along with illuminating new floor plans and photographs"-- 9 Foreword by Carla D. Hayden -- 12 The Players -- 16 Introduction -- 22 Chapter 1 No Small Potatoes -- 54 Chapter 2 Soldier of the Crayon -- 92 Sketchbook Portfolio -- 96 Chapter 3 A Robust and Vivacious Temperament -- 146 Chapter 4 Desirable Elements for Wealth -- 194 Scrapbook Portfolio -- 198 Chapter 5 Les Palais Hunt -- 262 Afterword -- 275 Acknowledgments -- 277 Sources and Abbreviations -- 278 Notes -- 302 Image Credits -- 306 Index – Figures: Fig. 1.1a Main Street, Brattleboro, Vermont, Hunt Family house behind trees at top; George Houghton, ca. 1860 -- Fig. 1.1b Hunt’s white brick childhood home, built by his father ca. 1820; unknown, ca. 1850 -- Fig. 1.2 Portrait of Jane M.L. Hunt widowed mother of Richard Hunt; probably by her painting instructor, Spiridione Gambardella, 1837 -- Fig. 1.3b Their sister Jane M. Hunt ; Spiridone Gambardella, 1837 -- Fig. 1.3c Their brother, William M. Hunt ; Emanuel G. Leutze, ca. 1845 -- Fig. 1.4 Jane M.L. Hunt and her children (left to right), Leavitt, Richard, Jonathan, Jane and William before sailing to France ; E.L. Fisher, ca. 1843 -- Fig. 1.5 Paris along the River Seine in Hunt’s time, an empire far from Brattleboro, Vermont. Its ‘’marvelous beauty,’’ he told his wife, brought tears to his eyes; Edouard Baldus, ca.1860 -- Fig. 1.6 Chateau de Petit Val outside Paris, where the young Hunt met the era’s cultural elites; ca. 1890 -- Fig. 1.7 School of Rev. Alphonse Briquet in Geneva, Switzerland, attended by Leavitt and Richard Hunt, ca. 1844 -- Fig. 1.8 Seventeen year old Richard Hunt’s drawing of an entablature with smiling dog cheneaus for his first architecture teacher, the Genevan Samuel Darier; signed ‘’R.M. Hunt fecit. Eleve (sic) de M. Darier’’, ca. 1845 -- Fig. 1.9 An architect’s Parisian atelier, Honoré Daument instructs Ecole des Beaux Arts students, 1870; published 1910 -- Hunt’s watercolor and ink drawings for Ecole des Beax Arts assigments both awarded First Mentions -- Fig. 1.10an An iron bridge, 1847 -- Fig. 1.10b A theater for a small city 1851 -- Hunt’s Ecole drawings -- Fig.1.11a A hostel in Algeria, 1851 -- Fig. 1.11b Archives of the National Audit Office, 1852, its façade inscribed with lyrics from Yankee Doodle Dandy (published 1842) a traditional student jest -- Fig. 1.12 Staircase at Gothic to Renaissance Chateau de Blois, France visited by Hunt in 1852, and later influential in his work at Biltmore ; Hunt research photograph, ca. 1860 -- Fig. 1.13 Hunt’s watercolor of a ‘’Postman, woman of Upper Egypt, (Tunisian) Dey’’ dignitary, reflecting the allure of the ‘’exotic’’ to the nineteenth century tourist ; 1853 sketchbook -- Fig. 1.14 Temple of Olympian Zeus and the Acropolis beyond, Athens, Greece ; salt print by Hunt’s brother Leavitt, June 1852, a year before Hunt toured these must see monuments -- Fig. 1.15 In Paris, Hunt and his brothers became collectors; sketchbook watercolor by Richard, possibly of his brother Jonathan, ca. 1850 -- Fig. 1.16 Architects Louis Visconti and Hector Lefuel (right), teacher of Richard Hunt, present plans for the new Louvre for Napoleón III and Empress Eugénie; Ange Tissier, ca. 1865 -- Fig. 1.17 Entrance to imperial library, the Pavillon de la Biblioteque, Louvre, Paris by Hector Lefuel with assistance from Richard Hunt ; Edouard Baldus, ca. 1856 – 57 -- Fig. 2.1 New York City, as it looked when Hunt retourned from Paris ; his New York Tribune tower and Statue of Liberty would transform the skyline with new heights ; Charles Parsons, Currier & Ives, ca. 1856 -- Fig. 2.2 Seventh Regiment parading in Washington Square, New York City; Hunt’s first studio was in the 1837 Gothic Revival University Building by Town, Davis and Dakin at New York University (rear left); Otto Botticher, 1851 -- Fig. 2.3 Catharine and Richard Hunt collections in the residential gallery, ‘’The studio’’, at the Port Chester, New York, home of their son, architect Richard H. Hunt ; Frances Benjamin Johnston, 1916 -- Fig. 2.4 Architecture francoise (1752 – 1756), from the library of the Marquis de Marigny, brother of Madame de Pompadour, a prized edition in Richard Hunt’d library of more than three thousand volumes -- Figure 2.5 Hotel de Cluny, Paris (a museum after 1843) ; the Gothic to Renaissance residence housed an arts collection that inspired Richard Hunt, already a collector in the capital city at the time of this painting; Pierre A. Poirot 1850 -- Fig. 2.6 Thirty Fourth Street , Fifth Avenue, New York City, Caroline and William B. Astor Jr. house (1856) ; Alexander T. Stewart white marble Second Empire palace (1870) ; when asked by the department store founder what he thought of its ‘’Greek’’ architecture, Hunt replied: ‘’Well it may be Greek to you, I assure you it is Greek to me, but I don’t think it would deceive the smallest little yellow dog that runs down the street’’ ; H.N. Tiemann & Co., 1893 -- Fig. 2.7 House and studio of fine artist studio of fine artist Thomas Rossiter, as first envisioned by Hunt a Venetian Gothic palazzo; Richard Hunt, ca. 1854 – 55 -- Fig. 2.8 Thomas Rossiter house and studio (1857), New York City ; photograph signed ‘’My first work / 58 RMH’’’, ca. 1875 -- Fig. 2.9 Thomas Rossiter house and studio, first floor plan for Venetian version, ca. 1854 – 55 -- Fig. 2.10 Richard Hunt outside his Studio Building (1858) at West Tenth Street, New York City; S. Beer, New York, ca. 1861 -- Fig. 2.12 Hunt’s 1860 Dr. William Morland residence (right) at Newbury and Arlington Strrets, French Neo Grec classicism in Boston’s new Back Bay development, ca. 1880 -- Fig. 2.13 Catharine and Richard Hunt house (acquired 1864), Hill Top Cottage, Newport, Rhode Island; ca. mid 1870s -- Fig. 2.14a Catharine (seated left) and Richard Hunt on their honeymoon with American artist William P.W. Dana (seated right) and his young family, Ventnor, Isle of Wight, England, 1861 -- Fig 2.14b Richard’s 1861 honeymoon diary -- Fig. 2.15 Richard Hunt’s model of an ocelot at the Paris zoo; cast in bronze by Antoine Louis Barye, 1861 -- Fig. 2. 16 Horseshoe Staircase (1634), Chateau de Fontainebleau, France, a touchstone for Hunt’s American castles; Hunt office research photograph, ca. 1870 -- Fig. 2. 17 The Hunts decorated their West Thirty Fifth Street townhouse, New York City, with art collections and fine furniture ; S. Beer, ca. 1865 -- Fig. 2.18 Proposed entrance to Central Park at Fifth Avenue, New York City from Hunt’s self published polemic, Designs for the Gateways of the Southern Entrances to the Central Park; Hunt office rendering, lithograph, 1866 -- Fig. 2.19 Jane and John Griswold cottage (1864), Newport, Rhode Island, was American French Normand; Michael Froio, 2019 -- Fig. 2.20 Griswold cottage, axial first floor plan; James B. Garrison, AutoCAD, 2021 -- Fig. 2.21 a-b Griswold cottage stair, opposite, and Renaissance Revival library , above; Hunt articulated structure with applied strips and altered classical proportions for light and air; Michael Froio, 2019 -- Fig. SK.1a Hunt’s sketchbook, dated by Catherine Hunt, 1852 -- Fig. SK.2 Hunt wrote ‘’first class in drawing at Fontainebleau,’’ ca. 1848 -- Fig. SK.3 Palazzo Cavalli Franchetti, Venice 1852 -- Fig. SK. 4 Family dogs in Paris, ca. 1851 -- Fig. SK. 5 William Hunt ‘’admiring Rubens picture Antwerp’’ at Cathedral of ILLUSTRATIONS: 1 WILD WEST (1941 to 1946) -- 1.1 In 1939, with planes flying into Las Vegas, the Chamber of Commerce marketed the city as “Still a Frontier Town,” dedicating this map to the prospector, “who has built the West… in his quest of hidden treasures.” -- 1.2 Built in 1941 just outside the city, in the vast Mojave Desert, the El Rancho was Vegas’s first self contained casino complex with a swimming pool, entertainment, and lush landscaping -- 1.3 A then skimpily dressed cowgirls holds a whip in front of the El Rancho, “A truly Modern Hotel” rife with “Old West’ hospitality.” -- 1.4 A postcard of sunbathing swimmers around the Last Frontier pool, sandwiched between horse drawn carriages and the highway -- 1.5 A 1954 renovation of the Last Frontier forced the Little Church of the West, a miniature replica of a pioneer church in California, to relocate -- 1.6 A postcard of the “1856” Texaco gas station at the Last Frontier, c. 1942 -- 1.7 A Last Frontier Village brochure depicts a child aiming a gun for a photo, while in the background, from a rooming- house window, a papier mache madam flaunts her leg -- 1.8 A Greyhound bus stands next to a horse drawn coach at the Last Frontier Village; behind, a drive in movie screen -- 2 SUNBELT MODERN (1946 to 1958) -- 2.1 A postcard of the “Fabulous Flamingo Hotel” depicts its sharp roof, glass, façade, and colorful neon pylon in sharp contrast to the Western, sepia toned casinos -- 2.2 Compared to the sole Flamingo down the street, the Thunderbird featured a duo of neon birds, one with its claws sunk in an observation tower -- 2.3 The El Rancho windmill, and an arrow pointing to it, complete with the Thunderbird duo and the Mobil Pegasus -- 2.4 A woman holding a camera sits on a high diving board at the Desert Inn’s keyhole shaped pool, overlooked by a glass skybox and a neon saguaro cactus -- 2.5 A postcard features two plaster camels and a nomad standing in front of the Sahara roadside sign and the then largest pylon on the Strip -- 2.6 A postcard depicts a woman in a beige Cadillac arriving at the Sand’s angular entrance pylons. The neon Sands letters float on a see through grille in the background -- 2.7 Croupiers, gamblers, and female bystanders, all in swimwear, stand around the Sands’s floating craps table, in front of three poolside slot machines, 1954 -- 2.8 A 1955 Fabulous Las Vegas Magazine cover depicts the conversion of Western “Last Frontier” to Space Age “New Frontier,” with the then longest trylon and canopy -- 2.9 In 1953, the Flamingo added a canopy with metal cylinders, and a neon ringed “champagne tower.” -- 2.10 A postcard shows greeters dressed as Indian chiefs posing at a Cadillac, backed by the Royal Nevada’s Arthurian crown and neon fountain -- 2.11 A tall slab extends from the sunscreen decorated Fremont Hotel, while a bright mushroom cloud climbs upward, 1957 -- 2.12 A man in a spotted shirt photographs the fiberglass Sultan Standing atop the Dunes entrance canopy -- 2.13 In front of the Hacienda’s curving façade and tall pylon, guests aim for a “$5,000 Hole in One jackpot.” -- 2.14 The Tropicana’s circular drive leads to a razor sharp, upsweeping canopy stretching out 130 feet with down lighting, followed by a mosaic-tiled entrance -- 3 POP CITY (1958 to 1969) -- 3.1 Amid a sea of tail fin cars, the Stardust’s circular sign fronts a starburst plastered casino façade of plastic planets, neon rays, and a globe circling Sputnik, 1958 -- 3.2 The Mint’s curvilinear sign swept from a tall vertical “blade” into an “eyebrow” porte cochere, 1957 -- 3.3 A Las Vegas Club photo montage by Hermon Boernge features a woman holding a hamburger and a Coke, sitting on the casino’s new 120 foot tall sign. The smaller Pioneer Club sign is depicted on the right -- 3.4 A postcard delineates the remodeled Horseshoe, now the “world’s largest electric sign,” blending Western style letters and horseshoes with futuristic ribbed grilles and a concave bullnose -- 3.5 A postcard shows the Golden Nugget’s “bullnose,” Lucky Casino’s “nose,” and Vegas Vic, from underneath a neon swirled canopy -- 3.6 A Dome of the Sea postcard calls for the “seafaring traveler” to “submit” to the “seasescape” of deep sea projections, an iridescent inner shell like vaulted ceiling, and harpist “Mermaid” whirling figure eights in a pool -- 3.7 A postcard features the flaming silhouette and brilliant diamond of the Dunes sign, eclipsing the hotel tower -- 3.8 The Aladdin sign, with its coil of golden beer cans and car-sized oil lamp, stands as a beacon of a generic casino building -- 3.9 Aladdin’s canopy, a neon version of an Islamic dentate cornice, paints the parking lot red -- 3.10 In contrast to the smaller 1950s desert Inn’s sign stand the revolving 1960s silver slipper and cantilevering Frontier, 1968 -- 3.11 An Ad Art blueprint for the 188 foot long Stardust sign describes an eight phase “Flashing Action: sequence that began with switching on all the lights, from bottom to top in 12 steps, in only one second -- 3.12 At 130 feet, undulating neon tubes give a feathered look to the flamingo’s plume of salmon, blush, and pink, 1968 -- 3.13 The new Stardust sign and animated electronic façade had recycled the globe and Electra jag letters of the original 1958 sign-front, 1968 -- 3.14 The Thunderbird’s new 560 foot sign skin fronts the existing casino and even the hotel rooms, which now faced the sign’s back, 1968 -- 3.15 A guest poses with a fiberglass centurion at the base of Caesars’s Roman style roadside sign, 1970. The even larger Romans on the columns were later additions to the original 1966 sign -- 3.16 A replica of the Winged Goddess of Victory fronts Caesars Place’s driveway entrance, amid fountains and cypresses -- 3.17 A brochure depicts Caesars Palace as a conveyor belt of unique experiences, from cocktails inside a moving Cleopatra’s barge to dinner among Iconic column plastered walls and “goddesses” carrying wine casks -- 3.18 Trapeze artist perform right above gamblers at Circus Circus, 1968 -- 3.19 A rendering of the Viva Hotel shows an outward tapering form decked with staircase spires, and a conical rooftop nightclub. Bruce Alonzo Goff, “Viva Casino and Hotel: Perspective Rendering,” 1961, graphite on tracing paper, 77.6 x 78cm. (31 x 13in.), Gift of Shin’enKan, Inc., 1990.807.1, The Art Institute of Chicago -- 3.20 An Ad Art rendering of the Sands reveals how the hotel tower, the entrance, and the sign share a sculptural language of arcs -- 3.21 The Landmark’s casino “saucer” on a hotel “pole,” a large sign equivalent of a building, was imploded in 1995. The next year, it was shot down by Martians in the movie Mars Attacks -- 4 CORPORATE MODERN (1969 to 1985) -- 4.1 a Martin Stern rendering of the 1969 international reveals a Y shaped building modeled on the UNESCO headquarters. Stern pioneered integrating all of the casino resort functions into a single megastructure -- 4.2 An electric architectural drawing depicts the holiday Casino, a replica of a nineteenth century Mississippi gambling steamboat, in contrast to the minimalist Holiday Inn, 1971 -- 4.3 A postcard depicts the 1979 Imperial Palace, a box-shaped building decorated with Japanese blue tiled roofs, “wooden” details, and a pagoda canopy -- 4.4 An artist’s impression of the 1973 MGM Grand focuses attention on the porte cochere, the resorts new “sign” -- 4.5 Neptune, sirens, and mermaids shooting water from their breasts stand beneath the MGM Grand’s porte cochere, the size of a football field -- 4.6 An Ad Art rendering by Jack Dubois of the Aladdin’s gold polished porte cochere, effectively a freestanding building with massive “chandelier” fixtures, 1975 -- 4.7 A sign canopy Hybrid with mirrored wings and outward radiating lights defines the Silverbird, formerly known as the Thunderbird, 1979 -- 4.8 In 1978, the desert Inn, Howard Hughes’s former headquarters, discarded its neon cactus for a new 14 story addition to the existing buildings (left), both clad in one way mirrored glass ribbons -- 4.9 An artist’s Impression of the Donald Trump proposed Xanadu, 1975, inspired by the pyramid sloped Acapulco Princess, final residence of Howard Hughes -- 5 DISNEYLAND (1985 to 1995) -- 5.1 Strip passerby halt for the Mirage’s fire spewing, roaring volcano reeking of piña colada, 1989 -- 5.2 A drawbridge crosses a moat and a driveway into the Excalibur’s central “castle within a castle,” with deliberately overscaled turrets to make the castle more recognizable from a distance-- 5.3 below a changing sky, Neptune holds his spear on a shop lined “piazza” at the Forum Shops, 2008. Photograph courtesy of Vladislav Bezrukov, Flickr -- 5.4 A driveway cuts through the Sphinx, sandwiched between a misted obelisk and a glass pyramid with the world’s brightest beam, 1993 -- 5.5 A cutaway model shows a “city” within the Luxor pyramid, including a Manhattan skyline, a ziggurat style temple, and a black monolith featuring a vertical movie screen, 1993 -- 5.6 Room corridors overlook the attractions level of the Luxor, Las Vegas’s first atrium hotel, 2015. The former Manhattan skyline (left) was remodeled in 1997 to look Egyptian -- 5.7 A pirate leaps from his ship into the whitecaps of Buccaneer Bay, Treasure Island, 1993 -- 5.8 Guests cross a long wooden bridge into “a living fantasy the pirate capital of the world,” 1993. To humanize the treasure Island’s gigantic hotel tower with the smaller village, four rooms were clustered into only one window opening, each with fake shutters and a balcony -- 5.9 Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion walk the yellow brick road from the green-glass Emerald City, below twinkling stars, 1993 -- 5.10 A 10 story cubist Looey the Lion is the entrance to the emerald green MGM Grand Casino and Theme Park, 1994 -- 5.11 An LCD canopy projects video over five entire city blocks in Fremont Street, among casino’s flashing neon and flickering light bulbs, 1998 -- 5.12 The Las Vegas skyline is a battle between the Strip’s clashing and competing “Disneylands” -- 6 SIM CITY (1995 to 2001) -- 6.1 The Stratosphere, America’s tallest observation tower, features a “Big shot” thrill ride that catapults guests up the tower’s mast, 2011 -- 6.2 A rendering of the Monte Carlo shows a copy of Pari’s Fontaines de la Concorde and other Belle Époque inspired monuments below the generic hotel building -- 6.3 A New York New York brochure spells out the architectural references of the resort’s “skyline,” which is in fact one single hotel tower -- 6.4 Fountains burst 460 feet upward from an artificial lake at the Bellagio, an amalgamation of Tuscan style villas, domed Galleria arcades, and a stretched out Italian Renaissance palace, 1997 -- 6.5 Mandalay Ba’s fake beach attracts to the Mojave Desert pool revelers who might have gone to real beaches otherwise, 1999 -- 6.6 “The Rialto Bridge and the Campanile Di San Marco together in one picture, complete with a portico!” the photographer of this Venetian photo wrote. “The Rialto Bridge had escalators, I bet the steps of the real bridge will be a disappointment to many tourists!” -- 6.7 The Venetian’s Rialto Bridge spans not the Grand Canal but a vehicular access road, 2015 -- 6.8 Gondoliers steer guest along the Venetian’s Grand canal, dyed monthly to keep its azure color, past St. Mark’s Square, one floor above the casino -- 6.9 At Paris Las Vegas, the half size replica od the Eiffel Tower stands partly outside the Strip, partly inside the casino, against the backdrop of the stretched out Parisian city hall -- 6.10 The Aladdin’s video screen honors troops aid onion shaped domes, minarets, and faux sandstone cliffs, 2003 -- 7 STARCHITECTURE (2001 to Present) -- 7.1 A man made mountain of 1,500 trees and eight waterfalls shields the Wynn casino from public realm of the Las Vegas Strip, 2014 -- 7.2 Crocodile embossed leather VIP booths surround a pool surrounding a larger pool at XS, a pool nightclub hybrid -- 7.3 Big Edge, Nancy Rubin’s bouquet of canoes, fronts the energy saving façade of the César Pelli designed Aria Hotel -- 7.4 Daniel Libeskind’s titanium clad Crystals mall outshines Norman Foster’s downsized, blue silver Harmon hotel (right), backed by Helmut Jahn’s pair of leaning Veer towers -- 7.5 A guest scrutinizes Claes Oldenburg and Coosje van Bruggen’s “Typewriter eraser,” I front of one of the yellow checkboard Veer towers -- 7.6 four miles of gently pulsating LED lighting accentuates The Cosmopolitan’s undulating ground façade and two towers, 2010 -- 7.7 where Paris Las Vegas once took pride in being a replica, The Cosmopolitan (right) is an “original,” 2014 -- 7.8 Singapore’s Marina Bay Sands casino features a 1,115 foot long sky park at an altitude of 653 feet, and a lotus shaped museum, 2014 -- Fig. SK. 1a Hunt’s sketchbook, dated by Catharine Hunt 1852 -- Fig. SK. 1b Plychrome details in Rome 1852 -- Fig. SK.2 Hunt wrote ‘’first class in drawing at Fontainebleau,’’ ca. 1848 -- Fig. SK. 3 Palazzo Cavalli Franchetti, Venice, 1852 -- Fig.SK.4 Family dogs in Paris, ca. 1851 -- Fig. SK.5 William Hunt ‘’admiring Ruben picture Antwerp’’ at Cathedral of Our Lady, 1852 -- Fig. SK. 6 Notes on Egypt, 1853 -- Fig. SK. 7 Beau Séjour hotel, Lausanne, Switzerland, April 24, 1885 -- Fig. SK. 8 Romanesque apse, Basilika St. Aposteln, Cologne, Germany 1874 -- Fig. SK. 9 ‘’Dody the future architect Joseph Hunt in Paper cap Nice, Chmas 1874’’ -- Fig. SK 10 Tyristrand Kirke (1857) Christian H. Grosch, Norway, July 24, 1867 -- Fig. SK. 11 Measured drawing, Protestant Great Church (Grote Kerk), The Hague, 1867 -- Fig. SK. 12 Books purchased from Lenoir Rapilly, Paris, 1867 -- Fig. 3.32 detail, Paris Commune -- Fig. 3.1 Stained glass cartoons, gouche ; Eugene Oudinot, ca. 1844, from Hunt’s scrapbook collection -- Fig. 3.2 Philanthropist James Lenox’s Gothic Revival red brick and limestone Presbyterian Hospital (1872) at Fourth (Park) Avenues; ca. 1873 -- Fig 3.3 Presbyterian Hospital ground floor plan; James B. Garrison, AutoCAD, 2019 101 Fig. 3.4 Stuyvesant Apartments (1870), New York City ; the red brick and stone street façade suggested a townhouse row signifying home to renters; ca. 1875 -- Fig. 3.5 Stuyvesant Apartments plan; new and hygiene refined apartment living ; James B. Garrison, AutoCAD, 2021 -- Fig. 3.6 Van Rensselaer Building (1872), New York City; its painted neo Moorish iron façade attracted customers to a fasionable drygoods store ; hand colored photograph, ca. 1872 -- Fig. 3.7 Printing House Square, New York City; the First Amendment thrived opposite City Hall; from left : Brooklyn Bridge terminal (1883), George Post’s domed The New York World tower (1890), the New York Sun building (1872), Hunt’s 1875 New York Tribune headquarters, and the New York Times Tower (1889), also by Post; Detroit Publishing Co., photochrom, ca. 1900 -- Fig. 3.8 Lenox Library, New York City, looking northeast from fifth Avenue, with Hunt’s Presbyterian Hospital beyond; probably photographed January 15, 1877, the day after the library opened; Charles S. Farrar -- Fig. 3.9 a-b First floor, top, and second floor, bottom, plans, Lenox Library; James B. Garrison, AutoCAD, 2021 -- Fig. 3.10a-b First floor reading room, opposite top; second floor sculpture hall, opposite bottom, Lenox Library; ca. 1900 -- Fig. 3.11 Mother and Child; Catharine Hunt was in Boston posing for her portrait with son Richard when she learned of President Lincoln’s assassination, April 15, 1865 ; by her brother in law William Morris Hunt, 1964-65 -- Fig. 3.12 Virginia and William Osborn house (1870), Fourth (Park) Avenue, New York City ; a critic found this double townhouse of a railroad millionaire and art collector ‘’showy, with much ingenious detail,’’ exceptional at a time when ‘’no man’s house in New York was built for him’’; ca. 1875 -- Fig. 3.13 Marianne and Martin Brimmer houses (1870) Boston, in brick and buff stone suggesting a French Renaissance chateau; ca. 1875 -- Fig. 3.14 Brimmer Second Empire salon with contemporary French and American paintings, including William Hunt’s 1854 La Marguerite (above desk); J.A. Whipple, ca. 1890 -- Fig. 3.15 Nannie and Marshall Field house (1873), Chicago, Hunt’s first city mansion, a brick and stone hotel particulier for a department store founder;ca. 1880 -- Fig.3.15 Nannie and Marshall Field house (1873), Chicago, Hunt’s first city mansion, a brick and stone hotel particulier for a department store founder; ca. 1880 -- Fig.16a Field house, entrance hall, in the Aesthetic style, by L. Marcotte & Co.; ca. 1884 -- Fig 3.16b Field house, first floor plan, geometrically conceived; Hunt office; ca. 1873 -- Fig. 3.17a-b Anna and John Ward house and studio (1869), New York City, preliminary (left) and final elevations, Hunt office, ca. 1869 -- Fig. 3.18 Studio at Ward’s 1882 New York City house with sculptor, foreground right, statue of industrialist William E. Dodge left actor Steele Mackaye in topcoat, the model for the Seventh Regiment memorial soldier (3.20), on platform, and Pilgrim memorial, far right; ca. 1883 -- Fig. 3.19 Commodore Matthew Perry memorial dedicated in 1868, New port, Rhode Island; in thr 1870s, sculptor John Ward added the bas relief to Hunt’s pedestal; Michael Froio, 2020 -- Fig. 3.20 Seventh Regiment monument dedicated in 1874, Central Park, New York City ; Hunt and John Ward honored both the regiment’s sacrifice in the Civil War and its cultural leadership; Michael Froio, 2020 -- Fig. 3.21 Scroll and Key Hall (1870), Yale College, New Haven, Connecticut, opposite, for a secret society that admitted only members to its windowless Moorish Revival clubhouse; Michael Froio, 2020 -- Fig. 3.22 Yale Theological Hall (1870), New Haven, Connecticut, and Hunt’s adjoining neo Gothic Marquand Chapel (1871) ; ca. 1872 -- Fig. 3.21 Second Academic Hall (1881), Hampton Normal and Agricultural Institute, Hampton, Virginia, near the mouth of Chesapeake Bay a harbinger of America’s architecture of structure without decoration Michael Froio, 2019 -- Fig. 3.24a Virginia Hall (1879), Hampton, left ca. 1885 a secular cathedral fulfilling the Unitarian Rev. Samuel Osgood’s 1874 call for American architects to transform ‘’broad acres into fair landscape, with soaring spires and smiling homes’’ -- Fig. 3.24b Virginia Hall entrance; Michael Froio, 2019 -- Fig. 3.25a Eliza, wife of Joseph Howland, seated in Hunt’s music pavilion (1873) at their estate, Tioronda, Matteawan, New York ca. 1874 -- Fig. 3.25b William A. Johnson & Son organ, Opus 411 (1873), opposite Michael Froio 2019 -- Fig. 3.26a Howland Circulating Library, Matteawan (Beacon), New York dedicated 1872; Michael Froio 2019 -- Fig. 3.26b Library’s reading room, opposite a chapel for learning (gallery added 1894) ; Michael Froio 2019 -- Fig. 3.27 The Corners (1870), Newport, Rhode Island, a monumental villa in wood for Charlotte Cushman, America’s celebrity tragedienne ca. 1870 -- Fig. 3.28a-b Mary Bruen rubble stone house after Hunt’s 1872 continental upgrade, right ; Michael Froio 2020 -- Fig. 3.29 Edith and George Wetmore house, Chateau sur Mer, after 1870s renovations Bellevue Avenue, Newport, Rhode Island; Hunt transformed it into a Second Empire country mansion, his first at the ocean resort; Michael Froio, 2020 -- Fig. 3.30a Renaissance Revival library, Chateau sur Mer (ca.1876), Florentine decorator Luigi Frullini ; cornice plaques to Raphael, Dante and Michelangelo alongside Washington and Lincoln, reflected the Old to New World spirit of the times; ca. 1884 -- Fig. 3.30b Library bookcase; Michael Froio 2020 -- Fig. 3.31 Travers block (1871) Newport, Rhode Island ; Hunt’s retail and lodging development conjured up Europe’s romantic medieval streets, alluring to the town’s wealthy summer residents; ca. 1890 -- Fig. 3.32 The burning of Paris in the Commune riots confirmed the importance of ‘’civilizing’’ society; Michel Charles Fichot, Paris Incendi, colored engraving 1871 -- Fig. 3.33 After a year of poor health and loss, the Hunt family spent Christmas above the Mediterranean in Nice, France, where Hunt painted flora and fauna and this view to the city’s Bay of Angels; watercolor sketchbook, 1874 -- Fig. 3.34 Chateau de Pierrefonds, France, visited by Hunt in 1874 with its restoration architect, the spokesperson for Gothic architecture in France and America, Viollet le Duc ; Emmanuel Lansyer, the architect’s stufent, ca. 1868 -- Fig 4.21 detail, Statue of Liberty, New York Harbor Fig. 4.1 The 1876 centennial International Exhibition, Philadelphia, Pennsylvania, where Hunt was a juror of architecture and engineering -- Fig. 4.2a Hunt’s Romanesque Marquand Chapel (1882), Princeton, New Jersey ; after 1885 -- Fig. 4.2b Chapel’s wood vaulted interior; after 1897 -- Fig. 4.3 Winthrop Bronson house (1879) Madison Avenue, New York City a drainpipe marking the interior divide; Winthrop’s salon was at the second floor corner; ca. 1880 -- Fig. 4.4a-b Proposed period revival reception room, top, and bedroom, bottom, for the Bronson house. L. Marcotte & Co; watercolors, ca. 1878, digitally enhanced to show rooms in three dimensions, Michael Froio and Samuel Markey 2022 -- Fig. 4.5 Louis XVI Revival drawing room, Winthdrop house; the panel decoration and ceiling carvings were in papier maché ; probably L. Marcotte & Co., ca. 1883 -- Fig. 4.6a-b Alva and William K. Vanderbilt; Benjamin Porter, ca. 1889. She was ‘’quick at repartee, witty, and somewhat sarcastic feared in society,’’ her husband ‘’morose’’ and ‘’less popular’’ than his brothers, dependent on Alva’s ‘’strong character and will power’’ -- Fig. 4.7 Transept entrance, St. Mark’s Episcopal Church (1880), Islip, New York funded by Alva and William K. Vanderbilt, inspired by Norwegian wood churches ; Michael Froio 2019 -- Fig. 4.8 St. Mark’s Episcopal Church ; Hunt’s adaptation of open structure and high finish were evident in the hammer beam ceiling and wood half dome above the altar; Michael Froio 2019 -- Fig. 4.9 Alva and William K. Vanderbilt house (1882), Fifth Avenue, New York City peers lauded Hunt for introducing Ecole rigor and limestone lightness to the city’s brownstone rows; Albert H. Levy, ca. 1883 -- Fig. 4.10a-b First and second floor plans, Alva and William K. Vanderbilt house; James B. Garrinson, AutoCAD 2021 -- Fig. 4.11a Salon, Alva and William K. Vanderbilt house, opposite top ; at the middle of the room was a Rococo style desk and beyond, along the wall (just visible), was Alva’s prized Marie Antoinette commode under a Boucher style tapestry, ceiling by Paul J. A. Baudry ca. 1920 -- Fig. 4.11b Renaissance Revival dining hall, Alva and William K. Vanderbilt house, opposite bottom, English eighteenth century portraits below the ‘’minstrel gallery’’ among the early museum quality old masters in America, ca. 1903 -- Fig. 4.12 Field of the Cloth of Gold dining hall window, Alva and William K. Vanderbilt house ; photo reproduction given to Hunt by the window’s maker, Eugene Oudinot, 1882 -- Fig. 4.13a Period paintings inspired costumes for Alva Vanderbilt’s ball at her Fifth Avenue chateau; Catharine Hunt as French queen Catherine de’ Medici, left; José Maria Mora, 1883 -- Fig. 4.13b Catherine de’ Medici, right ; unknown artist 1547 – 49 -- Fig. 4.13c Richard Hunt as Italian artist Cimabue ; José Maria Mora, 1883 -- Fig. 4.13d Cimabue, in gray tunix from Church Militant and Triumphant ; Andrea di Bonaiuto, Santa Maria Novella, Florence, Italy, fresco, 1366 -68 -- Fig. 4.14 Collector and museum president Henry Marquand holds plans, likely for Hunt’s Metropolitan Museum of Art Fifth Avenue wing; John White Alexander 1896 -- Fig. 4.15 Elizabeth and Henry Marquard red brick and sandstone, French Renaissance Revival mansion and adjoining houses (1884) Madison Avenue, New York City, with Central Park in the distance ; ca. 1885 -- Fig. 4.16a-b First and second floor plans, Marquand house; James B. Garrinson, AutoCAD, 2021 -- Fig. 4.17 Moorish style den (ca. 1886), Marquand house, opposite ; to achieve authenticity in the cabinets displaying Valencian pottery, Hunt provided decorator Léon Marcotte with castings from Spain’s Moorish Alhambra ; G.C. Cox, photochrom, ca. 1894 -- Fig. 4.18a The sacking of private houses by rioters drove the international rich to promote civic order through art and beauty. Pillage of the Duc de Castries house, Paris, 1790 ; P.G. Berthault, engraving, after watercolor by J.-L. Prieur le Jeune, ca. 1791-1804 -- Fig. 4.18b Looting during the Civil War Draft Riots, New York City, 1863; The New York Illustrated News, 1863, Informative Classroom Picture Publishers, glass slide, 1948 -- Fig. 4.19 Residence for the Association for the Relief of Respectable Aged and Indigent Females (1883), Amsterdam Avenue, New Yor City, opposite for widows and genteel women after the Civil War ; Michael Froio 2020 -- Fig. 4.20 Pilgrim (Hunt and Ward, 1885) in Central Park, New York City a monument to Protestant values ; Michael Froio, 2019 -- Fig. 4.21 Liberty Enlightening the World, sculptor Frédéric Bartholdi’s vision for his Liberty in New York Harbor, her tablet of law and flame of freedom signifying democracy ; oil on board, signed ‘’Bartholdi, 1876’’ -- Fig. 4.22 Hunt and Bartholdi made the Statue of Liberty a world monument, bringing New York City into the canon of Western architecture ; Universal Atlas of the World, 1896 edition -- Fig. 4.23 Alliance and Victory Monument (Hunt, Ward, and Henry Van Brunt, 1884), Yorktown, Virginia ; style and theme were interwoven in the Maine granite column ; Michael Froio, 2019 -- Fig. 4.24 President James Garfield memorial (Hunt and Ward 1887), Washington, DC ; cover of Harper’s Weekly, the ‘’Journal of Civilization, ‘’ May 14, 1887 -- Fig. 4.25 Henry Ward Beecher memorial (Hunt and Ward, 1891), Brooklyn, New York, honoring the preacher as an abolitionist ; F.E. Parshley, ca. 1891 -- Fig. 4.26 August Belmont exedra (Hunt and Ward, 1891), Island Cemetery, Newport, Rhode Island. A critic wrote it was ‘’very classic, and about Dick’s best in that way’’ ; caryatids by Bitter and Moretti ; Caroline Belmont sarcophagus (1894) ; Michael Froio, 2019 -- Fig. 4.27 Vanderbilt family mausoleum, Staten Island, New York preliminary sketch a synthesis of past and present church architectures ; Richard Hunt, ca. 1884 -- Fig. 4.28 Vanderbilt family mausoleum (1886) ; the tomb and Statue of Liberty (dedicated 1886) were visible from New York Harbor, one heralding opportunity for all, the other a monument to private wealth, dueling values of the Gilded Age ; Frederick Law Olmsted Jr., office photograph, 1897 -- Fig. SC.1 Bronze candelabra designs for main hall of the Breakers, Alice and Cornelius Vanderbilt II house, Newport, Rhode Island ; Emmanuel L. Masqueray, February 21 – 22, 1895 -- Fig. SC. 2 Dinning room chandelier, the breakers ; probably France ca. 1893 -- Fig. SC. 3 Brooklyn Bridge compared with Statue of Liberty, New York City to confirm how the latter was taller ; on verso, Total height of bridge 278 ft’’ and ‘’Total height of torch 309 ft’’, Hunt office 1884 -- Fig. SC.4 Dinning hall, proposed stained glass window and dado, Alva and William K. Vanderbilt house, New York City ; Hunt office ca. 1881 -- Fig, SC.5 Karl Bitter’s portrait rondels of Richard Hunt (left) and architect Jules Hardouin Mansart, above a bust of Louis XIV, stair landing, Marble House, Newport with comments by Hunt office noting Alva Vanderbilt’s preference for bronze details ; Jules Allard Fils or Hunt office, April 1891 -- Fig. SC. 6 Country house planning schema, following the Ecole des Beaux Arts method Richard Hunt ca. 1853 -- Fig. SC. 7 Sketch for unbuilt New York Historical Society Museum of History, Antiquities and Art, Central Park, New York City ; Richard Hunt, ca. 1865 -- Fig. SC. 8 Rendering for Ogden Goelet’s Pompeian style bathroom, Ochre Court, Newport, one of several variants ; Hunt office, ca. 1888 -- Fig. SC.9 section to main hall, Mary and Joseph Busk house, Indian Spring, Newport ; Hunt office ca. 1889 -- Fig. SC.10 Profile, hammer beam, Sarah and William V. Lawrence house, New York City ; Hunt office ca. 1890 -- Fig. SC. 11 Capitals, scrapbook pages -- Fig. SC.12 Architects, scrapbook pages -- Fig. 5.36 detail, Biltmore -- Fig. 5.1 Hunt considered this bronze portrait bust, a gift from George Vandrbilt, a ‘’picturesque memento of their French castle tour in 1889; for Catharine Hunt it showed her husband’s ‘’stern and intellectual side,’’ Jean Gautherin, 1886, cast by Ferdinand Barbedienne -- Fig. 5.2 Little Moreton Hall (1508), Cheshire, England, a Tudor inspiration for Ellerslie in Rhinecliff, New York; Hunt research photograph ca. 1875 -- Fig. 5.3a-b Anna and Levi Morton House, Ellerslie, looking to the living hall and Anna Morton’s sitting room ; George W. Burger, Poughkeepsie, New York ca. 1890 -- Fig. 5.4b Preliminary first floor plan, Ellerslie, doors and windows aligned for landscape views ; Hunt office, January 22, 1887 -- Fig. 5.5 The Hunt’s Hill Top Cottage, Newport , Rhode Island, with 1870s part octagonal porch and two story service and studio addition ; ‘’Hilltop’’, Jane M. Hunt ca. 1880 -- Fig. 5.6a Second floor morning room, Hill Top Cottage, ‘’as it was originally’’ when Catharine and Richard purchased the house ; Richard Hunt, sketchbook watercolor, ca. 1864 -- Fig. 5.6b The cottage’s redecorated parlor ; Jane M. Hunt, ink drawing reproduction, ‘’Newport, July 28 1885’’ -- Fig. 5.7a Hill Top Cottage with Hunt’s ocelot sculpture and plaster casts between the windows ; ‘’R M Hunt’s Studio July 12 1876,’’ Jane L. Hunt -- Fig. 5.7b Hunt office atelier, opposite, in the Jill Top cottage carriage house studio built in 1857 by William Morris Hunt ; cast of Caspar Buberl statue of Hunt as a manson, rear right ; nFrank H. Child, Newport ca. 1895 -- Fig. 5.8 Entrance gates, Mary and Odgen Goelet house, Ochre Court (1892), Newport, Rhode Island ; Frank H. Child, Newport 1895 -- Fig. 5.9 Atlantic Ocean façade Ochre Court ; Michael Froio 2019 -- Fig. 5.10 Hunt office copy of 1888 ‘’Plan of Second Floor, amended,’’ Ochre Court ; stamped January 14, 1893 -- Fig. 5.11a-b (Following pages) Stair, Ochre Court with medieval stained glass from a German church ; main hall and Feast of the Gods vault ; Michael Froio 2019 -- Fig. 5.12a Jules Allard Fils dining room, Ochre Court, over mantel painting of Marie Leszczynska, quuen to Louis XV ; Frank H. Child, Newport 1895 -- Fig. 5.12b Ochre Court dining room ; Michael Froio 2019 -- Fig. 5.13 Alva and William K. Vanderbilt’s Marble House, Newport, Rhode Island, preliminary entrance elevation a mansion as villa ; Hunt office ca. 1888 -- Fig. 5.14 Preliminary Atlantic Ocean elevation, Marble House as palace ; Richard Hunt ca. 1888 -- Fig. 5.15 Oil study for Visit domiciliaire, popular at the Paris Salon, 1884 from the memoir of Marie Antoinette’s lady in waiting, Madame Campan seen here as revolutionaries loot her eighteenth century salon, decorated like rooms installed by Hunt in his new mansions ; Victor Bachereau Reverchon ca. 1884 -- Fig. 5.16 Landscape plan for Marble House ; probably Ernest Bowditch ; ca. 1888 -- Fig. 5.17a Marble House (1892) from Bellevue Avenue, opposite top, designed to awe neighbors passing by in carriages ; Michael Froio 2020 -- Fig. 5.17b Sketch of the seventeenth century Hermitage de la Madeleine, Fontainebleau, France opposite bottom an inspiration to Hunt ; Richard Hunt sketchbook ca. 1852 -- Fig. 5.18a-b First and second floor plans, Marble House ; servants discreetly circulated through ‘’backstairs,’’ shown next to first floor morning room ; Hunt office June 14, 1888 -- Fig. 5.19 Grand salon, Marble House. Decorated by Jules Allard Fils to surpass Chateau de Versailles Hall of Mirrors ; plate glass doors and electric lighting were advanced engineering ; Michael Froio 2020 -- Fig. 5.20a Marble House’s Gothic style library, its fireplace after one in the Jacques Coeur house, Bourges, France , top ; Mattie Edwards Hewitt, 1926 -- Fig. 5.20b Library windows originally assembled from period and new glass ; Michael Froio, 2020 -- Fig. 5.21 Charles Garnier’s Paris Opera House (1875), the culmination of Second Empire classicism and enginineering ; Detroit Publishing Co., photochrom ca. 1890 – 1900 -- Fig. 5.22 Railroad executive and museum trustee Cornelius Vanderbilt II, seated before a view like one at his Newport mansion, the Breakers, holding an annual report of the Metropolitan Museum of Art ; Daniel Huntington 1895 -- Fig. 5.23 Limestone porte cochere entrance, Alice and Cornelius Vanderbilt II house, the Breakers (1895) Newport, Rhode Island, landscape by Ernest Bowditch ; Michael Froio 2020 -- Fig. 5.24 a-d Plans for the Breakers’ basement, opposite top; first floor, opposite bottom ; second floor, top ; and third floor, bottom showing Hunt’s preferred pier construction and services of a mansion ; ‘’Gas, Plumbing & Completion’’ blueprints, February 28, 1894 -- Fig. 5.26a Hunt designed billiard room, opposite top, the Breakers, faced in imported Cipollino marble, inset with colored stones, a papal extragavanza like those that dazzled the architect when in Rome ; Michael Froio, 2020 -- Fig. 5.26b The morning room, opposite bottom, the Breakers, a décor to impress, by Jules Allard Fils ; Michael Froio 2020 - - Fig. 5.27 Reception room the Breakers, Parisian eighteenth century paneling, Louis XVI Revival furnishings ; Michael Froio 2020 -- Fig. 5.28 Caroline Astor and her son John Jacob Astor IV double house (1895), a Fifth Avenue chateau overlooking Central Park, New York City ; Detroit Publishing Co., photochrom, ca. 1900 -- Fig. 5.29 Astor house first floor plan James B. Garrinson, AutoCad 2021 -- Fig. 5.30a astor house gallery ballroom, opposite top gilded and inlaid with green marble and jasper, emptied of its palms and damask ottoman pending sale of the house, already one of America’s ‘’white elephants’’ ; Wurts Brothers ca. 1926 -- Fig. 5.30b Astor house grand salon, opposite bottom, by Jules Allard Fils ; ca. 1926 -- Fig. 5.31 George W. Vanderbilt at twenty eight ; John Singer Sargent 1890 -- Fig. 5.32 Baron Ferdinand de Rothschild house (Hyppolyte Destailleur, 1889), Waddesdon, England, a steel framed, Bath yellow stone chateau visited by Hunt and George Vanderbilt, summer 1889 ca. 1897 -- Fig. 5.33 The Biltmore creative team on site, from left : purchasing agent and agricultural consultant Edward Burnett, Richard Hunt, Frederick Law Olmsted, George Vanderbilt and Richard H. Hunt ; 1892 -- Fig. 5.34 Entrance esplanade and façade, Biltmore, opposite top ; Hunt office photo, August 27, 1895 -- Fig. 5.35 First floor plan, Biltmore, a geometry of circles, squares, and axes, opposite bottom; Hunt office, initialed ‘’J.A.J Oct. 13’’ 1890 -- Fig. 5.36 Triumphal arch from banquet hall to winter garden, Biltmore ; Karl Bitter’s Joan of Arc and Saint Louis, a defender of faith and an art patron, flank the inscription, Da Pacem, Domine, In Diebus Nostris, ‘’Give Peace, O Lord, in Our Time,’’ resonant in a nation healing from the Civil War; Michael Froio 2020 -- Fig. 5.37a Walnut paneled library, opposite top, Karl Bitter mantle, Biltmore, at the time of George Vanderbilt ; ca. 1905 -- Fig. 5.37b George Vanderbilt’s bedroom, Biltmore, opposite bottom, in a Tudor Revival style inspired by English country houses visited by client and architect in 1889 ; Michael Froio 2020 -- Fig. 5.38a A. Maurice A. G Ouradou, Knights of the Round Table fireplace, above left, in the bedroom of Emperor Napoléon III, Chateau de Pierrefonds, France 1883 ; Colombe Clier, n.d. -- Fig. 5.38b Tapestry gallery fireplace above right, Biltmore; Michael Froio 2020 -- Fig. 5.39 View to Biltmore chateau, opposite, reflected in the estate’s landscape lagoon ; Michael Froio 2020 -- Fig. 5.40 Bultmore Village below the estate chateau, with worker cottages and Hunt’s All Souls Episcopal Church (1896) ; V. G. Schreck, ca. 1899 -- Fig. 5.41a All Souls Episcopal Church, Biltmore Village ; Michael Froio 2020 -- Fig. 5.41b View from altar to narthex ; Michael Froio 2020 -- Fig. 5.42 Mary and Joseph Busk House, Indian Spring (1891), Newport, Rhode Island designed for ocean views ; Michael Froio 2020 -- Fig. 5.43 West Academic Hall (1895), fortress architecture for the US Military Academy, West Point, New York ; Michael Froio 2019 - - Fig. 5.44 US Naval Observatory (1893), Washington, DC ; ca. 1895 -- Fig. 5.45 ‘’Section on Axis Lines thr’ Corner Loggia, ‘’ Administration Building ; Hunt office, ca. 1892 -- Fig. 5.46a Administration Building plan, above left ; James B. Garrinson, AutoCAD, 2022 -- Fig. 5.46b Administration Building, oil modello, above right, for dome’s interior mural, Glorification of the Arts and Sciences ; William de Leftwich Dodge, 1892 -- Fig. 5.47 William Hayes Fogg Museum (1895) Harvard University, Cambridge, Massachussets, an art gallery and lecture hall; ca. 1895 -- Fig. 5.48 The Metropolitan Museum of Art (1902), New York City ; Hunt’s neoclassical Fifth Avenue wing overwhelmed the museum’s first building a Gothic Revival gallery (1880) ; Irving Underhill, photochrom postcard (detail), ca. 1902 -- Fig. 5.49a Plaster casts in the entrance hall, Metropolitan Museum of Art, educated the public about the classical canon, opposite ; Wurt’s Brothers, 1902 -- Fig. 5.49b Hunt’s museum master plan ; Hunt office, 1895 -- Fig. 6.1 Portrait of Richard Hunt at Biltmore’s entrance terrace, shortly before his death, commissioned by George Vanderbilt ; John Singer Sargent, 1895 -- Fig. 6.2 Biltmore laborers on temporary railroad spur to the chateau’s construction site ; 1890 -- Fig. 6.3 Richard Hunt memorial by Daniel Chester French and Bruce Price, Central Park, New York City ; dedication day, October 31, 1898 -- Fig. 6.4 Laurel leaf from wreathy laid at the Hunt memorial, sent by Catherine Hunt to George Vanderbilt, October 31, 1898 -- Blois style stairs, George Vanderbilt house, Biltmore, Asheville, North Carolina ; Michael Froio, 2020 -- Sam Watters. Includes bibliographical references and index. Hunt, Richard Morris 1827-1895 Architects United States Biography Architecture and society United States History 19th century NA737.H86 W38 2024 9781913875817 1913875814 pucpr 240311 20251203173436.0 eng