Furniture in this room is predominantly French, except for two Italian refectory tables and a number of Chinese lamps. Two of these lamps have silk shades with hand-painted designs copied from the bases; this touch of luxury is repeated in other rooms, notably in Frederick Vanderbilt’s bedroom. The grand piano, an American Steinway, was decorated in Paris in goldleaf with the medallions of noted composers, it was originally used in the home of Vanderbilt’s father in New York City. Seventeenth-century Florentine tapestries on the end walls bear the coat of arms of the Medici family. Two 16th-century Brussels tapestries with more scenes from the Trojan War flank the doorway. Wall paneling is Circassian walnut. Twin fireplaces are Italian marble. As it now appears, this room represents the design of architect Whitney Warren, who redecorated the room in 1906. The original ceiling mural by H. Siddon Mowbray was removed at that time.
French doors open to a porch from which a path led to the Italian gardens. Formal entertaining in this room might include tea, after-dinner coffee, games of whist, and, on special occasions, a spring or autumn dance.
Gold Room.
This French salon was designed by Georges A. Glaenzer after an 18th-century French drawing room. An inlaid tulipwood desk is Louis XV. A standing clock, made by Paul Sormani is a copy of one in the Louvre. One of the inset wall panels contains an Aubusson tapestry; two other panels (one above the marble fireplace) contain large mirrors which, reflecting in one another, provide a striking repetition of mirrors to infinity. As is evident from its gilded appearance, goldleaf was not spared in the room’s decoration. Here guests would gather for sherry before dinner.
North Foyer.
In this room is a large Florentine storage chest of hand-carved wood, decorated with goldleaf and lacquer. Above the chest is a 17th-century Brussels tapestry. On the opposite wall is an 18th-century Aubusson tapestry. Overhead is a Venetian lantern matching the one in the south foyer. In one corner is a large Chinese bowl with blue-dragon design against a white background; it rests on a Chinese teakwood stand.
Dining room.
Dining Room.
This room is 30 by 50 feet. Its floor is covered by a huge Oriental (Ispahan) rug which measures 20 by 40 feet and is more than 300 years old. Furniture is a reproduction of Louis XIV period. The large dining table could be extended to seat 30 people. A smaller table at the east end of the room was used by the Vanderbilts when dining alone or with a few intimate friends. At such meals, Frederick Vanderbilt always sat on the south side of the table with Mrs. Vanderbilt opposite him on the north side. Across the room from the doorway are two 18th-century planetaria, made in London—instruments used for the study of the sun and planets. On the walls on either side of the door are a pair of French 17th-century tapestries, believed to be of Beauvais manufacture. Florentine chairs around the walls and two carved Renaissance mantels all emphasize the spaciousness of the room. Hand-painted and gilt panels decorate the ceiling. Two marble columns of the Ionic order flank the doorway, matching those in the drawing room. All original marble work in the mansion was done by Robert C. Fisher and Company, of New York City, then one of the largest importers of marble in the world.