NI’S Form tO-9 IJSDIINPS NRIU’ Registration Form Rev. 846 0MB No. 1G24-0018

TIE ELMS Page1NATIONAL HISTORIC LANDMARK NOMINATIONUnited States Depsitnent of the Interior, National Park Service National Register of Historic Pliers Registration Form

1. NAMEOFPROPERTY

Historic Name: THE ELMS

Other Name/SiteNumber: EdwardJ. Berwind House

2. LOCATION -

Street& Number: Bellevue Avenue Not for publication: N/A

City/Town: Newport Vicinity: N/A

State: RI County: Newport Code: 005 Zip Code: 02840

3. CLASSIFICATION

Ownership of Property Category of PropertyPrivate:_L Buildings:1...

Public-Local:Public-State:_ Site:

Public-Federal:_ Structure:_Object:_

Number of Resources withinPropertyConthbuting Noncontributing

3

______

buildings3

______

sites3

______

structures81 1 objects90 1 Total

Number of Contributing Resources PreviouslyListed in the National Register: 90

Name of Related Multiple Property Listing: N/A

----C- - - - - - -

THE MANSION: FIRST FLOOR

The plan of The Elms derives its basic formula from the 18th-century Chateau d’Asnieres.A central salon dominatestle middle of the building and all main rooms are aligned in

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4. STATE/FEDERAL AGENCY CERTIFICATION

As the designatedauthority under the National Historic Preservation Act of 1966, as amended, I herebycertify that this

____

nomination

____

request for determination of eligibility mees the documentationstandards for registering properties in the National Register of Historic Placesand meetsthe procedural andprofessional requirements set forth in 36 CFR Part 60. In my opinion, the property

____

meets

____

doesnot meet the National Register Criteria.

- Signature of Certifying Official Date

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6. FUNCTION OR USE*

Historic: DOMESTIC Sub: Single Dwelling’LANDSCAPE Garden -

StreetFurniture/Object- * :1

Current: RECREATION & CULTURE Sub: MuseumLANDSCAPE Garden

StreetFurniture/Object

7. DESCRIPTION - -

ARCHITECTURAL CLASSIFICATION: Late 19th & 20th CenturyRevivals: Beaux Arts

MATERIALS:Foundation: GraniteWalls: Indiana LimestoneRoof: Slag,. SlateOther: Copper Gutters & Leaders

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madeof a brochesilk executedin Lyons after apieceof old silk selectedbyMr. Berwind. The richly carved furniture madeof unique modelsand themarblemantel piece of pavonazzo,enrichedin gilt bronze complete theschemeof this room.2

South Alcove

- The South Alcove was usedto displaydecorativeobjects. The display cabineton the northwall of the alcove contains18th-centurySevres urns,decoratedwith Turkish sceneson abrick red color ground. The samepurpleBrecciamarble from Italy, asused in the StairHall and Gallery Hall, was used for thedoor and window trims, and Allard used the samemarble in the cabinetsfor thepurposeof maintaininga unified design.

North Alcove

The North Alcove also has display cases. Thesecontaintcollectionof jadeand some fans.

Library

The Library is in the style of Henry IV, with high wainscotingand walls of inlaid walnuthung with red damask. The centertable, fireplace mantel, and inlaid bookcasesweredesignedby Allard, and the tablein particulardisplays the exaggerated proportionsandclassicalornamenttypical of 16th-centuryFrenchdesign. The mantel piececonsistsof whitecarvedstone with the upperpart of richly carvedwalnut. The walnutcarvingframes aterra-cottacopy of a bas-reliefof the Madonnaand Child by Della Robbiafrom the Churchof San Jacopodi Ripoli in Florence.

The most notable appointmentsof theLibrary are two terra-cottaportraitbusts, one of theFrenchwriter Moliere, the otherof Racine. They have beenattributedto the Frenchsculptor Nicolas Pineauas 19th-centurycastsof the 18th-centuryoriginals. These busts wereoriginal to the Chateaud’Asnieresand were laterplacedon the gardenfacadeof The Elms.In the interestof preserving their pristine appearance,new poly-resin castingshave taken theplaceof theseoriginals on the,gardenwest facadeof the house

Conservatorf

The Conservatorywas inspired by theorangeriesof 18th-centuryFrance,and it is here thatthe relationship between houseand gardenis most pronounced. Minors, placed opposite thewindows to reflect thegarden view, are framedby trellising donein the 18th-centuryFrenchmanner. The fountainand plant basinsare of Rouge Royalemarbleand are decoratedwithbronze horsesand seadeities.

2 Ibid., p. 3.

In some sources denotedas ‘Palm Room.’

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primary featuresof the house-foyer,ballroom and major receptionrooms-arearrangedalong an axis that brings the visitor into the garden. This approachto planning the houseisan embodimentof the idealsof 18th-centuryFrench architecture.

Stair Hall, Gallery Hall

Immediatelyupon entering The Elms from the East facade, thevisitor passes through thefoyer or Stair Hall, framedby two largeurns of green marbleand pink granite, eachwithfour bronze femalefigures. The urns bear the nameof the decorator, Allard et Filsof Paris,who was responsible forcrafting thedetails of the period rooms. The walls areof limestone,with purple Brecciamarblepilastersand columnswith bronze capitalsand bases. Thefloorsareof white marble borderedin greenand are the sameas thosein the Gallery Hall. The’stairs areof pure whiteItalian marble. They rise from the Stair Hall to the Gallery.

On the wall opposite the entrance,on eitherside of the Ballroom door, are two early18th-centuryoil paintings depictingepisodesin the histofrof Scipio Africanus, the ancientRoman generalwho conqueredCarthage. Thesepaintingswere partof a seriesboughtbyMr. Berwind from the Ca’ Corner in Venice. The painting to the north of the Ballroom doordepictsScipioDeclining RegalHonors, circa 1706, and is by Paolo Pagani1661-1716.The one to the south is The Continenceof Scipio, also circa 1706, and is recognized tobethe work of Giovanni Antonid Pellegrini 1675-1741. Thesetwo paintings were restoredin1981 to their original quality by the PreservationSociety of NewportCounty.

Over the doorto the Ballroom, facing the Main Hall, is a bronzerelief of the helmetedAthena,goddessof wisdom and war. Beneathher are Herculesand two cherubs,masqueradingas Athenaand Hercules. Overthe right cherubis the nameof the decorator,Allard et Fils. -

Ballroom -.

The Louis XV style Ballroom is at the coreof the building, ‘the place occupiedby the Salonin the Chateaud’Asnieres. This room was the sceneof lavish parties, including the1901housewarmingparty hostedby the Berwinds to announcethe formal openingof The ElmstoNewportsociety. Allard et Fils crafted the Louis XV style panelingwith plastershell andfloral ornaments. Above thedoors are paintings depicting Ledaand Io, copiesof theoriginals from Asnieresby Jean-BaptisteMarie Pierre1713-1789. The whitestuccoreliefdecorationsof the doors,paneling,and cornice are continuedin an elaborateceiling friezeand center medallionof winged cherubs. The ‘crystal chandelieris original to the room, asare the ormolu wall sconcesand Louis XV andirons. The following descriptiOn from1901 isstill accuratetoday: .

In this gallery, doorsopen leading into the principal rooms. The wide opendoor oppositethe main entranceopensinto a ball room 50 x 45 feet. Thisroom is decoratedin the style of Louis XV, by Allard of New York, who hasexecutedall such work there, and the richly-carved woodworkis soberlypainted in cream and white with no gilding at all exceptthe minor frames.All the detailsof the ornamentationon the walls and cornice have beenworkedout in the feeling of the period in its minutestdetail. The window curtains are

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BreakfastRoom

The Berwinds required aChinoiserieBreakfastRoom as asetting for Chineselacqueredpanels. This styleof decoration,which became fashionablein turn of thecenturyAmerica,was originally developedin 18th-centuryEurope dueto the popularity of Oriental porcelainsand lacquer-workand is a Westerninterpretationof Chinesedesign. The blackand goldlacquer wall panels arein the style of the K’ang Hsi period 1662-1722.

The panelingis of oak highlightedwith gilding. The sidetablesby Allard et PuscombineWesterndetails with Oriental figures, whichrepeatin the textilesand plasterornamentof theceiling. The fireplaceis àf peachmarble and matchesthe room’s furnishings.

Main Staircase

The stepsof the grandstaircasefrom the Gallery Hallto the Secondfloor are of Carraramarbleand the railing is wrought ironand bronze. The C.l1s, continuing thestyle of theStair Hall and Gallery.Hall, areof limestonewith pilastersmadeof purpleBreccia marble.Eighteenth-centurytapestriesline the stair wall to the secondfloor and were woven in theWerniersworkshop; they arebasedon the drawingsby Teniersat Lille, France,circa 1740.

The ceilingof the stair hail containsa largeceiling mural from the Pala.zzoDuodo in Venice,the workof the 18th-centurymuralist FrancescoFontebasso1709-1769,"consideredto bethe finestexampleof his work in the country."

SECOND FLOOR

The secondfloor of TheElms containsseven bedrooms,six baths, asitting room, and alinen closet, all in the style of Louis XV and Louis XVI. The designof the second floor hail"reproducesa dispositionof the hall down stairs; it forms a long gallery nearly theentirelength of the house whereall the bed rooms and apartmentsopen."6 Two rare Gothictapestries, wovenin Tournai during the firstquarterof the 16th century,hang in the hall;they are from the WidenerCollection. The pilastersof the secondfloor hall are of the samepurple Breccia marble as thefirst floor hall and the walls areof Indianalimestone. Theinteriors of the secondfloor bedroomsare describedin general in the Newport Herald of1901:

The woodwork hasbeen kept in perfect white, butin eachroom the characteris given by theexquisitechoiceof the colorof the silk hangingsselectedbyMrs. Berwind. The furnitureis of richly carved wood enamelledwhite with

Jordy, William H., and ChristopherP. Monkhouse. Buildings on Paper. Brown University, RhodeIslandHistorical Societyand Rhode Island Schoolof Design, 1982, p. 178.

6 NewponHerald, July 1, 1901. p. 3.

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In the corners aremarble figuresrepresentingthe seasons. The carvedmarbleurn withdancing cherubsand fawns in full relief was a housewarminggift to the Berwindsfrom the -

employeesof the Berwind-WhiteCoal Company. The sculpture group betweenthe westwindows depictscherubs playingat music and is by the sculptorArriglini.

The Brusselstapestryon the north wail circa 1720 depictsNeptune;it was partof a seriesof tapestriesentitled The Triumphofthe Godswoven by the Reydams-Leyniersworkshop.

Drawing Room - - - -

The Drawing Room servedas theformal sitting room of The Elmswhere guestsassembledafter dinner. The woodworkby Ailard is in early Louis XVI style with Neo-Classicalornamentin molded plaster. Lunettesof grey monochrome,en grisaille, are on the northand south walls and are enclosedby elaboratelycarvedwood frames.

The dominant aspectof the DrawingRoom is its 18th-ceiltflry ceiling painting. Itdepicts thegod of the north wind, Boreas, being driven from the sky by Spring accompaniedby thegentlewinds, or Zephyrs,and is attributedto the Dutch artist Jacobde Witt 1695-1754.This painting, along with several other18th-centurypaintings in The Elms, escaped theauction block by virtueof having beencementedto the ceilingwith white leadduring itsinstallation, a factorwhich preventedits precipitousremoval. TheNewport Herald ofJuly 1, 1901 described the DrawingRoom asbeing "in the samestrain- of sobernessas theballroom; thereis no gilding on the ornamentation,and the room is entirelypainted in greyand white, but the carvingon woodwork is of the mostperfect kind that canbe producedinthesetimes."4

- .r - -

Dining Room - -

The Dining Room, to the north of the Ballroom-, was designedto display-a collection of early18th-century Venetian paintings purchasedby Mr. Berwind from the Ca’ Corner in Venice.The paintings circa 1706 are of the same seriesasthosein The Elms’ Gallery Hall andillustrate scenesfrom the life of the Roman general ScipioAfricanus. On the north wall is 1

- The Triumphof Scipio by Paganirestoredin 1988, and on the south wall is SyphaxBeforeScipio, attribu -Eli battistaPiazzetta1682-1754or possib cher Antonio - -

Molinari. e oak g and thedoors areof San Domingo mahogan d were chosenespeciallyto repro uce the interiorsof the room for which the pain ngs were originallymade. The fireplaceis of agatered stone, onyx white stoneand marble green,and isframed by a ceiling-high pedimentsupportedby carvedIonic columns. -

The cofferedceiling is of molded plaster, grainedand palnted to imitate oak. Each coffer isdecoratedwith the winged lion of Saint Mark, the patronsaint of Venice. Pourcustom-madecrystalchandeliershang in the fourcornersof theroom.

Newport Herald,July 1, 1901, p. 3.

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the varietyof shapesand outlines to be found only in the two styles used. Thespaciousbath room adjoining eachbed room are appointedwith the luxury andcomforts known only in America.7

More specific descriptionsof particularrooms follow.

RoseRoom - -

The furnishingsof the RoseRoom-thechamberto the northeastof the stair hall-most ofwhich are original to The Elms, arein the Louis XVI style. The rugis a SpanishSavonneriemadefor Sloaneand Co. -

- SatinwoodRoom

The furniture of the SatinwoodRoom, to the southeastof the Stair Hall, is madeofsatinwood. It is in the Neo-Classical styleof RobertAd 1728-1792,an English architectand decorator. Mostof the piecesarehand-paintedin the mannerof Angelica Kauffman1740-1807,an artist who frequently workedwith Adam on interior and furniture designs.The carpetis a late 19th-centuryFereghanand the wall coveringis a cotton/rayonfacsimileof the original silk, reproducedby Schumacherand Co.

Mr. Berwind’s Bedroomand Bath -

Mr. Berwind’s bedroomis located to the south of the Sitting Room and the fireplaceis ofox-blood marblewith gilt bronzemounts. The walls are coveredin red silk and the carpetis

- a late 19th-centuryKhorassan. The bath containsa sink of translucent whiteonyx.

Mrs. Berwind’s Bedroom

This room, located in the southwestcornerof the floor, is in the Louis XVI style withcream-coloredwoodwork and is much largerthan Mr. Berwind’s bedroom. Thewalls arecoveredwith custom-wovenceladongreen damaskwith bordersof coordinated green, gold,and cream material. Thesefabricsareaccuratereproductionsof the room’s original Frenchsilks. The elaboratewindow hangingsand bedhangingsin the room are of reproducedsilklisere. The adjoining bathroomcontains abathtuband porcelainwashstandaccentedin apainted laureland swag motif. The fireplaceon the north wall adjoinsMr. Berwind’sfireplace.

The Sitting Room

The Sitting Room, locatedabove the ballroomin the centralbay sectionof the west sideofthe house,was usedasa gatheringspot for the Berwindsand their houseguests. ThePreservationSociety of NewportCounty reproducedthe original red silk wall fabrics anddraperiesin 1985. The room is panelledin Louis XVI woodwork. Therest is very simple.

- Thereis a fireplaceon the north wall.

Ibid. , p. 3.

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Gold Bedroom

The Gold Bedroom,located to the north of the Sitting Room, still retainsits original silkwallcoverings,as well as theoriginal suite of Louis XV style furniture by Allard et Fils.

Thereare also two otherbedroomslocatedon the secondfloor: The Van Alen Room in thesoutheast cornerand theGreen Bedroomin thenorthwest corner. A small maid’s room,adjacentto the servant’sstair hall, completesthe secondfloor plan.

THIRD FLOOR

The third floor of The Elms was devotedto staff quarters. HoraceTrurnbauer,to preserve- the designof the Chateaud’Asnieresmodel for the house,concealedthese third floor

quartersthrough an exterior balustrade. -

BASEMENT - - -

The kitchen, staff dining room, two butler’s pantriesand staff staircaseform a completeviewof a stateof the art servicecomplexin the early 1900’s. The walls and ceilings throughoutthe servicerooms are coveredin white enameltile, the woodworkis of oak, and thewindows are screenedby ornamentalmetal grilles. -

Thekitchen is illustrative of thosein other great housesin Newportat the turn of the -

century. Thestove is by theFrench firm of Duparquet,Moneuse,and Huot and may beoperatedby coal orwood. The butler’spantry off of the kitchen is part of a two level pantrydesignedto serve thehouse. The basementlevel is for the storageof items and the loadingof food. Thefirst level is adjacentto the formal dining room -and breakfast roomand wasused for serving, for the washingand storing of china, and featuresa safe for silver. Whitetile was usedin the Kitchen for sanitaryreasons.

ThE GARDENS AND GROUNDS - - -

The gardensof The Elms weredevelopedfrom 1902 to 1914 under the direction of HoraceTrumbauer,who produced the drawingsand plans for the grand allee,marble pavilions,andsunkengarden. The gardenswere originallyconceivedasa place for staginggrandentertainmentsand asan outdoor sculpturegallery.! The terrace outside theBallroom isdominatedby a large sculptureentitled MadnessofAthemas1880 by Pio Fedè. At the endof the lawn is a copy of the Fontanadelle Tartarugho1584 by TaddeoLandini in Rome.Added to this were two animal sculpture groupsin bronze, which were modeledafter groupsin the Tulieres garden,Paris, by the sculptor August Nicolas Cain.

From 1902 to 1907, thegardenswere a picturesque parkwith specimentreesand a small lilypond locatednearthe presentsunken garden.After 1907, however, its design wasinfluencedby newer theoriesin American landscapearchitecture. In 1893, CharlesAdamsPlatt had publishedhis essay"Italian Gardens"in Harper’s detailing formal European gardendesign,which was followed in 1904 by Edith Wharton’s Italian Villas and their Gardens.Wharton and Platt were known and read in Newport circles,and TrumbauerreworkedThe Elms’ gardento reflect this new emphasison reviving classicalEuropean gardendesign.

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Whartonespoused thephilosophythat "the gardenmust be studied in relation to the house,"8and indeed,Trumbauer"relatedthe terracesand the gardensto the residencenot onlythrough designbut also through function: he madethem vital extensionsof the house,roomsout-of-doors."9 The lily pond that hadoriginally existed providedan ideal naturaldepression for theItalian sunkengardenthat succeededit. The specimentrees still exist inthe main garden park.t°

The classicallandscapethat Trumbauerproduced,with ornate fountainsand statuary,wasinspired by the Europeangardensof the Renaissanceand Baroque periods. The marblepavilions wereinspiredby 18th-centuryFrench gardenpavilions. Thegardens werenot adirect copyof a particular Italian or French garden;ratherthey werea free interpretationofa classical landscapeusing elementsborrowedfrom both the ItalianRenaissanceand17th- and 18th-centuryFrance.

StableandGarage

The stableand garagewere built in 1911 on land ownedby Ida Powel Johnson which- Berwind later purchasedand addedto his estate. They are modeledafteran 1898 pavilion

by the architect HenryGoury b. 1850 for the chateau atLouveciennes,France,builtoriginally for Madamedu Barry. The complex has space forten carriages,stalls for sixhorsesand room for eight automobiles, aswell as harnessrepairs,laundry rooms and livingquarters.

GeneralEngineeringFacts

Although The Elmswas a summerresidence,it was heatedyear-roundby an elaboratecentral heating system.There were three boilersin the basementand the fuel was coal.When thecoal was delivered,it was brought to Dixon Streetand lowered intosmall railroadcars that ran on a trackin a tunnel extendingfrom the streetto thebasement. In this way,coal or ash was never transportedwithin public view.

Therewas no electricity in this part of Newport in 1901, so Berwind had a generatorinstalledin the basement. The light fixtures were made for the houseand they were alwayselectrified.

Since the Berwindshad no children of their own, The Elms passedto Mr. Berwind’s sisterJulia 1865-1961at thedeathof Edward in 1936. Julia died childless in 1961 and anephew,CharlesDunlap, inherited the propertyand sold many of the furnishingsat auctionand the estateto a developer. To protectThe Elms from alteration, the PreservationSocietyof NewportCounty raised the funds to buy the houseand opened itto thepublic in 1962.Today, much of theoriginal furniture has been returned,and missingpieceshavebeen

Wharton, Edith. "Italian Villas and Their GardensNew York: IDa Cape Press,1904.

Persehier,Martin. ‘The Gardensat The Elms: An Introduction" unpublishedreport, ThePreservationSocietyof Newport County,1992, p. 2.

to The statuaryand fountainsare individually listed with the gardensketchmap at the end of this nomination.

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Today, much pf the original furniture has been returned,and missingpieceshavebeenreplacedwith historically appropriateitems fromother museumsand private collections.Every possibleeffort hasbeen madeto restore TheElms to its original appearance.

LIST OF CONTRIBUTING RESOURCES - -

Buildings - -

Main HouseStable . --

Garage

Structures -

2 Marble GardenPavilions-A-

Sites

UpperGardenTerraceParkof SpecimenTrees -

Lower SunkenGarden

Objects - - , . -

2 Main EntranceGatesI StableCourtyardGate

29 GardenSculptures2 Benches -

44Urns . . -

3 Fountains - -

81

NON-CONTRIBUTING RESOURCES

Structures

Parking Lots

r

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StateSignificanceof Property,andJustify Criteria, Criteria Considerations,and Areasand Periodsof SignificanceNoted Above.

"The Elms," the Edward J.Berwind estate,is significant for its architecturaland landscapedesignof the ClassicalRevival Style in the period from1900 through the1920s. In addition,Edward J.Berwind was a leading figure in the Americancoal industry,and HoraceTrumbauerwas one of the outstandingarchitectsof that era.

By the early 1900’s, Newport’s role as themost fashionableand elite summer resort made ita laboratory for experimentingwith the architectureof leisure. Therefore, Newportbecamethelogical site for the constructionof the American "inaison tie plaisance,"or pleasurepavilion, a design conceptand architecturalform of French originthat soughtas its ideal aperfect unificationof houseand garden. The FrenchChateaud’Asnieres1750-51, theprototypefor The Elms, was amaisontie plaisance. It was built by the architectJacquesMansart1709-1776,Comte de Sagonne,for the Marquis‘Argenson as a retreatnorth ofParis, completewith terraced gardenson the Seine. Theiaaisondeplaisancewasanimportantbuilding type, appearingin Francein the 17th century,and finding its fullestexpressionby the mid-18th century.’ The gardenpavilions of the French aristocracy wereadaptedto suit a similar social classin American society at the turnof the century. TheElms exemplifiesthe useof specific period models in architecturaldesign that wastypical ofthearchitectureof the period from1890 through the 1920s. The academic useof historicsources and theunity of houseand gardenserving a social function distinguish The Elms asone of the finest French period houseand garden complexesin America.

Mark Hewitt notes:

During the late 1880s,both patronsand architects were attractedto Frenchclassicismas anew approach forestatesand gardenswith formal, aristocraticpretensions. So pervasivewas theFrench influencethat in 1899 theAmericanInstitute of Architects devotedits conventionproceedingsto the impactof the -

Beaux-Arts on the architecturalprofession.2

The gardensof The Elms arealso significant as"the bestof the survivingNewportpalacegardens,"due to theclassicaldesignof HoraceTrumbauer.3 Its elevenacres arelaid out inthe mannerof a seriesof "snapshots"that leads the vieweron a tour of picturesquescenes,each possessingits own senseof closurein landscapedesign. The terraces surrounding thehouse "provided theviewing platform so intrinsic to a French-style garden,"raising thevisitor to a positionwherebyhe or shecould observe the beautyof the garden, while at the

‘- Blondel, Jacques-Francois.ArchitectureFrncoise... Paris: Jombert, 1752.

2 Hewitt, Mark. The Architect and the AmericanCountryHouse. New Haven,Connecticut: Yale UniversityPress, 1990, pp. 72-76.

Griswold, Mac andEleanor Weller. ‘Green Grandeur: American EstateGardeningin the FrenchStyle,1890-1940, fromAntiquesSeptember,1991, p. 392.

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8. STATEMENT OF SIGNIFICANCE .

Certifying official has consideredthe significanceof this prop"erty in relation to other properties:Nationally:..L Statewide:, - Locally:

ApplicableNational -. -

Register Criteria: A_ B C..X.. D_ - - - $ -

Criteria Considerations - .

Exceptions: A_ B_ - C_ D_. E_ F_ 3_ -

N}ILCriteria:- 2&:4 - -. -

-

NEIL Theme[1987]: XVI. - Architecture - -

-. M.-

PeHodRevivals 1870-1940-- - -. - -

-

5, Neo-Classical1890-1915

- - XXX. AmericanWays of Life - -

-

F. IndustrialWealth of the Last Halfof 19th Century

Areasof Significance: Architecture - . -

‘S ial HistoryLvj4, W4jLc trW4 -fe4tup- -

Periodsof Significance: 1899-1936

SignificantDates: - - 1899-1901,1902-1914 - - , - - -

SignificantPersons: EdwardJ. Berwind 1848-1936 -

- HoraceTrumbauer1869-1938

- Cultural Affiliation: - - N/A1 - -

ArchitectlBuilder: - HoraceTrumbauer[houseand gardens] - -

- J. Allard et Fils [interiors] . -

AIacineet Cie [interiors]: - - - -

ErnestW Bowditch [gardensj* Bruce Butterton[gardens] - . -

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One such commission wouldhave made the nameand fortune of many anarchitect. Whatcan be said of the man who has had a dozenor more suchcommissions’!8

Trumbaueroccupies aprimary position in the history of American architecturethrough themonumentalbody of his work that included not only The Elms, butalso the WidenerLibraryat Harvard University, the original campusof Duke University, the PhiladelphiaMuseum ofArt with Zantzinger,Bone, and Medary, the Harrison Estate "Grey Towers"inPennsylvanianow BeaverCollegeand a National HistoricLandmark, Shadowlawn, theestateof Hubert T. Parsonin New Jerseyalso a National Historic Landmark,and suchNewporthouses asMiramar, Chetwode,and ClarendonCourt.

HoraceTrumbauerwas the acknowledged finestpractionerof the Frenchclassicaltradition inAmerica, just as RichardMoths Hunt was the premierexponentof theLoire Valley chateauxtradition. The choiceof a historical style was themost importantdecisionto be madebyarchitectand client and the newly rich Americanswantetpalacesthat broadcasttheiraffluence. Modem French or Beaux Arts was oneof the most favoredstyles and Trumbauerwas also the best architect workingin that opulent idiom at the turnof the century.

In addition to architecture,The Elms was theexpressionof thepowerand prestigeof its$ owner, the coalbaron Edward J.Berwind 1848-1936. Berwind was aman of national

stature who requireda residenceof equalmagnitude,for he served in the critical roleofproviding coalto the nation’s transportationcompaniesand the UnitedStatesNavy. He wasthe single mostinfluential ownerof coal mines in the northeasternUnited Statesat the timeThe Elms was built, and wasconsidered"a colleagueand peer of Henry Clay Frick, HarveyFirestone,Andrew Carnegie,and Henry Ford."9 Possessingan unrestrainedentrepreneurialresolve,he was presidentof a firm that "supplied 80,000tons of coal per week to ships inNew York harbor alone,was chief supplierto the U.S. Navy and MerchantMarine, and hadoutlets along the eastern seaboard,at Caribbeanports, and in Franceand Italy."° He was,along with J. PierpontMorgan, one of America’s "great captainsof industry," running thelargestindividually owned coal-producingfirm in the countryt Mr. Berwind and hisassociates werethe merchantprincesof theAmerican Renaissance;their building projectsand collectionsof fine and decorativearts enhancedtheir financialand social image.

Edward J. Berwind was born in 1848, the secondson in a family of five sonsand twodaughters. By 1870, his father, John PaulusBerwind, was a partnerin PrestienandBerwind, a prosperous pianosupplier to Wanamaker’sdepartmentstore in Philadelphia. Asa young man, Edwardchoseto pursuehis educationat theAnnapolis Naval Academy,

Ferree,Barr. "Talks on Architecture,’ from Scient{ficAmerican Building Monthly, April 4, 1901, No. 4,p. 69.

The History ofBerwind. Philadelphia,Pennsylvania: The Berwind Group, 1993, p. 32.

‘° Benway, Anne. A Guidebook to Newpon Mansions, Newport, Rhode Island: The PreservationSocietyofNewport County,1984, p. 60.

lbkL, p.6.

NPS Form 10.900 USD1/NI’S NRHI’ RegiatralionFonnRev. 846 0MB No.t1024-O0lg

THE ELMS Page15United Stain Dq’astneatof the Interior, National PastService National Registerof Hiatoric Placca RegistrationFonts

sametime appreciatingit as an architectural extensionof the house.4 The terracesalso"easedthe transition from the Ballroom to the open air, and, to the credit of their architect,dissolvedthe theoreticalboundarybetweenarchitectureand nature."5 It was intrinsic to the,naison de plaisancethat the boundarybetweenthe living areasof the houseand the leisureareasof the gardenbe an’indistinct line that emphasizeda unified themebest characterizedby the word"pleasure."

The landscapebeyond the house, successivelyremodelledbetween 1902and1914, evolvedfrom a picturesque parkof specimentrees to a ClassicalRevival Arcadia with French-stylepavilions, stablesand Italian Renaissance-stylefountains. These featuresillustrate thedevelopmentof ClassicalItalian and French preceptsof landscapetheory and design inAmericaat theturn of thecentury. Thelandscapewas a result of the effortsof HoraceTrumbauer, the architectof the house,and the Berwind’s gardener, BruceButterton.

HoraceTrumbauer1868-1938was commissionedto build The Elms. Hewas, likeBerwind, of Philadelphiaextractionad relatively unkno’fi at thetime inthe world ofAmericanarchitecture. However,Trumbauerwas the only architectof his time to beadmired by OgdenCodman, apopulararchitectand influential tastemakerin Newportand anardent proponentof Classicaldesign. Trumbauerbeganasan apprenticein the officesofD.W. and G.W. Hewitt in Philadelphia.6 He ultimately becameOne of the fewmajorAmericanarchitectsnot trained at that prestigiousschool in Paris, the Ecole desBeaux Arts.Although he never received formal architecturaltraining, he establishedhis own practiceat

* theage of 24. The informality of his training did not affect the monumentalstyle of hiswork, and althoughhe obtainedall his knowledgeof architectureand design in the UnitedStates,hi interpretationof the Chateaud’Asnieresat The Elms is a masterful statementofthe proportion,talanceand harmonyof 18th-centuryFrench design.

Trumbauer’sspecific areaof expertisewas the interpretationof 18th-centuryclassicalFrencharchitecture,and it is believedthat "The Elms showshis earliestand perhapsfullest graspof

- this sophisticated idiom."7In an article writtensoonaftr The Elms was formally opened,the author comments, -

Mr. Trumbauerhas beenespecially fortunatein having had commissionsof thevery largestsize, sumptuouspalaces...environedin spaciousand splendidgrounds,andlurnishedwithin with all the grandeurof gorgeousfurnishings.

Ibid., p. 393.

Persehier, Martin. "The Gardens at The Elms: An Introduction" p. 3.

6 Jordy, William H., and ChristopherP. Monkhouse. Buildingson Paper. Brown University, RhodeIslandHistorical Society and RhodeIsland Schoolof Design, 1982, p. 235. -

Ibid., pp. 177-8.

NPS Form 10.900 IJSDI/NPS NRHP Registration FormRev. 8-86 0MB No. 1024.0018THE ELMS Page18 -

Unked statesDcpa,tnentof the Interior, National Put Service National Registerof Historic PlacesRegistration Form

As Edith Wharton said in 1905, through one of hercharacters, these sortsof houses werefounded on "the desireto imply that one hasbeen to Europe,and hasa standard,"that in"America, every marble housewith gilt furniture is thoughtto be a copy of the Trianon.""

The Elms, theNewportmansionand gardenof Edward J. Berwind, is one of the finestmansionsin this style and is also an importantcontributing resourcein the Bellevue AvenueNational Historic Landmark district.

.4-

14 Wharton,Edith. The Houseof Mirth, New York, Scribners, 1905, p. 160.

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- ‘lilt ELMS Page17United StatesDcpatlmeutof the Interior, National PaneService National Registerof Historic Places Registration Form

receiving his diploma directly from the handsof PresidentUlyssesS. Grant upon graduation.Berwind’s assOciationwith the presidentwas extendedwhen he was assignedto serveasGrant’snaval aide. ‘ - -

Edward’s older brother, Charles,had begun theBerwind-Whitecoal companyin 1874 withan associate,Allison White. After the deathof Charlesin 1890, Edward took overaspresidentof the company. Hemaintainedthat position until the ageof 80, serving at itshelm for 40 years of great successand profit.

Following the adviceof J.P. Morgan, Berwind adoptedMorgan’s agressivetacticsuntil hewas the world’s largestindividual ownerof coal-mining properties.He was presidentof sixcoal companiesand director of four others. Throughhis closeties with .J.P. Morgan, hediversified into railroads, steamships,docks, lumberand insurancecompanies. Over theyears he becamean officer or directorof 50 companies. His vast coal-mining interestsledhim to supply fuel for various businesses,most notably the New York City Rapid Transitwhich built the InterboroughRapid TransitsystemIR1’ffFor many years,he was theChief Executive Officerof the IRT. Throughouthis life, Berwind avoided publicity butoccasionallyhis tough policies on labor unions surfacedin the press. "Hepaid little attentionto pricecompetition,and he conductedhis labor relationsin a cavalierfashion. He refusedto bargainwith his employees,and his were thelast non-unioncoal fields."12

Edward Berwind helpedshapethe patternof industrialexpansionand the economic courseofthis country. As the U.S.emergedas theindustrial giant of the 20th century,he supportedthat industrialization by fueling a great shareof its enterprisesand serving its expandingresources.

- Edward Berwind’s social staturewas enhancedby his wife Herminie, who was from adistinguishedPhiladelphiaQuaker family. The Berwinds were amongone of the few couplesof American societywho took an active rolein choosingthe works of art that would adorntheir living spaces. From the selectionof theantique silk for the draperiesto the fineVenetianpaintings of the life of Scipio Africanus, Mr. and Mrs. Berwind had a hand in thedetailedaftangementsof The Elms’ interiors. In a Newport Heraldarticle written just afterthe formal openingof the houseon August 9, 1901, a critic writes that Mrs. Berwind hadbeen

aiming at excellencein every respect throughoutthe house...no imitation ofany kind hasbeen permittedeven in the less importantapartments...and inexcellenceof executionthe work cannotbe surpassed.Mr. and Mrs. Berwindhave superintendedevery detailand suggestedall ideas3

2 Krooss, Herman E. "Berwind, Edward Julius," Dictionary ofAmericanBibliography, Vol. XXII,

SupplementTwo. New York, New York: Charles Scribner’s Sons, 1958, pp. 37-38.

3 Newport Herald, August tO, 1901. -

Nfl Font, 10-900 USD1/Nfl NR}IP Registration FormRev. 8-86 0MB No. 1024.mIR

THE ELMSUnited Slates Dcpaztncrstof the Interior. National Park Service

Page20onai Registerof Historic PlacesRegistntion Form

"The Elms" HABS Survey No. RI 344, National Park Service,1969.

"The Elms SunkenGarden" PSNC Archives, undated

The Histoty ofBer.vind. C.G. Berwind, Jr., ed. Philadelphia,- The Berwind Group, 1993.

Previous documentationon file NPS:

Pennsylvania:

- Preliminary Determinationof Individual Listing 36 CFR 67 hasbeen requested...X.. Previously Listed in the National Register.- Previously DeterminedEligible by the National Register.- Designateda National Historic Landmark....&. Recordedby Historic American BuildingsSurvey: #RI-344- Recordedby Historic American Engineering Record:# --

PrimaryLocationof Additional Data:

- StateHistoric PreservationOffice- Other StateAgency- FederalAgency- Local Government- University.X. - Other SpecifyRepository: Archives, PreservationSociety of NewportCounty,

Newport, Rhode IslandArchives, NewportHistorical Society, Newport, Rhode IslandNewport City Hall, Recordsof Deeds,Newport, Rhode Islaiid

10. GEOGRAPHICAL DATA

Acreageof Property: 11 acres

Zone EastingA 19 306920B 19 307030C 19 307040D 19 307210E 19 307240F 19 306960

Northing45942804594290

4594240459425045941204594030

UTM References:

NPS Fonts 10-900 USD1/NI’S NRHP Registration FontsRev. 8-86 0MB No. 1024-0018THE ELMS Page19United StatesDcpailsneatof the Interior, National PastService National Registerof Historic Place.RegistrationFont.

9. MAJOR BIBLIOGRAPHICAL REFERENCES -

PRIMARY SOURCES -

Trumbauer,Horace. Accountbooksand Drawing Registers, The PhiladelphiaAthenaeum.Philadelphia,Pennsylvania.

______________-

Architectural plansand drawingsfor "The Elms." Trumbauerpapers,The PreservationSociety of Newport County Archives, Newport, RhodeIsland.

SECONDARY SOURCES - , -

Benway, Anne. A Guidebbokto Newport Mansions,Newport, RhodeIsland: -

The PreservationSociety of NewportCounty, 192

Downing, Antoinetteand VincentJ. Jr. Scully, The Architectural Heritage ofNewport,Rhode Island,New York: ClarksonN. Potter,2nd edition, 1967.

Griswold, Mac and EleanorWeller. "Green Grandeur: AmericanEstateGardeningin theFrenchStyle, 1890-1940,"AntiquesSeptember1991, pp. 388-401.

Jordy, William H., and ChristopherP. Monkhouse. Buildings on Paper. Brown University,Rhode IslandHistorical Society andRhode IslandSchoolof Design, 1982.

Krooss, Herman B. "Berwind, Edward Julius,"Dictionary of American Bibliography,Vol. XXII, SupplementTwo. New York: CharlesScribner’s Sons, 1958.

Newport Herald,July 1, 1901.

Newport Journal, November24, 1900.

September7, 1901

May 17, 1902.

May 16, 1903.

Perschler,Martin. "The Gardensat The Elms: An Introduction" unpublishedreport,The PreservationSociety of NewportCounty, 1992, p. 2.

Rousset-Charnet,Gerard. Les Palais Parisiensde lii Belle Epoque. Delegationa I’ActionArtistique de Ia Ville de Paris.

Scientific AmericanBuilding Monthly. "Berwind House" 4 April 1904: No. 4.

Stanhope, Clarence.Scrapbook "The Elms" pp. 43, 136. Newport HistoricalSociety.

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LIFIRST FLOOR PLAN, "THE ELMS"

V

SECOND FLOOR PLAN, "THE ELMS"

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AGarden StatuaryB=Garden BenchesC=Garden Fountains

See attached statuary list for descriptions

SKETCH MAP, "THE ELMS"

As per 197 map supplied byThe City Engineel*Tq Ctca at The Cityat NawoorT and tram a map titted Site P!an For NewParking Laycur by CUId A-ate, Inc.. 3cm, MAred 12 Fec.!991 and as ffed erded in JuLy 1992.

Mct tram an aram survey.Owner The Presar’,anonSac:ety at Newport CGunzy. RI

S1e V - iao* PsNc Dare: Aug 1992

stable

garage

TIlE ELMS: Statuary List

Al VenusmarbleA2 Abundance marbleA3 llgresswith Cubs bronzeA4 The Madnessof AtheinasbronzeAS lTgress with Crocodile bronzeA6 Female Figure with Torch marbleA7 Bust marbleA8 Bust marbleA9 Bust marbleAlO Bust marbleAl 1 WellheadmarbleA12 Faun marbleA13 Well marble

B 1 Bench marbleB2 Bench marble

Cl Aphrodite Fountain stoneC2 Tortoise Fountain marble and bronze

C3 Hercules Fountain stone and bronze

O5 20’ O9 560000 FEET’

° ,R6kose- 9sland

4’ 7

25

tchellRoolc

38

3-

60

55

26

43 IS

23

‘larys Seat

Easton

Steps

REGINA

Bay:5

-

‘U

*

*5’

4’

*Roaring Bull

* *

.

:

Spouting i’

Rock e4’ 2,

GooseberryIsland

F’- .

THE ELMS" Newport, Rhode Island

UTM References: Zone

H Zone: 19

Rock

Easting Northing

459428045942904594240459425045941204594030

52

38

35 20’22

4zOolphinNEWPORT

27

Brenton

10 -

Pilings0

Cove-

A 306920B 307030C 307040D 307210E 307240F 306960

- NI’S Form 10-900 USD1/NI’S NIWP RegistrationForts Rev. 8-86 0MB No.JG24-0018- TIlE ELMS Page21

United StatesDepaitsentof the Interior, Natia1 Park Sctvicc National Registerof Historic Places istrati Fo,

Verbal Boundary Description:

The boundary of the property is the sameas recorded in the deedof July 23, 1962,Land Evidence Book No. 206, PP. 556-58, held by the City Clerk’s Office of NewportCounty, RhodeIsland. The property is located in Plat 35, Lot 48. The property is boundedon the north by Bellevue Court, on the eastby Bellevue Avenue, on the south by DixonStreet, and on the west by Spring Street.

BoundaryJustification:

The boundary includes the mansion, gardens,statuary, stable and garagethat have- historically been partof The Elms estateand that maintainhistoric integrity.

11. FORM PREPAREDBY

Name/Title: JohnTschirch,Director of Educationand

Maxim Antinori, AssistantThe Preservation Society of Newport County424 Bellevue AvenueNewport, RhodeIsland 02840

Telephone: 401/847-1000Date: September 27, 1994

Edited by: Carolyn Pitts, Architectural HistorianNational Historic LandmarksSurveyNational Park Service/WashingtonOfficeP.O. Box 37127,Suite 310

- Washington, DC 20013-7127Telephone: 202/343/8166Date: July 6, 1995

NATIONAL HISTORIC LANDMARKS SURVEYNational Park Service/WashingtonOffice: August 30, 1995

ftAcF_______

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L

TILIRD FLOOR PLAN, "THE ELMS"

The RmsNewport. RhodeIslaidWestFacade.1901Photo: Presorva*lciiSocietyof Newport

The UrnsNewport.Rhode Is1idEastFacade.1980Photo: Preservation Societyof Newport

The &nsNewport. RhodeIslondEntronc.Hal,, 1901Photo: PreservationSociety of Newport

TheUrnsNewport. RhodeUslondMain Stã. 1980Photo:PreservationSocietyof Newport

¶1

-

L -

‘I&l.

The ElmsN.wport. RhodeIslandBallroom. 1980Photo: Pr.s.rvatlonSocl.ty of Newport

The UrnsNewport.Rhode IsleridGa-denTerrace.1980Photo: PreservationSociety of Newport

The ElmsNewport, Rhode IslandSstinwood Room, 1980Photo: PreservationSociety of Newport

- -

--:T’d

The EbyisNewport, RhodeIslandBreakfastRoom. 1980Photo:PreservationSociety ofNewport -

a

l’,rm 10.300July 1969

UNITED STATES DEPARTMENT OF THE INTERIORNATIONAL PARK SERVICE

ST A TI

Rhode IslandCOuNTY, . -.

NewportFOR NPS USE ONLY

ENTRY NUMBER DATE

ft NAMECOMMON:

The Elms . ,

.

AND/OH HISTORIC:

fler4nd Edward J. House . .

iLOCATION C.L :>

STREET AND NUMBER, . .

Peilevue Avenue, betweenBellevuo Court and Dixon Street .

CITY OR TOWN:

Newport . .

STATECODE COUNTY:

NewportRhode Island, 028h03cAsSIFlcATION.:? .

:

CATEGORY OWNERSHIPCheck One

El District f Building .

El Site El Structure

El Object

Q Public Public Acquisition:

LX Private fl In Process

El Both El Being Considered

in progress

PRESENT USE Check One or More as Appropriate

El Agriculturol El Government 0 Pork El Transportation El Comments

El Commercial El Industrial o Privote Residence L Other Spocifr

El Educational El Military El Riligious Cult’i’-’l centreEl Entertainment Museum Scientific

OWNER OF PROPERTY

-1

?-1

STREET

37AND NUMBER: .

Touro Street . .

P..

CITY OR TOWN:

flernort,

.

STATE, . .

Rhode Island, 028h0. J CODE

hLLOCATION OF LEGAL DESCRIPTIONCOURTHOUSE. REGISTRY OF DEEDS. ETC:

-. City Hall

L

0

Cz

-C

Pz-lS-C

SC

SSS

0

-4P

STREET AND NUMBER:

BroadwayCITY OR TOWN: STATE CODE

Newnoi-t . + Rhode Island, 028h0

{ZREPRESENTATIONIN EXISTING SURVEYS ..

TITLE OF SURVEY

El Federal El State El County El LocolDMTE OF SURVEY:

DEPOSITORY FOR SURVEY RECORDS1

STR EET AND N uMe ER:

CITY OR TOWN, . STATE: * COOE

OWNERS NAME: ,.

The Preservation Society of. Newport County . . *+ . . .

111

0

z-o‘-I

C

m

0zr-C

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY - NOMINATION FORM

Type all entries - completeapplicable sections

‘I,

z+1

I

I.

‘In

wLuU,

*- :r- - -

3EsCRlrTIO

1 Chock O,,e -

- Iux Cs cci lent C Good C Fair ‘1 Deteriorated fl Ruin, [3 UnexposdcoNDITIoN ‘

, Check Otto ‘ ‘ +j - . + Chock One -

- [ El Altered , [X Unaltered,‘

fl Moved, + lfl Original Site

DESCRIIIE ‘THE PRESENT ANO ORIGINAL if known PHYSICAL APPEARANCE

+ The Elms was commissionedin 1829. by Idward .3. .Bcrwinrl and was corn-nlnt,ed in 1901, the architect being Horace Trurnhauerof Philadelphia, a,+devotee and talented extonent of the French non-classical style of the

+ later XVIII Century, which he employed for the Bertind house. In fact,its quietly el.crant, very handFome principal ‘façades are close copies ofthose of the CMteau atAsniares near Paris. Sot at the front cast ofa nrorerty of lO.li acres, the hthise is a large, ti..ro_storey rectanrnjlarstructure of beige limest.one.’ The three-hay centre portion of the entrancefrit has a slight nrojection, and there is also a three-hay, oimentcdnrojcction--with rounded corners--at- the centre of the rear elevation.The .flankincr nortions of these two façades are each of four hays, maidng -

the houseeleven bays wide; it is five hays in depth. Hidden behind asolid paramt of carved stone which rims the house,and carries statuarygroups at its ‘angles there is, in fact,’ a third or’penthouse storey:.housing servants’ quarters. - . . ‘

- . + ItIn kceninc with the style which Thauer favoured, exterior ama

mentation of the house is modest in quantity but placed with great effect.The walls of the.first storey are smooth, those of the second storey -

chastely panelled,betweenwindow openin. There are plain quoins at all zangles and a cornice which forms a belt-line around tYc house betweenfirst and second floors, as well as the expected eaves-cornice. The seg-’mental-headed‘F±tñch windows of the first floor and the fiat-headed onesof the second floor have simple architraves and caned, voluted keystones;all have wrought iron guard-rails. The parapet and its stantuary have’ . C

been mentioned. The frontal projection’,’pierced by three arched’portalseach with a carved cartouche above, i given four free-standing Corin-thian columns of one-storey height to enfrarne these portals; these-columns -

- support an entablature and a balustrade with urns just in front of threesecond-storeywindows above. The projecting bay or "pavilion" on the C

rear or garden façade has statuary groups on half-round, pedestals ap- Z

plied against the wall snaceàon either side of its central first-floorwindow and busts on consoles flanking the central window of the floorabove. , ‘‘ . ‘ - ‘ . -

The three eastern doors of glass and wrought iron open into a foyerat ground or driveway level; a few steps up lead, between paired marblecolumns with gilt-bronze capitals, into a transverse, north-south hallfrom which an iron-railed double stair over the ‘foyer ascends to thesecondfloor. Of f this imposing hail, to the south and along the entirewest range of the house, open the principal reception rrns, as well astwo large square alcovesused to disnlay objets do vertu.- The plan of -

the second floor in’ general reats that of the first, tvivin a long hail,a large sitting-room centred on the west front, a number of hedchamhersetc. Interior’ddcor throughout the house is naturally of Frendh i’spiration, and so was the furniture made for The Elms; wall d6cor has neverbeen changed, and some o the original furniture remains.

- See Continuation Shoot..

:i2,,,, ,b.oo0 UNITED STATES DEPARTMENT OF TIlE INTERIOR STATE

July 1969 NATIONAL PARK SERVICE Rhode Island

NATIONAL REGISTER OF HISTORIC PLACES COUNTY

NewportINVENTORY - NOMINATION FORM

r-OR NPS USE ONLYENTRY NUMBER OATE

Con tin vat ‘on S/iuet

‘tinnier nil e:iiries

7. Description.

The house sits within its own walled and lannr,d "pirk." At thefront, it is screenedfrom P+cllovte Avenue by fine wrought iron grillesand rates between ornamentedstone piers. A slight depression of land behind th house allows it to appear there upon a stone-terraced and hams-traded platform from which stens lea-I down to a sizeable lawn running to

+ the limits of the rear property. A screen+ of tall trees actually directlyabove a busy city street closes the westernnerspective of the lawn areaai’, together with other now-large trees carefully placed on the lawn longaro, makes the open space seem larger and more rural than it is. Sot adistance apart, in front of the west screen of foliage, are two small,copner-domed,stone-teapavilions hetweonwhich steps load to a wiselysunken garden of coloured flowers. At a distanco’to the north of these,on an -eige of the property, - are a carriage-houseand garagewhich have beentreated as two mansardedlodges with a wrought iron clairvoy6e betweenthem--thus incorporating utilitarian buildings into the landscapescheme.Discreetly but strategically placed nearthe main house and near the tea-pavilion area are a few sculptures on stone pedestals: they make "vista"accents in a Sail area. - - -

- - , -5

N, ‘ - ‘ ‘ " . -

- + . -.

- - ‘‘‘ GPO DO1-U82

*1. + - -

__________________

-__-

‘[t RIO D cite k One or More ,ts Appropriate + +

El Pre-Columbion C 16th Century 1i 18th Century t:i 20th Century

El 15th Century 17th Century - 19th Century -

cc’ En C t Al :1,1 ii Ar’pttcat,ie end Knttt,+tt iV9l9Ol -

Alit: AS Ø S I ON I I’’ CAN C C Cltec One or Marco. Appr.qtrlnte

Attn. gmat Education 1 Political X Urban P Ia +,+m,+

P,ehi.uo,c Cl Religion/Plil. ] Other S;+.-cily

ci historic El ndu.try losophy - Social. h+i.stnrjri Ag,lcuttu,e Cl invention - CI Science

________________________

ccl Architecture El Landscape Cl Sculpture

________________________

C Art Architecture ] Socia I/Human- +

C Commerce + C Literature itorion -

Cl Communications 0 Military C Theater - -

C Conservation i3 - Music - C Transportation

________________________

- STATEMENT OF StGNIFIcANcC - + +- +

- Newnort still has many summer houses, hut The Elms holdsplace asone of the great ones, tWrough the sophistication, distinction and sen-sitivity of its architecture and its landscaping--somuch in contrastwith the garbled styles of architecture and the tasteless ostentation

o which the new-rich displayed in Newport in previous decades + it fixres-

+ importantly in the architectural parade which Newport offers over-all,and it figures with groat importance in the marvellous visual continuityof !3elievue Avenue’s housesand groundsin particular. It was recentlyo

- a]rost tragically lost, but it was rescued at the very last moment byThe PreservationSociety of Newport County. Since then its beai.itieshave been made available by that organisation for public visitation andanpreciation, public and private hospitality and cultural uses. V

From 1901- until 1961 the house was in its accustoiijed use every -

+ summer by the Ben.rind family. Following the death of the last of these,it and its contents were put up for sale: there was a Sales agreementwith a group intending an apartment developmenton its site; in 1962an auction of the contents-washeld-. The sales agrcementdid not achieveconsur’mation, and after a strenuous fund-raising effort The PreservationSociety bought the house and grounds. Additionally, the society wasable to buy at the auction some of the furnishings belonging in the - -

house; the large gaps left were filled by loans and, gifts. Becauseof -

these loans and gifts, The Elms now contains much more in the way ofauthenticXVIII_Century French furniture and decorative items than itdid under flerwind ownership. - - - -- -

Since acquisition by The- PreservationSociety of Newport Countythe house has been meticulously maintained, renaired and renovatedh erenecessary;these cans--and, in fact, imProvements__havebeen repeatedon the groundsarL tlantings.’ Open to the public for a good part of the -

year, the house and gardens are heavily visited. On occasionthe:! also.provide a scene for lectures, caäort5, receptions, dances--notablywhen there are summer music sbries and when distinguished foreigners anentertained. To-day this mansion remains used, enjoyed, alive, performing its intended functions brilliantly--moroso now than in the later,.somewhat reclusive, years of the Ben-rinds.

* q--- 4

MAJOR BI13LIOGRAPHICAL RCFCRENCES

flowninc, Antoinette F., and Scully, Vincent J., Jr.: The ArchitecturaLHeritage of !-!ewnort, Rhode Island, 16h0-1915 Cambridge, Nassacetts,

161-162. -

Reed, Henry Hope: The Elms Newport, Rhode Island, 1968, 2, pn. - +

Dcsmoid, Harry W., and Cmiv, Herbert: Stately Homes in AmericaNew York, 1°03, pp. 201, 2O. -

Modern T,ivinr. Resorts. flouin Problem, In "Time," July 6, 1962 NewYork and Chicago, 1962, p. 114.

fto. GEOGRAPHICAL DATA - - - -

____-

-

LATITUDE AND LON.ITUDE COORDINATES

DEFINING A RECTANGLE LOCATING THE PROPERTY 0R

CORNER LATITUDE LONGITUDE

NW

De rees

1°Minut., S.conds

28- 113-Do re.s Minut s

fl° iãS can ds

.

NE 111° 28- 1*- 71o 18- -33. .

SEsw

141°ho

28-28-

38-37.

7lo lB71 18-

30I8

-

.

APPROXIMATE ACREAGE OF NOMINATED

1:-i

+ LATITUDE AND LONGITUDE COORDINA TESDEFINING THE CENTER POINT OF A PROPERTY

- OF LESS THAN TEN ACRES

L A TI T U DC LONGITUDE

LIST ALL STATES AND COUNTIES FOR PROPERTIES OVERLAPPING STATE OR

STATE: CODE

STATE: - +

STATE: -

STATE:

COUNTY

COUNTY

COUNTY:

COUNTY:

COUN TV eOuN DARI ES

FORM PREPA REDiL-+NAME AND TI TLE:

Richard B. Harringta,, Consultant - - -

ORGANIZATION - - DATE

Rhode Island Historical PreservationCommission -- April-25, 1971

STREET AND NUMBER: -

State House, 90 Smith Street +

CITY DR TOWN:

Providence.2--+sTAT+E:.c!AlsoN F

STATE - - CODE

Rhod Island, 02903 + - Lilt

- - -

I hereby certify that this property is included in the

National Register. + + - - - - +

- - -

As the designated State Liaison Officer for the Na-

tional Historic Preservation Act of 195t5 Public Law

89-665, 1 hereby nominate this property for inclusion -

in the National Register and certify that-it has beenevaluated according to the criteria and procethjres Set

forth by the National Park Service. the recommended- - - - - - - .

level of sIgnIfIcance of this nomination is: - - -

-

Chief, Qffaco of Archeology and Historic Preservation

National C State C Local C - -

-

Name -

Date

-

ATTEST: .- - --

-

Title - : -

- Keeper of The National Register

Date Date

GP 0 a o I .0 S 7

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MinUtes Seconds Degrees Minutes Second,- - a -

PROPERTY: 10.4 acres

+ --+ ---- - - - -

MEMORHODE ISLAND HISTORICAL

PRESERVATIONCOMMISSION

TO

- :

--

IC

-

- UNITED STATES DEPARTMENT OF THE INTERIOR STATI

NATIONAL PARK SERVICE IM’lC Ii.-ndCOUNTY

NATIONAL REGISTER OF HISTORIC PLACES

PROPERTY PHOTOGRAPH FORM FOR UPS USE ONLYENTRY NUMBER DATE

Typeall entries - attach to or enclosewith photograph

[1. NAME -

o COMMON: The Elris- - AND/OR HISTORIC: PrT’WItY1 Ed’.rrd J. IIouei- [LOcATON

STREET AND NUMBER:o flel1evu AvenueCITY OR TOWN:

Newport

STATE: CODE COUNTY: CODERhode Island Ne-oort OU

z PHOTO REFERENCE- PHOTO CREDIT: The PreservationSociety of enDort County

DATE OF PHOTO: C. 1968LLI EGATIVE FILED AT: TiC Preservatiri Society of Ne’mort Count.y

37 Touro Street, Newnort, Rhode I1and, O8iODENTIFICATIONDESCRIBE VIEW. DIRECTI ON. ETC.

Sunken flower-garden, looking north and ho-in riiht on of thetwo tea ‘pavilions and loft trees screening to m-orcrty fr the1ot7er city.

-;.

L

-

* - *_.-_2-- -

, ,,

;. *

UNITED STATES DEPARTMENT OF THE INTERIOR STATE

NATIONAL PARK SERVICE Rhodc Island

NATIONAL REGISTER OF HISTORIC PLACES COUjT.rport

PROPERTY PHOTOGRAPH FORM * FOR NPS USE ONLXENTRY NUMBER DATE

Typeall entries - attach to cc enclosewith photograph

I!.E’ = . .... * ***‘

o COMMON: The I1rs-

- AND/OR HISTORIC: Perwind RAt’i."A .1 - HouseI- LOCATION

_________________________________________

STREET AND NUMBER:

Pellevue AvenueCITY OR TOWN:

NewoortSTATE: CODE COUNTY: I CODE

Rhode Island Newnort,Eoro REFERENCE

- PHOTO CREDIT: The Preervatjon Society of NeT.Tnort ConntvDATE OF PHOTO: C. 1’62-l97O

ILl IEGATIVE FILED AT: The Preservation Society of Neuport Cc’nty,- 37 St’ Newrort. Ihode Is1nn’-, O231.zO

DESCRIBE VIEW, DIRECTION, ETC.

Drawing-ro,

UNITED STATES DEPARTMENT OF THE INTERIORNATIONAL PARK SERVICE :W-de T-’:TrLrJd

NATIONAL REGISTER OF HISTORIC PLACES

PROPERTY PHOTOGRAPH FORM - FOR NPS USE ONLY

Typeall entries - attach to or enclosewith photographENTRY NUMBER

jDATE

Z [1, ‘NA.1E - :...

.,: . *.. . ‘.*

o COMMON: Th Elvns- - AND/OR HISTORIC: Ptr’.yjnd d.rirci J. 1 HouseI- LOCATION *: *.: . . ..= . .,

. **:*,*,.** *

u STREET AND NUMBER:

"e1levuo AvenueCITY OR TOWN:

NewportSTATE: CODE COUNTY: CODE

.5Rhode Island Newport

z FHOTO REFERENCE

LU

LU

____ ___

‘HOTO CREDIT: The PreservationSociety of Newport CountyOF PHOTO: C. 1968

1EGATIVE FILED AT: The Preservation Society of Newport County,Touro_Street Ne’.mort Rhode_Island. O28O

Garden front seen from the south-wot.

COD DIN" TONPOINT

-

-,-

- I GOY. V

/

5-

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/

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EWPORT HAR8OR

C000INGTON

I

II III

P

*, 70P9

NWNESES’T

C’

ia°

POP.12.6?5

GEOGRAPHICAL COORDINATESI..atitude28’ 3"28’ flb"28’ 38"281 37"

SAiNT GEOIIGE’S

SCHOOL

Longitude71 18’ 9lI

71 18’ 31"71 18’ 30"71 18’ t8"

ASTONPOINT

SACHUEST

BAY

GENERAL HIGHWAY MAP

* NEWPORT COUNTY

RHODE ISLANDPORTSMOUTH MIDDLETOWN NEWPORT

PREPARED DY THE

DEPARTMENT OF PUBLIC WORKSDIVISION OF ROADS AND BRIDGES

‘Form 10-301 UNITED STATES DEPARTMENT OF THE INTERIOR --

July 1969 NATIONAL PARK SERVICE Rhode Island

NATIONAL REGISTER OF HISTORIC PLACES COUNTY

NewportPROPERTY MAP FORM FOR NPS USE ONLY

Type all entries - attach to or enclosewith mapENTRY NUMBER DATE

f NAME =.

o COMMON: The Elms- AND/OR HISTORIC: Ferwind Edward J. HouseI- OCAT1ON

STREET AND NUM BER:o Bellevue Avenue

CITY O TOWNiNewport

STATE: CODE COUNTY: CODERhode Island Newport 005

z ‘AP REFERENCE- SOURCE: Rhode Island. Department of Public Works: General Highway Map,

Newport CountyLU CALE: i irhAs 1 rn’i1

LUDATE: 1966EQU1REMENT$

_

S.

TO BE INCLUDED ON ALL MAPS

. Property broundaries where required.

2. North arrow.

3. Latitud, and longitude reference.