_North Foyer._
On a Louis XVI table stands an incense burner fashioned of marble and
cloisonne. Overhead is a chandelier of beaded crystal; one of similar
design is in the south foyer. Hanging here are original paintings by the
19th-century artists, Schreyer, Bougereau, and Villegas. Frederick
Vanderbilt was more noted for the fine tapestries he collected than for
outstanding paintings.
_Blue Room._
This is the largest of the guest rooms. Mrs. James Van Alen, the niece
of Mrs. Vanderbilt who donated the mansion to the Federal Government,
used this room during her visits to the Vanderbilts. The windows of this
room command a splendid view of the Hudson and the mountains beyond. A
white onyx French clock and companion pieces adorn the mantel, and a
rare old (Ghiordes) prayer rug is spread before the fireplace.
Common to all guestrooms is the 18th-century French style of furniture
and the use of a distinct color scheme. The guestrooms, unless otherwise
noted, are believed to reflect the design of New York decorator Ogden
Codman.
_Mauve Room._
Most of the furnishings in this room are of French design. In the center
of the room is a finely woven Persian dower rug. Pieces on the mantel
are of the French Empire period. Each guestroom has a bath and one or
more closets. The bathroom accessories always matched the color scheme
of the guestroom.
_Second Floor Hall._
In 1906, architect Whitney Warren installed the balustrade which now
overlooks the reception hall.
[Illustration: _Second floor hall._]
In the second floor hall are three 18th-century Flemish tapestries, two
Italian fringed and embroidered hangings draped over the balustrade, and
two sets of matched high-backed chairs in walnut--one set of six chairs,
one of four. A teakwood cabinet is of Chinese design.
_Red Rooms._
These rooms open onto the second floor hall and are connected by a
doorway to form a two-room suite. Furnishings are in the French style. A
frieze on a Greek subject embellishes the 18th-century English Georgian
mantel in the larger room.
_South Foyer._
This leads to the master bedrooms. French doors can be closed to
separate this wing from the rest of the second floor. In the foyer are
paintings by Kellar-Reutlingen and Firman-Girard.
_Frederick Vanderbilt's Room._
This room has carved woodwork of Circassian walnut. The bed and dresser
were designed as part of the woodwork and were installed by Norcross
Brothers. The room was designed by Georges A. Glaenzer. The walls and
doors are covered with 17th-century Flemish tapestry. Hand-painted
designs on the silk lampshades match those on the Chinese bases. The
fireplace has a large carved mantel. On the floors are dark-red rugs
made in India.
[Illustration: _Frederick Vanderbilt's room. Note tapestried
walls._]
[Illustration: _Mrs. Vanderbilt's bedroom._ Courtesy The New York
Times Studio.]
_Mrs. Vanderbilt's Room._
In this room, as in the Gold Room downstairs, there was an attempt at
accurate reproduction. This room, designed by Ogden Codman, is a
reproduction of a French queen's bedroom of the Louis XV period. The bed
is surrounded by a rail. (In French practice, courtiers gathered around
the rail for morning levees.) The wall at the head of the bed is covered
with hand-embroidered silk. Other walls are wood paneled and inset with
French paintings. The heavily napped rug was made especially for this
room; it weighs 2,300 pounds. Furniture is French 18th-century. Created
by Paul Sormani, it is modeled on Louis XV period pieces. A curio case
in front of the bedrail contains French fans and inside the rail is a
prayer table and kneeling cushion.
[Illustration: _Mrs. Vanderbilt's bed._]
[Illustration: _Empire room._]
_Boudoir_.
Adjoining the bedroom is the boudoir, furnished in the same motif.
Notable pieces include a Dresden chandelier-and-candelabra set.