"Inisfada" - North Hills, New York (Pt. 1)

"Inisfada" was designed c. 1916 in the Tudor Revival/Jacobean style by John T. Windrim on 300 acres of land as a summer home (from May through October) for Nicholas Frederick Brady. Brady had served as chairman of the New York Edison Co., and a director at Anaconda Copper Mining Co., Westinghouse Electric, National City Bank, Union Carbide and Carbon, et al. After his father, Anthony Brady, stepped down from the New York Gas, Electric Light, Heat, & Power Company, Nicholas became vice president of the Edison Electric Illumination Company and president of the New York Edison Company. He later became president of the New York Electric Illuminating Company of Brooklyn and the Brooklyn Rapid Transit Company. He was also a member of the Lido Golf Club and the Oakland Golf Club of Bayside. At only 34 years old, he was one of the youngest men in America to be in charge of a major corporation. If that was not enough, Brady married Geniveve Garvan in August, 1906. Ten years later they decided to build a country estate and called upon John Torrey Windrim to design a country home that could emulate--if not rival--those in Europe as a 10th anniversary gift to Geniveve.

Windrim was an accomplished Philadelphia architect, responsible for the estate home of John Wannamaker to Atlantic City's Steel Pier. His long list of clients included the Philadelphia Electric Company, Bell Telephone Co., University of Pennsylvania, Philadelphia Municipal Courts, and the Franklin Institute. Working with consulting engineer W.C.L Eglin, Windrim designed the Richmond Generating Station and Delaware Station for the Philadelphia Electrical Company (PECO). Those industrial designs established him as a skilled translator of corporate identity into structure. It is unclear exactly why he was chosen for this commission as he was not particularly well-known in New York. In fact, this was his only known work outside of Pennsylvania or New Jersey despite having a well-known and respected practice. There was also private residential elevator installed for the estate which was probably suggested by Windrim given his engineering work. As a somewhat new technology at the time, it was a very rare and costly choice. Theirs had a luxurious cab clad in checkered mahogany and oak panels with a border of rosettes and ribbons that ran along the ceiling.

The estate was built in Manhasset in an area which was known as the "Irish channel" for having many wealthy Irish occupants including the Grace, Ryan, and Kelley families living near Searingtown Road. The "Irish channel" ran from roughly I.U. Willets Road to Northern Boulevard. The estate's name 'in-ish-FAH-dah' means Long Island in Gaelic. The Bradys themselves became familiar with Long Island when Genevieve's brother, Francis P. Garvan, purchased "Roslyn Hall" in Old Westbury. It was undoubtedly a picturesque place to live with the convenience of close proximity to Manhattan and the tranquility of nature. Since Brady was reportedly on the boards of some 45 companies in some capacity, he likely traveled by car to the city frequently. The couple also had a residence at 910 Fifth Avenue in the Upper East Side of Manhattan.

Between construction and furnishing, "Inisfada" reportedly cost the Bradys $11M (or over $272M today) to build which was fitting for one of the richest men in America. At the time, it was the 4th largest home in the United States at 72,000sft in size. To show off their status, the Bradys imported antiques like 17th century paneling to clad their dining room, 18th century furniture, and gold-plated bathroom fixtures. The Bradys knew of the riches that could be found abroad and wanted to match it in their own home. Most of the antiques were sourced by the antique dealership of Arthur S. Vernay, Inc. at 19 E. 54th Street (later known as Vernay & Jussel). Vernay specialized in importing furnishings and was also involved in installing whole period paneled rooms that were retrofitted from their original dimensions to conform to clients' spaces. It is believed that several of these rooms and a set of mantlepieces were brought over for "Inisfada". 

Courtesy of "Long Island Forum" (n.d.)

In decorating "Inisfada", Vernay did not stray away from sourcing later-period replicas when originals could not be procured. Likewise, when two of a particular antique piece could not be located, an identical replica was made for the Bradys in order to have a set. Vernay also interestingly called for modified pieces from their original uses to serve new decorative purposes like a Chinese vase which was turned into a lamp base or a Henry II child's crib which had one side removed to become a bench. One can't help but realize that even otherwise mundane objects from their wastebaskets to their glasses cases were bedecked in the finest materials that could be found.

Each of the individual acquisitions formed part of the larger whole of decoration of "Inisfada" which represented the finest offerings of Italian, American, English, and Asian styles. They also paid a great deal of care to choose pieces that reiterated the importance of their Catholic faith. The majority of the outdoor fixtures were religious-inspired pieces. In many cases, they sought out memorabilia directly related to notable past figures or were in the likeness of religious icons. 

In addition to their work with Vernay, standout pieces were also selected by the firms of Charles of London, Gill & Reigate, Elsie de Wolfe, Gimpel & Wildenstein, and C. T. Loo & Co. while the Duveen Brothers handled the procurement of rare tapestries. Other wares included items from fine household names like Tiffany & Company, Lalique, Tiffany Studios, W. & J. Sloane, Steuben, Black, Starr & Frost, Cartier, and Waterford. Despite the global influence presented, they also took stock of a number of American bronzework by Charles M. Russell and a set of British hunting prints from the first edition of Ornie's Collection of British Field Sports by Samuel Howitt.

EXTERIOR

Photo courtesy of the United States Department of the Interior, National Park Service, Frederick Law Olmsted National Historic Site - Aiglon Aerial Photograph Collection (1919)

Photo courtesy of "LIFE Magazine" (May 1937)

Photo courtesy of "American Homes of To-Day: Their Architecture Style, Their Environment, Their Characteristics" by Augusta Owen Patterson (1924)

Photo courtesy of the Long Island Studies Institute at Hofstra University (n.d.)

Photo courtesy of "The American Architect - The Architectural Review" (Dec. 1921)

Photo courtesy of "American Architect & Architecture" (Feb. 1922)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of "The Spur" (1929)

Photos courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

GROUNDS

The landscaping was first designed by Samuel Bowne Parsons, Jr. in 1916 and was improved by Olmsted in 1919 and later by Ferruccio Vitale in 1920. Parsons' design was believed to be mostly naturalistic in keeping the pastural grounds untouched. He envisioned open lawns to complement the character of the land's pastural nature. To emphasize the allure of a storied manor, a number of aged American elm trees of 65-70ft in height were re-planted likely from Hicks Nurseries or Lewis & Valentine (likely the latter as Brady was recorded as a client of theirs). It was reported that the trees traveled over 25 miles and required the energy of twelve horses each to reach the site. Surviving records from 1916 documented paying $400,710 for the purchase of land, $290,000 for improvements, $40,000 to create roads, and $11,000 to furnish the gardens. The grounds extended from Northern Boulevard to the Long Island Expressway. In 1920, the Bradys purchased an additional tract of 67 acres to keep out encroaching development.

Later improvements by Olmsted and Vitale included a series of formal stepped gardens of parterres with a sunken fountain pool in the center. Adorning the pool was a statuette of a reclining nymph which was sculpted c. 1925 by Mario J. Korbel. Other fixtures chosen to decorate the grounds included leaf-edged carved garden benches, 17th century limestone statuary, reproduction Italian Renaissance and Chinese-style lanterns, and a Jacobean well-head with a wrought iron pulley. A tea house was erected slightly north of the main house for contemplation. It was furnished with rustic pine furniture and a fireplace for small gathering.

Being that this was a working estate, it would've been remiss without a group of five outbuildings to support the activities of the main house. It was managed by Ewen McKenzie who was the superintendent. At its peak, the estate was likely close to self-sufficient by having the infrastructure and 10 acres of extensive farmland to handle most food production needs. One of the groundskeepers attested that the gardens and orchards supplied pumpkins, French fruits, zucchini, squash, and most other vegetables. Although no longer extant, "Inisfada" had a large farm group with greenhouse, dairy, chicken coops, pheasant brooder, and a carriage house for the family's limousines. To maintain these intricate systems, there was a bevy of groundskeepers and gardeners. 

Photo courtesy of " The Brooklyn Daily Eagle" (Mar. 1930)

Photo courtesy of "American Homes of To-Day: Their Architecture Style, Their Environment, Their Characteristics" by Augusta Owen Patterson (1924)

Photo courtesy of Henry G. Gilbert Nursery & Seed Trade Catalog Collection, National Agricultural Library, U.S. Department of Agriculture (1932)

Photo courtesy of "American Architect & Architecture" (Feb. 1922)

Photos courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photos courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

Photo courtesy of the collections of Christopher Chalkley (n.d.)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of Nicholson & Galloway Company (1930's)

Photo courtesy of American Art Association/Anderson Galleries (1937)

Photos courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

There was also a gate lodge which was designed by James Y. Rippin with ironwork by P.A. Fiebiger; the original entrance to the estate was located on the south end of the property. In the immediate area were grass-carpeted bridle paths which ran from Horace Harding Boulevard to Northern Boulevard for horseback riding.

Photo courtesy of "Country Life in America" (Oct. 1937)

Photos courtesy of "The Architect" Jan. 1931

Photo courtesy of "Yearbook of the Architectural League of New York" (Feb. 1927)

Photos courtesy of "The Architectural Record" April 1928

Interior - 1st Floor

HALLWAY

Entering "Insifada", the vestibule was the first introduction for guests to what they would see while visiting. First impressions do matter, and the bar was set high from the start. To either site of the vestibule were two small rooms that could have functioned likely as secretarial space.

Looking into the main hall, visitors saw a transverse long gallery clad in wooden paneling with Tournai Gothic tapestries from the the D'Effiat family. Positioned along the stone floor were fine Jacobean furniture pieces which were selected by Arthur S. Vernay to showcase the Tudor theme. Presumably at the end of each side of the hall were a set of ornamental gates executed by Samuel Yellin who is considered to be the finest metallurgist of the 20th century. However, those are the only two pieces that were attributed to him.

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

Photos courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

KAUFMANN ROOM

Named for Angelica Kaufmann, this formal reception room was known for the set of ten paintings created by Kaufmann in 1772 for Rathfarnam Castle depicting the affairs of Telemachus and Calypso. Sheraton satinwood and mahogany furnishings were chosen to complement the Adamesque-style theme, along with a set of 18th century commodes which bore the signatures of Louis Aubry and Jean-Louis-François Legry. The 17th century mantel selected by Arthur S. Vernay for the room was composed out of marble with a frieze depicting the maritime supremacy of Great Britian.

Photo courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of "Arts & Decoration" (Sept. 1927)

Photo courtesy of "Practical Book of Decorative Wall-Treatments" by Nancy McLelland (1926)

GREAT HALL

The Great Hall was decorated with hung Gothic tapestries and pegged-wood floors carpeted with rare Oriental rugs, including a 36' Persian palace rug. At the center of the room was a 20' long 17th century Cromwellian refectory table sourced by Charles of London surrounded by oaken stools and wainscot chairs. A large fireplace on the north wall was carved out of stone with Celtic motifs. In the choir loft was an Aeolian organ with roughly 5,000 pipes which was outfitted with music scrolls that could reproduce the sound of an orchestra or play autonomously without an organist. The interior woodwork for the estate was fabricated by the Geo. W. Smith Woodworking Co. of Philadelphia.

This great room was so iconic that it was undoubtedly reproduced as a drawing by Paul Gerndig for the "He drives a Duesenberg" campaign in June of 1935. Gerndig took a bit of artistic license by showcasing the pipes which would have otherwise been covered in real life.

Photo courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of "LIFE Magazine" (May 1937)

Photo courtesy of "The Architectural Forum" Sept. 1928

Photos courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of "Arts & Decoration" (Sept. 1927)

Photo courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

Courtesy of Condé Nast Publications - Vanity Fair Archive

Due to the Brady family's close connections to the Roman Catholic Church, they were able to host a number of religious dignitaries, most notably Cardinal Pacelli who resided at "Inisfada" for roughly a month while visiting the United States in 1936. For that occasion, the family held a reception for over 700 people in the Great Hall which had been decorated as a throne room where Cardinal Pacelli and Ms. Brady were seated together in a set of red velvet chairs. Guests arrived at twilight to a driveway lined with tallow lights like those used at the Vatican. Inside, the house was filled with flowers in every corner with orchids lining the main staircases. The leaders of American religious society attended in their best in furs and jewels. It was said that this event had only been matched in social history by the 1924 ball given by Clarence Mackay at "Harbor Hill" for the Prince of Wales. As for Cardinal Pacelli, the only time Ms. Brady was able to have a conversation with him during this event was to enter the elevator and have it stop between floors so that they would not be interrupted by other guests or the press.

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

BILLIARD ROOM 

The billiard room was a unique design that integrated tooled leather in the form of wallpaper as an element which was not found anywhere else on the estate. The paneling was a most unique mix of an Asiatic, geometric pattern with Adamqesque capitals. It is very much in line with an early rendering that was created of the space. The fireplace is massive--probably the largest in the entire house. It was big enough to accomodate inglenook bench seating. Later, the center lantern over the pool table seems to have been replaced. 

Photo courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of "Town & Country" (May 1937)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of "The Architectural Forum" Oct. 1928

Rendering courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

DINING ROOM

For the dining room, antiquarian Arthur Vernay chose to install c. 1700's period William & Mary paneling in the style of Sir John Vanbrugh's work in Kimbolton Castle and the Delegates' Room of Clarendon Press at Oxford. The rectangular room was composed of four walls carved out of pine wood segmented with fluted Ionic carved pilasters. At the center was a double door entry with a broken cornice surmounted with a sedimental pediment of a bacchanalia. Diagonally opposite the door was an overmantel with a border of acanthus leaves, ribbon motives, and floral lappets. 

The furnishings were no less grand. Being that they were being placed in what was regarded as one of the finest pine rooms in the country, Vernay opted to keep with the formal theme by sourcing outstanding complementary Chippendale pieces. Around a mahogany table that could extend to ten leaves were 18th century chairs from Duke of Marlborough's Blenheim Palace. 

There was also a separate breakfast room (regretfully not pictured) which the family took their less formal meals in. It was decorated with French and Flemish Renaissance furniture and a group of 16th century Spanish dining chairs. 

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photos courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of "LIFE Magazine" (May 1937)

SITTING ROOM

Beyond the formal reception space of the Kaufmann room, the bradys had an appropriately less formal sitting room for probably their own leisurely use. The walls were clad in square oak panelling, but the ceiling was decorated with geometric strapwork ornamentation. Beside the fireplace were plush Chippendale needlepoint furnishings. Because this was not primarily used for entertaining, an emphasis was made on comfort.

Photo courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

LIBRARY

Educated at Yale University, Nicholas Brady would have been exposed to the many classics of literature and philosophy during his course of study. Enabling that affinity for the written word, his library contained a formidable collection of French Renissance books as well as first-edition copies of the rarest volumes. It is believed that he had books by Thoreau, Emerson, and a selection of original manuscripts by Mark Twain. In order to hide unsightly light switches, the mechanicals were cleverly hidden underneath the wooden paneling. Unfortunately, the exact holdings of the library are not known as they were not included in the 1937 auction of the estate's contents.

Photo courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

SOLARIUM

At the western end of the first floor was the estate's enclosed solarium which was originally planned for an indoor pool. A set of exquisite hand-wrought doors by P.A. Fiebiger led visitors inside to a light-filled room which could have been used for both entertaining and quiet contemplation. On the floor was a priceless priceless Ispahan palatial rug which took up the entire room. It has been said that Mrs. Brady was such a perfectionist that during construction she would have the workers pour a bucket of water in the middle of the room and counted the puddles of liquid to determine complete flatness and evenness. As a result, the floor was apparently re-laid numerous times. 

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Interior - 2nd Floor

SECOND FLOOR GALLERY

Descending up to the second floor, a tapestry depicting Alexander's victory at Arbela 331 B.C. was hung at the top of the staircase underneath a rich plaster ceiling. The west wing contained the veritable apartment suite of Mr. and Mrs. Brady with its sitting room, closets, and porch. The east wing held the many guest bedrooms, each with a unique style and often clad in an antique paneling.

Photo courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

MASTER BEDROOM SUITE

Mr. and Mrs. Brady's bedroom suite echoed the severity of the Tudor style with half-hewn beams on the ceiling, linenfold paneling, and indigo wallpaper. In the center of the room was a Spanish Renaissance iron canopy bed with a velvet canopy. Overall, the furnishings echoed French and Spanish Gothic styles with plenty of plush upholstery for a more welcoming touch against the earlier typical bare wood look. While the design was very much dark and masculine, the use of color brought in a bit of femininity. It showed the skill that Vernay had in combining pieces that came from different areas but were tastefully selected to create a unified look.

To house their expansive wardrobe, several closets were built with a dressing room clad in trompe-l'œil boiserie painted to mimic the look of precious woods and metals. Trompe-l'œil is an illusionary technique creates the perception of depth on a two-dimensional canvas. It is hard to imagine the collection of fine jewels Mrs. Brady had as well. Their master bathroom had none other than gold fixtures for that extra oomph of class.

Also part of the bedroom suite was a large private sitting room of the same style with a large fireplace that could have been used for passive leisure. The ornamented and painted English mantel dated back to the 1400's and was likely sourced by Arthur S. Vernay. The walls were clad in French linenfold panelling with the unique addition of Gothic tracery and surviving original ironwork. Based on the scant documentation that survives, it is possible that part of the paneling dates to the 15th century when the style first came into fashion. It is noted that a large portion dated from a later time.

Photos courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photo courtesy of "LIFE Magazine" (May 1937)

OTHER GUEST BEDROOMS 

The other guest bedrooms echo the themes established from Mr. and Mrs. Brady's suite with subtle touches dictated from the use of differing panelling. It would not be unreasonable to wonder if even subliminally the couple had originally planned for these to be the rooms for their children and decorated them as such to reinforce the sensibilities they had as parents.

The Gothic Room's French Regency paneling dates to the early 1700's and is with a mantle from the same era. In a certain sense, it is most similar to the look of the master bedroom with its Spanish Revival canopy bed, panelled walls, and wallpaper. The style was further reinforced with lamps of forged ironwork.

Typical in many 1920's estate homes, there was a certain curiosity with Asia and the Middle East which often translated into decorating with those influences as a way to show off their worldliness. "Inisfada" was no exception. In addition to having many Chinese objects throughout, the Bradys had a room dedicated to it, complete with pagoda-like Chippendale furnishings ornamented with dragons and Chinese fretwork set against chintzy floral wallpaper. If guests were ever to get bored whilst visiting the Bradys, they included a vintage mahjong set with the room for fun.

Photos courtesy of American Art Association/Anderson Galleries (1937)

The Pergolesi Room had its name from the unique 1790's imported panelling chosen by Arthur Vernay which was attributed to Michele Pergolesi who was a celebrated designer of mural ornamentation in a Raphaelesque style. The walls were painted olive green with medallions of nymphs festooned with amors. Also worth noting is the Wilton carpet which was cut to fit the dimensions of the room from a larger original size. 

The other room named for Daniel Marot was clad in 1720's carved oak paneling dating to the Régence period also chosen by Vernay. This style marked the early transition to what would become known as the Rococo style of Louis XV. 

Photos courtesy of American Art Association/Anderson Galleries (1937)

Photo courtesy of "Arts & Decoration" (Sept. 1927)

GENIVEVE CHAPEL

The Brady family's private chapel was designed by Frank Moffitt of Gorham & Company. At the time, the Gorham Company had a thriving ecclesiastical production division to handle religious comissions. While the floor was made of marble, the walls and ceiling are carved out of oak with exquisite Gothic woodwork executed by Bavarian craftsmen. Each of the stations of the cross were carved by hand in lemonwood and inset in the paneling. The stained glass windows depicted St. Genevieve, St. Nicholas, St. John the Baptist, St. Martin of Tours, St. Boniface, St. Patrick, St. Michael the Archangel, and Joan of Arc in an abstract fashion. The carving above the window was of St. Cecilia. To protect the elaborate vestments used during services, they were stored in an elaborate cabinet carved with figures of Christ the King. Complementing the ornate paneling were a set of wrought iron stands which held candles for services.

A deeply-religious couple, they held mass in their private chapel each day and it is written that they included their staff as part of it. The Brady's housekeeper, Mrs. Carroll, remarked that the the room was always open and they were welcome to visit at any time.

Photo courtesy of "House & Garden" (Dec. 1923)

Photo courtesy of Fr. Damian Halligan, SJ (n.d.)

Photo courtesy of "LIFE Magazine" (May 1937)

Photo courtesy of the New York Province of the Catholic Society of Jesus (n.d.)

Photos courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

KITCHEN & BEYOND

It took a veritable army of staff--sometimes numbering in the hundreds--to keep an estate going. They required over 25 daily groundskeepers for the outdoors and many more indoor housekeepers with Mrs. Carroll at the helm. There was undoubtedly an enunciator box which would be used to summon staff to any part of the house if assistance was needed. A network of passageways and staircases connected the staff quarters on the third floor with the work areas so that they were able to work without being seen by guests. The Bradys invested in tools for their staff like the state-of-the-art Ironrite DuFold Ironer which would both iron and fold linens to save on time. This was especially apparent when the family would have settings to accomodate over 60 people at a time for dinner and over 80 sets of sheets with their monogram.

There was an extensive kitchen court with several rooms of pantries which was used to accomodate the debutante balls, fundraisers, and other elaborate Brady family gatherings. It was positioned strategically next to the dining rooms so servants had easy access. A wall of wooden cabinetry was built to house the seemingly endless array of china that they had for meals that would run several courses. They also had a large set of silverware that would have likely been stored in a safe when not in use, or the family was a way for a period of time.

On a day-to-day basis, it took two huge boilers to heat the many thousand square feet. Having such a massive country estate was no small feat, and it was able to function with the tireless efforts of their staff who kept it in pristine condition each day. Based upon the recollections of what life was like on the estate, it is believed that the Brady family treated their workers quite well beyond merely providing accommodations and a salary. Some staff like Stanley Kulaski worked as a gardener for 50 years.

Photo courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

Photo courtesy of "LIFE Magazine" (May 1937)

~

After Brady's passing in 1930, the estate on 120 acres was given by his widow to the New York Province of the Society of Jesus in 1937. It was costly to maintain for the use of only one person (the North Hempstead tax rate in 1917 for the property was $150,000/yr). The Bradys did not end up having children of their own during Nicholas' lifetime. Mrs. Brady did, however, invite their nieces and nephews for extended visits to "Inisfada". With the consent of their housekeeper, the household staff celebrated children's birthdays by rolling through the hallways on rollerskates and later watching movies in the dining room. Mrs. Brady also opened the house for a brief time in the 1930's to children affected by rheumatic fever who were living in the nearby St. Francis Sanatorium for Cardiac Children in Flower Hill and to members of the Girl Scouts of America.

Before the Jesuits actually moved in, a charity auction was conducted by Hiram A. Parke, Otto Bernet, and H.E. Russell, Jr. of the American Art Association - Anderson Galleries which sold off most of the magnificent family furnishings. For a charge of 50¢, visitors had the opportunity to peruse among a collection of significant wares that had been accumulated by the Bradys and enjoy a buffet lunch on the premises. Keeping with the charitable theme, proceeds from the entry fee went to the Girl Scout Federation of New York, Mineola Hospital, and the Social Service Committee of City Hospital. The unsold wine was left behind for the Jesuits.

Courtesy of " The New York Times" (1937)

Courtesy of "Town & Country" Apr. 1937

Courtesy of History Center at the Manhasset Public Library (1937)

Courtesy of "Fortune", May 1940

The collection--which was regarded as one of the finest in the country--ranged from extraordinary Persian rugs to ordinary housewares like monogrammed towels. It was an exceedingly rare opportunity for the public to get a glimpse at how the other half lives and possibly take a piece of that for themselves. Over 11,000 visitors took advantage of it. In the end, the five-day auction raised $450,000. Especially notable among the sales was the dining room's paneling which was purchased by William Randolph Hearst where it remains today, uncrated, as part of the collections at 'San Simeon'. Some of the more interesting lots up for auction included a rectangular glass bowl containing roughly 150 Japanese goldfish, six thermos jugs, a 16mm Eastman motion picture projector, and a massage chair made by the Vibrato Masseur Co. of Minnesota.

Photo courtesy of " The Brooklyn Daily Eagle" (April 1937)

After remarrying to William B. Macaulay, Geniveve offered the estate and its 120 acres to the New York Province of the Society of Jesus. Some of the furnishings were donated to the University of Scranton. She had hoped that "Inisfada" would be used as a Jesuit-run boys' religious day school, but that received pushback as a potential threat to St. Mary's from Bishop Molloy of Brooklyn. Instead, it was decided that the site would become a seminary of philosophy for the Society of Jesus' scholastics. While this was a thoughtful legacy to leave, it was said that she wept upon her first return back after seeing that the land and most of the furnishings were gone.

On September 4th, 1937, the St. Ignatius House of Studies/St. Ignatius College at Inisfada opened with its inaugural class of 43 students. It served in this capacity for three years until overcrowding and administrative difficulties became too cumbersome. Through the 40's and 50's, Jesuit priests remained in residence for mission work while a campaign was raised to turn the seminary into a Jesuit prep school. This, again, did not materialize. However, the Second Vatican Council decided to turn the property St. Ignatius Retreat House in 1962 to reintroduce the Roman Catholic Church into the lives of laymen and youth who could visit for meditation, study and perhaps prayer. Programs were established to instruct on topics of theology and scripture. By 1971, the staff had doubled and the demand for individual and married couples' retreats increased which resulted in the admittance of women for the first time.

Photo courtesy of Fr. Damian Halligan, SJ (n.d.)

However, the Jesuits had worked within the framework of the grand old design without making unsightly changes. The former formal gathering rooms were repurposed to religious/academic use after the original furnishings were removed. The second and third floors were refurbished for the needs of retreatants; the master bedroom was carved into four smaller rooms and the bedroom closet became a lounge. Other rooms were kept intact to serve as almost luxury suites with private baths. Visitors could take their meals in the dining room. Those renovations brought the room count up slightly from its original 87, which was still far from being cramped for space.

Photos courtesy of Woodstock Theological Library, Georgetown University, Washington, D.C.; John Brosnan, S.J., Photographic Collection

Photo courtesy of Tom Maguire for "Newsday" (1972)

Courtesy of History Center at the Manhasset Public Library (n.d.)

In the 1990's, $750,000 was given from benefactors to fund needed repairs. Given the cost of up to $80,000 per year to provide heat alone, it was a costly endeavor to keep up and the revenue was badly-needed. 90 acres of land were subdivided to Glick Construction & Development Company to create Estates I and II in 1980 as an attempt to keep finances afloat which created two subdivisions of attached condominiums. This brought the land down to 33 acres in the end and sacrificed what was formerly the farm group with several outbuildings. The gatehouse was dismantled and has been relocated to Katonah (the staircase was available for purchase on eBay well into the 2010's). 

Courtesy of eBay Auction House (~2014)

Roughly 22,000 people each year visited for retreats which was not nearly enough to cover the annual running expenditures of roughly $1.8mil per year. They also rented space to Alcoholics Anonymous and Nar-Anon, as well as a Zen group for additional income. These tenants brought 800-1,000 people to visit weekly and an annual operating budget of $1.8M in 2004. They believed that it was their duty as Jesuits to reach out to people of all faiths, not just Catholics. Bringing in non-denominational groups was seen as a good step in that direction.

The Jesuits were able to guide the estate into the 21st century all the while preserving its legacy to the best of their ability. One event in particular that was of importance to the Manhasset community was the post-confirmation retreats for teenagers. After being confirmed in St. Mary's Church, families would go celebrate the beloved occasion at the retreat house. There was also a New Year's Eve retreat where visitors would have a formal dinner and then drink champagne in the conservatory at midnight. They even allowed select film productions like 'Royal Pains' on occasion to use the site in 2009. Eagle eyes might notice the main hall and solarium in S1E2 of the show. However, this was a rare exception to allow commercial activity, even if it would have provided needed income.

Courtesy of Prospect Park Productions/NBCUniversal Television (n.d.)

St. Ignatius and is 33 acres of land were put up for sale by the Jesuits in 2012 at an asking price of nearly $50mil. As per the sale, it was advertised as being zoned to allow a home per 1/2 acre. The entire deal was done under a veil of secrecy without divulging the name of the buyer until well after the sale had completed. Meanwhile, other plans had been floated that would have preserved the main house but were not accepted by the Jesuits. The property officially sold on July 26, 2013 for $36,500,000.

Courtesy of Massey Knakal Realty Services (2012)

Knowing that the retreat house was closing and likely would be demolished, the Genevive Chapel was dismantled in July of 2013 and donated to Fordham University where it was placed in storage. It remains uninstalled to this day. It is unlikely that the room will be given a permanent home unless a philanthropic gift is provided to cover reconstruction costs. There are reports that the room or its parts exist in some capacity in Regis High School as well, but those have not been confirmed.

Photos courtesy of Chuck Idol (2013)

Photo courtesy of Bill San Antonio for Blank Slate Media (2013)

Photos courtesy of David Kimelman for Narrative.ly (2013)

Part II on the architecture of "Inisfada" can be viewed here