"Inisfada" - North Hills, New York (Pt. 2)

Part I on the history of "Inisfada" can be viewed here and part III here

A long driveway led up past a gatehouse designed in a similar style to the main house which seemingly rose up out of the ground upon approach. Amidst the hustle and bustle of a packed Searingtown Road behind, there was just silence. It was an an oasis of tranquility. For all intents and purposes, "Inisfada" was a secret portal to the past. Even whittled down to 30 acres of land, this site was largely undiscovered by the larger public.

Starting at the front exterior, it was impossible not to notice the sheer horizontal size of the main house. Standing up close, it was hard to capture the massiveness of construction while also not being too far to obscure the sumptuous detailing. Compared to ordinary people, the scale was humbling. It was a deeply-moving experience to approach.

The exterior overall was composed of variegated bricks ranging from yellow to red in color surrounded by limestone trim of a markedly Jacobean mode in an asymmetrical floorplan which was typical of Tudor dwellings.  The main rooms were placed on-axis which went from east to west. Verdigris-colored gutters of Gothic imagery dotted the exterior. Up top, 37 polygonal-shafted chimneys composed of brick and terra cotta protruded out of the rhythmic Vermont slate roof of gables, quoins, crenelations, parapets, etc. which was laid by the firm of Nicholson & Galloway (the home was built by Jacob & Young). A network of bristled, clustered chimneys resembling embrasures soared above the brickwork. This historicist form of towers and turrets used to aid in the defense of a fortified castle, standing proud amidst knights battling. It was a place that commanded for attention from the first glance in a respectful way. What seemed to define the façade most was the careful balance of textures arising from the variances in the construction materials used.

For the east side, Windrim had to tastefully account for the large ventilation needs of the kitchen court so he called for a large rusticated chimney that contrasted the surrounding brickwork. It was otherwise punctuated with sets of 9 and 25 pane casement windows which were derived from the English tradition of employing wrought iron casements with leaded canes in residential architecture. Leaded canes had been used to hold glass since the 12th century and could be found throughout the estate. The hardware was iron with decorative latches which served to lock the window closed.

For the west side, the first floor was dominated by 34x34ft enclosed porch that served as the estate's solarium. Traces of Renaissance detailing could be found in the balustrating on the second floor. A terrace outside the solarium extended on-axis from what would have been the formal gardens. While the intricate plantings have sadly been lost to time, their very faint footprint could still be observed from the sky around the labyrinth. 

The rear or south exterior was a very multi-faceted design that both accommodated the principal rooms as well as an expansive service court. It was dominated by three bays of windows and a five-story crenelated stone tower in the center. Inset borders of white stone define the sections.

The medallion above the porte-cochère or carriageway depicted St. Genevieve in an ornate scrollwork scene. Above her head is the star of Bethlehem surrounded by the apocalyptic signs of the Evangelists. The rest of the porte-cochère was decorated with carved granite reliefs of nursery rhyme stories like "Little Red Riding Hood" and "Peter and the Wolf". This was a common feature among European castles which Windrim decided to emulate. Despite not having had children, it is was thoughtful detail to include symbols of children's stories as a relatable decorative feature. One can only wonder what joy it might have brought to young visitors who were invited to the estate.

Proceeding to enter, one arrived under a groin-vaulted porte-cochère composed out of stone with a decorative boss. In the center below is was large door of iron with two panels flanking either side and a transom door-head above, all fashioned in a floral design. A similar set of lanterns flanked the entry to provide light. P.A. Fiebiger was responsible for the metallurgy throughout the house, starting with the entry. Usually age is not such a graceful thing, but the machinations of time had created a lovely turquoise verdigris patina for the metal.

Surrounding the entry were a set of carved figures depicting the 12 mythological signs of the Zodiac above stone spandrels. Visitors entered into a small vestibule looking out on a long gallery clad with wood which was typical of Medieval manor homes. It was a fitting introduction to the decorative elements like beamed ceilings and carved fireplaces that could be found further within; an overture to a veritable symphony of wood and stone. The walls were made of limestone quarried near Cannes, along the French Riviera. 

Ironically, the lack of a need to protect the furniture like a museum allowed for visitors and retreatants to actually interact and sit on the furnishings naturally. Redecorated pieces were chosen in the 1970's by Doris M. Dailey who was the daughter of Frank Moffitt, designer of St. Geniveve's Chapel. Members of the community were also kind enough to donate back some of the furnishings over time including some of the tables and part of the Brady's original library. Despite not having the same furnishings and fixtures as during its prime, "Inisfada" remained delightfully spectacular. 

The main hallway was roughly 136' in length, and 11' wide with a floor created from Hauteville and Bottocino stone. To fill such a large scale, many of the original furniture pieces were placed along the hall. One in particular was a 32' walnut refectory table which dated back to the Italian Renaissance in the 17th century.  As legend goes, it was purchased by Mrs. Brady while stuck in traffic when it was being carried into a shop. Other furniture referenced the Tudor style with Gothic arches which contained a display of memorabilia belonging to Mrs. Brady, an a signed album by Pope Pious IX, and clothing formerly of Benedict XV, Pius XI, and Cardinal Bonanzo. Lighting this hallway below a spectacular plaster ceiling of tracery was a bronze chandelier. Craftsmen were brought over from Oberammergau, Germany to create the resplendent woodwork throughout the house, including the staircases.

 GREAT HALL

Directly across from the foyer was the Great Hall, accessed through a pair of sliding wooden doors set into 18 feet of wainscotted oak. It was undoubtedly the showstopper of the entire estate. It could most-directly be compared to the Hall of Christ Church College at Oxford University. It was often mistaken for having been originally part of a ship. A 50' high-beamed, hammerbeam wooden ceiling of trussed English oak supported by stone corbels extends for the entire length of the sanctuary space, drawing attention upward. A set of two-story leaded oriole windows brought natural light in through the south windows. A massive carved stone fireplace anchored the north wall.

This grand church-like design brought in the feel of being in a cathedral by having such a soaring, ornate ceiling that trained they eyes to look upwards. The emphasis was on the verticality which is why understandably nearly every period photo of the room was taken in portrait. It was a rare feature to see in any type of home; one of the only other residences in New York at least to have a room of this scale was designed by Allen & Collens for Arthur Curtiss James at 39 East 69th Street in Manhattan. It was comparable only on Long Island to the Seminary of the Immaculate Conception in Lloyd Harbor.

While in use by the Jesuits as a chapel, this impeccable 29' by 87' space was analogous to a formal reception parlor on a day-to-day basis. It was only used a handful of times for galas by the Brady family, where they would have upwards of 200 guests for dinner and dancing. The balcony on the second floor allowed for an orchestra to play in the gallery above the party below. Hidden behind them was the massive organ pipes disguised by a wall of paneling.

While it is no longer the focal point of events, the Jesuits chose to turn the space into a large chapel with pews where retreatants would gather for mass. A matching altar was designed for the space by the architects Maginnis & Walsh who were known for their ecclesiastical comissions. The monies were provided by Mrs. Brady as part of her gift to the Society of Jesus. At that time, the Aeolian pipe organ was also modified for services. Most of the original furnishings, fixtures, and tapestries were sold when the family had their charity auction in May of 1937. Their replacements still spoke to the overall theme nicely.

KAUFMANN ROOM

Directly off of the Great Hall, and connected by a set of double doors, was the Angelika Kauffman room which originally functioned as the drawing room. Its Adamesque theme was a bit of a contrast to the deep woods found elsewhere in the home. Lovely plaster detailing encircled the walls and ceiling for a regal touch for this formal reception room where guests would have been greeted. The mantel for the fireplace was selected by Arthur S. Vernay. Dating to the 17th century, it was composed out of marble with a frieze depicting the maritime supremacy of Great Britian. While the furnishings and chandelier were removed, the mirror was still original.

SITTING ROOM

Moving town the hall, the Brady's informal sitting room which was probably most apt for morning tea and reading the paper during the Brady family tenure. probably their own leisurely use. It had walls clad in square oak panelling with a plaster ceiling of raised strapwork ornamentation.  Like most other rooms, the chandelier was a replacement. While a bit mundane in comparison to most of the other rooms, the walls were lined with a series of rare interior photos that allowed visitors to see what the estate was like in its heyday.

BILLIARD ROOM

Known to visitors as the Monserrat Lounge, the room was originally used as a billiard room during the Brady tenure. While the pool table and its furnishing are gone, the monstrosity of the fireplace still holds court. It was big enough to accomodate inglenook seating within. The paneling was a most unique mix of an Asiatic, geometric pattern with Adamqesque capitals which was fabricated out of tooled leather. While the the center lantern over the pool table was replaced, its newer counterpart was even more elegant.  Starting in the 1970's, this room was used often for meditative purposes.

LIBRARY

Moving further down the hall through a carved stone doorway was the estate's wood-lined library. While gone are Nicholas Brady's extensive collection of manuscripts, the paneling still made for a very warm space. The books were replaced with a collection of contemporary religious texts that retreatants were welcome to browse. The Jesuit order has a rich tradition of nourishing the body, mind and soul, so a library was a must for their religious purposes.

SOLARIUM

At the western end of the first floor was the estate's enclosed solarium which was originally planned for an indoor pool. Large, expansive windows brought light into the room. It was on axis with the formal gardens which allowed for views of the terraces below.

For the solarium's door, a design of wrought metal was used. As opposed to ironwork that would have been situated in a bank or as a gate, it was intended to be welcoming to visitors in the same way that the front entry's grilles were.

DINING ROOM

Despite having lost the 1700's period William & Mary paneling, the room still had great charm. In contrast to the informal breakfast, this was used for formal, multi-course dinners for the Brady family. The beautiful plasterwork on the ceiling was able to do full justice without having any attention drawn elsewhere. The mantle was also a replacement after the original had seemingly been sold at auction. Fitting of a grand ballroom, the dining room was used for daily meals and receptions.

BREAKFAST ROOM

Located next to the dining room and across from the eastern main stair, the breakfast room was used for informal family meals during the Brady tenure. There was a codification of holding elaborate meals in the formal dining room and eating in the breakfast room on ordinary days. A wonderful mantle carved out of stone was accented by a pediment over the door with a swag motif. Perhaps originally intended for a different purpose, a door had opened directly into the Great Hall but had been blocked by the altar.

STAFF DINING ROOM

Since staff had to eat their meals, too, and there was a sizable dining room for their use at the end of the kitchen court. While not nearly as large or as expansive as the ones used by the family, it still had a lovely casement window which brought in ample light. It was known as the Arrupe Room during the St. Ignatius years, probably causing quite a lot of confusion for those trying to navigate through the service wing to locate it.

KITCHEN 

Within the maze of rooms in the service wing was the expansive kitchen suite which handled everything from storing placesettings to actively preparing meals. Instead of being clad in wood, areas in this portion of the home were understandably made of subway tile like wainscoting for ease of cleaning. Having such a large kitchen served very in handy for a retreat house as they were able to accomodate the large number of visitors staying over.

There was also a large pantry area that was utilized to hold the family's silverware collection. Much like a library with dual-height bookshelves, a ladder was installed along the cabinet when built to expedite access to the second row of shelves which were at ceiling height.

Being that this was the staff portion of the home, a separate stairway led directly up to their quarters. As customary in manor homes, servants were not to be seen alongside household members. Their presence was intended to be purposely sparse but impossible not to be noticed during the daily operation.

Interior - 2nd Floor

Leading up to the second floor is a Beaux-Arts styled hall which mirrored the length of the first floor gallery hall. Echoing the lightness in style of the second floor bedrooms, it provided a prelude to what visitors would see beyond. A grand main staircase led family members and guests past a remarkable plaster ceiling ornamented with bosses and lozenges which practically dripped downwards like water.

It should also be worth noting that there was a secondary main staircase on the east side of the hall which was no less splendid. This was narrower and also led up to the third floor which necessitated that narrower width. It was likewise given a hearty program of wood and plaster ornamentation. 

The west end held a suite of bedrooms, baths, and dressing rooms which were reserved for Mr. and Mrs. Brady. The eastern portion of the second floor was used for guest bedrooms. Especially regarded was the private chapel which was used for mass for the Bradys, their guests, and the estate's staff. A small window off the stairs overlooked the minstrel gallery, and would presumably brought the sound of the Great Hall's organ to the upper floors.

ST. GENEVIVE CHAPEL

The Bradys were one of the foremost Catholic lay couples in the nation, so it was fitting that they were given authorization to have a private chapel built by the Vatican. The chapel was designed by the ecclesiastical division of Gorham & Company under the direction of Frank Moffitt. Instead of the Tudor Revival theme, the chapel took its Gothic design cues from the great churches. Its walls were decorated with intricate wooden tracery which were carved in Bavaria around the Oberammergau region and were shipped to the United States after being completed. The panels were composed as essentially scenes of illustrated Biblical scripture. Like the carved fairytale scenes on the exterior, these panels were meant to impart valuable life lessons. Stained glass windows depicted tales of French and Irish saints. 

BEDROOMS

While the expansive Brady bedroom suite was almost like an apartment, it was unfortunately carved up during the Jesuit tenure to make 14 smaller bedrooms for seminarians. Despite having lost much of the salvaged antique paneling over time, the bedrooms were turned into tasteful guest accommodations for retreatants. Large windows brought ample natural light and many of the bathrooms retained their original fixtures.

THIRD FLOOR

Throughout the main house and on the third floor, ample circulation space was provided for the staff to live. This area of the home was notably sparse in comparison to the opulent rooms for the family. A glass screen was installed at some point to reduce noise from making its way downstairs.

In spite of spending hours traversing the entire "Inisfada" main home from room to room on its very last day of operation, a spackled wall in the guest wing on the second or third floor was the only indication of damage. The constant allegations that the entire home was in disrepair beyond any possible reasonable economic salvage could not be any more false. If there were any serious deficiencies, they hid it far beyond even the most attuned architectural eye.

~

For those who attended the final going-away reception on June 2nd, 2013 for friends and family of the retreat house, a palatable sadness could be felt. There was great uncertainty that spring as to the future of the property. So many people had been impacted in some form or another by their programming, and there was also the feeling of gratitude for the tremendous work done by the workers of St. Ignatius. As visitors made their last walkthrough to share memories and reminisce, some sought direction by walking the labyrinth one last time to try and get a sense of spiritual direction for what was to come. Perhaps best to sum up the legacy of St. Ignatius, a visitor had written out of pebbles in the center of the labyrinth: "Saved by love."

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