1. Martin P. Levy to Milo M. Naeve, May 13, 1996; Simon Jervis to Milo M. Naeve, May 23, 1996; Alan Crawford to Milo M. Naeve, July 1, 1996; and Frances Collard to Milo M. Naeve, August 20, 1996, confirm the lack of comparable English furniture. 2. Dates for the building are variously reported in the literature on McKim, Mead and White, but papers of the firm at the New-York Historical Society (hereinafter cited as NYHS) include a bill dated April 9, 1882, for the design that is annotated as paid (McKim, Mead and White Bill Book 1, p. 212) and several bills and payments leading to the final bill on October 1, 1885, for which the payment date is not recorded (McKim, Mead and White Bill Book 2, p. 222). The house has not been studied. For comment about it, see Robert Koch, “The Stained Glass Decades: A Study of Louis Comfort Tiffany (1848–1933) and the Art Nouveau in America” (Ph.D. dissertation, Yale University, 1957), pp. 121–24. For recent comment, see Lawrence Wodehouse, White of McKim, Mead and White (New York and London: Garland Publishing, Inc., 1988), pp. 130, 131, 139 n. 37. For excellent published illustrations of the exterior, a measured drawing of the facade, and a plan of the “First Floor,” see Architectural Book Publishing Company and McKim, Mead and White, A Monograph of the Works of McKim, Mead and White, 1879–1915, 2d ed. with introductory essay by Leland Roth (New York: Benjamin Blom, 1973), pls. 5, 5A. Incomplete records for the building in the archives of McKim, Mead and White at the NYHS include a blueprint for a measured drawing of the facade before changes were made to accommodate Tiffany’s apartment and a blueprint for the plan of the first floor only. Photographs of the house in the Prints and Photographs Department of the NYHS include an exterior view from the George P. Hall Files, five snapshots of architectural details in the vertical files under “T,” and another exterior photograph evidently taken at the conclusion of construction in the McKim, Mead and White archives. Charles de Kay, The Art Work of Louis C. Tiffany (Garden City, N.Y.: Doubleday, Page, & Co., 1914), as published in facsimile with an introduction by J. Alastair Duncan (Poughkeepsie, N.Y.: Apollo, 1987), p. 59. George F. Heydt, “Louis Comfort Tiffany Scrapbook” (New York, 1919), p. 42 (Archives of American Art microfilm of the original owned by Henry B. Platt). Tiffany’s purchase of the property and renovation of it are reported in clippings from several newspapers; most of the clippings include a dateline and part of the newspaper title, but they lack a page number; significant among the clippings are the New York American, December 8, 1902, and March 7, 1909; and the New York Times, March 28, 1909. For the later history of the building, see Koch, “The Stained Glass Decades,” pp. 121–22. 3. See de Kay, The Art Work of Louis C. Tiffany, pp. 57–58. Koch, “The Stained Glass Decades,” p. 122, considers Tiffany’s responsibility for the architectural style an unresolved issue: Tiffany could have drawn the sketch illustrated by de Kay (p. 57) after White completed the initial design for the building, and de Kay and Tiffany did not meet until 1911. Robert Koch states, however, in Louis C. Tiffany, Rebel in Glass (New York: Crown Publishers, Inc., 1964), p. 63, that Tiffany “selected a Richardsonian style.” Sir Edmond Gosse, “Mr. Gosse’s Notes on America,” The Critic 3, no. 56 (January 24, 1885): 38. 4. Architectural Record 10, no. 2 (October 1900): 191–202. “The Most Artistic House in America,” Ladies Home Journal 17 (November 1900): 12–13. For the collecting of American furniture, see Rodris Roth, “The Colonial Revival and ‘Centennial Furniture,’” Art Quarterly 27, no. 1 (1964): 57–81; Marilynn Johnson, “Art Furniture: Wedding the Beautiful to the Useful,” in In Pursuit of Beauty: Americans and the Aesthetic Movement (New York: Metropolitan Museum of Art, 1986), pp. 162–64. 5. Information about Meier and Hagen is from Elizabeth Stillinger, “Ernest Hagen—Furniture Maker,” Maine Antique Digest (November 1988): 8D–16D. 6. Trow’s New York City Directory listed Barnes Brothers at various addresses on Pearl and Elizabeth Streets during the 1880s. It also noted that they specialized in chairs and listed Ambrose E. Barnes as the principal. 7. Augustus Welby Pugin, The True Principles of Pointed or Christian Architecture (London: John Weale, 1841), p. 66. Mansell Belcher, A. W. N. Pugin: An Annotated Critical Bibliography (London and New York: Marshall Publishing, Ltd., 1987), No. A 29, pp. 56–67. Christopher Dresser, The Art of Decorative Design (London: Day and Son, 1862), pp. 1–2. William Morris, Hopes and Fears for Art (Boston: Roberts Brothers , 1882), pp. 109–10, 180–82, 66. 8. Charles Locke Eastlake, Hints on Household Taste in Furniture, Upholstery and other Details (London: Longmons, Greene & Co., 1868). For an analytical biography and comment on Eastlake’s book, see Charles L. Eastlake, A History of the Gothic Revival, edited and with an introduction by J. Mordaunt Crook, 2d ed. (England and New York: Leicester University Press, and Humanities Press, 1978), especially pp. 19–20. For Eastlake’s influence in the United States, see Mary Jean Smith Madigan, “The Influence of Charles Locke Eastlake on American Furniture Manufacture, 1870–90,” Winterthur Portfolio 10 (Charlottesville: University Press of Virginia for the Winterthur Museum, 1975), pp. 1–22. For American editions of Eastlake’s Hints on Household Taste, see Henry-Russell Hitchcock, American Architectural Books, 2d ed. with introduction by Adolf K. Placzek and appendix by William H. Jordy (New York: DaCapo Press, 1976), p. 36. For direct references to Eastlake’s concepts and to Morris’s book, see Donald G. Mitchell, “From Lobby to Peak,” Our Continent, May 17, 1882, p. 217. Mitchell’s series “From Lobby to Peak” includes numerous allusions to Eastlake’s concepts. See February 15, 1882, p. 5; February 22, 1882, p. 21; March 1, 1882, p. 37; March 15, 1882, p. 69; March 22, 1882, p. 85; March 29, 1882, p. 101; April 12, 1882, p. 132; April 19, 1882, p. 148; and May 3, 1882, p. 185. For Tiffany’s association with Mitchell on the articles, see Mitchell-Tiffany Family Papers, Sterling Memorial Library, Manuscripts and Archives, Yale University, New Haven, Connecticut. 9. For cheap furniture with an enamel paint finish, see E. C. Woodbridge’s advertisement for “Cottage and Enamel Furniture” made in his shop in New York City in the unpaginated advertising section of the Cosmopolitan Art Journal 4, no. 1 (March 1860). For the chair finials, see Edward William Godwin, Art Furniture and Artistic Conservatories (1877; reprint ed., New York and London: Garland Publishing, 1978), pl. 11, “Chair” in “Library Furniture.” Tiffany could have known Godwin’s design by visits abroad, publication of it, exhibitions in the United States, versions by Herter Brothers, or a version by Associated Artists in which Tiffany was a partner. For dissemination of the design and the date of the chair shown in fig. 16, see Catherine Hoover Voorsanger, “Side Chair,” no. 33, in Katherine S. Howe, Alice Cooney Frelinghusen, Catherine Hoover Voorsanger, et al., Herter Brothers: Furniture and Interiors for a Gilded Age (New York: Harry N. Abrams, 1994), pp. 193–94, 256 n. 6. 10. Stillinger, “Ernest Hagen—Furniture Maker,” p. 10 D. For the Bella Apartment House, see “Mr. Louis C. Tiffany’s Rooms,” Artistic Houses, Being a Series of Interior Views of A Number of the Most Beautiful and Celebrated Homes in the United States, 2 vols. in 4 parts (1883–1884; reprint ed., New York: Benjamin Blom, 1971), 1:1–6. For The Briars, see Koch, Louis C. Tiffany, Rebel in Glass, p. 183. Charles Locke Eastlake, Hints on Household Taste in Furniture, Upholstery and Other Details (1868; reprint ed., Boston: James R. Osgood & Co., 1878), p. xiv. 11. Louis Comfort Tiffany, “The Gospel of Good Taste,” Country Life in America 19, no. 2 (November 1910): 105. “Louis Comfort Tiffany,” International Studio 58, no. 230 (April 1916): lviii. Louis Comfort Tiffany, “The Quest for Beauty,” Harper’s Bazaar 52, no. 12 (December 1917): 43. 12. Donald G. Mitchell, “An Early Breakfast,” Our Continent 1, no. 5 (March 15, 1882): 69. 13. Wilson H. Faude, “Associated Artists and the American Renaissance in the Decorative Arts,” Winterthur Portfolio 10 (Charlottesville: University Press of Virginia for the Winterthur Museum, 1975), pp. 101–30. For The Briars, see Koch, “The Stained Glass Decades,” pp. 299–303; and Koch, Louis C. Tiffany, Rebel in Glass, pp. 131, 132, 183. For Laurelton Hall, see Koch, “The Stained Glass Decades,” pp. 302–11; and Koch, Louis C. Tiffany, Rebel in Glass, pp. 142–44, 196–202. Anne Farnam, “H. H. Richardson and A. H. Davenport: Architecture and Furniture as Big Business in America’s Gilded Age,” in Tools and Technologies: America’s Wooden Age, edited by Paul B. Kebabian and William C. Lipke (Burlington, Vt.: Robert Hull Fleming Museum, University of Vermont, 1979), p. 84.