84. Salle de Musique in the park of 15, boulevard de Montmorency, the Paris residence of financier George Blumenthal, ca. 1930. Blumenthal was first a trustee and then, from 1933 until his death in 1941, president of the Metropolitan. In early 1933 Breck wrote to Rockefeller that incorporated into the building were “various doors, windows and other examples of mediaeval stonework. Mr. Blumenthal . . . tells me that if he should decide to demolish the room . . . he would be glad to give any or all of the stonework, if it were wanted for The Cloisters.” Breck visited Blumenthal in the summer of 1933 and selected elements to be incorporated into The Cloisters. This photograph is reproduced from Breck’s copy of the brochure on the “music room,” which he had marked up with measurements.
you or from me stating that at some particular time the plans had been accepted as final and that no further changes were to be made. Therefore, my conclusion is that Mr. Breck is justified in having continued with the development of the plans.” Rockefeller then wrote to Willis to say that “since Mr. Breck apparently regards the plans as still merely in process of development, would it not be wise and in the interest of economy to discontinue any further work on the final drawings and full size details until Mr. Breck advises me that he has completed his study and is through making changes? I am desirous, as Mr. Breck is, to have the final plans as perfect as possible.” In preparation for the Building Committee meeting scheduled for March 31, 1933, Rockefeller instructed Willis, “You will be prepared at that time to show us in each instance what had been accepted at the last meeting of the Committee and what change Mr. Breck is now proposing. You will also have perspectives, showing what was and what is now proposed. If Mr. Breck has not completed the restudy of the plans, I think it would be much better to defer the meeting until he has; there is no slightest hurry so far as I am concerned. As I told you, I have no thought of starting construction this spring, probably not within another year. Therefore, we have all the time in the world to develop the working plans and details when Mr. Breck’s restudy is finally completed.” Breck’s evolving vision of The Cloisters was reflected in the innumerable alterations and refinements he advocated. He meticulously studied medieval sources and was determined to bring an intimacy and simplicity to the detailing of the building that eschewed any artifice or excess (see fig. 78). Whereas he was not prepared to compromise any aspect of the design, he became more systematic in documenting the approval process so as to avoid any further duplication
85. Four Flamboyant Gothic windows from the refectory of the Dominican monastery at Sens and nine arcades from the Benedictine priory of Froville installed in the east elevation of The Cloisters. Windows: Burgundy, France, 15th century. Limestone, H. of each ca. 11 ft. 6 in. (3.5 m). Arcades: Lorraine, France, 15th century. Limestone, H. 6 ft. 10 3⁄4 in. (2.1 m). The Metropolitan Museum of Art, Gift of George Blumenthal, 1935 (35.35.1 – 4, 5 – 13). The windows and arcades had been incorporated into the Salle de Musique George and Florence Blumenthal built on the grounds of their Paris town house (see fig. 84).
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