Stylistically, our House is based on Italian Renaissance prototypes. It shares many characteristics with Italian palazzi, such as the “L-shaped” floor plan, the courtyard, the window enframements, and the heavy stone cornice that crowns the building. Our House was designated a New York City Landmark in 1974, and is considered by many architectural historians to be one of the most distinguished examples of early 20th century residential architecture in New York City. The library was constructed for a 16th-century Ducal Palace on the outskirts of Urbino, Italy; the woodwork was purchased by Edith Fabbri at the outbreak of World War I and incorporated into the design of the House. It was shipped via two different vessels so that at least half of the room would survive if one ship was torpedoed. The woodwork was installed by a Florentine carpenter by the name of “Tonino,” under the direction of Egisto Fabbri, who designed the organ grille and the main entrance to correspond to the original design. The magnificent carved mantel was also taken from the Ducal library outside Urbino. The ceiling medallion depicts the arms of Francesco Maria II Della Rovere, the last Duke of Urbino. The dining room features furniture in the Italian Baroque style. On the east wall is a pair of Flemish landscape paintings, which date from the 17th century. The paintings hanging on the west wall are Venetian, dating from the 18th century, and depict religious processions in Florentine or Venetian squares. The reception room was originally used by Edith Fabbri to receive social calls. A stunning portrait by Benjamin C. Porter of Edith Fabbri as a young woman hangs next to the entry. The furnishings in the room include a jewelry cabinet of ebony inlaid with ivory (between the windows), a Flemish Verdure tapestry (on the east wall), a 14th century icon of Catherine of Sienna, a fine portrait of a man of the period, and Italian Baroque and Renaissance furnishings. In the hall adjacent to the room is an Italian Renaissance marquetry cabinet.