Rhode Island’s historic estates are a riot of architectural ambition and gilded grandeur. Nowhere is this more evident than in Newport, where the mansions rise like architectural exclamation points along the coast, each one a statement in stone, stucco, and ego. Here, the Vanderbilts flaunted their cash in Beaux-Arts extravaganzas while the Astors choreographed soirées that made the Gilded Age sparkle like champagne.

Elsewhere, earlier styles hold their ground. Hunter House, a Georgian gem built in 1748, reflects Newport’s 18th-century maritime wealth, its symmetry and fine craftsmanship echoing the town’s rise as a colonial port. Whitehall, the Colonial-era retreat of philosopher George Berkeley, embodies early American restraint, favoring clean lines and functional elegance over ornamental excess. Rhode Island’s grand estates are architectural peacocks — sometimes elegant, often flamboyant, and always worth a second look. 

15. Edward King House (Newport)

Richard Upjohn’s Neo-Renaissance confection from 1847 is like a Florentine villa that took a wrong turn and landed in Newport. The Edward King House at 35 King Street in Newport, Rhode Island, is an early and defining example of the Italian Villa style in the United States. Built between 1845 and 1847 for Edward King, a prosperous merchant who thrived on the China Trade, the house was the largest in Newport at the time. Upjohn’s work here laid the groundwork for Italianate architecture in America.

Constructed in brick, the house features the asymmetrical massing, arched windows, and the signature three-story tower that became hallmarks of the Italian Villa style. Its innovative design earned a prominent spot in Andrew Jackson Downing’s The Architecture of Country Houses (1850), where it was praised for its harmonious proportions and variety of window sizes. 

In 1912, King’s son donated the house to the city of Newport, leading to its use as the Newport Public Library and later as a senior center. Listed on the National Register of Historic Places and designated a National Historic Landmark in 1970, it remains a touchstone of 19th-century American architecture.

14. Belcourt Castle (Newport)

Part manor house, part fever dream, Belcourt Castle is a Renaissance Revival experiment where no detail was too indulgent. Built in 1894 for Oliver Belmont by Richard Morris Hunt, it flaunts a French château aesthetic with a sprinkle of medieval flair. The owner famously prioritized the stables over the living quarters, which tells you everything you need to know about his priorities.

Hunt’s design draws heavily from the French Renaissance but borrows liberally from Gothic, German, English, and Italian influences — a stylistic free-for-all reflective of Belmont’s eclectic tastes. The building’s structure is centered around a quadrangle, with its focal point being an 80-by-40-foot courtyard in the Norman style. The façade alternates between brick, stucco, and Westerly granite, punctuated by an immense mansard roof pierced by elliptical dormers.

When Belmont moved in, the entire ground floor served as a stable and carriage house, while upstairs, his living quarters included Newport’s first standing shower and a muraled bedroom depicting the life of a nobleman. In 1896, Belmont married Alva Vanderbilt, who promptly reconfigured the interiors with her characteristic flair, transforming stables into banquet halls and importing 18th-century French paneling.

13. Whitehall (Middletown)

A serene counterpoint to Newport’s opulence, Whitehall is a Colonial-era gem built in 1729 for Bishop George Berkeley, the philosopher with a soft spot for the New World. Purchased in 1729, the modest farmhouse was expanded and adapted by Berkeley. He intended to launch St. Paul’s College in Bermuda, a plan that fizzled but left its traces in his writings and local contributions. At Whitehall, he penned Alciphron, a work blending philosophy and theology, and occasionally preached at Trinity Church in Newport. 

The house itself reflects an understated colonial aesthetic, its modifications practical rather than extravagant. By the 19th century, Whitehall had morphed into an inn and fallen into decline. Rescued by the Colonial Dames of America in 1899, it was partially restored by architect Norman Isham. 

12. Vernon House (Newport)

Built in 1758, the Vernon House is a meticulous example of Georgian architecture adapted to Newport’s colonial setting. Its 2½-story wood frame structure is topped by a hip roof with a low balustrade, a subtle architectural flourish. Dormers punctuate the roofline — segmented-arch pediments on the front, gabled on the sides — while two brick chimneys anchor the structure’s interior.

The façade’s five-bay symmetry is centered on an entrance framed by fluted pilasters, an entablature, and a modillioned cornice. This treatment, mirrored in simplified form on the rear entry, provides a balanced elegance. Rusticated wood cladding, carved and painted to mimic ashlar stone, adds an illusion of grandeur. Keystone-like lintels and a simulated belt course enhance the façade’s visual depth, reflecting techniques seen in Peter Harrison’s Redwood Library, suggesting his hand in the design at some point.

Originally a simpler structure, extensive alterations in 1759 expanded its scale and refined its design, securing its place as a high point of Newport’s architectural history. The house later served as the Revolutionary War headquarters for the Comte de Rochambeau, commander-in-chief of the Expédition Particulière, the 7,000 strong French force sent to help George Washington’s troops fight the British.

11. The Waves (Newport)

The Waves” on Ledge Road in Newport, Rhode Island, is a reflection of architect John Russell Pope’s ability to adapt his design to the environment. Built in 1927 as Pope’s personal residence, the house was constructed on the site of the demolished Governor Lippitt Mansion with the focus on integrating the structure with its natural, rocky surroundings.

The Tudor-style house has stucco and stone walls, accented by half-timbering and topped with a complex slate roof. The U-shaped design complements the site’s uneven terrain and opens to dramatic views of the coastline. The heavy timbers and durable materials emphasize functionality.

As one of Pope’s more personal projects, it contrasts with his later monumental works like the National Archives Building and the Jefferson Memorial. The Waves is notable for being the first large Newport residence converted to condominiums in the 1950s, an approach that preserved its architectural integrity while allowing for modern use.

Located near the end of Newport’s Cliff Walk and adjacent to Edith Wharton’s Land’s End, The Waves demonstrates a practical yet thoughtful architectural approach, blending durability with an appreciation for the surrounding coastal environment.

10. Hunter House (Newport)

Hunter House, a 1748 gem on Washington Street in Newport’s Easton’s Point, showcases 18th-century colonial craftsmanship and the layered history of Rhode Island’s maritime elite. Originally built for Jonathan Nichols Jr., the house started as a 2½-story structure with a balustraded gambrel roof, characteristic of the region’s mid-18th-century architecture. Heavy stud construction lent it durability, while its proportions suggest emerging Georgian influences.

In 1756, Loyalist merchant and Deputy Governor Colonel Joseph Wanton Jr. purchased and expanded the house. He added a south wing, a second chimney, and a grand central hall, transforming it into a full Georgian mansion. The home became a symbol of prosperity until Wanton’s loyalty to the Crown during the Revolution led to his downfall. Legend tells of a ship laden with his goods, seized by Patriots after the captain outmaneuvered Wanton’s plans.

During the French occupation of Newport in 1780, Admiral de Ternay made Hunter House his headquarters. Later, Senator William Hunter restored its Georgian elegance, adding refinement to an already stately home.

The house, saved from demolition in 1945, features period furnishings by Townsend and Goddard, woodwork adorned with Corinthian pilasters, and fireplaces framed with Delft tiles. It stands as a testament to Newport’s colonial heritage, blending maritime wealth with architectural grandeur.

9. Rosecliff (Newport)

Rosecliff is a fantasy wrapped in stucco. Modeled after the Grand Trianon at Versailles, this 1902 confection by Stanford White was commissioned by silver heiress Theresa Fair Oelrichs. White preserved the Trianon’s symmetry and Ionic pilasters while adding a second story and concealing a third within the balustraded roofline, maximizing space without disrupting the classical proportions.

The mansion’s defining feature is its expansive ballroom, 40 by 80 feet, the largest in Newport, flanked by French doors leading to a sweeping lawn that meets the Atlantic. Corinthian pilasters frame arched windows and doorways, creating a rhythm that mirrors the exterior’s elegance. White’s mastery of sightlines is evident in the enfilade views aligning doorways, monumental fireplaces, and terraces.

Rosecliff’s interiors reflect a curated eclecticism, from the Gothic Caen stone fireplace in the salon to the heart-shaped grand staircase spiraling through the Stair Hall. Bedrooms upstairs are linked by flexible arrangements of dressing closets and private baths, ensuring both grandeur and functionality.

8. Marble House (Newport)

If a Vanderbilt throws a housewarming, expect marble. Alva Vanderbilt’s 1892 “cottage” is an exercise in Beaux-Arts grandeur, dripping with classical motifs and lavish materials. Designed by Richard Morris Hunt, the mansion borrows liberally from the Petit Trianon at Versailles, amplifying French Neo-Classical aesthetics with American panache. Hunt used Westchester marble to clad the brick structure, crafting a facade dominated by Corinthian pilasters and monumental arches. At the western entrance, a sweeping marble carriage ramp frames a semi-circular fountain decorated with grotesque mask spouts.

The Stair Hall, sheathed in yellow Siena marble, features a wrought iron and gilt bronze balustrade modeled after Versailles. Above, a Venetian ceiling painting invokes the gods and goddesses of antiquity. Each room carries a distinct narrative: the Grand Salon, with its Louis XIV ornamentation and gilded panels; the Gothic Room, tailored for Alva’s collection of medieval relics; and the Dining Room, has pink Numidian marble and a fireplace inspired by the Salon d’Hercule at Versailles.

Beyond its architectural marvels, Marble House reflects Alva Vanderbilt’s shifting priorities. After inheriting the mansion, she transformed it into a suffrage rallying point, building the Chinese Tea House along the cliffside for her gatherings. 

7. Chateau-sur-Mer (Newport)

Chateau-sur-Mer, completed in 1852, marked the dawn of Newport’s Gilded Age with its imposing scale and architectural ambition. Designed by Seth C. Bradford for William Shepard Wetmore, a merchant enriched by the China Trade, the mansion emerged as an Italianate villa of Fall River granite—an unapologetically grand statement. Its stature dominated Bellevue Avenue until the Vanderbilt palaces upstaged it decades later.

The house evolved with the Wetmore family’s fortunes. In the 1870s, architect Richard Morris Hunt recast the villa in French Second Empire splendor, introducing a mansard-roofed tower, a three-story wing, and a porte-cochere worthy of European aristocracy. Hunt’s additions left few design trends of the late 19th century unexplored. Even the estate’s entrance gate, with obelisk-like posts, nodded to the architectural eclecticism of its time.

The interiors offer an equally eclectic display of wealth and taste. The great hall soars three stories, capped by a 45-foot ceiling. The billiard room’s Eastlake timbers play against a Renaissance Revival dining room imported from Italy, while the library, also Italian-born, was shipped and reassembled on-site. The ballroom, with crystal chandeliers and fine plasterwork, remains a rare untouched relic from Bradford’s original design.

Year-round use set Chateau-sur-Mer apart. The Wetmores lived as New Englanders, not mere summer visitors. George Peabody Wetmore’s political career, which saw him serve as Rhode Island governor and U.S. senator, brought the house into the social and political pulse of the region. Purchased by the Preservation Society of Newport County in 1969, Chateau-sur-Mer survives as a layered reflection of Newport’s evolving architectural and cultural landscape.

6. The Elms (Newport)

The Elms is the chiseled jawline of Newport mansions — confident, precise, and obsessed with any French. Built in 1901 by Horace Trumbauer for coal magnate Edward Julius Berwind, it’s modeled after Château d’Asnières near Paris. The façade balances neoclassical restraint with a touch of flamboyance, while the interiors, with their gilded moldings and silk wall coverings, leave no doubt about the Berwind fortune. Its gardens, with their fountains and marble statuary, feel like Versailles on an American budget.

The house’s layout reflects a calculated opulence. The eastern porch leads to a marble-clad entrance hall and grand staircase, directing guests toward a ballroom that opens onto the gardens. Flanking wings hold a library, drawing room, dining room, and conservatory, their French interiors enhanced by Trumbauer’s clever spatial planning. 

Outside, the grounds designed by C.H. Miller and E.W. Bowditch rival the mansion itself. French-style sunken gardens, once shaded by majestic elms (now replaced by weeping beeches), frame the estate. The ancillary garage was equipped with a rare automobile turntable.

5. Beechwood (Astor Mansion, Newport)

When Caroline Astor decided to make a Newport splash, she didn’t just buy a house, she established a social command center. Its Italianate exterior is subdued compared to the over-the-top interiors, which played host to Mrs. Astor’s legendary soirées. This was a stage for New York’s 400 to strut their stuff.

Originally built between 1852 and 1853 by Andrew Jackson Downing and Calvert Vaux, Beechwood began as an Italianate villa for New York merchant Daniel Parish. Its stuccoed exterior and balanced proportions exemplified mid-19th-century Palladian sensibilities. Following a fire in 1855, Vaux rebuilt the structure with modest alterations, establishing a robust framework for its later grandeur. The house changed forever when William Backhouse Astor Jr. purchased it in 1880, marking the dawn of its Gilded Age splendor.

The Astors hired Richard Morris Hunt to overhaul the estate between 1888 and 1890. Hunt added a grand ballroom to accommodate Mrs. Astor’s famed “Four Hundred,” the select social elite of New York and Newport. The renovations included a library, dining room, and music room featuring Parisian-imported wallpaper. Hunt also incorporated a porte-cochère and an expansive lawn, anchoring Beechwood in Newport’s social and architectural elite.

4. Rough Point (Newport)

Doris Duke’s Rough Point is where Gothic Revival architecture meets breezy seaside charm. Rough Point, completed in 1892, stands on Newport’s Bellevue Avenue like an English lord among American peers. Designed by Peabody & Stearns for Frederick William Vanderbilt, its rugged sandstone and granite exterior blends seamlessly with its dramatic Atlantic location. The sprawling English Manorial-style mansion, set against the iconic Cliff Walk, originally featured gardens crafted by Frederick Law Olmsted’s firm.

The house evolved under successive owners. William Bateman Leeds Sr., the “Tinplate King,” made subtle exterior modifications in the early 1900s. In 1922, industrial titan James Buchanan Duke brought in Horace Trumbauer to expand and refine it. Two wings later, the estate boasted modern sophistication while retaining its stone-hewn roots. Duke’s wife Nanaline oversaw light-filled interiors, shifting the house’s mood from brooding to breezy.

Doris Duke inherited Rough Point in 1925 at the age of 12. After World War II and a destructive hurricane, she breathed life back into the estate, curating an eclectic mix of treasures: Renoirs and Van Dycks hung alongside practical, homespun furnishings.

3. Kingscote (Newport)

Kingscote is where Newport’s “cottage” craze began. Designed by Richard Upjohn in 1839, this Gothic Revival charmer was a pioneer in both style and purpose. Its ornate gables, busy chimneys, and wooden façade textured to mimic sandstone set the tone for Newport’s transformation into a haven of seasonal retreats. 

Built for Southern plantation owner George Noble Jones, the house was abandoned when the Civil War loomed. In 1864, it became the domain of William Henry King, a merchant of the Old China Trade. King’s nephew David later expanded the house with the help of architect George Champlin Mason, adding a dining room and service wing. By 1880, Stanford White, of McKim, Mead & White, brought his magic touch, layering in new master bedrooms, a nursery, and a dining room illuminated by Tiffany glass bricks.

Though modest compared to later Newport giants, Kingscote’s intricate detailing and eccentric charm remain iconic. Bequeathed to the Preservation Society in 1972, it holds its ground as a Gothic prelude to the Gilded Age spectacle.

2. Ochre Court (Newport)

Ochre Court is Gilded Age architecture on steroids. Designed by Richard Morris Hunt in 1892 for banker Ogden Goelet, it’s more cathedral than cottage. The Gothic Revival design features soaring ceilings, intricate carvings, and windows that flood the interiors with light. It’s over-the-top in the best possible way, with interiors that look like they were lifted from a European palace. 

Ochre Court blends the Louis XIII style of the Loire Valley with the audacious scale of Gilded Age ambition. High-pitched roofs, turrets, and elaborately carved dormers punctuate its imposing silhouette, while classical-style statues, heraldic motifs, and soaring stained-glass windows adorn its interiors.

The Goelet family’s fortune stemmed from 18th-century trade turned 19th-century real estate empires. Ogden Goelet’s summers in Newport were no small affair, requiring a small army of 27 house servants, eight coachmen, and 12 gardeners to maintain Ochre Court’s 50-room sprawl.

1. The Breakers (Newport)

The crown jewel of Newport’s mansions, The Breakers is a 70-room Beaux-Arts masterpiece built for Cornelius Vanderbilt II in 1895. Richard Morris Hunt outdid himself with this palace of limestone and gilded opulence. 

The façade, crowned with terra cotta roof tiles, displays a European aristocratic air, while the architect’s strategic use of steel trusses and masonry ensured both permanence and grandeur. Limestone gates and wrought iron fencing frame the 14-acre estate. The interiors, orchestrated by Jules Allard and Sons with contributions from Ogden Codman Jr., dazzle with marble from Italy and Africa, gilded plasterwork, and carved wood panels. 

The Great Hall, a 50-foot cube, commands attention with allegorical sculptures and a skylight by John La Farge, while the dining room stuns with rose alabaster columns and a ceiling fresco of Aurora ushering dawn. 

Surrounded by meticulously curated gardens and ocean views, The Breakers is a manifesto of industrial wealth transformed into architectural might. Its location on a cliff overlooking the Atlantic adds a sense of drama that only a Vanderbilt could pull off. If one house defines Gilded Age Newport, this is it.