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Sep. 6th, 2025 08:26 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
So for me, it's a lot of "they're not wrong to do it that way, that I find it annoying is totally a ME issue and not an objective problem with the story.
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Nathan Lane’s Ward McAllister plays a secondary but still important role in The Gilded Age, so I thought that this rather interesting guy deserved his own post.
Who was Ward McAllister?
Samuel Ward McAllister was an entirely real person, and the show’s depiction of him is reasonably accurate for the most part. He was born into a Southern family that had been attorneys for two generations. He was related to Julia Ward Howe, the author of the Battle Hymn of the Republic, and he was distantly related by marriage to the Astors of New York. His family was not rich by any means, but they were able to afford to spend their summers in Newport, RI, where many Southerners liked to vacation to escape the summer heat.
After studying law at Harvard, he spent some time in California during the Gold Rush, where his father had opened a law firm. But it seems likely that he was already craving a more cosmopolitan life than California could offer. Prior to working in California, he had moved in with an elderly relative in New York City, hoping that he would inherit her estate. When she died, he only received $1000 (around $40,000 today); he reportedly spent the whole sum on a single set of evening dress, because he knew that if he looked the part, elite society would assume he had inherited a great deal more. (I am, however, skeptical that he could actually have spent that much money on one man’s suit in pre-Civil War New York, unless there was a LOT of jewelry and accessories associated with it. Men’s clothing was far more understated by the late 1840s, whereas women’s clothing could be much fancier, as the show demonstrates.)
In 1853, he married a woman named Sarah Gibbons, who had more money than he did, but who seems to have been very poorly suited to him in other ways. She was extremely reclusive and did not attend society events at all; in fact when he died, she didn’t even attend his funeral service (although whether that tells us more about her distaste for public events or her husband I don’t know). He used her money to go on a tour of Europe, and this event was life-changing for him. He seems to have had an impressive ability to absorb matters of etiquette and social practice, and he returned from the trip probably the leading American expert on European etiquette and dining practices.
His real rise to social prominence happened in the early 1870s. New York in the post-Civil War era was a society in flux. The old Knickerbocker elites were beginning to be eclipsed in business and political life by the Robber Barons and politicians like Boss Tweed, who excelled at organizing the new Irish and Italian immigrants as voting blocs. The Civil War had shaken up American society, pulled down the old Southern landed aristocracy, and created an opening for a new social system. In Europe, social rules were largely set by the courts of the various monarchs, but the United States lacked anything comparable.
Ward McAllister was well-placed to act as the arbiter of social manners because of his deep knowledge of how Europeans did things. But he lacked the wealth and social connections; he and Sarah lived in a very modest house quite unlike the mansions of the rich, and he certainly didn’t have the resources to throw elaborate balls. His distant cousin by marriage, Carolina “Lina” Astor had exactly those things, but she needed someone to guide her. So they were a perfect pair to restructure New York’s elite society in a way that aped European high society (which is one reason why opera was such an important concern for the Knickerbockers). Mrs Astir led New York society and held a kind of court, and he advised her and acted as something of an enforcer, gossiping about faux pas and vulgar behaviors and poorly-executed parties as a way to make clear what the social rules were. A lot of the complex social protocols that you see in the show (the use of calling cards, the rules about who is announced by what name, the elaborate table settings and complex dining manners, the fashion rules) are really the product of Ward and Lina’s efforts.
The Society of Patriarchs
In 1872, McAllister, along with three wealthy Knickerbockers, founded the Society of Patriarchs, an exclusive social club of 25 (later 50) men who mostly represented Old New York money, although it also included J. Pierpont Morgan and Cornelius Vanderbilt II, both New Money, and August Belmont, a Jewish financier, diplomat, and eventual chairman of the Democratic National Committee (today he’s mostly remembered as the man who founded the Belmont Stakes, the third race in the horse-racing’s Triple Crown). The Patriarchs were intended to represent the men who had the true esteem of society.
In 1885, the Society began hosting an annual Patriach’s Ball. Each member was entitled to invite 9 guests (4 women and 5 men), which meant that invitations were hard to get and highly sought after. The Ball received considerable newspaper coverage, and it wasn’t long before it was inspiring imitators; the wives of the Patriarchs began hosting the Assembly Ball. The Patriarchs also informally policed each other’s choices, discouraging behaviors that they considered vulgar or overly-friendly to the lower classes. Lina Astor was invited to ‘advise’ the Patriarchs.
McAllister was one of the early New York proponents of vacationing in Newport. The Southerners no longer came up in the summer, thanks to the destruction of the Civil War, which created an opening there, but he remembered it from his childhood and bought a small farm there. He couldn’t afford to throw large balls and lacked the space to do so, but he could invite small groups to picnic with him, thereby helping make himself a social arbiter and drawing attention to Newport. Thus a lot of ‘the Newport season’ was his creation, and by the 1870s, everyone was buying or building ‘cottages’ in Newport (basically summer mansions).
The 400
McAllister and Astor together created the idea of the 400, New York’s social elite. Reportedly, the term was created when McAllister remarked to a journalist that “there are only 400 fashionable people in New York”. These were the men and women who really mattered, the taste-makers who belonged in high society balls and exclusive Newport picnics. The number is sometimes also linked to the supposed capacity of Mrs Astor’s ballroom. But the number 400 turns up elsewhere as well–the maximum capacity of Delmonico’s restaurant and so on.
In the 1880s, the 400 were the definitive group of New York high society, and the number became symbolic; journalists used the term to refer to high society collectively, and other cities began to develop their own 400s. Balls might intentionally be decorated with 400 roses and things like that. But in the 1880s, the term was intentionally vague–there was no definitive list of who the 400 actually were. In theory they included only those who had three generations of wealth, a rule that excluded most of the Robber Barons, who tended to be first-generation money. But McAllister could not claim a truly moneyed ancestry, and he was still considered part of the group, and Alva Vanderbilt’s husband came from generational wealth, but she was not accepted until 1883.
“Calling” played an important role in all this. Society women stopped by to visit. In some cases they just dropped off their card, as a signal that they intended to call again later, but more commonly they waited as the butler took the card in to the lady of the house, who could decide if she wanted to receive the visitor; generally there were particular hours of the day during which this happened. As the show demonstrates, the butler could also be instructed that the lady of the house “wasn’t home” or “was indisposed” when particular callers came by. The truly powerful women in society were not called on uninvited. One had to wait for them to call, which was a signal that the new woman was being accepted into society. This is why Bertha’s trick with Carrie’s invitation to Gladys’ debutante ball worked; she was forcing Mrs Astor to call on her.
Another trick Alva Vanderbilt pulled in 1883 was to throw a massive costume ball; the guest list was reportedly 1,000 people, which absolutely dwarfed Mrs Astor’s annual ball, but the newly-constructed Vanderbilt ‘Petite Chateau’ on Fifth Avenue could handle that. New York society was abuzz for weeks with discussions of what sort of costume various guests would wear, thereby creating a huge buzz. That meant that Mrs Astor and her family could not afford to miss this ball. By the time the ball happened, the police were having to control the crowd that formed outside the Petite Chateau. This is the ball I mentioned in my first post–the one where Alice Vanderbilt’s dress was wired for electricity, and it’s the ball Gladys’ debutante ball was modeled on. As a result, by the end of 1883, Alva was part of the 400 despite Mrs Astor’s best efforts to keep her out.
McAllister’s Downfall
Although McAllister wielded a lot of influence, he was not necessarily a popular man. Those he snubbed or gossiped about understandably disliked him, and it must have been quite noticeable to many that the “Autocrat of the Drawing Room” (as he was nicknamed) didn’t actually have the wealth or ancestry that the 400 were expected to have. He wrote articles in the New York press commenting on social matters, and that too earned him enemies.
Things began to come to a head at the so-called ‘Fish Ball’ in 1889, when Mamie Fish threw a dinner at which there was not enough wine and the chef chose to serve a white wine sauce with one of the dishes. McAllister later sniffed that it should have been a brown sauce. Fish retaliated by excluding McAllister from leading a quadrille at a later ball at which President Benjamin Harrison was expected to dance; Harrison dropped out and Fish blamed McAllister
Fish was a major rival of Mrs Astor’s. She had a quick wit and was famous for greeting guests with witty insults; “Make yourself perfectly at home, and believe me, there is no one who wishes you there more heartily than I do” is one of her better zingers. Her parties were more outrageous than Astor’s, which tended to be more formal affairs at which Mrs Astor held court seated on a couch. There is a dubious story that she once gave a party in honor of a pet monkey at which the monkey got so drunk that it proceeded to climb into a chandelier and throw light bulbs at people. At another, guests were given peanuts they could feed to an elephant as they danced past it. Her parties were often staged by Harry Lahr, who was emerging as a rival to McAllister. (Lahr, incidentally, married for money, telling his wife on their wedding night that he didn’t love her but would treat her with affection in public.) So when Fish started to exclude McAllister, it was a way of hitting at Astor. Fish was only in her early 30s at the time The Gilded Age is set, and so would have been a much younger woman than the actress who plays her, Ashlie Atkinson.
McAllister chose to respond to Fish’s accusation in 1890 by writing Society as I Have Found It. (Note that in The Gilded Age, the book is published half a decade too early and without the context of his spat with Fish.) The book was a gossipy memoir about New York’s high society, filled with anecdotes that allowed McAllister to paint himself in a good light, but without actually naming names. But many New Yorkers recognized who these stories were about. Embarrassed about the gossip and pointed critiques of their taste, and incensed that McAllister would do something as vulgar as tell indiscrete stories, the book catalyzed the already-negative attitudes toward McAllister, and people began to exclude him from society events (although not Mrs Astor initially). The following Patriarch’s Ball was poorly-attended; even Mrs Astor found an excuse to not show up.
Writing Society as I Have Found It was a mistake, but McAllister was clearly worried that Mamie Fish’s exclusion of him from her parties was a sign that he was already losing his clout and the book was an effort to re-assert his indispensability. Instead, the publication of the book made him look bad, and Town and Country magazine began calling him “Mr McHustler”.
But he wasn’t totally shunned the way the series seems to suggest. He was invited to write a regular newspaper column commenting on New York society, and in 1893 he was offering advice to Chicago hostesses on how to host Europeans during the Columbian Exposition. In 1892, he published a definitive list of the 400 in the New York Times. Despite the traditional number, it only offered 265 names (if you’re curious, you can find it here). He left a number of people off it in what can only be an intentional snub, including Alva Vanderbilt, John D. Rockefeller, and JP Morgan. The list accelerated the decline of his reputation, earning him the nickname “Mr. Make-a-Lister”.
But even when he died, his funeral at New York’s Episcopal cathedral was still a major society event; Cornelius Vanderbilt II acted as a pall-bearer. However, by that time, things were changing. The last Patriarch’s Ball was held two years later and the Society of Patriarchs disbanded soon afterward out of general disinterest. Mrs Astor was beginning to retreat from society because of poor health. Harry Lahr had stepped in McAllister’s role as the organizer of fashionable parties. The growth of private ballrooms meant that exclusionary balls were no longer the social force they had been, and the younger generation wanted a more open, less rule-bound society. The Knickerbockers had lost much of their real power to the Robber Barons.
And in 1896, Alva Vanderbilt scandalized the 400 by divorcing William Kissam Vanderbilt on grounds of adultery. It was a shocking thing to do, and it threatened her social ruin. But not only did she push through with it against the advice of her lawyer (winning a $10 million settlement plus several mansions), but she was also determined to not let it break her position. This is the context for her choice to push her daughter Consuelo into a marriage with the Duke of Marlborough against Consuelo’s wishes. The marriage was such a massive social event that it enabled Alva to keep her dominant position in society. Alva’s divorce opened the door to the possibility of other divorces and within a year a number of other women among the 400 had divorced their husbands because their marriages had been miserable. Alva actually boasted about being a trailblazer for divorce.
So Ward McAllister’s death was not exactly the end of an age, but it was one of several signs that the cultural rules of the Gilded Age were beginning to collapse. Agnes van Rhijn would undoubtedly have had something very trenchant to say about it all.