wallpaper," Johnson once said.) Johnson was also inspired by the design of Mies van der Rohe's Farnsworth House. The Glass House contains a collection of Bauhaus items including furniture designed by Mies. Johnson is quoted as saying that his idea for Glass House grew from "a burnt wooden village I saw once where nothing was left but foundations and chimneys of brick." Mark Lamster, in his biography of Johnson The Man in the Glass House, notes that this was plausibly Johnson's attempt to "intentionally re-create the 'stirring spectacle' that was the burning of Jewish shtetls he had witnessed driving through Poland with the Wehrmacht". Historian Anthony Vidler went further stating that the Glass House could be read as "a Polish farmhouse 'purified' by the fire of war of everything but its architectural 'essence'". The pastoral landscape surrounding the buildings was designed by Johnson and Whitney, with manicured areas of gravel or grass, trees grouped in what Johnson called outdoor "vestibules", and with care taken in the shape of the slopes and curves of the ground. In part, the landscape was a reflection of a landscape painting, The Funeral of Phocion by School of Nicolas Poussin (circa 1648) placed in a seating area of Glass House. The view through the glass walls to the landscaped grounds was strikingly similar, as Johnson designed it to resemble Poussin's picture. The estate overlooks the valley of the small Rippowam River to the west (seen from the back of Glass House, past a grassy rise). To the north and south are sloping scenery that particularly mimic the painting. Johnson's rambling estate also includes 14 structures Johnson designed, including the "Brick House" (1949–1950), which serves as a guest house, the Pavilion on the Pond (1962), Painting Gallery (1965) with 20th-century American art, Sculpture Gallery (1970) with 20th-century American art, the Study (1980), the Ghost House (1982), the Kirstein Tower (1985) (named for Johnson's friend dance choreographer Lincoln Kirstein), and "Da Monsta" (1995). The collection of structures vary between rectangular and circular. The rectangularity of the Glass House itself is complemented with a circular brick fireplace. The Brick House, also rectangular, faces the Glass House, but a nearby concrete, circular sculpture by Donald Judd (untitled, 1971) and small circular pools on either side of it serve to soften the rectangular effect, although structures and objects throughout the estate are arranged to show patterns or repetitions of curves