|Location||Buncombe County, North Carolina, United States|
|Architect||Richard Morris Hunt (house)|
Frederick Law Olmsted (landscape)
|NRHP reference #||66000586|
|Added to NRHP||October 15, 1966|
Biltmore Estate is a historic house museum and tourist attraction in Asheville, North Carolina. Biltmore House, the main residence, is a Châteauesque-style mansion built for George Washington Vanderbilt II between 1889 and 1895 and is the largest privately owned house in the United States, at 178,926 square feet (16,622.8 m2) of floor space (135,280 square feet of living area). Still owned by George Vanderbilt's descendants, it remains one of the most prominent examples of Gilded Age mansions.
In the 1880s, at the height of the Gilded Age, George Washington Vanderbilt II began to make regular visits with his mother, Maria Louisa Kissam Vanderbilt, to the Asheville area. He loved the scenery and climate so much that he decided to build his own summer house in the area, which he called his "little mountain escape". His older brothers and sisters had built luxurious summer houses in places such as Newport, Rhode Island, and Hyde Park, New York. Vanderbilt named his estate Biltmore, derived from "De Bilt", Vanderbilt's ancestors' place of origin in the Netherlands, and "More", Anglo-Saxon for open, rolling land. Vanderbilt bought almost 700 parcels of land, including over 50 farms and at least five cemeteries; a portion of the estate was once the community of Shiloh.. A spokesperson for the estate said in 2017 that archives show much of the land "was in very poor condition, and many of the farmers and other landowners were glad to sell."
Construction of the house began in 1889. In order to facilitate such a large project, a woodworking factory and brick kiln, which produced 32,000 bricks a day, were built onsite, and a three-mile railroad spur was constructed to bring materials to the building site. Construction on the main house required the labor of about 1,000 workers and 60 stonemasons. Vanderbilt went on extensive trips overseas to purchase decor as construction on the house was in progress. He returned to North Carolina with thousands of furnishings for his newly built home including tapestries, hundreds of carpets, prints, linens, and decorative objects, all dating between the 15th century and the late 19th century. Among the few American-made items were the more practical oak drop-front desk, rocking chairs, a walnut grand piano, bronze candlesticks and a wicker wastebasket.
George Vanderbilt opened his opulent estate on Christmas Eve of 1895 to invited family and friends from across the country, who were encouraged to enjoy leisure and country pursuits. Notable guests to the estate over the years included author Edith Wharton, novelist Henry James, ambassadors Joseph Hodges Choate and Larz Anderson, and U. S. Presidents. George married Edith Stuyvesant Dresser in 1898 in Paris, France; their only child, Cornelia Stuyvesant Vanderbilt, was born at Biltmore in the Louis XV room in 1900, and grew up at the estate.
Driven by the impact of the newly imposed income taxes, and the fact that the estate was getting harder to manage economically, Vanderbilt initiated the sale of 87,000 acres (35,000 ha) to the federal government. After Vanderbilt's unexpected death in 1914 of complications from an emergency appendectomy, his widow completed the sale to carry out her husband's wish that the land remain unaltered, and that property became the nucleus of the Pisgah National Forest. Overwhelmed with running such a large estate, Edith began consolidating her interests and sold Biltmore Estate Industries in 1917 and Biltmore Village in 1921. Edith intermittently occupied the house, living in an apartment carved out of the former Bachelors' Wing, until the marriage of her daughter to John Francis Amherst Cecil in April 1924. The Cecils went on to have two sons who were born in the same room as their mother.
In an attempt to bolster the estate's financial situation during the Great Depression, Cornelia and her husband opened Biltmore to the public in March 1930 at the request of the City of Asheville, which hoped the attraction would revitalize the area with tourism. Biltmore closed during World War II and in 1942, 62 paintings and 17 sculptures were moved to the estate by train from the National Gallery of Art in Washington, D.C. to protect them in the event of an attack on the United States. The Music Room on the first floor was never finished, so it was used for storage until 1944, when the possibility of an attack became more remote. Among the works stored were the Gilbert Stuart portrait of George Washington and works by Rembrandt, Raphael, and Anthony van Dyck. David Finley, the gallery director, was a friend of Edith Vanderbilt and had stayed at the estate.
After the divorce of the Cecils in 1934, Cornelia left the estate never to return; however, John Cecil maintained his residence in the Bachelors' Wing until his death in 1954. Their eldest son, George Henry Vanderbilt Cecil, occupied rooms in the wing until 1956. At that point Biltmore House ceased to be a family residence and continued to be operated as a historic house museum.
Their younger son William A. V. Cecil, Sr. returned to the estate in the late 1950s and joined his brother to manage the estate when it was in financial trouble and make it a profitable and self-sustaining enterprise like his grandfather envisioned. He eventually inherited the estate upon the death of his mother, Cornelia, in 1976, while his brother, George, inherited the then more profitable dairy farm which was split off into Biltmore Farms. In 1995, while celebrating the 100th anniversary of the estate, Cecil turned over control of the company to his son, William A. V. Cecil, Jr. The Biltmore Company is privately held. Of the 4,306.86 acres that make up Biltmore Estate, only 1.36 acres are in the city limits of Asheville, and the Biltmore House is not part of any municipality.
After the death of William A. V. Cecil in October 2017 and his wife Mimi Cecil in November, their daughter Dini Pickering is serving as board chair and their son Bill Cecil as CEO. The house is assessed at $157.2 million, although due to an agricultural deferment, county property taxes are paid on only $79.1 million of that.
Vanderbilt commissioned prominent New York architect Richard Morris Hunt, who had previously designed houses for various Vanderbilt family members, to design the house in the Châteauesque style. Hunt used French Renaissance chateaus as inspiration. Vanderbilt and Hunt had visited several in early 1889, including Château de Blois, Chenonceau and Chambord in France and Waddesdon Manor in England. These estates shared steeply pitched roofs, turrets, and sculptural ornamentation. Hunt sited the four-story Indiana limestone-built home to face east with a 375-foot facade to fit into the mountainous topography behind. The facade is asymmetrically balanced with two projecting wings connecting to the entrance tower with an open loggia to the left side and a windowed arcade to the right, which holds the Winter Garden that was fashionable during the Victorian era. The entrance tower contains a series of windows with decorated jambs that extend from the front door to the most decorated dormer at Biltmore on the fourth floor. The carved decorations include trefoils, flowing tracery, rosettes, gargoyles, and at prominent lookouts, grotesques. The staircase is one of the more prominent features of the east facade, with its three-story, highly decorated winding balustrade with carved statues of St. Louis and Joan of Arc by the Austrian-born architectural sculptor Karl Bitter.
|Biltmore, 24:36, C-SPAN|
The south facade is the house's smallest and is dominated by three large dormers on the east side and a polygonal turret on the west side. An arbor is attached to the house and is accessed from the library which is located on the ground floor. On the north end of the house, Hunt placed the attached stables, carriage house and its courtyard to protect the house and gardens from the wind. The 12,000-square-foot complex housed Vanderbilt's prized driving horses and the carriage house opposite the stables stored his 20 carriages in addition to any of his guest's carriages.
The rear western elevation is less elaborate than the front facade, with some windows not having any decoration at all. Two matching polygonal towers in the center are connected to the polygonal south turret by an open loggia that opens the main rooms of the house to the views of the Blue Ridge Mountains in the distance. The loggia is decorated overhead with terracotta tiles set in a herringbone pattern. The self-supporting ceramic tile vault and arch system was used extensively inside and outside of Biltmore, and was patented by Rafael Guastavino, a Spanish architect and engineer who personally supervised the installation. The limestone columns were carved to reflect the sunlight in aesthetically pleasing and varied ways per Vanderbilt's wish. The rusticated base is a contrast to the smooth limestone used on the remainder of the house.
The steeply pitched roof is punctuated by 16 chimneys and covered with slate tiles that were affixed one by one. Each tile was drilled at the corners and wired onto the attic's steel infrastructure. Copper flashing was then installed at the junctions to prevent water from penetrating. The fanciful flashing on the ridge of the roof was embossed with George Vanderbilt's initials and motifs from his family crest, though the original gold leaf no longer survives.
Vanderbilt paid little attention to the family business or his own investments and it is believed that the construction and upkeep of Biltmore depleted much of his inheritance.
Biltmore has four acres of floor space and 250 rooms in the house, including 35 bedrooms for family and guests, 43 bathrooms, 65 fireplaces, three kitchens and 19th-century novelties such as electric elevators, forced-air heating, centrally controlled clocks, fire alarms, and a call-bell system. The principal rooms of the house are located on the ground floor. To the right of the marbled Entrance Hall, the octagonal sunken Winter Garden is surrounded by stone archways with a ceiling of architecturally sculptured wood and multifaceted glass. The centerpiece is a marble and bronze fountain sculpture titled Boy Stealing Geese created by Karl Bitter. On the walls just outside the Winter Garden are copies of the Parthenon frieze. The Banquet Hall is the largest room in the house, measuring 42 feet wide and 72 feet long, with a 70-foot-high barrel-vaulted ceiling. The table could seat 64 guests surrounded by rare Flemish tapestries and a triple fireplace that spans one end of the hall. On the opposite end of the hall is an organ gallery that houses a 1916 Skinner pipe organ. Left unfinished with bare brick walls, the Music Room was not completed and opened to the public until 1976. It showcases a mantle designed by Hunt, and a large engraving by Albrecht Dürer called the Triumphal Arch commissioned by Holy Roman Emperor Maximilian I. The mantle had been stored in the stable for over 80 years.
To the left of the entrance hall is the 90-foot-long Tapestry Gallery, which leads to the Library, featuring three 16th-century tapestries representing The Triumph of Virtue Over Vice. Elsewhere on the walls are family portraits by John Singer Sargent, Giovanni Boldini and James Whistler. The two-story Library contains over 10,000 volumes in eight languages, reflecting George Vanderbilt's broad interests in classic literature as well as works on art, history, architecture, and gardening. The second-floor balcony is accessed by an ornate walnut spiral staircase. The baroque detailing of the room is enhanced by the rich walnut paneling and the ceiling painting, The Chariot of Aurora, brought to Biltmore by Vanderbilt from the Palazzo Pisani Moretta in Venice, Italy. The painting by Giovanni Antonio Pellegrini is the most important work by the artist still in existence.
The second floor is accessed by the cantilevered Grand Staircase of 107 steps spiraling around a four-story, wrought-iron chandelier holding 72 light bulbs. The Second Floor Living Hall is an extension of the grand staircase as a formal hall and portrait gallery, and was restored to its original configuration in 2013. Several large-scale masterpieces are displayed in the hall, including two John Singer Sargent portraits of Biltmore's architect, Richard Morris Hunt, and landscaper, Frederick Law Olmsted, both commissioned for the home by Vanderbilt. Located nearby in the south tower is George Vanderbilt's gilded bedroom with furniture designed by Hunt. His bedroom connects to his wife's Louis XV-style, oval-shaped bedroom in the north tower through a Jacobean carved oak paneled sitting room with an intricate ceiling.
The suite of rooms includes the Damask Room; the Claude Room, named after one of Vanderbilt's favorite artists, Claude Lorrain; the Tyrolean Chimney Room; and the most grand, the Louis XV Room, so named due to its architectural scheme and furnishings that were very popular in the late nineteenth century. The suite was restored and opened to the public for the first time in 100 years in 2011.
Third and fourth floors
The third floor has a number of guest rooms with names that describe the furnishing or artist that they were decorated with. The fourth floor has 21 bedrooms that were inhabited by housemaids, laundresses, and other female servants. Also included on the fourth floor is an Observatory with a circular staircase that leads to a wrought iron balcony with doorways to the rooftop where Vanderbilt could view his estate. Male servants were not housed here, however, but instead resided in rooms above the stable and complex.
The Billiard Room is decorated with an ornamental plaster ceiling and rich oak paneling and was equipped with both a custom-made pool table and a carom table (table without pockets). The room was mainly frequented by men, but ladies were welcome to enter as well. Secret door panels on either side of the fireplace led to the private quarters of the Bachelors' Wing where female guests and staff members were not allowed. The wing includes the Smoking Room, which was fashionable for country houses, and the Gun Room, which held mounted trophies and displayed George Vanderbilt's gun collection.
The basement level featured activity rooms including an indoor 70,000-gallon (265,000-litre and 265-cubic meter) heated swimming pool with underwater lighting, a bowling alley, and a gymnasium with once state-of-the-art fitness equipment. The service hub of the house is also found in the largest basement in the US, as the location for the main kitchen, pastry kitchen, rotisserie kitchen, walk-in refrigerators that provided an early form of mechanical refrigeration, the servants' dining hall, laundry rooms and additional bedrooms for staff.
Park and landscape
Vanderbilt envisioned a park-like setting for his home and employed landscape architect Frederick Law Olmsted to design the grounds. Olmsted was not impressed with the condition of the 125,000 acres (195 sq mi; 510 km2) and advised for a park surrounding the house, establishing farms along the river and replanting the rest as a commercial timber forest, a plan to which Vanderbilt agreed. Gifford Pinchot and later Carl A. Schenck were hired to manage the forests, with Schenck establishing the first forestry education program in the U.S., the Biltmore Forest School, on the estate grounds in 1898.
Another important aspect of the landscaping was the intentionally rustic three-mile (5 km) Approach Road that began at the brick quoined and pebbledash stucco Lodge Gate at the edge of Biltmore Village, and ended at the sphinx-topped stone pillars at the Esplanade. In between, the lane was densely filled with natural and uncultivated looking foliage and shrubbery to provide a relaxing journey for guests. Olmsted made sure to incorporate 75 acres (30 ha) of formal gardens that had been requested by Vanderbilt for the grounds directly surrounding the house. He constructed an Italian formal garden, a walled garden, a shrub and rose garden, fountains, and a conservatory with individual rooms for palms and orchids. There was also a bowling green, an outdoor tea room, and a terrace to incorporate the European statuary that Vanderbilt had brought back from his travels. At the opposite end of the Esplanade is the Rampe Douce, a graduated stairway zigzagging along a rough-cut limestone wall that leads to the grassy slope known as the Vista, topped with a statue of Diana, the goddess of the hunt.
Water features were an important aspect of Victorian landscaping and Olmsted incorporated two for the estate: the Bass Pond created from an old creek-fed millpond and the Lagoon. Each was used for guest recreation like fishing and rowing. To supply water for the estate, Olmsted engineered two reservoirs. One was a spring-fed man-made lake on nearby Busbee Mountain. The other was a man-made, brick-lined reservoir, located behind the statue of Diana in the Vista, at an elevation of approximately 266 feet above the Esplanade.
Vanderbilt's idea was to replicate the working estates of Europe. He asked Hunt and Olmsted to design a village with architecturally compatible buildings and picturesque landscaping as a source of income through building rental, a place to help carry out philanthropic programs, and an easy point of access between the estate and the train station. The result was Biltmore Village. The village included rental cottages complete with plumbing and central heating, a post office, shops, doctor's office, school, and a church, known today as the Cathedral of All Souls. Intending that the estate could be self-supporting, Vanderbilt set up scientific forestry programs, poultry farms, cattle farms, hog farms, and a dairy. His wife, Edith, also enthusiastically supported agricultural reform and promoted the establishment of a state agricultural fair. In 1901, the Vanderbilts provided financial assistance to Biltmore Industries, started by Biltmore Village resident Eleanor Vance, which taught young people how to make hand-carved furniture, woven baskets, homespun wool fabric, and more.
The estate today covers approximately 8,000 acres (13 sq mi; 32 km2) and is split in half by the French Broad River. The estate is overseen by The Biltmore Company, a trust set up by the family. The company is a large enterprise that is one of the largest employers in the Asheville area. Restaurants were opened in 1979 and 1987 as well as four gifts shops in 1993. The former dairy barn was converted into the Biltmore Winery in 1985. The 210-room Inn on Biltmore Estate opened in 2001, and in 2010, the estate opened Antler Hill Village, as well as a remodeled winery, and connected farmyard.
In other media
The grounds and buildings of Biltmore Estate have appeared in a number of major motion pictures and TV series:
- Tap Roots (1948)
- The Swan (1956)
- The Pruitts of Southampton (1966)
- Being There (1979)
- The Private Eyes (1980)
- A Breed Apart (1984)
- Mr. Destiny (1990)
- The Last of the Mohicans (1992)
- Forrest Gump (1994)
- Richie Rich (1994)
- My Fellow Americans (1996)
- Patch Adams (1998)
- Return to the Secret Garden (2000)
- Hannibal (2001)
- One Tree Hill (2003)
- The Clearing (2004)
- The Odd Life of Timothy Green (2012)
- Hannibal (2015)
- List of Gilded Age mansions
- List of largest houses in the United States
- List of National Historic Landmarks in North Carolina
- National Register of Historic Places listings in Buncombe County, North Carolina
- Richard Sharp Smith
- National Park Service (2006-03-15). "National Register Information System". National Register of Historic Places. National Park Service.
- Buncombe County Tax Records, http://www.buncombetax.org/, Parcel ID 9637-94-40-00000, Residential Building 22 (mansion) and Commercial Building 9 (attached stable); see also http://www.biltmore.com/visit/house_gardens/house/faq.asp
- Sullivan, Mary Ann. "Biltmore Estate". Retrieved December 12, 2014.
- "When Pearson's Store disappeared". Asheville Citizen-Times. November 6, 2016. p. D6.
- Boyle, John (June 7, 2017). "Answer Man: Cemeteries on Biltmore Estate? Who lived there before Vanderbilts?". Asheville Citizen-Times. Retrieved June 7, 2017.
- "Biltmore House". Retrieved December 12, 2014.
- Chase, Nan K. Asheville: A History, (2007): 69–70.
- Hansley, Richard (2011). Asheville's Historic Architecture, pp. 151–152. The History Press.
- Kiss, Tony (February 16, 2014). "Biltmore Estate hid precious art during World War II". Asheville Citizen-Times.
- Boyle, John (December 25, 2017). "How will Biltmore Estate handle the transition to new owners?". Asheville Citizen-Times. Retrieved December 25, 2017.
- 2017 Buncombe County property and tax records
- "National Historic Landmark designation illustrates U.S. heritage". biltmore.com.
- Carley, Rachel. Biltmore: An American Masterpiece, (2012).
- "Biltmore". C-SPAN. March 19, 2018. Retrieved June 3, 2018.
- Dagmi, Jane. "The Biltmore Estate: A Brief Architectural Tour". Bob Vila. Retrieved December 2, 2014.
- Motsinger, Carol (January 9, 2015). "Downton Abbey is on fire". Asheville Citizen-Times. p. T12.
- "A Tour Through Biltmore Estate". FunTrivia. Retrieved December 2, 2014.
- Henion, Leigh Ann (December 2009). "Biltmore: Behind the Scenes". National Trust for Historic Preservation. Retrieved December 2, 2014.
- Steele, Bruce (September 6, 2013). "Biltmore House renovation restores historic hallway". USA Today. Retrieved December 2, 2014.
- Poupore, Darren (February 8, 2011). "New Suite of Rooms Now Open". Open House Official Blog of Biltmore. Retrieved December 2, 2014.
- Clark McKendree, Sue. "A Technological Tour of the Biltmore Estate". Retrieved December 15, 2014.
- Alexander, Bill (2008). Around Biltmore Village. Charleson: Arcadia Publishing. p. 7. ISBN 978-0-7385-6853-9.
- "Archived copy". Archived from the original on 2008-03-27. Retrieved 2008-03-12.CS1 maint: Archived copy as title (link) Cathedral of All Souls: History
- Rickman, Ellen Erwin (2005). Biltmore Estate. Charleston: Arcadia Publishing. p. 70. ISBN 978-0-7385-1749-0.
- "SERAFINA AND THE BLACK CLOAK". Kirkus Review. 15 April 2015. Retrieved 25 January 2018.
- Hewitt, Mark Alan: The Architect & the American Country House. Yale University Press: New Haven & London 1990, pp. 1–10.
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