The Banquet Hall tree has been a Biltmore Christmas tradition for 125 years.

The 35-foot-tall Fraser fir selected for the Banquet Hall each year is always the tallest tree inside Biltmore House. Adorned with hundreds of lights and ornaments, the towering tree is a beloved Yuletide symbol that was introduced during the first Christmas at Biltmore.

Preparing for the first Christmas at Biltmore

While George Vanderbilt moved into Biltmore House in October 1895, he didn’t formally open the house until Christmas Eve of that year. He invited his extended family from the north to a grand holiday housewarming party.

“Mr. Vanderbilt is to entertain in his chateau 300 guests from New York, who will arrive by special train. The scene of mirth and happiness which the yule-tide season will witness in this modern Aladdin’s palace will be the realization of even that lucky man’s wildest dreams…”
– Galveston Tribune as quoted by The Asheville Citizen Times*

Thanks to news articles and correspondence between George and his staff, we know that preparations for the big event were extensive and no detail was left unattended.

Managers debated which nearby county had the best holly and the most desirable mistletoe, while staff scouted the perfect candidate for what would become one of Biltmore’s most prominent holiday elements: the Banquet Hall Christmas tree.

Chauncey Beadle wrote estate manager Charles McNamee:
“I quite agree with you that we should have a very large tree for this occasion; in fact, I think a twenty foot tree in that large Banquet Hall would be rather dwarfed.”

Raising the Banquet Hall tree is a Christmas tradition at Biltmore

Christmas Eve 1895

On the evening of December 24, guests gathered in the Banquet Hall, which showcased the splendidly tall and beautifully decorated tree laden with gifts for estate workers. At the foot of the tree was a table piled high with family gifts.

“The Imperial Trio furnished music for the occasion, and the rich costumes of the ladies, the soft lights and the tastefully draped garlands of evergreen and mistletoe, interspersed with the shining leaves and red berries of the holly, created a beautiful scene to look upon.” 

– The Asheville News and Hotel Reporter, December 28, 1895

George’s mother, Maria Louisa Vanderbilt, attended as well as several of his brothers and sisters with their spouses and children.

One of George’s nieces, Gertrude, daughter of Cornelius and Alice Claypoole Vanderbilt, kept a series of Dinner Books recording of all the parties and formal dinners she attended. The first Christmas dinner at Biltmore was Gertrude’s 193rd event that year, listed in the second volume of her 1895 Dinner Book.

In her seating diagram for the occasion, she listed 27 Vanderbilt family members, including “Uncle George,” “Grandma,” and numerous aunts, uncles, and cousins.

A detailed seating chart of the first Christmas dinner at Biltmore House from the 1895 Dinner Book kept by Gertrude Vanderbilt Whitney**

The lofty holiday event was a Vanderbilt family reunion of sorts. It was said to have been the largest gathering of the family since the death of George’s father, William Henry Vanderbilt, almost ten years earlier.

Ultimately, 40 family members and close friends signed the Biltmore House Guest Book throughout the holiday season.

Christmas Day 1895

At the time, Biltmore’s full domestic staff had yet to be hired, though George had temporarily employed local men and women for service during the holidays. On Christmas Day, George invited the estate’s many temporary and permanent employees and their children to the first Biltmore employee Christmas Party.

Still a bachelor at the time, he enlisted the help of Mrs. Charles McNamee to purchase gifts for the guests. (Edith Vanderbilt enthusiastically assumed this role after she and George married in 1898.)

George greeted everyone in the Banquet Hall mid-afternoon, where family members helped distribute gifts.

We imagine that most of the employees and their children had never seen anything like the Banquet Hall tree. At the time, less than 20% of US families brought Christmas trees into their homes, much less such an oversized tree with electric lights and hundreds of presents wrapped beneath it.

A beribboned velvet ornament featuring the elegant Vanderbilt monogram

The tradition continues

George Vanderbilt’s hosting of family and employees at Christmas is a tradition that continued long after 1895. Local and national newspapers published accounts of seasonal celebrations at Biltmore almost every year. And every year, those celebrations took place in the Banquet Hall, next to the tallest Christmas tree in Biltmore House.

Make reservations now to visit during Christmas at Biltmore or Candlelight Christmas Evenings and experience the enchantment of this beloved Yuletide symbol.

*Sourced by an uncited newspaper from our Museum Services history files.

**Photo courtesy of Gertrude Vanderbilt Whitney papers, Archives of American Art, Smithsonian Institution. Whitney Museum of American Art, Gertrude Vanderbilt Whitney papers. Gift of Flora Miller Irving.

There’s no doubt that the unusual wall decor in the Halloween Room of Biltmore House has raised many questions throughout the years. Ongoing archival research and discoveries from our Museum Services team allow us to shed new light on the origins of this brightly-colored room.

Painted soldiers depicted in Halloween Room mural

Naming the Halloween Room

Witches, bats, and black cats don’t usually come to mind when you think of Biltmore, but deep in the basement of America’s Largest Home®, there’s a cavernous room with brick walls painted in brightly-colored murals depicting an array of such creatures.

The paintings include characters from folklore, a platoon of soldiers, and other imaginative imagery that eventually caused this area to be dubbed the “Halloween Room.”

For many years, the colorful murals remained a bit of a mystery, with some thought that the room was the scene of a 1920s Halloween weekend house party during which guests of John and Cornelia Cecil were invited to make their mark on the walls.

Subsequent research revealed, however, that the paintings were created in December 1925 to prepare the room for a New Year’s Eve celebration–but that still didn’t explain the slightly eerie tone of the murals.

Theatrical program for La Chauve-Souris

Uncovering the inspiration behind the murals

Our Museum Services team discovered an obscure connection between the scenes on the walls and an avant-garde Russian cabaret and theatrical troupe called La Chauve-Souris, which translates to The Bat.

The troupe toured America in the 1920s, performing on Broadway in 1922 and again in 1925. The vaudevillian comedic acts were set off by abstract sets designed by two Russian artists, Sergei Sudeikin and Nicolai Remisoff. The show met with great success, triggering a rage for all things Russian in New York City and beyond.

Leslie Klingner reviews an archival copy of the La Chauve-Souris program

The Cecils must have been fans of the cabaret as they and their friends created their own version of La Chauve-Souris on the basement walls of Biltmore House. Most of the murals were drawn directly from Remisoff and Sudeikin’s illustrations for the theatrical program. 

After three weeks of painting, the Cecils hosted a Bohemian ball on December 30, 1925, as part of their New Year’s celebration.

“This connection was really exciting to us because we didn’t expect it at all,” said Curator, Leslie Klingner. “It wasn’t until we read an autobiography of a local man who went to that party that we put it together.”

Painted scenes in the Halloween Room

“The best party I have ever attended”

The Charleston Daily Mail reported that 100 guests attended the Cecil’s New Year’s Eve festivities. One costumed attendee, local resident James G.K. McClure, recalled arriving in the basement of Biltmore with his wife Elizabeth, armed with a guitar and an old accordion, to find a room full of “cauldrons and pots and glowing fire … all around.” 

Enchanted by the unexpected theatrics, he wrote a detailed account of the holiday soiree to a friend, reminiscing that it was “the best party I have ever attended.”

Painted scenes in the Halloween Room

A new look inside the glamourous soiree

“We know that John and Cornelia Cecil were interested in many aspects of Russian culture, and Biltmore House wasn’t the only place Cornelia painted using these sorts of images. Combine that with their flair for entertaining, and you get what must have been the social event of the Asheville season,” shares Curator, Meghan Forest.

We also know that friends and family traveled from far and wide to attend the exciting soiree. Among the attendees were Cornelia’s recently remarried mother, Edith, and her second husband, Senator Peter Gerry from Rhode Island. Also present was John Cecil’s brother and his family from England.

According to Meghan, a recently discovered newspaper article also mentioned that Edith and Cornelia wore similarly styled costumes featuring bright colors, bouffant skirts, and brilliant shawls befitting the theme. “For a social event of this profile, they were likely wearing clothing that was custom-designed for them,” shares Meghan.

The article also stated that the nearby dressing rooms were used as private dining rooms for small groups, helping us better understand how the family and guests would have utilized the vast basement level of Biltmore House during this era.

Our Building Biltmore House exhibition explores the construction of George Vanderbilt’s magnificent home—a massive project that took hundreds of workers seven years to complete.

On display in the Halloween Room: Building Biltmore House

In addition to piquing the curiosity of our guests, the Halloween Room currently showcases our Building Biltmore House exhibition which features additional in-depth information about the people, circumstances, and innovations surrounding the building of George Vanderbilt’s magnificent estate.

Building Biltmore House also offers a special focus on the craftsmanship and labor of the employees who worked on the project rather than just the construction techniques.