Boucheron Masterpiece: Recreating Edith’s Brooch

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To create A Vanderbilt House Party, our Museum Services team worked with designer John Bright and his team at Cosprop, London, to recreate clothing and a vital piece of George and Edith’s ensembles from their engagement portraits: the diamond and ruby brooch George gave to her as an engagement gift.

Our team decided that the elaborate piece simply had to be recreated in order to truly capture Edith’s look in the portrait.

Place Vendôme in Paris, site of the Boucheron flagship store, ca. 1890–1900

Place Vendôme in Paris, site of the Boucheron flagship store, ca. 1890–1900

First Things First

The first step for our team was to determine the jeweler that crafted Edith’s original brooch, which was part of a set that also included a choker necklace and tiara. One of our curators had a hunch that the piece resembled the work of Boucheron, a high-end French jewelry house established in 1858.

Boucheron’s company archivist was able to confirm that they indeed had a receipt of George Vanderbilt having purchased the set on May 7, 1898—just after his and Edith’s April engagement and prior to their June wedding.

Luckily, Boucheron was also able to share with us the original 1898 photo of brooch from their archives, which turned out to be an incredibly helpful reference in the recreation of the piece.

Place Vendôme in Paris, site of the Boucheron flagship store, ca. 1890–1900

Left: Edith‘s engagement portrait, 1898; Right: archival catalog photo of the original brooch (Courtesy of Boucheron Heritage Department)

A Master Artisan

John Bright and the Cosprop team recommended artisan Martin Adams for the job. Martin specializes in making jewelry and jewelry-related props, including crowns, tiaras, regalia, and the like.

In his 43 years of prop-making, Martin has worked on countless notable movie, television, and theater productions, including Game of Thrones, Harry Potter, Titanic, The Crown, Downton Abbey, Hamilton, and the list truly just goes on and on.

Given the high demand and prestige of Martin’s work, our team considered themselves fortunate that he undertook recreating Edith’s brooch—and that he gave it such time.

Early sketch of the recreated brooch’s frame (Courtesy of Martin Adams)

Early sketch of the recreated brooch’s frame (Courtesy of Martin Adams)

The Recreation Begins

We supplied him with Boucheron’s archival photo of the brooch, which captured its fine details, as well as our photos of Edith wearing it, which showed the brooch from various angles, displaying its depth.

But in order to determine the actual size of the piece, the Cosprop team made photographic cut-outs of the brooch in various scales—under Martin’s direction—to see which size appeared to be most accurate against the backdrop of Edith’s gown as it, too, was being recreated.

Comparing the archival photo of the original with an early trial stage of construction (Courtesy of Martin Adams)

Comparing the archival photo of the original with an early trial stage of construction (Courtesy of Martin Adams)

Martin then set to work on the frame of the piece, which he pierced from flat sheet copper. He filed the copper to give it steeply sloping sides, which gives the appearance of being delicate, while still maintaining its strength. The whole frame was them gently hammered over a dome-shaped block to give the brooch the correct dimension and depth.

Struggles with Stones

With the exception of two stones, all of the diamonds in the original brooch were boat-shaped stones, known as a marquise or navette cut. Martin estimated that the piece’s 46 diamonds were in five different sizes—from 6mm long (just under a quarter of an inch) to 14mm long (a bit more than half an inch).

He chose to use cubic zirconia which, particularly for a piece that will be viewed closely, would provide a much better representation of diamonds than would foil-backed stones, which are commonly found in costume jewelry.

Both the largest and smallest stone-mounts used in the recreation (Courtesy of Martin Adams)

Both the largest and smallest stone-mounts used in the recreation (Courtesy of Martin Adams)

As for the rubies, Martin obtained samples of the richest red stones available, including red cubic zirconia, synthetic rubies, and red paste stones—but none of them had deep enough color. He finally found just enough rich red Swarovski stones in the four main sizes he needed.

However, Martin had to settle for using a synthetic ruby as the massive cushion-shaped stone in the center. Although to the trained eye the stone may appear a slightly lighter shade than the rest, he simply could not find a better alternative to fit the size.

Comparing the accuracy of the custom-made mounts (left) with pre-made mounts (right) (Courtesy of Martin Adams)

Comparing the accuracy of the custom-made mounts (left) with pre-made mounts (right) (Courtesy of Martin Adams)

And Struggles with Stone-Mounts

After a few failed attempts using ready-made stone-mounts, Martin realized he needed to make the mounts from scratch in order for the piece to be as authentically recreate Edith’s brooch.

This required him to make 10 different mount models—the main body of the brooch consists of five different stone-mount sizes, there are four different joint mounts, and one mount just for the central stone. He used the models to make molds, from which he then cast each of the mounts.

Martin’s final challenge was to grind down and polish the 14 “diamond” wafers for the pendant sections, as nothing like this was available to buy.

He then set all of the stones in their mounts individually. And after upwards of 200 hours of work, the brooch was complete.

the recreated brooch

The completed recreation of Edith Vanderbilt’s Boucheron brooch

The Finished Piece

“This turned out to be one of the most complicated and time-greedy jobs I have ever done,” said Martin. “It has also been one of the most rewarding.”

From start to finish, the entire process took nearly 8 months and the final result is nothing short of stunning. Having a recreation of this quality allows us to tell more of the Vanderbilts’ romance and courtship story through a tangible, exceptionally beautiful object.

We are overjoyed that it is now part of Biltmore’s permanent collection. The brooch is on display in the Tapestry Gallery of Biltmore House now through May 27 as part of our A Vanderbilt House Party exhibition.

Meet the Staff: A Look at Servant Life at Biltmore

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In addition to boasting the latest and greatest in technology, Biltmore Estate required an exceptional team of domestic staff, also referred to as “domestic servants,” to ensure the house operated like a well-oiled machine.

How many domestic staff members would have worked in Biltmore House during George Vanderbilt’s era and what types of roles would they have held? Continue reading to find out!

Vignette of Mrs. King and Edith Vanderbilt in the Oak Sitting Room as displayed in the 2019 exhibtion,
Vignette of Mrs. King and Edith Vanderbilt in the Oak Sitting Room as displayed in the 2019 exhibition, “A Vanderbilt House Party.”

Staffing America’s Largest Home

In the days when George, Edith, and Cornelia Vanderbilt resided at Biltmore, they employed up to 40 staff members who each played a crucial role in the day-to-day operations of the house and stable. With large house parties of guests coming and going throughout the year, Biltmore functioned more like a luxury hotel than it did a house. As soon as guests arrived on the estate, the domestic staff ensured that each of their needs were met.

George Vanderbilt not only provided room, board, and uniforms to his staff, but he also compensated his employees with New York wages, a substantially higher rate than the Asheville standard. Staff wages could be up to $2 for higher-ranking staff, which is substantial given that a week of room and board typically cost $2.50.

Demographically speaking, the domestic staff was majority female. While many of the servants were native North Carolinians, there were also a number of employees from around the globe including an English Head Housekeeper, a French cook, a Swedish laundress, and an Irish Butler.

Higher Ranking Domestic Staff

The domestic staff members were classified into two groups: upper and lower staff. The higher the ranking, the more defined the responsibilities of their role. While each member of the staff provided invaluable service to the Vanderbilts, there were a few upper roles that maintained the standard of service and hospitality for which Biltmore is renowned.

Mrs. King wardrobe recreation as displayed during
The wardrobe of Biltmore’s Head Housekeeper was recreated for the exhibition A Vanderbilt House Party – The Gilded Age (which was on display in 2019. The detailed recreation included a chatelaine (an accessory used to carry keys) the Head Housekeeper would wear at all times.

HEAD HOUSEKEEPER

  • At Biltmore, the Head Housekeeper was among the highest-ranking staff members and the chief female servant. She reported directly to Edith Vanderbilt at Biltmore.
  • Whether single or married, the Head Housekeeper was always addressed as “Mrs.” out of respect.
  • The Head Housekeeper supervised all lower-ranking female staff, with the exception of the Chef’s kitchen staff.
  • She oversaw the cleaning of the house, household inventory, and held keys to the storerooms, pantries, china closet, and still room.
  • The Head Housekeeper typically dressed in a black dress.
  • Read more about Emily King, one of Biltmore’s first housekeepers.

BUTLER

  • As the highest-ranking male staff member in Biltmore, the Butler was responsible for all lower-ranking manservants.
  • His primary responsibility was to ensure that Mr. and Mrs. Vanderbilt and their guests were seamlessly served three meals daily, as well as afternoon tea.
  • The Butler was also tasked with maintaining  the family china, crystal, and silver (which was stored in the aptly named Butler’s Pantry)
  • Other duties of the Butler: creating floral arrangements; overseeing the storage, decanting, and serving of wine; maintaining the clocks; greeting guests upon arrival; and assisting with the departures and return of Mr. and Mrs. Vanderbilt, as well as their guests.
  • The Butler’s livery was formal and often included a coat with tails and multiple monogrammed buttons.
An archival photograph of Edith Vanderbilt’s Lady’s Maid Martha Laube. Photograph courtesy of A. Babette Schmid Schmaus.
An archival photograph of Edith Vanderbilt’s Lady’s Maid Martha Laube. Photograph courtesy of A. Babette Schmid Schmaus.

LADY’S MAID

  • The Lady’s Maid served as a personal companion to Edith and/or Cornelia Vanderbilt.
  • The Lady’s Maid traveled with her mistress and managed her correspondence, and she was also responsible for dressing her mistress and combing her hair.
  • The lady’s maid was also expected to be quite skilled at sewing, as her responsibilities included mending and packing Mrs. Vanderbilt and Cornelia’s clothing.
  • Instead of a uniform, the Lady’s Maid wore dresses gifted or no longer worn by her mistress, which was regarded as a privilege.
  • The lady’s maid was referred to by her last name.
Recreation of clothing worn by George Vanderbilt’s valet as it was displayed in
Recreation of clothing worn by George Vanderbilt’s valet as it was displayed in “A Vanderbilt House Party” exhibition in 2019. Over his arm is a driving duster, as if he is assisting George prepare for a drive across his estate.

VALET

  • The valet was one of the older and more experienced members of the male staff (typically in his 30s) who reported directly to George Vanderbilt.
  • The valet traveled with George Vanderbilt and attended social functions and events with him.
  • His responsibilities included making travel arrangements for George Vanderbilt. (Mr. Vanderbilt would travel first class, while his valet traveled in second.)
  • The valet would be familiar with foreign languages, and be an expert of fishing and hunting to assist Mr. Vanderbilt.
  • He did not wear a uniform and, like the lady’s maid, he was addressed by his last name.
  • Read more about George Vanderbilt’s personal valet here.

The Construction of Biltmore House, Part 2

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We continue a look into Biltmore’s photo archives to see more of the construction of Biltmore House. See part 1 here.

Above is a view of the East Elevation from the Vista, 1893

East Facade 1893
Entrance Hall 1893

East Façade and Esplanade looking west, 1893
Bad weather caused problems and delays during construction. Subfreezing weather halted masonry work, as mortar would not set. Spring rains flooded the clay pits along the river, stopping the production of bricks.
 
Entrance Hall and Winter Garden looking south, 1893
The Winter Garden is the hub from which the rooms of the main floor radiate. It creates an “all weather” interior courtyard. Particularly in winter, the lush, subtropical plants provide a green, inviting refuge from the cold and sometimes snowy world beyond Biltmore House’s walls.

Base of Staircase 1894

East Façade, Base of Staircase and Library Wing Looking West, 1894
Stone carvers typically finished ornamental work after rough stone had been set in the wall. The workman standing on the plinth on the Stair Tower provides a sense of scale. 

Biltmore House 1894
Stable Complex 1894

Biltmore House looking southwest, March 10, 1894
After more than four years of construction, the outline of Biltmore House is apparent. In the foreground, the lower story of the Porte Cochere’s tower nears completion along with the curving interior wall of the Stable Courtyard. Note the scaffolding on the Porte Cochere’s dormers where carved ornament is being finished. The steel trusses will support the roof’s slates and copper ornament when completed. In the distance, the South Terrace (with Pergola below) appears finished. 
 
Stable Complex, 1894

East Facade 1894

East Façade looking west, 1894
This photo reveals considerable activity on the Esplanade, perhaps due to the deadline for finishing Biltmore House by the end of the following year. The Library and the Bachelors’ Wing appear nearly complete, but much work still needs to be done on the Main Entrance, Grand Staircase, and the main roof running down the center of the structure.

East Facade December 1894

Construction on the east elevation of Biltmore House, including Staircase Tower, 1894 
 
East Façade looking west, December 15, 1894
Biltmore House is nearing completion. The left side of the Esplanade has been cleared and graded, and excavation of the central fountain has begun. The stone carvers remain busy, however, finishing the ornamentation on the exterior walls of the Grand Staircase.

The Construction of Biltmore House

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Seeing the majestic appearance of Biltmore House today, you almost believe it was always part of the landscape. In reality, it was a monumental construction project as these photos from the Biltmore archives show in the first of two blog posts.

Workers commuting to Biltmore House 1890

The House Site viewed from the top of the Rampe Douce, 1889
The photo above shows that Biltmore House was sited on the lower slope of Lone Pine Mountain, near the spot where George Vanderbilt had paused in 1888 to admire the view across the French Broad Valley westward towards Mt. Pisgah. Landscape architect Frederick Law Olmsted determined the orientation of the house, intending to maximize “the good distant outlook.” 
  
Workers Commuting to Biltmore House, 1890
Workers constructed a temporary railroad spur from Biltmore Village (where it joined the main line of the Southern Railroad) to the building site. The railroad brought construction materials from the village. Each morning and evening the train also provided transportation. The stone carvers, aristocrats of the labor force, rode in borrowed passenger cars. The rest of the workers sat on supplies and construction equipment in the open freight cars. Although the rail spur was dismantled when construction was finished, remnants of at least one trestle are still visible and may be seen on the Behind-the-Scenes Legacy of the Land Tour.

Approach Road construction workers

Workmen on the Approach Road with Chauncey Beadle, Frederick Law Olmsted, and George Vanderbilt, 1891

Foundation construction 1891

On the front row, far right, are shown Chauncey Beadle, hired in 1890 to oversee the estate’s nursery; landscape architect Frederick Law Olmsted; and George Vanderbilt. In this photograph one is struck by fascinating details that reflect the lives and labor of the men involved in building the great Approach Road—such as the road crew’s lunch pails on top of the masonry wall. The Approach Road remains one of Olmsted’s enduring masterpieces. He wanted visitors to encounter a variety of plants along the sides of the road as one would see “paintings on the walls of a gallery.” The road was to be a wide corridor, with plants carefully graduated: low shrubs nearest the road, then higher shrubs, followed by low spreading trees, then higher growing pines and hardwoods. Olmsted intended “this arrangement …[to be] irregular, of course, with some caprice.”
 
Foundation of the western wall of the South Terrace looking south, 1891
Rough-hewn limestone for the foundations was delivered to the site by rail, and then moved by hand-cranked, geared hoists. Work began with the walls of Olmsted’s Bowling Green—today the South Terrace—which provided a place to deposit earth excavated from other foundations. The construction of the Bowling Green also offered an opportunity to test the organization of work crews and the procedures that would be used once work began on the house.

Rampe Douce 1892
Shrub Garden 1892

View of the Rampe Douce and Vista with construction sheds and train in foreground, Ca. 1892
 
 
The Shrub Garden, or Ramble (left), and Esplanade (right), looking west, 1892
As this photograph reveals, the Esplanade in front of Biltmore House served as the work yard for all construction activities. Note the sheds and yards of the stonecutters and woodworkers; piles of stone, sand, wood, brick, and tile; and the tracks of the railroad. 

Biltmore construction supervisors 1892
Stonemasons' shed 1892

The Supervisors, 1892
Represented in this image are on-site contractors and supervisors. The supervising architect from Richard Morris Hunt’s office, Richard Sharp Smith, appears second from right. Others include F.M. Weeks, chief contractor, and W.A. Thompson, chief engineer. Smith designed many of the houses and cottages on the estate and in Biltmore Village. After the completion of Biltmore House, he left the Hunt firm and established his own architectural practice in Asheville. For the next 30 years, Smith designed many private homes and public buildings in Asheville and Western North Carolina.
Stonemasons’ shed on Esplanade, 1892

Workers and steam engine 1892

Workers and a Baldwin steam engine on the Esplanade, 1892

Walled Garden 1893

Pre-existing Homestead (foreground), the Gardener’s Cottage and Walled Garden (middle), and the foundations of the Bowling Green and Residence looking northwest (background), February 25, 1893
Here a complex of hewn-log farm buildings occupies the foreground, with the Gardener’s Cottage behind. The latter was the first building to be completed on the estate. This reflected the importance placed by both Richard Morris Hunt and Frederick Law Olmsted on beginning the massive task of planting the landscape to hide the scars of construction. The Walled Garden appears nearly complete, while Biltmore House rises on the hill beyond.

See more archival photos in part 2 of our construction blog.
 

Remembering the 1898 April Engagement of George Vanderbilt and Edith Stuyvesant Dresser

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In celebration of the April 1898 engagement of George Vanderbilt and Edith Stuyvesant Dresser, we ask an important question: what would you wear for a portrait commemorating your engagement to America’s most eligible bachelor? 

Archival portrait of Edith Vanderbilt

For Edith, the choice was a beautiful blue velvet gown—the perfect backdrop for a diamond and ruby brooch she received from her fiancé as an engagement gift.

During the exhibition A Vanderbilt House Party – The Gilded Age, see not only a stunning re-creation of Edith’s gown, but also a replica of her exquisite brooch—part of a set of jewelry that also included a tiara and necklace. 

The groom-to-be also appears in the Tapestry Gallery of Biltmore House, stylishly attired in a formal evening suit befitting the man labeled “Cupid’s richest captive” in newspapers around the country. Vanderbilt’s engagement was a hot topic for the papers; in the U.S. alone, more than 60 articles were published about his forthcoming wedding. 

While George Vanderbilt drew much public interest, his bride-to-be was mostly unknown outside New York and Newport society. So how did this relationship blossom? 

It’s likely the couple met through George’s match-making relatives. Edith—a decade younger than her future husband—was friends with several of his sisters and nieces. She and her sisters were living in Paris after the death of their parents and grandparents, and it was in Paris and London where Edith and George renewed their acquaintance and embarked on a transatlantic courtship. 

The news of the engagement was welcomed by friends, including the author Paul Leicester Ford, who wrote to George:  
“My dear George,
I am very glad. Marriage is quite good enough for you, and is one of the few really fine things you haven’t had in your life. I wish I knew Miss Dresser better, but the mere glimpse I had of her was enough to make me like her, and time will perhaps fulfill my wish. That you both have my every felicitation, and hope for your happiness, need not be said…..It is a pleasure to me to think of you as having this great happiness added to your life. But in the big love, save a little if you can, for your affectionate friend
Paul.”

Re-creation of Edith Vanderbilt engagement dress

Chauncey M. Depew, who served as New York Secretary of State and president of the New York Central Railway, was a family friend who had known George Vanderbilt all his life. On May 13, 1898, he wrote:
“My Dear George,
Accept my cordial congratulations on your engagement. Possessing as you do every thing to make a happy home, and Miss Dresser so charmingly forming the complement. Surely the future is (illegible) secure for married life as the fates have arranged it for you…
Faithfully yours,
Chauncey M. Depew”

Just three months after their engagement was announced, Edith Stuyvesant Dresser and George Vanderbilt wed in Paris with family and close friends attending. After an extended European honeymoon, the newlyweds arrived at Biltmore in October 1898, and Edith Vanderbilt began a new role as hostess of Biltmore.

Learn more about how the Vanderbilts entertained at A Vanderbilt House Party –The Gilded Age continuing through May 27, 2019.

Photos

Main image: Re-creation of Edith Stuyvesant Dresser‘s engagement gown by Cosprop Ltd. of London, shown with George Vanderbilt evening clothing from the Cosprop collection.

Right: Edith Stuyvesant Dresser‘s engagement portrait, 1898.

Left: Close-up of re-creation of Edith Stuyvesant Dresser‘s engagement dress, headpiece, and brooch.

Behind the Scenes of A Vanderbilt House Party

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Please enjoy this archived content from our 2019 exhibition.

In anticipation of A Vanderbilt House Party – The Gilded Age exhibition, we asked our Museum Services team to chat about what it took to recreate clothing from the Vanderbilts’ original wardrobes.

1. Why recreate these pieces of clothing for A Vanderbilt House Party? Are the original pieces not in the Biltmore collection?

While we are lucky to have some of the Vanderbilts’ original clothing in the collection, textiles are, by their very nature, fragile and not easily retained. Recreating these pieces that were captured in archival photography allows us to show what the family and their friends wore at the turn of the century.

Fashion also conveys so many details—about personal style and social mores. We are excited about the opportunity to show recreations of clothing from this era against the colors, textures, and impressive scale of Biltmore’s original historic interiors.

Our curators consulted more than 100 photographs drawn from our archives to accurately recreate the clothing, accessories, and hairstyles worn by the Vanderbilt family.

2. How did you decide what colors to use from black and white photos?

This was one of the more complex and more fun parts of the process. We looked closely at archival imagery and did quite a bit of research into what the Vanderbilts were wearing, paying particular attention to colors and fabrics that were mentioned in newspaper articles or journals.

We also looked at receipts and any information we had in the archives. We know that Edith favored certain colors like greens and metallics and we even have some samples of suiting fabrics for George Vanderbilt that helped guide our decisions.

Celebrated costume designer John Bright drew from his own collection of antique lace and trimming in order to recreate Edith Vanderbilt’s gowns with the utmost authenticity.

3. In addition to the archival photos, what else helped to inform these recreations? 

We also looked at historic examples of work by the same fashion designers that the Vanderbilts favored—like Jeanne Paquin and Jacques Doucet as well as the House of Worth. There are many related pieces in museum collections like the Metropolitan Museum in New York and the V&A in London.

Ultimately, we conferred with the designer John Bright of Cosprop, London, and his team, who are all very knowledgeable about clothing in this period. They’ve created costumes for Downton Abbey, Gosford Park, and other productions focused on this era.

This velvet and ostrich feather headpiece is a recreation of that which Edith Stuyvesant Dresser wore in the 1898 photographs marking her engagement to George Vanderbilt.

4. From start to finish, what was involved in this process?

After researching color and tonal range, we worked with the Cosprop team to select fabrics. Then, John walked us through his recommendations on constructing the garments. We were able to determine sizing based on additional archival documents—like the Vanderbilts’ passports, for instance.

Throughout the process, samples and correspondence were sent back and forth between Biltmore and Cosprop’s team in London. Eventually, the completed garments were shipped to us. Each item was then photographed, documented, and numbered before being put on the mannequins.

We have sourced authentic shoes, jewelry, and accessories to make sure every detail is just right. We even worked with a local jeweler to make exact reproductions of the buttons on the footmen’s jackets and vests!

 One of the most complicated projects of the exhibition was the recreation of a House of Worth gown worn by George Vanderbilt’s sister, Florence Vanderbilt Twombly.

5. What do you hope guests take away from the A Vanderbilt House Party exhibition?

We’re not sure there has ever been another exhibition created anywhere that is quite like this one. It is bringing to life what it was like to be a guest at Biltmore.

We think it’s a special opportunity to get an insider’s view on entertaining at the turn of the century—and to learn not only more about the Vanderbilt family and the fashion of the time period, but also the stories and the people behind Biltmore.

To us, the lives of the staff and guests who visited are equally fascinating. This is the first opportunity to see this very special side of Biltmore’s history and we can’t wait to share it.

A Vanderbilt House Party – The Gilded Age premiered February 8 and ran through May 27, 2019.

Holiday Gingerbread at The Inn on Biltmore Estate

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This gingerbread creation was on display during Christmas at Biltmore in 2018.

Please enjoy this archived content.

To celebrate Christmas at Biltmore, we deck the halls of America’s Largest Home®, place thousands of twinkling lights in Antler Hill Village, and turn the ceiling of our Winery into a dazzling burst of ornamental bubbles that resemble a glass of sparkling wine. And then there’s the gingerbread.

Holiday gingerbread tradition

Each year, The Inn on Biltmore Estate® constructs a spectacular scene out of gingerbread, carefully crafting all the delicious details with a sampler of sweets including frosting, candies, cookies, and more.

Decorating gingerbread at The Inn on Biltmore Estate

Leilani Padilla with The Inn’s pastry team adds “snow” to branches

This year’s building project is a replica of the Lodge Gate—one of the first historic buildings you’ll see when you arrive at Biltmore. 

Serving as the estate’s main entrance, the impressive structure was designed by Richard Morris Hunt, the same architect who designed Biltmore House. It features a wide two-story arch that guests have been driving through for more than a century.  

Biltmore's iconic Lodge Gate with Christmas decorations

Biltmore’s iconic Lodge Gate, decorated for the holidays

Historic inspiration

“It’s a challenge to replicate the look of original estate architecture,” said The Inn’s Pastry Chef Dana McFarland, “but we loved creating something so special for our guests to enjoy during their stay with us.”

Under construction

For 2018, Chef McFarland and her team set their sights on the Lodge Gate. From the steep tiled roof and distinctive brick and stucco exterior to the iconic arch, this glorious gingerbread creation was a labor of love that tested their engineering abilities.

Decorating gingerbread at The Inn on Biltmore Estate

Demi chef Megan Shreve adds details by hand 

Work began the week after Thanksgiving, with pastry team members* spending a combined 150 hours to bake, assemble, and decorate their holiday masterpiece. 

The Inn's pastry team decorates their gingerbread project

(L-R) Team members Leilani Padilla, Megan Shreve, and Laura Hinzman

“Our shopping list for ingredients was a little overwhelming,” Chef McFarland admits.

Shopping list

• Powdered sugar: 200 lbs. 
• Chocolate: 40 lbs. 
• Foiled chocolate balls: 35 lbs. 
• Rolled wafer cookies: 30 lbs. 
• Gingerbread: 20 lbs.
• Fondant: 20 lbs. 
• Isomalt: 20 lbs. 
• Rock candy: 15 lbs. 
• M&M’S®: 6 lbs.
• Jordan almonds: 2 lbs. 
• Gumballs: ½ lb. 

Inside information

Snowman and raccoon are part of the gingerbread display

Look for charming touches like these BFFs (Best Frosting Friends)!

Cinnamon-scented smoke coming out of the gingerbread chimney

On display now through January 7, 2019, The Inn’s gingerbread Lodge Gate is a feast for the eyes and the nose. 

“In addition to the spicy fragrance of ginger and the sweetness of all the candy decorations, we placed a cinnamon-scented infuser inside the structure,” said Chef McFarland.

“It makes it look as if there’s real smoke coming from the chimney—and it smells delicious!”

Create your own gingerbread masterpiece

Join us for a Gingerbread Tea at The Inn—a time-honored tradition that offers fun for all ages! The Inn’s pastry chef will be on hand to assist you as you decorate your house with a selection of colorful candies. Also available, assorted tea sandwiches and desserts from our Holiday Tea menu, and for an additional charge, seasonal cocktails. Find complete details and make reservations now for December 15, 16, 19, 20, 21, or 22 by calling 866-336-1245.

*Pastry team members 
Ashley Buchleitner
Aspen Galley
Dana McFarland
Karen Neal
Laura Hinzman
Leilani Padilla
Lucas Conti
Megan Shreve
Rachel Tipping
Tony Mushinski

Featured blog image: Biltmore’s Lodge Gate, constructed of gingerbread, on display now at The Inn on Biltmore Estate

Exploring the Butler’s Pantry

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Welcome to the central nervous system of Biltmore House: The Butler’s Pantry. As its name suggests, this space was the main work area for the Biltmore House butler and his staff of footmen and it played a critical role in each and every meal enjoyed by the Vanderbilts and their guests.

Tip: As part of The Biltmore House Backstairs Tour, guests can enjoy the Butler’s Pantry, along with other rarely seen domestic-staff areas throughout Biltmore House.

Biltmore House footman
A footman stands by the Butler Patry dumbwaiter as displayed in Biltmore’s 2019 exhibition, “A Vanderbilt House Party.”

At Your Service

It was the primary responsibility of the Biltmore’s butler to ensure that all meals, including afternoon tea, were served smoothly and effortlessly, as the performance of the head butler and his staff was a direct reflection of the Vanderbilts.

Strategically located on the first floor between the Kitchen and the Breakfast Room and directly above the basement kitchen, the Butler’s Pantry is a room that was constantly abuzz with staff activity. Meals were prepared in the kitchen and would arrive in the Butler’s Pantry via dumbwaiters and floor maids, ready to be plated and delivered to the family and guests.

The Butler’s Pantry, as seen on The Biltmore House Backstairs Tour
A look inside the Butler’s Pantry of America’s Largest Home.

Not only was the Butler’s Pantry the central hub for meal preparations, it was also the primary point of contact between the butler and guests.

A visit to Biltmore offered guests anything their hearts desired, all at the push of a button. When a guest had a request, they simply pressed a button in their room, and a bell would ring on the state-of-the-art annunciator outside the Butler’s Pantry. The butler or a servant on duty in the Butler’s Pantry would attend to the guest themselves, send a nearby servant, or call a servant on the appropriate floor to see what is needed, then call down to the Butler’s Pantry so that the task could be delegated to the appropriate person. Like a well-oiled machine, the request would be fulfilled and the butler would be on to the next. 

Detailed view of call buttons in the Butler’s Pantry
Detailed view of the telephone in the Butler’s Pantry
Detailed view of a dumbwaiter in the Butler’s Pantry

Technology in the Butler’s Pantry

Managing a Gilded Age mansion the size of Biltmore was no easy task, and the house featured the most cutting-edge technology of the time to assist the domestic staff in their daily duties. In many ways, Biltmore functioned like a luxury hotel, and these technological features helped ensure that all operations ran smoothly and quickly.

Below are some of the Biltmore House’s most notable technologies:

  • Annunciator System: The Annunciator System (or servant call bell system) allowed staff to respond to guest calls from virtually any room in Biltmore House. Service was literally available at the push of a button.
  • Dumbwaiters: The Butler’s Pantry features two dumbwaiters used to deliver food from the basement kitchen and pantry: one electric and one manual. (The electric dumbwaiter had a lifting capacity of 250 pounds and an operating speed of 100 feet per minute.)
  • Refrigerators: In addition to the cold storage refrigerators in the basement, the Butler’s Pantry housed small refrigerators to keep milk, butter, and other dairy products cool until served.
  • Warming oven: Conversely, an electric warming oven was used to heat plates and serving dishes, as well as keep small portions of food warm prior to serving.
  • Telephone: The telephone was part of Biltmore’s in-house communication system manufactured by Stromberg-Carlson Telephone Manufacturing Company in Chicago.

Take a Look Around:

Click play and drag your mouse for a 360-degree view of the Biltmore House Butler’s Pantry main level.

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Biltmore’s Landscape and Forest Historian

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Bill Alexander, Biltmore’s Landscape and Forest Historian, retired in 2018 after 40 years in the fields and forests at surrounding America’s Largest Home®.

He assures us, however, that he’s never more than a phone call away and he continues to work on projects that will keep him returning to Biltmore Estate and its magnificent Blue Ridge Mountain “backyard!”

Bill Alexander examines leaves at BiltmoreBill Alexander amidst the landscape Frederick Law Olmsted designed for Biltmore

Early experience with Biltmore

His love of Biltmore Estate, located in Asheville, NC, began in childhood, growing up close to the main entrance of the property. Some of his earliest memories are of seeing deer in the surrounding woods and visiting Biltmore’s calf barns.

“As a child, I didn’t know that Frederick Law Olmsted designed the landscape, but it had me from the start,” Bill said. “I loved the wilder areas. It’s where I developed my interest in trees and flowers.”

Bill Alexander unrolls a copy of Frederick Law Olmsted's map

Bill keeps a copy of an original Olmsted map with him on the estate for reference

Becoming a landscape and forest historian

In 1978, Bill met Biltmore’s general manager who encouraged him to consider the estate as a career option. After completing his forestry and wildlife management degree, Bill became one of two education horticulturists for Biltmore.

He rose to become the Conservatory and Walled Garden manager. Later, he also oversaw landscape and forest management, and eventually became the estate’s landscape curator and historian.

Bill Alexander indicates a possible house site at Biltmore

The possible location of an original house site near the Bass Pond

The importance of Olmsted

Bill also developed a deeper appreciation for Olmsted, which led to research trips to study the landscape architect’s work and papers at other locations—and a lot of sifting through materials in Biltmore’s archives.

Bass Pond dam and spillway at BiltmoreOlmsted’s design for the Bass Pond dam and spillway are still functional today

“The more I researched Olmsted the more I realized how important Biltmore was in his life. We needed his notes and plans to help others understand how to stay true to his designs for Biltmore, so I helped develop guidelines that we use today,” said Bill.

Future projects

Although he’s enjoying spending more time with his family—which now includes eight grandchildren—Bill is still working on several book ideas related to Biltmore’s history.

“After completing a book on the story of George Vanderbilt’s Pisgah Forest as the cradle of forestry in this country,” said Bill, “I’m focusing on another project regarding documented accounts of the early settlers, farmers, and landowners prior to Vanderbilt’s purchase of the acreage that would become part of his private estate.”

Through his research, Bill has learned that much of the land encompassed by Biltmore is strongly connected to the early history of Western North Carolina, including an ancient Native American trade route that came through what it is now Biltmore’s Lodge Gate on its way to Tennessee and Ohio. In addition, a village existed 1500–1800 years ago adjacent to that long-ago highway.

Bill Alexander with Biltmore's Bass Pond bridge behind himTwo Biltmore icons: Bill Alexander and the Bass Pond bridge

“God willing and granted that my health holds,” Bill said, “I will continue to document and write about the fascinating history of this region. I don’t think there’s another historian who’s had this unique opportunity and experience I have had.”

Featured blog image: Bill Alexander on the wooden bridge over the Bass Pond dam at Biltmore

Designing Christmas One Room at a Time

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Please enjoy this archived content from a Christmas past.

To design Christmas at Biltmore, our Floral Displays team* draws inspiration from the details of America’s Largest Home®, including the style and furnishings of the rooms and objects from Biltmore’s collection displayed within them.

For 2018, let’s explore the stunning holiday décor created for some of the most iconic rooms in Biltmore House, learning how each designer brings their vision to life.

2018 Grand Staircase Christmas Tree

Designing the Vestibule, Entry Hall, and Grand Staircase

“This connected set of open spaces is the first thing guests see when entering Biltmore House,” said Joslyn Kelly, floral designer, “and it sets the tone for their whole visit.”

For the Vestibule, Joslyn used crystal garland and swags accented with gold to create an impression of entering heaven. She placed trees behind the paned glass in that area, adding twinkling lights for a star-like effect. 

The heavenly theme continues into the Entry Hall, with soft, iridescent hues of blue, gold, and pink drawn from the painted ceiling in the Library. Look for candelabras on the table above a seasonal display of fresh poinsettias and amaryllis.

“I chose a very different look for the tree under the Grand Staircase this year,” said Joslyn. “I was inspired by the celestial details on the face of the grandfather clock that stands nearby.” 

Crowned with suspended stars and featuring charming cherub ornaments, this tree is centered under the Grand Staircase Chandelier, making it appear as though the four-story light is the tree topper. 

“The tree looks different at each level, giving our guests a new perspective as they go up and down the Grand Staircase.”

Designing the Breakfast Room

“When you have two paintings by Renoir in a room, that’s a wonderful source of inspiration,” said Sara Merkel, another member of Biltmore’s Floral Displays team. 

“The artist painted these after he retired to the Mediterranean, so I’ve pulled out the warm orange and green tones of the region that are featured in both Child with Orange and Young Algerian Girl, plus a bit of blue for the Wedgwood-style fireplace surround.” 

In addition to the colors, look for Sara’s décor to incorporate a rich assortment of herbs, olives, fruit, pomanders, and nuts.

Designing the Morning Salon

Designed to appear as though Edith Vanderbilt might be using the space to write out her Christmas cards, Deborah Link of Floral has created a feminine feel with elegant cobalt and gold ribbon and a Victorian tussie-mussie on the desk. 

“In addition to those elements, I wanted to hint at both George and Edith Vanderbilt’s Dutch origins with classic blue-and-white Delft-style ornaments on the tree,” said Deborah.

Designing Mrs. Vanderbilt’s Bedroom

“We’re telling a very special story about George and Edith Vanderbilt this year,” said floral designer Kyla Dana. “The tree décor is inspired by the first Christmas of their courtship, which took place in Paris.”

According to archival information, George’s close friend Willie Field secretly took one of George’s stockings and gave it to Edith who filled it with treats including a copy of Quo Vadis—a novel George Vanderbilt enjoyed.

When you enter Mrs. Vanderbilt’s Bedroom, note that the room features a lush mix of purples, ambers, and oranges, all inspired by the colors of the distinctive oval ceiling.

Designing the Billiard Room

Lucinda Ledford with Biltmore Floral sought to bring the great outdoors into Biltmore House with details drawn from Buckspring Lodge—the Vanderbilts’ rustic retreat built on the slopes of Mt. Pisgah. 

“Since this room features sporting prints and other elements of outdoor pursuits,” said Lucinda, “I utilized natural colors and textures such as feathers and pine cones to introduce a woodland tone. There are also small framed photographs of the Vanderbilt family on the tree as ornaments.”

2018 Banquet Hall Christmas Tree

Other 2018 Christmas at Biltmore Highlights:

  • Banquet Hall
    • From the 35-foot fresh Fraser fir at one end to the triple fireplaces at the other, the Banquet Hall is a traditional guest favorite and one of the most beloved rooms in Biltmore House. 
  • Library
    • Themed around George Vanderbilt’s love of travel—especially nautical travel—the décorations will include ships, stars, and rope knots. 
  • Oak Sitting Room
    • ​Look for colorful décor in rich jewel tones of red, cobalt, gold, and green, all drawn from the room’s splendid Axminster—the only rug of English origin in Biltmore House.
  • Watson Room
    • As the sole room featuring twin beds, it’s easy to imagine children staying here on Christmas Eve. Look for stockings hanging on the bedposts and a small floor tree decorated with dolls, beads, and German blown glass ornaments.
  • South Tower Room
    • This charming scene features a table with paper, ribbon, and gifts since archival notes tell us this is where Edith Vanderbilt wrapped her gifts for the Christmas season!