Cedric, a smooth coat St. Bernard, was a loyal companion to George Vanderbilt. Though we aren’t sure exactly how George came to own Cedric, we do know he was brought to the estate from Point d’Acadie, George’s summer home in Bar Harbor, sometime around the opening of Biltmore House in 1895. Cedric was likely 1-3 years old at this time.
Cedric, George Vanderbilt, and honeymooners Jay Burden and Adele Sloan, George’s niece, June 1895. This is one of the earliest photos of Cedric in the Biltmore House collection.
Archival records reveal that Cedric received a lot of leeway around the estate. Correspondence from Biltmore House guests indicates that he had free reign on the first floor. He could often be found sunning on the Loggia or lying on the Library floor. He’s also seen in several pictures taken outdoors during Biltmore’s early days.
Cedric sunbathing on the Loggia, ca. 1900. The massive St. Bernard was known to lounge and sometimes snooze in various locations through the first floor of Biltmore House.
Cedric was a true member of the Vanderbilt family and was treated as such. In addition to a couple of close friends and employees, Cedric was one of the few attendees at a private ceremony during which George and Edith Vanderbilt oversaw the planting of a commemorative tree to honor the birth of their daughter Cornelia in 1900.
George Vanderbilt, Cedric, and Cornelia Vanderbilt being held by her nanny at the planting of Cornelia’s “Baby Tree”, October 1900. The photograph was likely taken by Edith Vanderbilt.
By 1901, there was a whole family of St. Bernards living at Biltmore, all adored by the Vanderbilts and their guests alike. In a letter to his wife, Joseph Hodges Choate, the American Ambassador to Great Britain and Biltmore House guest, wrote:
“I shall not attempt to describe the house, which is obviously the finest in America, but the dogs are truly magnificent … I wish you could see these great St. Bernards—five of them, father, mother and three children, all big and splendid. They seem to fill the billiard-room and are most affectionate.”
Cedric dozing in the Library of Biltmore House, ca. 1896. The beloved St. Bernard was known to sprawl out and relax where ever George Vanderbilt was.
George Vanderbilt gifted St. Bernards (believed to have been sired by Cedric) to friends and family. In 1902, George’s friend the Right Rev. William Croswell Doane lost his faithful St. Bernard named Cluny, so George gave him a puppy named Balder. A few years later, George and Edith also gave a St. Bernard puppy to their nephew John Nicholas Brown, who named the dog Cedric.
Cornelia with one of her St. Bernards on the Esplanade of Biltmore House, ca. 1903.
Sadly, Cedric died in 1902 at Buckspring Lodge, where he was buried. To commemorate the occasion, Biltmore House guest Charlotte Pendleton wrote a poem in his honor, entitled Cedric: A Sonetto in Rondo, in the Nonsense Book.
Cedric on the Rampe Douce of the Esplanade in front of Biltmore House. This photograph accompanied a poem in the Biltmore House Nonsense Book honoring Cedric when he passed away in 1902.
Cedric Sonetto in Rondo
The Moses of your canine race
On Pisgah’s sapphire heights you strayed
Among her pink beds low you laid
Upon the high and lovely place;
You down to die where there is space,
Amid cathedral pine arrayed
With plumed crest and views that braid
Their columned stems with waving grace.
For your great body to lie down
Most fully housed, walk spreading skies
On beds of spicy needles, brown,
Fragrant; couched in majesty,
Rapt in deep solitude, a woven gown
Of shrouded mystery.
Measuring more than 33 inches around, Cedric’s original leather collar attests to the impressive size and heft of the Vanderbilts’ favorite breed.
Today, we honor the legacy of Cedric the St. Bernard, Biltmore’s very good boy, with his eponymous restaurant: Cedric’s Tavern in Antler Hill Village. On your next estate visit, be sure to check out the many photographs of Cedric on the tavern’s walls as well as the display of his impressive leather collar.
Did you know America’s Largest Home® has a resident blacksmith?
A typical day for Biltmore blacksmith Steve Schroeder is spent demonstrating traditional techniques, telling stories to our guests, and answering their questions in the estate’s original smithy shop at Antler Hill Barn.
Blacksmith to Blacksmith
During one of his demonstrations, Steve met a guest who was a fellow blacksmith from New Jersey. The guest showed Steve a piece of his own: a metal key ring featuring a golf ball-sized rose with about 40 tiny petals.
Blacksmithing is the art of forging metal to create hardware, ornamental objects, and more.
Steve was impressed by the rose design and asked the guest about his process. To his surprise, the guest offered to stay at the smithy shop for what ended up being more than an hour to explain the method to Steve as he tried it out.
“That’s one of the great things about blacksmiths,” Steve explains. “We’re very open about sharing projects and we’re happy to teach each other different techniques. There are no secrets in blacksmithing.”
Blacksmiths use a variety of tools such as a hammer, an anvil, and a hot cut, which helps create indentations in the metal.
The Rose Hook Process
The upper portion of the rod is heated—as it is throughout the process—and then hammered (above) until it is incredibly thin.
The rod is twisted in the middle to define the stem.
The flat, upper portion of the rod is placed over a hot cut and struck with a hammer to create indentions along one side, defining the individual petals.
The upper portion is bent into a P-shape.
The P-shape is tightly coiled, revealing the rose design.
The lower portion of the rod bent to create the hook element.
Our blacksmith’s early rose hooks are on display near the second floor fireplace in Village Hotel.
Perfecting the Petals
Steve worked diligently to improve his rose hook technique over the next few months. During that time, news of the fascinating project caught wind around the estate. As result, eight rose hooks were soon installed in the comfortable seating area next to Village Social, located within Village Hotel.
Steve peels back the petals of the roses using pliers while the metal is still red-hot to create the blooming effect.
However, Steve is quick to point out that the hooks installed in Village Hotel don’t reflect one of his biggest revelations in perfecting his technique, one that actually came from his wife Kylie.
“I explained to her that I was having a hard time keeping the petals open in the coiling process,” he says. “She suggested I use pliers to pull the petals back for that nice blooming effect.”
Striking While the Iron is Hot
Steve knew early on there was potential for his products to be sold on the estate—and Village Hotel guests were asking if the rose hooks were available for purchase on a daily basis.
While Steve didn’t want to sell the product until he thought it was in its best possible form, he knew that he had to “strike while the iron is hot.” (Yes, that is a blacksmith pun, and yes, Steve is full of them.)
We invite you to watch our blacksmith work and learn more about the craft in Antler Hill Barn. Hours vary seasonally.
Finally, after a few months and a few hundred roses, Steve felt confident enough in the design—more specifically, in his ability to replicate the design over and over—and the product hit the shelves of The Barn Door.
And the rose hooks are selling just as fast as Steve can make them. He brings a handful of rose hooks to The Barn Door every morning and they’re gone by the afternoon. In the first two weeks, the shop sold more than 50 hooks, making it their best-selling item.
Our blacksmith’s rose hooks sell out incredibly quickly and because of the nature of the craft, they’re only available on the estate.
As a result of this estate collaboration, the product’s footprint is almost non-existent. When a batch of rose hooks is ready, Steve simply walks them next door to be sold—no additional carbon emissions, packaging, or waste involved. The rose hooks don’t even have price tags.
On your next visit to the estate, be sure to make time to visit our blacksmith Steve Schroeder at Antler Hill Barn, then pop in The Barn Door to take home a truly unique piece of Biltmore.
There’s no better place to enjoy a summertime date with your sweetheart than Biltmore. Our 8,000-acre estate has a variety of activities for couples—whether you’re looking for a romantic offering or just a unique way to spend quality time with your special someone.
Plan your Blue Ridge Mountain escape at Biltmore today!
4. Reconnect amid Mother Nature
One great Biltmore date option is to explore our Blue Ridge Mountain backyard. Located in Antler Hill Village, our Outdoor Adventure Center offers a wide range of activities for reconnecting amid Mother Nature. Choose from a Private Carriage or Horseback Trail Ride, Sensory Journey Hike, River Float Trip, and more.
Whether you’re in the Tasting Room or the Wine Bar, our knowledgeable wine experts are on hand to guide your selections.
3. Savor Handcrafted Vintages at Our Winery
What could be more romantic that sipping award-winning wines? Another fantastic date option, a visit to our Winery is perfect for the novice and connoisseur alike. Explore our vast portfolio of reds, whites, and roses in our Tasting Room or unwind at the Wine Bar where you can savor finest reserve and sparkling wines.
Legends of Art & Innovation is on display in Amherst at Deerpark®, Biltmore’s event space located in the heart of the estate.
2. Discover Legends of Art & Innovation
A date option that’s also a fully immerse experience, our newest exhibition is a multi-sensory event that illuminates the remarkable lives of renowned artists and their timeless masterpieces. Legends of Art & Innovationfeatures Monet & Friends – Life, Light & Color now through July 10 and Leonardo da Vinci – 500 Years of Genius beginning July 14.
A rejuvenating couples treatment at our petite spa facility is the perfect way to end a day of estate exploration with your sweetheart.
1. Stay Overnight for a True Getaway
We invite you to stay overnight at one of our distinctive lodging options to transform your Biltmore date into a true getaway. Choose from the four-star luxury of The Inn, the casual comfort of Village Hotel, or the premium privacy of one of our Cottages. An added perk? Overnight stays include access to pampering treatments of The Spa Biltmore.
Like all of the Cottages on Biltmore Estate™, our Line House Cottages offer guests a step back in time to the Vanderbilts’ era—but unlike our other cottages, these cozy historic homes also provide a special glimpse into the estate’s agricultural heritage.
Archival image of the estate, c. 1906. The Line is in the foreground with the Barn to the left and the Main Dairy (what is now the Winery) in the center. Biltmore House is visible in the distance.
Located just steps away from the Barn and Farmyard in Antler Hill Village, the Line House Cottages are original estate structures, part of what was once referred to as The Line.
George Vanderbilt, his friend Stephen H. Olin, and two dogs walking towards the Farm Village (what is now Antler Hill Village), c. 1906. The Line is on the far left and the Barn is center-right. The four larger houses on either side of the Barn were reserved for management.
According to archival records, The Line consisted of eight nearly identical cottages. Dozens of estate employees and their families called these cottages home over the years, many of whom worked as milkers at the Dairy.
The beautifully updated living room in each of the Line House Cottages is the perfect place to unwind after a day spent exploring all the estate has to offer.
Today, these turn-of-the-century farmhouses have been reimagined as exclusive lodging options for our overnight guests, offering premium comfort and convenience along with privacy and four-star amenities.
The upstairs bedroom boasts double-window seating with ample natural light to illuminate the vintage Biltmore photographs displayed above the upholstered headboard.
Each of our 970-square-foot Line House Cottages can comfortably sleep four and offers:
Two bedrooms, each with a queen-size bed
Two bathrooms, each with a walk-in shower
Formal living room
Full eat-in kitchen
Covered front porch with pastoral views
Back patio for outdoor dining and entertaining
Imagine yourself part of this relaxing scene, sipping your morning coffee from your rocking chair on the front porch, having just woken up on George Vanderbilt’s magnificent estate.
With soothing, pastoral views of our working Farmyard, these homes are a short stroll from Antler Hill Village & Winery, estate trails, and the four-star luxuries offered at The Inn on Biltmore Estate. We invited you to discover our newest lodging offering and book your stay at one of our Line House Cottages in gorgeous Asheville, NC today.
Due to the historic architecture of our Vanderbilt-era Cottages, they are not accessible for guests with limited mobility.
Biltmore’s Old Rose Room has a long and interesting history, and has been used in a number of different ways throughout the last century.
From bachelors to babies to Being There
Cornelia Vanderbilt Cecil and her husband John Francis Amherst Cecil with their oldest son George Henry Vanderbilt Cecil as an infant, ca. 1925.
On the original house plans, the Old Rose Room, located on the second floor in the Bachelor Wing, is named for its style of décor and noted as one of several guest bedrooms for single gentlemen who visited Biltmore.
In the late 1920s and early 30s, the room was repurposed as a day or night nursery for John and Cornelia Cecil’s two sons, George and William Cecil.
After the boys grew up, the room became an office for estate employees. In the late 1970s, it was updated with new wallpaper to support filming of the iconic movie Being There.
Repurposing the Old Rose Room for storage
Clothing and accessories stored in the Old Rose Room at Biltmore
Today the Old Rose Room has become an important storage area for many of the intricate costumes that have been recreated forestate exhibitions.
“As Museum Services planned for future costume exhibitions, it became clear that existing storage did not support the department’s goals,” said Lenore Hardin, Associate Collections Manager. “Before we created this new system, we had a closet in a bedroom where we kept original costumes. Now we have an amazing space to help us store things properly, including 11-foot shelves.”
Much more than a costume “closet”
A selection of hats stored on shelves in the Old Rose Room; photo by LeeAnn Donnelly
The primary costumes stored in the room now were part of A Vanderbilt House Party: The Gilded Age, displayed in Biltmore House in 2018. That exhibition involved 26 costumes designed specifically for Biltmore from archival photographs and portraits of the Vanderbilt family and their guests.
A total of 59 costumes were on display duringA Vanderbilt House Party, with accessories such as hats, socks, shoes, and jewelry sourced for all of them. The grand total? More than 600 separate pieces were included in the exhibition—with storage required for each of them!
A place for everything
Lenore Hardin at work in the Old Rose Room; photo by LeeAnn Donnelly
According to Lenore, the space resembles a very organized, giant walk-in closet. Each piece of clothing and each accessory is cataloged and placed in its own spot. A large table in the middle of the room offers ample space for viewing items and processing them for storage.
“We designed the storage system around the room, taking advantage of its high ceilings, using textile boxes and building around architectural features in the room, including a unit built around a fireplace mantel,” said Lenore.
Preservation meets storage in the Old Rose Room
Clothing stored in dust bags on padded hangers in the Old Rose Room
Preservation techniques are always incorporated into storage at Biltmore, and costumes are carefully protected for future use. The costumes are placed on padded hangers and placed under dust covers that are waterproof.
Some delicate costumes such as evening dresses are stored flat, in archival-safe, acid-free boxes with the folds carefully padded to prevent wrinkles. Shoes and boots stored on open shelving are filled with acid-free tissue to help keep their shape.
A lengthy process
Lenore carefully prepares a beaded dress for proper storage; photo by LeeAnn Donnelly
Items in storage range from spectacular beaded dressesand feathered hats to cufflinks, buttons, and jewelry. One of Lenore’s favorite pieces is a reproduction of a lovely Boucheron brooch that George Vanderbilt gave to Edith as an engagement gift.
It took about two years to complete the design and creation of this storage room, from clearing it out and deciding how it should be arranged to building the necessary elements.
Determining what types of archival materials were needed to protect the costumes and getting those materials was another three months, while storing the clothing and materials took nearly a year—and the process continues.
The value of preservation
A collection of goggles and glasses stored in the Old Rose Room
“Preservation has always been something that George Vanderbilt’s descendants have valued, and as William A.V. Cecil once noted, ‘we don’t preserve Biltmore to make a profit; we make a profit to preserve Biltmore.’ The family continues that principle and reflects their vision through the years,” said Lenore.
Our Museum Services team works year-round to preserve the dream of George Vanderbilt and the visionaries who helped him create Biltmore. Let’s take a closer look at one of their largest projects to date: restoring the Louis XV Suite—the grandest guest rooms in Biltmore House.
About the Louis XV Suite
The Louis XV Suite is a retreat consisting of four guest rooms: the Damask Room, the Claude Room, the Tyrolean Chimney Room, and the Louis XV Room. It is located on the second floor of Biltmore House and is included as part of the Biltmore House tour route during the cooler months of the year.
The beautifully restored Damask Room boasts large windows that display captivating vistas in three directions: east, west, and south.
Damask Room
One of 33 guest bedrooms in Biltmore House, the Damask Room was named for silk damask draperies and distinct damask-style wallpaper. Situated at the southwest corner of the house, this room features commanding views of the South Terrace, Italian Garden, Deer Park, and the splendid mountains beyond.
Biltmore’s Museum Services team, which includes curators, conservators, and collections specialists, spent more than three years on this extensive restoration.
On the walls hangs a reproduction of the room’s original wallpaper, a complicated design that replicates on paper the look of a fine damask fabric. Small fragments of the original paper were found underneath door moldings. Our curators were able to match these fragments to full-sized samples of the wallpaper that had been placed in storage more than a century ago, enabling them to have an accurate reproduction made by Charles Rupert Designs, a company in Vancouver that specializes in surface-printed historic wallpapers.
On display in the Damask Room is a breakfast setup including Vanderbilt china, demonstrating that guests could choose to have breakfast in their rooms if preferred.
Biltmore’s conservators spent many weeks cleaning the antique marble and gilt fireplace and mantel in the Damask Room, in addition to conserving numerous pieces of American and English mahogany furniture for this room.
The striking wallpaper in the Claude Room, reproduced from the original, is the same pattern that is used in the Damask Room, but in a different color palette.
Claude Room
Like many rooms in Biltmore House, the Claude Room was named after one of George Vanderbilt’s favorite artists, the French painter Claude Lorrain. Several prints after paintings by Claude Lorrain originally hung in this room and are displayed here again. A master of 17th-century landscape painting, Claude presented nature as harmonious, serene, and often majestic. In 18th-century England, his works inspired new trends in landscape design. He also influenced later generations of landscape painters, including J.M.W. Turner.
As with many of the unrestored rooms in Biltmore House, the Claude Room was used by our teams for supplemental storage prior to restoration.
Among the noteworthy pieces of furniture from George Vanderbilt’s collection displayed in this room are an imposing ivory inlaid commode with attached mirror from Northern Italy that dates to the early 18th century, an English chest of drawers with an inlaid sunburst motif and a fall front concealing a writing surface and inner compartments from the same period, and an Italian Baroque-style kneehole desk in ebony and rosewood inlaid with ivory and mother of pearl.
An original drawing in our archives shows how architect Richard Morris Hunt incorporated the tile stove into the Tyrolean Chimney Room’s impressive overmantel.
Tyrolean Chimney Room
The focal point of the Tyrolean Chimney Room is the overmantel, constructed from an antique tile stove known as a kachelöfen that George Vanderbilt most likely purchased in his travels through Europe. Stoves like this were used in central and northern Europe from the Middle Ages to heat castles, palaces, and ecclesiastical buildings. Eventually, they came to be used in the residences of the wealthy. Created in the 18th century, it is comprised of tin-glazed earthenware tiles hand-painted with exquisite floral designs.
As part of this room’s restoration process, Biltmore’s objects conservator carefully repaired the chimney’s original floral design.
The wallpaper in this room is an exact reproduction of the original, a simple but elegant floral design with delicate gold striping in the background. Our team contracted with Atelier d’Offard, a small company in Tours, France, that specializes in traditional block-printed wallpapers, to create an exact reproduction.
The vibrant fabric in the Tyrolean Chimney Room is one of the most elaborate fabrics found in America’s Largest Home®.
The cut and uncut silk velvet in beautiful shades of ivory, red, and green has been reproduced for use in this room. Prelle, a silk workshop in Lyon, France that has been in the same family for more than 250 years, wove this fabric on century-old Jacquard looms in the exact same manner as the original fabric purchased by George Vanderbilt.
The Louis XV Room features mesmerizing views of the gardens and terraces to the east and south as well as a balcony overlooking the Esplanade.
Louis XV Room
The suite’s namesake and perhaps the grandest guest room in Biltmore House, the Louis XV Room takes its name from the French king. During most of his reign (1715–1774), French interiors were characterized by rococo design elements, including rounded forms, C-shaped curves, bright clear colors set off by white and gold, and light fanciful carving of foliage, shells, and other naturalistic motifs. Many of these same motifs were incorporated into the architectural scheme and furnishings in this room, as the Louis XV style was still very popular in the late 19th century.
Cornelia Vanderbilt Cecil and her husband John Francis Amherst Cecil with their oldest son George Henry Vanderbilt Cecil as an infant, ca. 1925.
Amid the elegant surroundings of the Louis XV Room is where George and Edith Vanderbilt’s only child, Cornelia Stuyvesant Vanderbilt, was born in 1900. Cornelia then chose this room to give birth to her two sons, George Henry Vanderbilt Cecil and William Amherst Vanderbilt Cecil in 1925 and 1928, respectively.
From large pieces like wall coverings to small accents like furniture trim, our Museum Services team handles every element of restoration projects with loving care.
Restoration of this room included the reproduction of the original gold and red silk cut velvet, which was hand-woven by Tassinari & Chatel in Lyon, France. Like Prelle, Tassinari & Chatel has specialized in the manufacture of fine silk fabrics for more than 200 years and has an international reputation for the quality of its fabrics. This fabric is used for wall covering and drapery. In addition, Biltmore’s conservation staff conserved all of the furnishings in the room, including Louis XV-style seating furniture and a Louis XV-style bed, as well the marble mantel, gilded rococo wall sconces, and an elaborate gilt mirror hanging over the fireplace.
Watch to Learn More
Biltmore’s Chief Curator, Darren Popoure, reflects on one of the estate’s largest preservation projects to date.
Moving into America’s Largest Home would be a work in progress for George Vanderbilt as Biltmore House was not quite finished for his October 1895 move-in date.
Have you ever moved into a custom-designed new home? If you have, you know that the punch list never seems quite buttoned-up on moving day. Little details seem to linger even after the last box is unpacked—and it was no different for George Vanderbilt’s magnificent new house in Asheville, North Carolina.
A ground-breaking project
Archival image of Biltmore House under construction, May 8, 1894
Ground was broken in 1889, and during the course of the six years that followed, George Vanderbilt remained in close touch with Biltmore House lead architect Richard Morris Hunt, supervising architect Richard Sharp Smith, and landscape architect Frederick Law Olmsted. Hunt passed away in August 1895, just months before Vanderbilt moved in, but Sharp Smith was able to complete the plan.
Archival image of the Brick Farm House, circa 1889
When he came to stay for periods of time at the construction site, George Vanderbilt stayed in what was called the Brick Farm House, a property he purchased from Asheville entrepreneur B. J. Alexander in 1889. Sharp Smith renovated the property, which included a mill and farm buildings, so that it was comfortable enough to accommodate Vanderbilt and his project team when they visited to check on the estate’s progress.
In the months leading up to the official opening, carpentry and cabinetry were among the final touches. With George Vanderbilt’s move-in scheduled for October, archival information shows that Richard Sharp Smith hired 16 additional cabinetmakers to speed up progress.
Biltmore House contractors, including Richard Sharp Smith (second from right), circa 1892
Finishing the last details of America’s Largest Home
On his first night at Biltmore, George Vanderbilt slept in the Bachelors’ Wing because his bedroom wasn’t finished. There was another issue, too, described in the papers of Frederick Law Olmsted:
When the water was turned on in the stable… to get ready for the servants to occupy, it was found that it would not go up to the second floor where the servants [sic] rooms are.
The problem was soon fixed and water flowed a few days later, but there were still a few outstanding details to hammer out. With family and friends expected for Christmas 1895, Sharp Smith hired an additional 10 cabinetmakers in December. While almost all the carpentry was finally completed in 1896, additional cabinetry projects extended into 1897.
View of front façade of Biltmore House
Plan your visit today
Today, when you visit Biltmore Estate, you can see first-hand the incredible attention to detail that went into every aspect of America’s Largest Home. But as you might imagine, even this architectural masterpiece was subject to the challenges faced in any home-building project. By seeing the vision of the project through until the end, George Vanderbilt and his design and construction team created a landmark with enduring quality that we still enjoy today, more than 125 years later.
In honor of our ongoing mission of preserving Biltmore Estate in Asheville, NC, we’ll take a closer look at the restoration of the Oak Sitting Room. Even though the process took nearly 15 years to complete, it was well worth the time and effort.
Lori Garst, Associate Curator, reflects on this massive project that returned the space to its original look and function.
The restoration of the Oak Sitting Room helps us interpret the room more accurately as a private apartment for the Vanderbilt family and their closest friends
Preserving Biltmore is a constant process
“National Preservation Month is a time when the hard work and dedication of our employees is fully on display,” said Lori, who has worked at the estate for 31 years. “But actually, this is what we do all year long!”
Biltmore’s Museum Services team keeps a running list of projects that are addressed according to budget and need, with worn or deteriorated items receiving top priority.
“We always have a five- to 10-year plan for what needs attention,” said Lori. “We’re not only preserving objects, but also preserving Biltmore’s story. The recently restored Oak Sitting Room is a shining example of both.”
Restoring the Oak Sitting Room
Go behind the ropes to see details of the Oak Sitting Room up close!
A typical room restoration at Biltmore usually takes five to seven years, maybe less. The Oak Sitting Room, however, took a decade and a half to complete.
“We started with a target date,” said Lori, “But in this case we faced several aspects that were interesting and challenging all at the same time.”
The time-consuming process included furniture upholstery that was reproduced by the original manufacturer in France–the company was still in business and had George Vanderbilt’s fabric orders in their archives from more than 100 years before.
Lamps, and accessories were painstakingly cleaned and repaired, and conservators spent five years restoring a 17th-century Boulle-style desk—already an antique when George Vanderbilt purchased it—to its original grandeur.
“The desk was in pieces that were stored in several different places,” said Lori, “but we knew it was something special even in its disassembled state.”
A conservator reapplies a section of the delicate brass inlay on the Boulle-style desk in the Oak Sitting Room
Working meticulously to conserve every detail of the room, Museum Services was sometimes diverted by exhibitions and other projects that rose in priority. In the end, however, the project’s extended duration contributed to its success.
“Conservationand restoration are not accomplished overnight,” explained Lori. “In 15 years, we had time to pursue leads and make additional discoveries. It sounds like a long time, but what a gift it was.”
Finding clues
Restoration is not only about repairing, restoring, and reproducing rooms and the objects within them, but also discovering how and why they were used. Thorough research was conducted on the Oak Sitting Room to confirm that it functioned as a “private apartment” or more intimate family space within the large home. Clues were gleaned from unexpected sources.
One of several exceptional bronze sculptures Vanderbilt collected, now displayed in the Oak Sitting Room along with other prized possessions
“We learned some things about the Oak Sitting Room from a letter written by George Vanderbilt’s close friend Joseph Hodges Choate, the U.S. Ambassador to Great Britain who had been a guest at the estate in 1902,” said Lori. “Choate mentioned viewing George’s collection of Rembrandt etchings, which showed that the room was furnished with some of Vanderbilt’s most prized possessions.”
Knole-style furnishings and other details
An 1839 portrait of Cornelius Vanderbilt by Charles Loring Elliott hangs in the Oak Sitting Room, emphasizing the importance of family in this private apartment
Research on the Oak Sitting Room also informed its furnishings plan, leading to the restoration of the English Knole-style sofa and chairs that serve as one of the room’s many focal points.
Upholstered in a striking green and gold damask, these unusual pieces of furniture are objects of curiosity to guests, but were appealing in their time for their functional flexibility (with contemporary versions still made today).
“In 1889, before the plans for Biltmore House were completed, George Vanderbilt and architect Richard Morris Hunt visited estates in England and France for inspiration,” said Lori, “and Vanderbilt noted the furniture at Knole House. He loved the articulated arms that could be raised to conserve warmth, or lowered for conversation, air flow, or even a place to rest your arms or a book. We knew the comfortable Oak Sitting Room would have been a likely place for this suite of furniture that had been in storage.”
Visit now to see how we continue preserving Biltmore
With the restoration of the Oak Sitting Room, guests can easily imagine the Vanderbilts using this lovely space as a private apartment reserved for family and close friends
“Preservation at Biltmore touches every department at some level,” said Garst. “Teams come together to hang the art, put down the rugs, and arrange the furniture. Even our Floral Designers add their touches with a green palm or a tiny bud vase sitting next to a chair.”
Visit Biltmore to experience the Oak Sitting Room preservation project for yourself. Enjoy the beauty of the estate’s historic gardens and grounds throughout the year, and extend your visit with a stay at one of our distinctive hotels or private historic cottages.
While our curators work mostly behind the scenes, their efforts are evident throughout every inch of Biltmore House and beyond. A vital part of preserving the estate, this team is responsible for researching, documenting, and interpreting the collections, historic interiors, and history.
Our curators have tons of fascinating information to share, so we’ve put together a round-up of some of our most frequently asked questions for them to answer.
The Biltmore House Guest Book is an invaluable resource for our curators as it tells who visited and when. Shown here is a page from December 22, 1895, which includes signatures from many Vanderbilt family members who visited for the first Christmas at Biltmore.
Did any royalty ever come to visit Biltmore?
“The Biltmore House Guest Book includes signatures from an assortment of noblemen and women including barons, baronets, an earl, a countess, and a baroness. No true royalty visited Biltmore, however, until His Royal Highness Charles, the Prince of Wales, came here for his architectural school which took place at Biltmore House in July of 1996. If you count American royalty, presidential visits to Biltmore have included William McKinley, Theodore Roosevelt, Jimmy Carter, Ronald Reagan, and Barack Obama.” – Lauren Henry, Associate Curator
The recently restored Oak Sitting Room, the living space that connects Mr. and Mrs. Vanderbilt’s Bedrooms, was an extensive project that took our Museum Services team nearly 15 years to complete.
How many rooms in Biltmore House have not been restored?
“All of the rooms on the main tour and a few rooms on the behind-the-scenes tours have been restored over the last 50 years. I would estimate that there are close to 100 rooms that have never been restored, and there are many rooms that were restored that need revisiting since we continue to make new discoveries in our research. Our most recent restoration project was the Oak Sitting Room.” – Darren Poupore, Chief Curator
Associate curator Lauren Henry inspects books in the Biltmore House Library. Topics in George Vanderbilt’s personal collection range in subject from American and English fiction to world history, religion, philosophy, art, and architecture.
How many books are in the Library, and how many are first editions?
“Today, there are 10,285 books housed in the Biltmore House Library. Because many first editions are not labeled as such, it is hard to know which are without researching every single one. One of my favorites is a first edition of On the Origin of Species by Charles Darwin (1859).” – Lauren Henry, Associate Curator
One of the most eye-catching works in the Biltmore House collection is Ignacio Zuloaga’s Rosita. Displayed in the Louis XV Hallway, this piece represents George Vanderbilt’s interest in Spanish art, which gained popularity at the end of the 19th century.
Is there a list of all the paintings in Biltmore House?
“Yes, the collections managers use a database of every object in Biltmore House and this includes 213 paintings on display and in storage. The paintings on view are primarily located on the first floor and in common rooms on the second and third floors.” – Lori Garst, Associate Curator
If you look closely to the right of the fireplace, you’ll see that Renoir’s painting Child with An Orange does not actually hang on the wall of the Breakfast Room, but rather on a hidden door used by household staff.
Are there any secret rooms, doorways, or passageways in Biltmore House?
“Though none are truly ‘secret,’ there are many hidden passageways and concealed doors in Biltmore House. Some were designed for the convenience of guests, while others gave domestic staff a way to move about without disrupting the household.” – Darren Poupore, Chief Curator & Lauren Henry, Associate Curator
George Vanderbilt’s friend James McHenry gifted him a chess set made of natural and red-stained ivory that once belonged to Napoleon Bonaparte, former emperor of France. Photo credit: @Kristen.Maag
What is the story behind the chess set in the Library?
“The chess set is one of my favorite objects because it reflects George Vanderbilt’s studious personality. Can you imagine receiving Napoleon Bonaparte’s chess set for your 21st birthday? After Napoleon’s death, his heart was sealed in an urn and temporarily placed on this chess table!” – Darren Poupore, Chief Curator
Woven in rich reds, blues, and golds, this 15th-16th century tapestry depicts the Christ child with the Madonna and Saint Anne.
What is the oldest piece in the Biltmore House collection?
“It is impossible to say what the oldest object in Biltmore House is with certainty, as George Vanderbilt collected many antiques, but one of the oldest is the biblical tapestry displayed by the Grand Staircase which dates to the late 15th or early 16th century.” – Lauren Henry, Associate Curator
After remaining a mystery for many years, our curators discovered that most of the brightly colored murals in the Halloween Room were drawn directly from the set designs of an avant-garde Russian cabaret and theatrical troupe called La Chauve-Souris.
What’s the most rewarding part of being a curator?
“For me, the most rewarding part of being a curator is the never-ending process of discovery. Just when you think you ‘know’ an historical figure, you find something that reveals another layer of significance. My favorite discovery was the unexpected history of the Halloween Room.” – Leslie Klingner, Curator of Interpretation
Biltmore is a living masterpiece of landscape design thanks to the work of Frederick Law Olmsted, the estate’s landscape architect.
Celebrating Olmsted’s Bicentennial
From formal gardens to woodland spaces, explore Olmsted’s living masterpiece at Biltmore
This year marks the 200th anniversary of Frederick Law Olmsted’s birth, and Biltmore is one of 120 organizations nationwide coming together as Olmsted 200: Parks for All People to create 12 months of programming and events designed to strengthen and expand parks, open space, and the American quality of life.
“For our part of the national celebration, we have added acollection of scenic stops across the property to provide details on the work Olmsted accomplished here at Biltmore,” said Lauren Henry, Associate Curator. “These interpretive signs present a rich and detailed overview of Olmsted’s final masterpiece and his enduring legacy of landscape design architecture.”
This virtual tour of Biltmore’s historic gardens and grounds provides an exciting perspective on the landscape design that Olmsted created for George Vanderbilt’s magnificent estate.
Early years
A native of Hartford, Connecticut, Frederick Law Olmsted’s early years included a wide variety of work opportunities that shaped his views and helped cultivate his interest and skill in landscape design.
In addition to his best-known career as a landscape architect, Olmsted managed a gold mine in California; he spearheaded the U.S. Sanitary Commission for the North during the Civil War; and he established The Nation, a weekly journal that is still in existence. His impact on America ranges far beyond the field of landscape design.
Other notable landscape design projects
The Bass Pond waterfall is a hidden gem in the gardens at Biltmore. Find your way to it following the trail around the Bass Pond.
In 1857, Olmsted became the superintendent overseeing work on Central Park in New York City. During the course of that complex project, he evolved into an expert in the planning of parks and landscapes. For the rest of his professional career, Olmsted would plan, design, and oversee some of the most important public and private outdoor spaces in the nation.
Prospect Park, Brooklyn, NY (1866)
U. S. Capitol Grounds, Washington, DC (1874)
Emerald Necklace, Boston, MA (1878)
Niagara Reservation, Niagara Falls, NY (1887)
World’s Columbian Exposition, Chicago, IL (1893)
Biltmore: a living masterpiece of landscape design
Landscape architect Fredrick Law Olmsted (seated, center) and George Vanderbilt (standing, center-right) with other key Biltmore figures, 1892.
Before considering designs for his future home, George Vanderbilt brought Olmsted to the land he had purchased to assess its potential. Olmsted agreed with Vanderbilt that distant views of the Blue Ridge Mountains were pleasant, though the land itself was poor.
In order to restore this land, which was not suitable for the extensive parks Vanderbilt envisioned, Olmsted advised undertaking scientific forestry—a first for America, though the practice existed in Europe.
(L-R) Portrait of Frederick Law Olmsted at Biltmore by John Singer Sargent; commissioned by George Vanderbilt, ca. 1895; aerial photograph of Biltmore House & Gardens, ca. 1950
The success of the final design of Biltmore House and its extensive home grounds, fields, and managed forests was the result of the strong collaborative effort between George Vanderbilt, architect Richard Morris Hunt, and Frederick Law Olmsted.
Though Hunt’s focus was the house and Olmsted’s the grounds, there were times when they shared ideas, with the goal of a functional and harmonious final product in mind. Vanderbilt encouraged the ambitious ideas of both men, paving the way for some of their finest work.
Discover Olmsted’s legacy at Biltmore today
Enjoy the landscape designs that Olmsted envisioned for Biltmore more than a century ago
Biltmore was a project that stretched Olmsted’s design abilities and was unique among his body of work for its fusion of French and English (or formal and naturalistic) design influences.
The scope and variety of his endeavors here were made possible through the support of George Vanderbilt, who also saw the value in his vision. Today, Biltmore works to maintain Olmsted’s design intent and remains a key part of Olmsted’s legacy as his last great project.
