A Japanese Connection in the Italian Garden Pools

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Chihuly at Biltmore was on display from May 17 to October 7, 2018.
Please enjoy this archived content.

Chihuly at Biltmore—the first art exhibition in Biltmore’s historic gardens and the first garden exhibition of Dale Chihuly’s works in North Carolina—showcases large-scale glass sculptures throughout the Italian Garden and grounds of America’s Largest Home®.

Niijima Floats by artist Dale Chihuly as part of Chihuly at Biltmore
Niijima Floats by artist Dale Chihuly as part of Chihuly at Biltmore

One of the must-see displays of this exciting exhibition in is the Italian Garden, where five different installations are set throughout its three pools, including Niijima Floats, named for the island of Niijima in Tokyo Bay, Japan.

Koi swimming in the Italian Garden pools
Koi swimming in the Italian Garden pools during Chihuly at Biltmore

Coincidentally, this unique installation exists alongside another Japanese connection: the colorful koi that populate the pools. While we don’t know exactly when the koi were introduced to the pools, we do know that George Vanderbilt had a fascination with their nation of origin: Japan.

Invitation to Emperor of Japan's birthday celebration, 1892
Invitation to Emperor of Japan’s birthday celebration, 1892

In fact, in 1892, George Vanderbilt and his cousin, Clarence Barker, toured countless temples and other cultural sites during their trip to Japan—a trip which begin with an invitation to attend the Emperor’s birthday celebration.

Pagoda at Horinji-Nara. Photo purchased by George Vanderbilt, 1892
Pagoda at Horinji-Nara. Photo purchased by George Vanderbilt, 1892

Around the turn of the century, many Americans thought Japan and its culture were exotic and rooted in tradition, offering a blend of spirituality and aesthetic beauty. To George Vanderbilt, deeply interested in history, the arts, and collecting, the allure must have been irresistible.

Samurai armor from Japan’s Edo period (1615-1868); purchased by George Vanderbilt, 1892
Samurai armor from Japan’s Edo period (1615-1868); purchased by George Vanderbilt for display at Biltmore, 1892

Of course, antiques shops and art dealers were part of the itinerary as George Vanderbilt eventually shipped 32 cases of art and decorative objects back to America. Among his purchases were:

  • Satsuma ceramics, including a koro or ceremonial incense burner, for $85—a significant sum more than 125 years ago
  • Two suits of samurai armor along with spears and swords
  • Netsuke—miniature sculptures originally used as kimono toggles
  • Bronze sculptures
  • Lacquer boxes and sculptures
  • Varied screens and fans
  • Bamboo curtains
  • 1,000 festive paper lanterns

Visit now through October 7 to experience Chihuly at Biltmore. After strolling through the exhibition, we invite you to discover The Biltmore Legacy in Antler Hill Village to view the Samurai armor and other treasures George Vanderbilt collected during his travels as part of our The Vanderbilts at Home and Abroad.

Limestone in the Limelight

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Chihuly At Biltmore Was On Display From May 17 To October 7, 2018.
Please Enjoy This Archived Content.
 

Now through October 7, Biltmore’s Gardens are transformed by the dramatic artworks that compose Chihuly at Biltmore. Installations can be found in the Winter Garden of Biltmore House as well as the Italian Garden, the Walled Garden, and beyond.

But one of the installations—Sky Blue and Cobalt Fiori—is set on the East Terrace of Biltmore House. Let’s take a look at this piece’s perfect backdrop: the magnificent limestone façade of America’s Largest Home®.

Sky Blue and Cobalt Fiori by artist Dale Chihuly

Sky Blue and Cobalt Fiori by artist Dale Chihuly on the East Terrace

Hallowell Quarry

In selecting the materials used to construct Biltmore House, George Vanderbilt and architect Richard Morris Hunt wanted nothing less than the best available.

While the underlying walls are of the house are brick, the overlay is limestone from the Hallowell Quarry in Indiana. At the time, Hallowell, which also sourced the stone used to construct Chicago’s City Hall in 1885, was the richest quarry in the country.

Workers and steam engine during Biltmore House construction, 1892

Workers and steam engine during Biltmore House construction, 1892

Limestone en Route

From February 1891 to February 1892, approximately 287 train cars left Indiana carrying the limestone that would become the façade of Biltmore House.

Once the train cars arrived at the Biltmore Village depot, the stone was transported to the construction site by a narrow-gauge railroad track that was built specifically for that purpose.

The first shipment arrived at the house on March 16, 1891.

Stonemasons' shed during Biltmore House construction, 1892

Stonemasons’ shed during Biltmore House construction, 1892

Cut, Carved & Crandalled

The limestone blocks were stored in sheds to protect them from the weather until it was time for them to be cut and carved. To achieve the texture seen on the house today, the blocks were tooled by hand through a process called “crandalling.”

Skilled stonemasons cut shallow grooves into the surface of the stone, resulting in a fine, pebble-like surface. The process results in an elegant-looking limestone that reflects light in a more dramatic manner.

Crandalling detail

Crandalling detail surrounding a brass ring on the house exterior

The crandalled limestone blocks were then lifted into place using wooden derricks powered by hand-drive, geared winches. The first block of stone was put in place in the west garden wall on June 8, 1891.

Adding It All Up

Although there’s no exact final count, estimates indicate that when the construction was complete, around 60,000 cubic feet of limestone—weighing about 5,000 tons—had been used in the project.

The surface as it’s seen today reflects the beautiful effects of aging in the elements for more than 120 years.

Feature image: The Front Door of Biltmore House surrounded by limestone detail

Discover Biltmore’s Distinctive Shrub Garden

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Summer at Biltmore is a glorious season–and the perfect time to discover Biltmore’s distinctive Shrub Garden.

Discover Biltmore’s distinctive Shrub Garden

Landscape architect Frederick Law Olmsted designed many of the areas closest to Biltmore House as a series of outdoor rooms that beckoned guests to step outside and enjoy their surroundings.

Hidden gems: Biltmore's Shrub Garden
Enjoy an outdoor picnic in the Shrub Garden

Biltmore’s Shrub Garden, located between the Italian Garden and the Walled Garden, invites guests to lose themselves among the winding paths and lush plantings.

Stone steps in Biltmore's Shrub Garden
Stone steps beckon you to discover new delights in the Shrub Garden

Caring for this distinctive space

For Brooke Doty, a member of the estate’s landscaping team since 2017, Biltmore’s Shrub Garden offers a subtle beauty in striking contrast with other portions of Olmsted’s design.

“It’s not as obvious as the Walled Garden with all its bright, blooming flowers, but the Shrub Garden is a place of deep shade and clean structure. The shapes of the mature trees and the open, airy feel of the pathways make it the perfect place for wandering,” said Brooke.

Jack-in-the-pulpit plant in Biltmore's Shrub Garden
Uncovering a native jack-in-the-pulpit plant

In caring for Biltmore’s Shrub Garden during the past several years, Brooke has come to appreciate more than just the overall plan of the area.

“I constantly see things I never saw before,” Brooke said. “Things that you don’t notice immediately. There are plantings that are tucked back away from the paths, and specimens that you won’t find in most gardens.”

Notable specimens

Discover Biltmore's distinctive Shrub Garden
Brooke examines the decorative fruits of the Japanese Snowbell tree

Styrax japonicus or Japanese Snowbell is one such horticultural gem; the tree is known for producing cascades of flowers in the spring, interesting fruits in summer, modest fall color, and shapely limbs for winter interest.

The Shrub Garden is also the home of two state champion trees. One is the golden rain tree (Koelreutaria paniculata) with clusters of small yellow seed pods that hang from its nearly weeping branches in early summer.

Discover Biltmore's distinctive Shrub Garden
State champion river birch with cables to support its branches

The other is a massive river birch (Betula nigra) with distinctive, cinnamon-colored curling bark. In addition to its champion status, the river birch is one of the original plantings in the garden.

“From champion trees to the ‘bones’ of Olmsted’s design, Biltmore’s Shrub Garden offers something interesting for every season,” said Brooke. “I’m always encouraging guests to spend more time here exploring the paths, enjoying the quiet beauty, and discovering the little surprises that await you around each turn.”

Colorful summer blooms against the brick tunnel bridge in the Shrub Garden
Colorful summer blooms against the brick tunnel bridge in the Shrub Garden

Plan your summer visit today

Kids in Biltmore's Azalea Garden
Guests of all ages love discovering Biltmore’s “outdoor rooms” like the Azalea Garden

Featured blog image: Brooke Doty at work in the Shrub Garden

Host a Sizzling Summer White Party!

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Ready to host a sizzling summer white party? Our estate wine experts have some great tips to help you make the most of the season.

“From the Hamptons to Los Angeles, well-known fashion and entertainment celebrities have been hosting elegant ‘white parties’ every summer for many years. With all-white clothing and décor, these iconic events are a celebration of everything warm weather-related and summer-worthy—including white wines,” said Alisha Forester, Sales Director for Biltmore Wines.

Dining table set with white linens and white flowers.
Will your summer white party be an indoor or outdoor affair?

1. Find the perfect spot

Start by choosing your location first, as that sets the tone for your summer white party.

  • Gardens and patios with easy access to the indoors make for a great party, and hosting your event poolside makes a big splash!
  • For outdoor parties, make sure you have a backup plan for weather, plenty of shade, and other conveniences for your guests.

Tip: Create classic summer white party style with all-white décor, which can be as simple as white tablecloths and white flowers, especially if you’re celebrating outdoors.

Biltmore Estate sparkling wines being poured in a vineyard during a summer white party.
Sparkling wines are a must-have for your summer white party!

2. Select some white wines

It’s not a summer white party without your favorite Biltmore white wines, and we handcraft wonderful options from still to sparkling.

Try these easy white flights–we’ve already arranged the wines for you in order from lighter styles to those with more body:

Tip: Keep the party kid-friendly with plenty of Biltmore Sparkling White Grape Juice, available in estate gift shops.

Panna Cotta with Grapefruit Gelée
Panna Cotta with Grapefruit Gelée is a fresh twist on a classic dessert that’s perfect for your summer white party!

3. Pair a signature dish with white wine

Delight your guests with this fresh citrusy twist on classic Italian panna cotta with a surprising ingredient: goat cheese. With its characteristic rich flavor, creamy texture, and a bright pop of color, Panna Cotta with Grapefruit Gelée is perfect for an indulgent summer white party treat!

Panna Cotta with Grapefruit Gelée

Gelée

  • ¾ cup fresh-squeezed grapefruit juice
  • ¼ cup sugar
  • 2 teaspoons (1 packet) unflavored gelatin powder

Combine grapefruit juice, sugar, and gelatin powder in a small sauce pan. Whisk well and bring to a boil. Pour 1 ounce of the juice mixture into each of 6 (4-ounce) ramekins. Place the ramekins in the refrigerator to chill until firm, at least 30 minutes.

Panna Cotta

  • 3 cups heavy cream
  • ½ cup sugar
  • 7 teaspoons (3½ packets) unflavored gelatin powder
  • 14 ounces goat cheese, softened

Combine heavy cream, sugar, and gelatin powder in a medium saucepan. Whisk well and bring to a boil, then immediately remove from heat. Add the softened goat cheese to the mixture and continue to whisk until completely smooth.

Divide the goat cheese panna cotta mixture evenly among the ramekins. Pour it over the firmly set grapefruit gelée and refrigerate until set, at least 1 hour.

Run a knife between the panna cotta and the ramekin to release and invert onto a plate. If the panna cotta won’t come out, turn it upside down and run hot tap water over the bottom of the ramekin for 30–60 seconds, then gently tap onto a plate

Tip: Crisp, sparkling Biltmore Estate® Brut with notes of citrus, strawberry, honey, and apricot is a perfect partner for Panna Cotta with Grapefruit Gelée.

Man and woman toast with white wine at a summer white party in a vineyard.
Celebrate your summer white party with Biltmore Wines!

4. Celebrate your summer white party

Once you’ve chosen your location, selected the Biltmore wines you’ll serve, and created the perfect menu, what’s left?

Don your favorite all-white outfit and invite friends and family to join you for a wonderful summer celebration!

Cheers!

Richard Sharp Smith: A Western North Carolina Legacy

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Biltmore House architect Richard Morris Hunt collaborated with Richard Sharp Smith to create America’s Largest Home® as well as other buildings on the estate and in the surrounding area.

Among others, Smith remained in the Asheville area and contributed their talents to many homes and buildings around the region. Let’s take a look at Smith’s work in the Asheville and Western North Carolina.

After receiving architectural training in England, Richard Sharp Smith came to America in 1882, joining Richard Morris Hunt’s New York office in 1886. A pivotal point in his career came when he was assigned as Biltmore’s supervising architect, responsible for overseeing construction onsite. Following Hunt’s death in August 1895, Smith became Vanderbilt’s lead architect.

All Souls’ Church, designed by Richard Morris Hunt with construction overseen by Richard Sharp Smith, ca. late 1895–early 1896
All Souls’ Church, designed by Richard Morris Hunt with construction overseen by Richard Sharp Smith, ca. late 1895–early 1896

Once this major project was completed, Richard Sharp Smith started his own firm in Asheville, raising a family and becoming one of the area’s most popular architects until his death in 1924. At the time of his passing, the Asheville Citizen said:

“After long years of residence in Asheville, Smith has done more than any other person to beautify the city. He came to Asheville just at a time when he was needed, and was really a pioneer architect in the community…“

Smith worked in styles ranging from Arts and Crafts to Tudor to Colonial Revival. And not surprisingly, many of these homes and buildings are reminiscent of Biltmore House and other structures on the estate.

Biltmore Village Post Office, designed by Richard Sharp Smith, ca. 1903
Biltmore Village Post Office, designed by Richard Sharp Smith, ca. 1903

“Two beautiful examples of Richard Sharp Smith’s residential style—the Annie West House at 189 Chestnut Street in Chestnut Hill and the Charles Jordan House at 296 Montford Avenue—include pebbledash stucco, archways, and rooflines, much like his buildings in Biltmore Village,” said Leslie Klingner, Biltmore’s Curator of Interpretation.

In downtown Asheville, Smith was the architect for the E.W. Grove Office at 324 Charlotte Street, the Elks Home—also known as Hotel Asheville—at 55 Haywood Street, and the Young Men’s Institute on Eagle Street. Saint Mary’s Episcopal Church on Charlotte Street, Grace Episcopal on Merrimon Avenue, and All Souls’ Church in Biltmore Village are also his creations.

Young Men’s Institute in downtown Asheville, designed by Richard Sharp Smith, ca. 1893
Young Men’s Institute in downtown Asheville, designed by Richard Sharp Smith, ca. 1893

Smith’s work is evident throughout Western North Carolina, including homes in Flat Rock and courthouses for Henderson, Jackson, and Madison counties.

“Many of the buildings that define Asheville today were designed by Richard Sharp Smith,” said Leslie. “It’s enjoyable to see these structures and worth taking the time to notice the arches, tile work, pebbledash, and architectural features that relate to Biltmore House.”

Enjoying Biltmore’s Shady Pergola

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Enjoying Biltmore’s shady Pergola is an ideal way to enjoy a sunny summer day.

This fascinating element is an original design element for the estate’s historic gardens and grounds—let’s take a closer look at this fascinating places. 

Beneath the wisteria canopy of the Pergola—along the base of the South Terrace next to Biltmore House—is a shady retreat filled with history. 

Pergola bustThe Pergola once served as a resting place overlooking a lawn tennis court popular with Edith and Cornelia Vanderbilt and their friends. In 1919, Edith asked Chauncey Beadle, estate superintendent, to convert the original “lawn” court to a clay court; the court was later removed.

Now, this space offers a cool and quiet passageway to the Shrub and Walled Gardens and a location for four marble busts nestled along the stone wall. Look carefully to discover that the quartet represents the four seasons: Spring with flowers, Summer with wheat, Fall with fruit and grapes, and Winter with wind. 

The Pergola itself dates back to the construction of Biltmore House. Grading and construction began in 1891 under the direction of architect Richard Sharp Smith and landscape architect Frederick Law Olmsted. This archival photo shows the walking paths from the Pergola through the Shrub Garden and Walled Garden completed, with the Pergola underway and, in the distance, the Conservatory under construction.

Limestone columns and massive wooden rafters form the structure that was originally crowned with ivy. According to Bill Alexander, retired Biltmore landscape and forest historian, Olmsted specified English ivy to be planted at the base of the columns in 1892. “This look of being ‘festooned’ with ivy was typical of Olmsted’s design intent,” Bill said. 

Pergola todayBy 1895, wisteria was planted on the South Terrace and trained to grow out over the Pergola through gaps in the limestone wall created for this purpose. Nearly a century later, Biltmore’s landscape team removed the vines from the top to protect the walls from damage caused by roots, resulting in the leafy and peaceful setting enjoyed today. 

Shedding New Light on Biltmore’s Butterfly Garden

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Chihuly At Biltmore Was On Display From May 17 To October 7, 2018.
Please Enjoy This Archived Content.
 

Just before the Conservatory in the historic Walled Garden is Biltmore’s Butterfly Garden. With the installation of Chihuly at Biltmore—featuring “Cattails and Copper Birch Reeds” in this space—let’s take a closer look at its history and the history of the plants within it. 

According to Bill Alexander, our Landscape and Forest Historian, the area now known as the Butterfly Garden was actually left blank on landscape architect Frederick Law Olmsted’s original plans for the Walled Garden (which was then referred to as the Vegetable and Flower Garden).

About 30 years ago, the Walled Garden supervisor and her crew leader at the time asked Bill about the possibility of creating a garden for butterflies in the space.

It was an ideal location for such a garden. The ample amount of sunlight would provide desired warmth for the cold-blooded creatures, while the surrounding walls and exterior of the Conservatory offered the fragile beings protection from wind.

Bill agreed to the request with one paramount requirement: The flowers and herbs in the Butterfly Garden must draw heavily from Olmsted’s original list of plants used in the surrounding area.

Luckily enough, many of those historic plants offer bright foliage and vibrant blooms that produce nectar throughout the season—which makes them perfect for attracting butterflies.

This summer, guests and butterflies alike can enjoy almost a dozen plants original to the space:

– Wild Indigo (Baptisia australis)
– Tickseed (Coreopsis)
– Joe Pye Weed (Eupatorium purpureum)
– Willowleaf Sunflower (Helianthus salicifolius)
– Blazing Star (Liatris spicata)
– Alpine Poppy (Papaver alpinum)
– Fountaingrass (Pennisetum)
– Creeping Phlox (Phlox subulata)
– Black-eyed Susan (Rudbeckia)
– Sage (Salvia)
– Goldenrod (Solidago)

Peak bloom for the Butterfly Garden is mid to late summer, when most butterflies are active.

Join us and discover these beautiful historic plants in our Butterfly Garden as well as Chihuly’s unique glass sculptures that so perfectly complement the special space.

Lending a hand for a new arm

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PLEASE NOTE: The statue of Flora on the South Terrace is currently being re-created following damage from Tropical Storm Helene in 2024. She is tentatively scheduled to be reinstalled in Summer 2026.

Flora, one of several statues on the South Terrace of Biltmore House, had been missing an arm for many years. How did an Asheville artist restore the limb she lacked? Read on to learn more about the fascinating process.

A new arm for Flora

Artist holds up the replacement arm for the statue of Flora.
Asheville Artist Alex Irvine shows the ceramic arm he created.

At one point during the preservation process, Alex Irvine looked like he was popping the question to one of Biltmore’s oldest residents. The ceramic artist based in Asheville didn’t have matrimony in mind, however; his down-on-one-knee position at the side of Flora, a 120-year-old statue on the South Terrace of Biltmore House, was more like a healing gesture. 

Re-creating Flora’s missing limb

Irvine works with the statue's new ceramic arm.
Irvine works with the statue’s new ceramic arm.

Alex worked with Biltmore’s Museum Services department to re-create an arm that Flora lost decades ago. The original was no longer in Biltmore’s possession, and a repair in 2003 using a non-ceramic material was challenging to maintain and eventually weathered. 

For the new repair, Alex re-created the arm in his home studio using a fired ceramic material which is expected to stand the test of time.

In addition to the missing arm, he recreated a few missing fingers and a garland that Flora had once held in her hands. 

Who is Flora?

Irvine works with the statue on the South Terrace of Biltmore House.
Irvine installing the new arm on the statue of Flora.

Flora is the Roman goddess of spring who signifies blooming flowers and renewal. The ceramic sculpture is copied after the French artist Antoine Coyzevox’s sculpture Flore (“Flora”). It was offered in a catalog dating back to 1886, along with three other sculptures installed on the South Terrace around 1900. 

In addition to the re-creation and attachment of the missing elements, an internal structure was fabricated to support the arm and garland. Stabilization of the overall surface of the sculpture also took place.

Preservation for future generations

A restoration sign communicates the importance of the artist's work on the statue of Flora.
“Restoration in progress” signage helps guests understand understand what’s happening with projects like this.

This is a great example of the work we do to preserve the estate for generations to come. An added plus in this case is the chance to collaborate with the local arts community.

“We were excited to have the opportunity to work with a talented local artist for this treatment,” the Museum Services team said. “Alex brings a great deal of knowledge about ceramic work with him.”

See Flora for yourself

Artist holds the arm of a restored statue of Flora on the South Terrace of Biltmore House.
You can see Flora for yourself near the Tea House on the South Terrace of Biltmore House.

To see the repaired statue of Flora and all her companions on the South Terrace, plan your Biltmore visit today.

Restoring Our Roof: North Tower Ridge Cap Project

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In 2015, several leaks in Biltmore House made it clear the time had come for restoring our roof.

We brought in Huber & Associates, a firm of historical and restoration roofing experts, to remove the original North Tower Ridge Cap from America’s Largest Home®.

Restoring the roof of Biltmore House
A worker removes a section of the original ridge cap under the watchful eye of a grotesque carving

After carefully removing each section and taking it back to their Florida workshop, the team used the original pieces as models to build an all-new ridge cap for restoring our roof.

This seven-month project shows our commitment to our continuing mission of preserving Biltmore. Here’s how the work unfolded:

April 2015

The crew arrived at Biltmore and spent several days disassembling the North Tower Ridge Cap and preparing the pieces for travel.

A worker removes a section of the original copper roofing
A member of Huber & Associates carefully removes an original section of the North Tower Ridge Cap

May 2015

Three different weights of copper were discovered — 18, 20, and 24 ounce — as well as a leaf from one of the vertical panels that still had some of the original gold leaf intact!

Restoring the roof panels
An original roof panel with George Vanderbilt’s monogram still shows traces of gold leaf

About 900 individual pieces arrived in Florida, where they were inventoried and analyzed.

June 2015

Scaffolding in place to access North Tower Ridge Cap restoration on roof of Biltmore House
Scaffolding in place to access North Tower Ridge Cap restoration on roof of Biltmore House

Meanwhile, work continued at Biltmore to repair any underlying leaks in the roof, and a temporary ridge cap was created to prevent further damage while the replacement was being built in Florida. 

August 2015

Restoring elements of the roof of Biltmore House
Exact reproductions of decorative copper components from the North Tower Ridge Cap

The crew at Huber & Associates created separate casts for stamping, pouring, and forming new molds to replicate the original pieces.

October 2015

Restoring our roof at Biltmore House
Huber & Associates returned to install the replicated pieces of the ridge cap

Huber & Associates finished their painstaking replication of the North Tower Ridge Cap and brought all the pieces (original and new) back to Biltmore for installation. The photo above shows one of the new copper sections being installed next to an original portion of the ridge cap with its distinctive green patina.

November 2015

Installation of the new North Tower Ridge Cap began and the project was completed in late November. The original pieces were placed in storage.

The new copper ridge cap is a reddish-brown color that looks much like it did when Biltmore House was completed in 1895. It is being allowed to acquire a natural patina over time rather than trying to match it by modern methods.

Restoring our roof with new copper sections
A worker installs a new section of the North Tower Ridge Cap

Biltmore was honored to receive the Griffin Award for Restoration—given annually by The Preservation Society of Asheville and Buncombe County for projects that accurately depict the form, features, and character of a property as it appeared at a particular period of time—for this preservation initiative.

We are grateful to our amazing employees and to Huber & Associates for all their hard work. 

Getting to Know Your Glassware

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Ancient origins

The form and function of glassware has continually been refined throughout the centuries, making it suitable for anything from art to everyday needs such as drinking wine. The material has ancient origins and was probably first developed by the Egyptians sometime after 2000 BC. It can also occur naturally, as in the case of obsidian and basalt glass produced as a result of volcanic eruptions. 

Biltmore wine in glasses

Different glassware options for tasting Biltmore wines

Type and shape

When it comes to serving wine, the quality of the glassware and the shape of the vessel both play an important role in the tasting experience. 

“Wine enthusiasts have long known that the shape of the wine glass affects the taste of the wine,” said Jill Whitfield, Wine Marketing Manager for Biltmore. “It’s important to educate wine drinkers on this fact, because it can change how you experience wine from the tasting room to your own home.”

Server with glasses of red and white Biltmore wine on a tray

A server with red and white Biltmore wines

Standard glassware

A standard tasting glass usually offers a slightly wider base in proportion to a narrower rim, with a stem to keep the heat of your hand from warming the wine. 

“This combination allows you to aerate the wine by swirling it in the bowl, but it doesn’t allow the aromas—a vital component of the tasting process—to escape too quickly,” Jill said. 

  • White Wines

    White wine glasses tend to have smaller bowls to help preserve the floral aromas typical of white wines. The smaller style also helps maintain cooler temperatures, and allows more of the aromatic qualities to be enjoyed since the wine is closer to your nose. Our Biltmore Estate Pinot Grigio is a great example of a lighter-bodied white wine that would benefit from a glass with a smaller bowl design.

    Full-bodied whites such as our Biltmore Reserve Chardonnay North Carolina may utilize a slightly larger bowl to showcase the smooth, creamy texture that is characteristic of the varietal.
  • Red Wines

    Red wine glasses typically have larger bowls to allow some of the wine’s ethanol to burn off before it reaches your nose, allowing more aromas to be expressed. A wider opening allows the wine to flow more smoothly, which enhances the overall experience. 

    Glasses for serving light-bodied reds such as our Vanderbilt Reserve Pinot Noir Russian River Valley are typically wider and shorter than glassware for full-bodied, heavily tannic reds that include our classic Vanderbilt Reserve Cabernet Sauvignon Dry Creek Valley.

    Flute glasses with Biltmore Estate sparkling wine
    Biltmore Estate Blanc de Blancs sparkling wine served in flute glasses

Let it sparkle

According to Jill, sparkling wines are often served in a distinctive flute with a stem. 

“The tall, narrow flute shape keeps the bubbles from escaping as quickly while the stem prevents the chilled wine from coming in contact with your warm hands,” said Jill. 

She notes that aged sparkling wines and those that are especially aromatic may benefit from a tulip glass, which resembles a flute but widens at the waist before narrowing at the rim. As for wide, shallow coupe glasses—they allow the bubbles to fly away, allowing the softer, fruiter aspects of sparkling wines to become more noticeable. 

Biltmore wine being poured into glasses

Pouring Biltmore Estate Dry Rosé into glasses 

Glass or crystal?

“Another important point to consider is the difference between glass and crystal,” Jill said. “The fine, thin texture of crystal is less interactive than glass, meaning that you’ll taste the wine and its specific characteristics more clearly, but glass is more durable and less expensive, so there are benefits to both materials.”

If tasting and understanding the complexities of wine is your goal, definitely invest in the proper equipment to help you succeed. 

Pouring Biltmore wine outdoors at the vineyard

Guests enjoy a wine event in Biltmore’s vineyard

“In the meantime,” said Jill, “whether you’re sipping from a plastic festival cup or the tiny crystal cordial glasses passed down through your family, we encourage you to enjoy wine in many forms!”

Learn more

Purchase our award-winning Biltmore wines online, at the estate, or from your local retailer.