Biltmore Estate Informations

Biltmore Estate is a historic house museum and tourist attraction in Asheville, North Carolina. Biltmore House, the main residence, is a Châteauesque-style mansion built for George Washington Vanderbilt II between 1889 and 1895 and is the largest privately owned house in the United States, at 178,926 square feet (16,622.8 m2) of floor space (135,280 square feet of living area). Still owned by George Vanderbilt's descendants, it remains one of the most prominent examples of Gilded Age mansions.

In the 1880s, at the height of the Gilded Age, George Washington Vanderbilt II began to make regular visits with his mother, Maria Louisa Kissam Vanderbilt, to the Asheville area. He loved the scenery and climate so much that he decided to build his own summer house in the area, which he called his "little mountain escape". His older brothers and sisters had built luxurious summer houses in places such as Newport, Rhode Island, and Hyde Park, New York. Vanderbilt named his estate Biltmore, derived from "De Bilt", Vanderbilt's ancestors' place of origin in the Netherlands, and "More", Anglo-Saxon for open, rolling land. Vanderbilt bought almost 700 parcels of land, including over 50 farms and at least five cemeteries; a portion of the estate was once the community of Shiloh. A spokesperson for the estate said in 2017 that archives show much of the land "was in very poor condition, and many of the farmers and other landowners were glad to sell."

Construction of the house began in 1889. In order to facilitate such a large project, a woodworking factory and brick kiln, which produced 32,000 bricks a day, were built onsite, and a three-mile railroad spur was constructed to bring materials to the building site. Construction on the main house required the labor of about 1,000 workers and 60 stonemasons. Vanderbilt went on extensive trips overseas to purchase decor as construction on the house was in progress. He returned to North Carolina with thousands of furnishings for his newly built home including tapestries, hundreds of carpets, prints, linens, and decorative objects, all dating between the 15th century and the late 19th century. Among the few American-made items were the more practical oak drop-front desk, rocking chairs, a walnut grand piano, bronze candlesticks and a wicker wastebasket.

George Vanderbilt opened his opulent estate on Christmas Eve of 1895 to invited family and friends from across the country, who were encouraged to enjoy leisure and country pursuits. Notable guests to the estate over the years included author Edith Wharton, novelist Henry James, ambassadors Joseph Hodges Choate and Larz Anderson, and U. S. Presidents. George married Edith Stuyvesant Dresser in 1898 in Paris, France; their only child, Cornelia Stuyvesant Vanderbilt, was born at Biltmore in the Louis XV room in 1900, and grew up at the estate.

Driven by the impact of the newly imposed income taxes, and the fact that the estate was getting harder to manage economically, Vanderbilt initiated the sale of 87,000 acres (35,000 ha) to the federal government. After Vanderbilt's unexpected death in 1914 of complications from an emergency appendectomy, his widow completed the sale to carry out her husband's wish that the land remain unaltered, and that property became the nucleus of the Pisgah National Forest. Overwhelmed with running such a large estate, Edith began consolidating her interests and sold Biltmore Estate Industries in 1917 and Biltmore Village in 1921. Edith intermittently occupied the house, living in an apartment carved out of the former Bachelors' Wing, until the marriage of her daughter to John Francis Amherst Cecil in April 1924. The Cecils went on to have two sons who were born in the same room as their mother.

In an attempt to bolster the estate's financial situation during the Great Depression, Cornelia and her husband opened Biltmore to the public in March 1930 at the request of the City of Asheville, which hoped the attraction would revitalize the area with tourism. Biltmore closed during World War II and in 1942, 62 paintings and 17 sculptures were moved to the estate by train from the National Gallery of Art in Washington, D.C. to protect them in the event of an attack on the United States. The Music Room on the first floor was never finished, so it was used for storage until 1944, when the possibility of an attack became more remote. Among the works stored were the Gilbert Stuart portrait of George Washington and works by Rembrandt, Raphael, and Anthony van Dyck. David Finley, the gallery director, was a friend of Edith Vanderbilt and had stayed at the estate.

After the divorce of the Cecils in 1934, Cornelia left the estate never to return; however, John Cecil maintained his residence in the Bachelors' Wing until his death in 1954. Their eldest son, George Henry Vanderbilt Cecil, occupied rooms in the wing until 1956. At that point Biltmore House ceased to be a family residence and continued to be operated as a historic house museum.

Their younger son William A. V. Cecil, Sr. returned to the estate in the late 1950s and joined his brother to manage the estate when it was in financial trouble and make it a profitable and self-sustaining enterprise like his grandfather envisioned. He eventually inherited the estate upon the death of his mother, Cornelia, in 1976, while his brother, George, inherited the then more profitable dairy farm which was split off into Biltmore Farms. In 1995, while celebrating the 100th anniversary of the estate, Cecil turned over control of the company to his son, William A. V. Cecil, Jr. The Biltmore Company is privately held. Of the 4,306.86 acres that make up Biltmore Estate, only 1.36 acres are in the city limits of Asheville, and the Biltmore House is not part of any municipality.

The estate was designated a National Historic Landmark in 1963, and remains a major tourist attraction in Western North Carolina, with 1.4 million visitors each year.

After the death of William A. V. Cecil in October 2017 and his wife Mimi Cecil in November, their daughter Dini Pickering is serving as board chair and their son Bill Cecil as CEO. The house is assessed at $157.2 million, although due to an agricultural deferment, county property taxes are paid on only $79.1 million of that.

Vanderbilt commissioned prominent New York architect Richard Morris Hunt, who had previously designed houses for various Vanderbilt family members, to design the house in the Châteauesque style. Hunt used French Renaissance chateaus as inspiration. Vanderbilt and Hunt had visited several in early 1889, including Château de Blois, Chenonceau and Chambord in France and Waddesdon Manor in England. These estates shared steeply pitched roofs, turrets, and sculptural ornamentation. Hunt sited the four-story Indiana limestone-built home to face east with a 375-foot facade to fit into the mountainous topography behind. The facade is asymmetrically balanced with two projecting wings connecting to the entrance tower with an open loggia to the left side and a windowed arcade to the right, which holds the Winter Garden that was fashionable during the Victorian era. The entrance tower contains a series of windows with decorated jambs that extend from the front door to the most decorated dormer at Biltmore on the fourth floor. The carved decorations include trefoils, flowing tracery, rosettes, gargoyles, and at prominent lookouts, grotesques. The staircase is one of the more prominent features of the east facade, with its three-story, highly decorated winding balustrade with carved statues of St. Louis and Joan of Arc by the Austrian-born architectural sculptor Karl Bitter.

The south facade is the house's smallest and is dominated by three large dormers on the east side and a polygonal turret on the west side. An arbor is attached to the house and is accessed from the library which is located on the ground floor. On the north end of the house, Hunt placed the attached stables, carriage house and its courtyard to protect the house and gardens from the wind. The 12,000-square-foot complex housed Vanderbilt's prized driving horses and the carriage house opposite the stables stored his 20 carriages in addition to any of his guest's carriages.

The rear western elevation is less elaborate than the front facade, with some windows not having any decoration at all. Two matching polygonal towers in the center are connected to the polygonal south turret by an open loggia that opens the main rooms of the house to the views of the Blue Ridge Mountains in the distance. The loggia is decorated overhead with terracotta tiles set in a herringbone pattern. The self-supporting ceramic tile vault and arch system was used extensively inside and outside of Biltmore, and was patented by Rafael Guastavino, a Spanish architect and engineer who personally supervised the installation. The limestone columns were carved to reflect the sunlight in aesthetically pleasing and varied ways per Vanderbilt's wish. The rusticated base is a contrast to the smooth limestone used on the remainder of the house.

The steeply pitched roof is punctuated by 16 chimneys and covered with slate tiles that were affixed one by one. Each tile was drilled at the corners and wired onto the attic's steel infrastructure. Copper flashing was then installed at the junctions to prevent water from penetrating. The fanciful flashing on the ridge of the roof was embossed with George Vanderbilt's initials and motifs from his family crest, though the original gold leaf no longer survives.

Biltmore House had electricity from the time it was built, though initially with DC, due to a friendship with Thomas Edison. With electricity less safe and fire more of a danger at the time, the house had six separate sections divided by brick fire walls.

Vanderbilt paid little attention to the family business or his own investments and it is believed that the construction and upkeep of Biltmore depleted much of his inheritance.

Biltmore has four acres of floor space and 250 rooms in the house, including 35 bedrooms for family and guests, 43 bathrooms, 65 fireplaces, three kitchens and 19th-century novelties such as electric elevators, forced-air heating, centrally controlled clocks, fire alarms, and a call-bell system. The principal rooms of the house are located on the ground floor. To the right of the marbled Entrance Hall, the octagonal sunken Winter Garden is surrounded by stone archways with a ceiling of architecturally sculptured wood and multifaceted glass. The centerpiece is a marble and bronze fountain sculpture titled Boy Stealing Geese created by Karl Bitter. On the walls just outside the Winter Garden are copies of the Parthenon frieze. The Banquet Hall is the largest room in the house, measuring 42 feet wide and 72 feet long, with a 70-foot-high barrel-vaulted ceiling. The table could seat 64 guests surrounded by rare Flemish tapestries and a triple fireplace that spans one end of the hall. On the opposite end of the hall is an organ gallery that houses a 1916 Skinner pipe organ. Left unfinished with bare brick walls, the Music Room was not completed and opened to the public until 1976. It showcases a mantle designed by Hunt, and a large engraving by Albrecht Dürer called the Triumphal Arch commissioned by Holy Roman Emperor Maximilian I. The mantle had been stored in the stable for over 80 years.

To the left of the entrance hall is the 90-foot-long Tapestry Gallery, which leads to the Library, featuring three 16th-century tapestries representing The Triumph of Virtue Over Vice. Elsewhere on the walls are family portraits by John Singer Sargent, Giovanni Boldini and James Whistler. The two-story Library contains over 10,000 volumes in eight languages, reflecting George Vanderbilt's broad interests in classic literature as well as works on art, history, architecture, and gardening. The second-floor balcony is accessed by an ornate walnut spiral staircase. The baroque detailing of the room is enhanced by the rich walnut paneling and the ceiling painting, The Chariot of Aurora, brought to Biltmore by Vanderbilt from the Palazzo Pisani Moretta in Venice, Italy. The painting by Giovanni Antonio Pellegrini is the most important work by the artist still in existence.

The second floor is accessed by the cantilevered Grand Staircase of 107 steps spiraling around a four-story, wrought-iron chandelier holding 72 light bulbs. The Second Floor Living Hall is an extension of the grand staircase as a formal hall and portrait gallery, and was restored to its original configuration in 2013. Several large-scale masterpieces are displayed in the hall, including two John Singer Sargent portraits of Biltmore's architect, Richard Morris Hunt, and landscaper, Frederick Law Olmsted, both commissioned for the home by Vanderbilt. Located nearby in the south tower is George Vanderbilt's gilded bedroom with furniture designed by Hunt. His bedroom connects to his wife's Louis XV-style, oval-shaped bedroom in the north tower through a Jacobean carved oak paneled sitting room with an intricate ceiling.

The suite of rooms includes the Damask Room; the Claude Room, named after one of Vanderbilt's favorite artists, Claude Lorrain; the Tyrolean Chimney Room; and the most grand, the Louis XV Room, so named due to its architectural scheme and furnishings that were very popular in the late nineteenth century. The suite was restored and opened to the public for the first time in 100 years in 2011.

Complete article available at this page.