George Vanderbilt: An American Renaissance Man

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Was George Vanderbilt an American Renaissance man?

“He certainly embodied many of the ideals of this period that flourished during his lifetime, and you can still see the influence of the era at Biltmore today,” said Meghan Forest, Associate Curator.

What was the American Renaissance?

Archival photo of George Vanderbilt and his three cousins in Spain
George Vanderbilt (standing, right) traveling in Spain with his cousin Clarence Barker (seated, left), his niece Maria Louisa Schieffelin (seated, right), and her husband William Jay Schieffelin (standing, left), 1891.

In the decades following the Civil War, the United States experienced an optimistic rebirth that mirrored the European Renaissance of the 17th century.

“The American Renaissance was all about developing a national identity of what it means to be American, and part of that was setting up the United States as the successor to the cultural accomplishments of countries across Europe,” Meghan said.

While the European Renaissance had stirred interest in exploration and experimentation in disciplines such as art, architecture, and science, the American Renaissance awakened a desire to explore classic themes and destinations, drawing inspiration from travels abroad to use at home.

America’s coming of age

The American Renaissance took place in the latter part of the 19th century, marking a renewed confidence in the nation’s outlook with time and attention lavished upon the development of ideas, urbanization, transportation, and new forms of communication.

“It was the American Renaissance that made the Gilded Age possible,” said Meghan. “Innovation in technology, propelled by the intellectual energy of the time, led to industrial growth that gave rise to prominent American families like the Vanderbilts.”

Once such families became wealthy, many contributed to pushing the arts farther than previous generations, so the American Renaissance ushered in the glamorous Gilded Age.

American Renaissance ideals

Photograph of Biltmore House and the Italian Garden, ca. 1910
Photograph of Biltmore House and the Italian Garden, ca. 1910

It was during the confluence of both periods that George Vanderbilt first visited Asheville, North Carolina, and became enamored with the area. He envisioned building his new home there, creating a retreat for friends and family that would also showcase his interest in art and literature and house the treasures he collected during his travels.

He retained the services of Richard Morris Hunt and landscape architect Frederick Law Olmsted—two of the most influential designers of the American Renaissance era—to create Biltmore House and its magnificent gardens and grounds.

World’s Columbian Exposition

(L-R) purchasing agent and agricultural consultant Edward Burnett, architect Richard Morris Hunt, landscape architect Frederick Law Olmsted, George Washington Vanderbilt, and architect Richard Howland Hunt, son of Richard Morris Hunt, 1892

In 1893, four years after construction began at Biltmore, Chicago hosted the World’s Columbian Exposition. With its remarkable “White City” thoughtfully planned by the nation’s leading designers including Hunt and Olmsted, the extraordinary event further elevated American Renaissance ideals such as world exploration, the experience of different cultures, and new technology like electricity.

With Hunt and Olmsted traveling between Asheville and Chicago during this pivotal time to oversee their roles in both massive projects, it was evident that the Columbian Exposition and Vanderbilt’s new estate shared a common thread: both were created in the regal and fashionable Beaux Arts style that favored neoclassical architecture and European-inspired formal gardens.

“In addition to Hunt and Olmsted’s presence there, we know that George Vanderbilt attended the Columbian Exposition, and that he contributed materials from Biltmore’s managed forestry initiative for estate forester Gifford Pinchot to display. The flags above the fireplace in the Biltmore House Banquet Hall represent the countries that participated in the Columbian Exposition,” Meghan said.

Meaningful travel

George Vanderbilt (seated, third from left) with unidentified gondola companions in Venice, circa 1890
George Vanderbilt (seated, third from left) with unidentified gondola companions in Venice, 1887.

Like many other wealthy Americans of the era, George Vanderbilt traveled extensively, and his trips to Europe, India, and Japan helped fuel his appreciation of history, architecture, and culture.

In particular, his sojourns to Rome, Venice, Milan, and Florence—the epicenter of the Italian Renaissance—gave George Vanderbilt a passion for all things Italian, leading him to choose Italy as a romantic backdrop for the first six weeks of his and Edith Vanderbilt’s four-month European honeymoon.

Renaissance art and patronage

Nocturne: Battersea, c. 1871-1873, James Abbott McNeill Whistler
Nocturne: Battersea, c. 1871-1873, James Abbott McNeill Whistler, on display in Oak Sitting Room. George Vanderbilt purchased this piece in 1900 from dealer Wunderlich and Company.

In order to succeed during the Italian Renaissance, many artists including Michelangelo, Da Vinci, and Botticelli sought and accepted the patronage of wealthy individuals and entities such as the church and the government in order to create works of lasting beauty.

During America’s Renaissance, George Vanderbilt was an active patron of the arts, commissioning and collecting pieces from the new Impressionists as well as many other established artists of his day.

Vanderbilt’s support extended beyond the stunning works he purchased; he also provided philanthropic support for certain libraries and art facilities in New York, educational and vocational support in Asheville, and corresponded with several notable artists including Claude Monet, John Singer Sargent, and James McNeill Whistler. 

Vanderbilt’s lasting legacy

Italian Renaissance wellhead used as a fountain at Biltmore House
Made of Rosso di Verona marble, this fountainhead was likely originally used to decorate and protect an active well in Venice during the Italian Renaissance, c. 1500. It has become known as the “Hunt fountain” as it is depicted in the John Singer Sargent portrait of Biltmore House architect Richard Morris Hunt.

The appreciation of man and his capabilities flourished during the American Renaissance, and the nation felt uniquely positioned to take a leading role in the global arena. George Vanderbilt personified the outlook of this important period in our nation’s history, and, as a true American Renaissance man, his contributions continue to stand the test of time.

Today, you can explore lingering expressions of the American Renaissance with a visit to Biltmore Estate in Asheville, NC. Highlights include America’s Largest Home®, still filled with many of the more than 50,000 objects in Biltmore’s collection, plus 75 acres of exquisitely landscaped and preserved formal gardens that gradually give way to meadows, fields, and managed forests surrounding the property.

Plan your Biltmore visit now

Two farm-style cottages with cows in a pasture
Visit like a Vanderbilt when you choose one of our private, historic Cottages on Biltmore Estate.

Surround yourself with the architecture, travel, and art of the American Renaissance, and make your time with us even more unforgettable with an overnight retreat at one of our thoughtfully designed properties: Village Hotel on Biltmore Estate®, The Inn on Biltmore Estate®, or our historic private Cottages on Biltmore Estate™.

Afternoon Tea at Biltmore Is a Treasured Tradition

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Afternoon tea at Biltmore is a treasured tradition inspired by the Vanderbilt family.

Archival photo of a group of men and women, plus two large dogs, having afternoon tea at Biltmore House
Afternoon tea on the Loggia, May 1903. L-R: Edith Vanderbilt with unidentified dog, Mademoiselle Rambaud (Edith Vanderbilt’s former chaperone), Lila Vanderbilt Webb (George’s sister), Mary Webb (Lila’s sister-in-law), Isabella Stewart Gardner, William Blodgett II, and George Vanderbilt with a St. Bernard.

Afternoon tea at Biltmore

Although “taking tea” often seems like a formal affair, archival records show that afternoon tea at America’s Largest Home® wasn’t always regimented. “We have photos that show the Vanderbilts and their guests having tea while lounging outside with their dogs,” said Lauren Henry, Curator of Interpretation.

Another photo shows George Vanderbilt pouring tea for Edith at Buck Springs Lodge in a very rustic setting. “What this photo tells me is that tea was very much a part of their culture, an integral part of daily activities. They probably served it on camping trips!” Lauren said.

The perfect place for afternoon tea

Archival photo of a young boy and girl having a tea party
Cousins John Nicholas Brown and Cornelia Vanderbilt at a tea party in 1906

Children were often included at tea with the Vanderbilts. “There is a letter from Edith Vanderbilt’s sister Pauline describing her day at Biltmore and talking about the children coming down for tea,” said Lauren. “It was unusual in those days for kids to be present at tea with the adults, but Pauline noted it was a good time to reconnect.”

The Vanderbilts frequently served tea in the Tapestry Gallery. “I like to imagine that in the winter they pulled up chairs to the fireplace,” Lauren said. “And in warmer weather they sometimes enjoyed afternoon tea on the Loggia to take advantage of the cool breezes and breathtaking views all the way to Mt. Pisgah.”

Served in style

Here’s a selection of the stylish tea sets that the Vanderbilts and their guests enjoyed at Biltmore:

Cup, saucer, and teapot featuring George Vanderbilt's monogram
George Vanderbilt’s elegant white china with burgundy and gold trim. It was manufactured by Minton and Spode-Copeland, and used for everyday occasions.
Blue and gold tea set with a monogrammed linen cloth.
This blue-and-gold porcelain tea set displayed in the Tapestry Gallery of Biltmore House was made in France around 1888; the lovely floral detailing shown here on the cup is a hallmark of Rococo revival style. The piece of fringed linen with red-and-gold cross stitch is also from the Biltmore collection.
Silver Tiffany & Co. tea set
This silver Tiffany & Company tea set was a gift to George Vanderbilt from his mother and it is engraved with his and her initials. She gave him with the set—a gracious symbol of hospitality—to serve guests aboard Swannanoa, his private train car.

Reserve afternoon tea at Biltmore today!

A plate of sweet treats for afternoon tea at Biltmore
A selection of sweet treats that you’ll enjoy as part of your Afternoon Tea at The Inn on Biltmore Estate®

For more inspiration on the tradition of taking tea, reserve Afternoon Tea at the The Inn on Biltmore Estate®. It’s the perfect opportunity to relax with friends and feel just as if you were a special guest of the Vanderbilts.

Your afternoon tea is served in The Dining Room of The Inn and features delights such as fresh-baked scones with clotted cream, honey, and preserves, artfully prepared sweet and savory canapés, and finely cut tea sandwiches. You can even indulge in a carefully crafted tea-infused cocktail or other spirited offerings.

George Vanderbilt: A Passion For Italy

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George Vanderbilt–traveler, collector, and patron of the arts–appreciated the finer things in life, but had a special passion for the culture and creativity of Italy. His trips there and other regions he visited across Europe helped shape his appreciation for art, architecture, and fine wine.

“Throughout his life, George Vanderbilt traveled the world, first with family and friends, and after he married, his wife Edith and their daughter Cornelia often accompanied him,” said Meghan Forest, Associate Curator.

George Vanderbilt’s first Italian visit

Archival image of the Colosseum, 1887. Rome, Italy
Archival image of the Colosseum, 1887. Rome, Italy.

Based on correspondence in our archives, Italy seems to have been a favored destination for George Vanderbilt. He first visited the country in 1880 when he was 18 years old, taking in notable sites such as Rome and Vatican City.

The visit included a stop in Milan where the church and Dominican convent of Sante Maria della Grazie was of particular interest as its refectory contains The Last Supper fresco painted by Italian Renaissance artist Leonardo da Vinci.

Further travels in Italy

The Last Supper fresco painting by Leonardo da Vinci
The Last Supper fresco painting by Leonardo da Vinci, c. 1495–1498.

In 1887, George Vanderbilt took an extended trip to Italy, taking in some of the well-known sites including Pisa Cathedral with its famously tilted bell tower, better known as the Leaning Tower of Pisa.

He also visited Venice with its winding canals and Florence, the city long considered the epicenter of Italian Renaissance art and culture. Florence offers some of the most iconic treasures of the era, including the Uffizi Museum and the Cathedral de Santa Maria dell Fiore, generally referred to as the Duomo because of its two free-standing domes.

Archival photo of three passengers and two rowers in a gondola in Venice, Italy
George Vanderbilt (seated, far right) with unidentified men riding a gondola in Venice, 1887

Seven years later, George Vanderbilt returned to Italy with members of his family including his niece Adele Sloan. They visited Taormina and the ruins of the Taormina Amphitheatre built by the Greeks and renovated 600 years later by the Romans. Such sites were popular destinations during the American Renaissance of the late 19th century as travelers sought to understand the ancient world.

Honeymooning in Italy

Villa Vignolo near Stresa, Italy, c. 1898.
Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy, c. 1898.

“Another reason we believe George Vanderbilt had a passion for Italy is because he chose to take his new bride Edith there after they were wed in Paris in 1898. The Vanderbilts spent the first six weeks of their four-month honeymoon at Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy,” Meghan said.

While there, the Vanderbilts took short trips to various museums and galleries, taking in sights such as the iconic Rialto Bridge over the Grand Canal in Venice. In Edith, George found a partner who shared his passion for history, literature, and the arts.

In a letter to artist James McNeill Whistler, George wrote of their time in Italy, “It was Mrs. Vanderbilt’s first visit… It has been an added pleasure of course to see her delight and interest… “ *

Italian Renaissance wellhead, c. 1500
Made of Rosso di Verona marble, this fountainhead was likely originally used to decorate and protect an active well in Venice during the Italian Renaissance, c. 1500. It has become known as the “Hunt Fountain” as it is depicted in the John Singer Sargent portrait of Biltmore House architect Richard Morris Hunt.


Featured blog image: George Vanderbilt (seated, far right) with unidentified men riding a gondola in Venice, 1887

*George Washington Vanderbilt to James McNeill Whistler. 10 Jul 1898. The Correspondence of James McNeill Whistler. Glasgow University Library, University of Glasgow: 05919.

Patron of the Arts: George Vanderbilt

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As a patron of the arts, George Vanderbilt remains a remarkable example of the difference one man can make in the field of fine art and education.

With his deep appreciation and understanding of arts and languages and his vision for a self-sustaining country estate, George Vanderbilt was part of the American Renaissance that flourished during the Gilded Age.

Detail of George Vanderbilt portrait by John Singer Sargent, painted in 1890.

A patron of the arts

George Vanderbilt did more than simply collect and appreciate art, however; he was also a passionate patron who befriended artists such as John Singer Sargent and James McNeill Whistler, commissioning their works for his home and corresponding with them far beyond the particulars of portraiture.

Literary writers including Edith Wharton and Henry James were welcomed at Biltmore, and George Vanderbilt’s close friend and author Paul Leicester Ford spent several weeks at the estate while working on his novel Janice Meredith: A Story of the American Revolution. 

(left) George Vanderbilt’s personal bookplate.

Library patron

In addition to his personal friendships with artists, George Vanderbilt was a great proponent of public access to the arts, using his philanthropic values to ensure that others could benefit from institutions such as free lending libraries.

While most libraries of that era required patrons to pay for the books they borrowed, Vanderbilt provided funding to build the Jackson Square Free Circulating Library of the New York Public Library System and filled it with books that he donated. This library was one of the first open to the general public.

Rhinocerous print by Albrecht Dürer in Biltmore’s collection.

Support for young artists

Another of George Vanderbilt’s most significant donations was to The American Fine Arts Society in support of young artists. In 1892, Vanderbilt donated $100,000 to pay for the property and construct the building that the Society would use for exhibiting members’ work.

Named the Vanderbilt Gallery in his honor, the inaugural exhibition was a show of prints by Rembrandt and Albrecht Dürer, plus prints based on the paintings of Sir Joshua Reynolds, all from George Vanderbilt’s personal collection.

While some of the Durer prints and those after the style of Reynolds remain in the Biltmore collection, the original Rembrandt prints were sold to J.P. Morgan. You can see a selection of detailed reproductions in the Oak Sitting Room of Biltmore House.

Formal photo portrait of young George Vanderbilt (detail)

Living the legacy

We continue George Vanderbilt’s passion for the arts today by hosting exhibitions such as Legends of Art & Innovation at Biltmore featuring four separate large-scale, multi-sensory events created and produced by Grande Experiences using the very latest in immersive technology.

Past exhibitions have illuminated the remarkable lives of artists such as Van Gogh, Monet, and Da Vinci, while the current Italian Renaissance Alive exhibition showcases a wide range of timeless masterpieces from that dramatic era in European history.

Each individual exhibition offers fascinating ties to Vanderbilt’s collection of treasures on display in Biltmore House, his magnificent family home, in Asheville, North Carolina.

Featured: Bronze bust of George Vanderbilt by Mary Grant

The Lasting Legacy of John Cecil

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The lasting legacy of John Cecil is founded on his contributions to Biltmore during his lifetime, which helped preserve the estate for future generations. Let’s take a look at how he became such an important part of Biltmore’s history.

John Cecil’s early life

Photographic portrait of John Cecil
The Honorable John Francis Amherst Cecil, 1924

John Francis Amherst Cecil grew up in the English countryside of Norfolk. He was the third son of Lord Cecil and the Baroness Amherst of Hackney. His father was a descendant of William Cecil, Lord Burghley, who was Lord High Treasurer to Queen Elizabeth 1.

As a young man, John studied history and international law at the New College of Oxford University before becoming a member of the British diplomatic corps. He served in Egypt, Spain, and Czechoslovakia before being posted to Washington where he rose to the position of First Secretary of the British Embassy.

John Cecil met Cornelia Stuyvesant Vanderbilt in Washington, D.C., where she and her mother Edith Vanderbilt spent a great deal of time in the years following George Vanderbilt’s death. Ten years older than Cornelia, John was one of a group of eligible gentlemen known as the “British bachelors” in the capitol’s social circles.

A grand wedding

Cornelia and John Cecil engagement photo
The Honorable and Mrs. John Francis Amherst Cecil, 1924. This portrait, shot by noted London photographer Langfier, was taken when Cornelia was presented to Queen Mary of the United Kingdom following her wedding. Since John Cecil was a member of the nobility, the couple followed the tradition of formally presenting his bride to English society. Cornelia wore a dress made out of her modified wedding gown and veil.

Of all the romantic celebrations Biltmore Estate has witnessed, none have been quite as spectacular as the wedding of American heiress Cornelia Stuyvesant Vanderbilt to the Honorable John Francis Amherst Cecil on April 29, 1924.

Hundreds of invitations were extended to friends and family, and the guest list included many well-known public and diplomatic figures of the time.

Life at Biltmore

Cornelia Vanderbilt (front center) and John Cecil (back right) at party with friends in front of Biltmore House, 1925
(L-R back row) Leander McCormick-Goodhart, John Cecil; (front row) H. H. Sims, Amelia “Mitzi” Sims, Cornelia Vanderbilt, Rachel Vanderbilt, and Benjamin Bernard in front of Biltmore House, 1925

Shortly before his marriage to Cornelia Stuyvesant Vanderbilt, Cecil resigned his diplomatic position, announcing that after the wedding he would make Biltmore his primary residence and would take an active role in managing the estate.

After their honeymoon, the couple lived at Biltmore, continuing the legacy of hospitality for which the estate was known, as well as managing the property and farming operations.

Cornelia and John Cecil (center) at the 1930 opening of Biltmore House
Cornelia and John Cecil (central figures) at the opening of Biltmore House to the public in 1930.

During the Great Depression, in a bid to boost the local economy and bring tourists to the region, the Cecils worked with the Asheville Area Chamber of Commerce to open Biltmore House to the public in 1930. 

Building a legacy

John Cecil driving in front of Biltmore House
John Cecil driving in front of Biltmore House, c. 1925

The Cecils divorced in 1934, with Cornelia taking the couple’s two young sons with her to Europe to be educated. John Cecil remained at Biltmore, enjoying the life of a country gentleman while taking an active role in the management of Biltmore House and becoming involved with several community organizations including the Biltmore Hospital and All Souls’ Church.

Together with Edith Vanderbilt and Judge Junius Adams, John Cecil provided leadership for The Biltmore Company, which was organized in 1932 to manage the estate. He returned to his native England during World War II as Minister of Information, but came back to Asheville and took up residence at Biltmore again when the conflict ended.

A tribute to John Cecil

John Cecil dressed as Santa Claus with a group of children dressed as Santa's elves, ca. 1950
The Hon. John F. A. Cecil (left) dressed as Santa Claus with Santa’s elves at a Christmas party at the Biltmore Forest Country Club, ca. 1950. Courtesy of Biltmore Forest Country Club and Sheila Fender, Asheville, N.C.

John Cecil developed enduring relationships with estate residents who remembered him as a kind, down-to-earth gentleman. At annual Christmas parties, he often portrayed Santa Claus, emerging from one of the vast fireplaces in the Banquet Hall with a giant bag of gifts over his shoulder, much to the delight and wonder of the children in attendance.

In his book Lady on the Hill, John Cecil’s younger son William A.V. Cecil wrote that his father “had a deep appreciation for the treasures in the house and entertained his guests by translating the Old Latin woven into the tapestries. He brought a sense of British propriety to the chateau’s new role as tourist attraction with an approach that was both Old World and Madison Avenue. For example, he insisted that the staff place fresh-cut flowers in the rooms opened to visitors to discount the appearance of a dusty museum. His philosophy became a standard throughout Biltmore’s public life.”

John Cecil’s lasting legacy

Evening reflection of Biltmore House in the Front Lawn fountain
John Cecil’s contributions to Biltmore have helped preserve the estate for future generations.

Today, we honor John Cecil’s contributions to the legacy of Biltmore with the John Francis Amherst Cecil Scholarship established in his honor. This scholarship is a tribute to his devotion to the preservation and well-being of Biltmore and its employees, and the scholarship helps assist the dependents of Biltmore employees with the rising costs of higher education.

Featured image: Candid photograph of John Cecil

Edith Vanderbilt & Photography

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Photography was one of Edith Vanderbilt’s many passions. In turn, her photographs of life at Biltmore Estate in Asheville, NC help inform our curatorial interpretations today.

With the introduction of roll film and the hand-held camera in the 1880s, photography became truly accessible to casual amateurs for the first time. There are a few distinct ways that we know that Edith embraced this new medium and enjoyed photography throughout her lifetime.

Edith Vanderbilt with camera on tripod
Archival photograph of Edith Vanderbilt with a camera and tripod along the banks of the French Broad River, ca. 1905-1906. This photo was taken by Ernesto Fabbri during a photography excursion.

Photos of Edith Vanderbilt with a Camera

One of the most concrete ways we know of Edith’s interest in photography is thanks to photographs in the Biltmore collection in which she is pictured with a camera in hand. Many of these photos came from one series in particular.

In the winter of 1905-1906, George Vanderbilt’s niece Edith Fabbri and her husband Ernesto visited Biltmore. During their trip, Edith Vanderbilt and Ernesto appear to have gone on a photography excursion on the estate and in nearby Biltmore Village.

Multiple images from this series taken by Ernesto capture Edith with her camera and a tripod.

Archival photograph of George Vanderbilt on a horse in front of Biltmore House. Reverse reads “Sept. 25th 1901, Taken, developed and printed, without help” in Edith Vanderbilt’s handwriting.
Archival photograph of George Vanderbilt on a horse in front of Biltmore House. Reverse reads “Sept. 25th 1901, Taken, developed and printed, without help” in Edith Vanderbilt’s handwriting.

Photos with Edith Vanderbilt’s Handwriting on the Back

Additionally, there are more than a dozen photographs in our archival collection that we know were captured by Edith as her distinct handwriting is on the back of the images.

Not only was she taking these photos, but Edith was also learning to develop many of them herself. She seemed very proud of this skill set, writing on the back of one photograph: “Taken, developed and printed, without help.”

Three of the 14 copies of the archival photograph of George and newborn Cornelia Vanderbilt demonstrating her practice of photography techniques
Three of the 14 copies of the archival photograph of George and newborn Cornelia Vanderbilt on the Loggia, October 1900. These photos were presumably taken by Edith Vanderbilt.

Multiple Copies of Photos of Family Moments

There are also many photographs we presume to have been taken by Edith, including shots of more intimate family moments. For instance, she was likely responsible for the images of George Vanderbilt with their newborn daughter Cornelia on the Loggia.

In our archival collection, there are 14 copies of what appear to be essentially the same image from that series. However, each of the copies varies slightly in exposure and cropping, which speaks to Edith’s experimenting with development techniques as she worked to hone her craft.

Edith Vanderbilt’s No. 4 Panoram Kodak camera Model B from ca. 1900-1903
Edith Vanderbilt’s No. 4 Panoram Kodak camera Model B from ca. 1900-1903. This archival object is currently on display in The Biltmore Legacy as part of our “The Vanderbilts at Home and Abroad” exhibition.

Location of the Edith Vanderbilt’s Darkroom

We know that Edith was developing her own photographs, but we do not know with certainty the location of the darkroom she used.

One archival manuscript includes mention of a “Photograph Room” in the Bachelors’ Wing of Biltmore House. However, we’ve yet to find additional sources to confirm where this space was located and how it was used.

There are also employee recollections of darkroom equipment being present in the Basement, though it is unclear if this was the location of the equipment when Edith lived in Biltmore House or if it was later moved.

Our curatorial team continues to research this topic.

While we may not know the full extent of Edith Vanderbilt’s engagement with the modern hobby of photography, her photographs—as well as others presumed to have been taken by her—offer glimpses into life at Biltmore during the Vanderbilts’ era that we would not have otherwise.

Feature image: Archival photograph of Edith Vanderbilt with a camera and tripod in Biltmore Village, ca. 1905-1906. This photo was taken by Ernesto Fabbri during a photography excursion.

Preserving the Legacy of Cornelia Vanderbilt’s “Baby Tree”

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In honor of the arrival of George and Edith Vanderbilt’s first and only child, a “baby tree” was planted just after her christening.

The Baby Tree: A Cucumbertree Magnolia

The Vanderbilts welcomed Cornelia Stuyvesant Vanderbilt in the late summer of 1900. In October of that year, a cucumbertree magnolia, known to botanists as Magnolia acuminata, was planted in Cornelia’s honor.

George Vanderbilt with newborn daughter Cornelia on the Loggia of Biltmore House, September 30, 1900
George Vanderbilt with newborn daughter Cornelia on the Loggia of Biltmore House, September 30, 1900

The cucumbertree is a deciduous magnolia with large oblong leaves. Unlike most other magnolias, its flowers are yellowish green and not very showy, causing them to often go unnoticed when they bloom in late May or early June. In its early stages, the green, fleshy fruit roughly resembles a small cucumber, hence the tree’s name.

Biltmore’s botanist, Chauncey Beadle, had collected the scarlet seeds of this indigenous tree found growing along the banks of the French Broad River near the estate. Beadle propagated the seeds in the Biltmore Nursery. 

In a letter within Biltmore’s archives, Beadle wrote:

“The seedlings resulting from this sowing were planted out in nursery rows, cultivated and pruned and eventually, placed along the roads and paths of the Estate with the exception of one tree, a particularly beautiful and thrifty individual, which remained on [sic] the nursery until chosen for the noteworthy occasion of which this writing bears record.”

The planting ceremony for Cornelia's Baby Tree, October 1900
The planting ceremony for Cornelia’s Baby Tree, October 1900

The Planting Ceremony

The planting of the cucumbertree magnolia, known fondly as the “baby tree” or “Cornelia’s tree,” was a small and intimate event. The Vanderbilt family, Beadle, Dr. Samuel Westray Battle, and a few estate workers were the only attendants.

A 1900 Asheville Daily Citizen article states:

“The spot selected is in a beautiful grassy dell near Biltmore House. The tree itself, now but a sapling of twelve feet in height, is expected to be 60 feet above the ground when little Cornelia reaches the age of 20 years. A few years after that event, it is expected that it will reach a height of 100 feet. It lives centuries, and is one of the prides of our beautiful southern forests.”

The baby tree grew to be massive, standing proudly in the Azalea Garden, just below the junction of the two main paths leading into the garden below the Conservatory and greenhouses.

The second generation cucumbertree magnolia, located in Biltmore's Azalea Garden
The second generation cucumbertree magnolia (center), located in Biltmore’s Azalea Garden

The Baby Tree’s Second Generation

After surviving more than a century, the cucumbertree succumbed to decay. Though a difficult decision, it was removed in September 2008. By that time, the baby tree had lost most of its bark and had just a few remaining branches.

Fortunately, the historical significance of the tree along with the gorgeous color and diversity of its wood grain made its timber ideal for repurposing. The usable wood was custom-sawn into thick slabs and dried to create “high boy” cocktail tables at Cedric’s® Tavern in Antler Hill Village.

Today, the second generation cucumbertree magnolia, which seeded naturally when the original baby tree was still living, can be found thriving in the same exact location in the Azalea Garden, preserving the legacy of this historic tree. 

Art History at Biltmore: Tales Within Tapestries

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At Biltmore Estate in Asheville, NC, some of the most notable art history in our collection appears as tales within tapestries.

Let’s explore some of the pieces that were created during the Renaissance—a time when patrons often commissioned artists to create masterpieces based on religious, mythological, and historical symbols and allegory.

Overview of Tapestry Gallery in Biltmore House
At 90 feet in length, the Tapestry Gallery is the longest room in Biltmore House. Painted limestone overmantels above each fireplace visually divide the room into thirds, with each third devoted to one of the three tapestries George Vanderbilt acquired from an original set of seven known as “The Triumph of the Seven Virtues.”

The Tapestry Gallery is the longest room in Biltmore House, and was designed to showcase part of a set of tapestries known as The Triumph of the Seven Virtues.

Woven from wool and silk in Flanders (now part of Belgium) between 1525–1535, these tapestries were intended to illustrate how the seven virtues−faith, prudence, charity, chastity, temperance, fortitude, and justice−would always prevail over vice.

“No one knows exactly who originally commissioned the tapestries or where they hung, but it’s speculated that they would have been displayed in the manor house of a wealthy and aristocratic family,” said Lauren Henry, Curator.

Centuries of survival

Overview of Virtue of Charity tapestry in Biltmore House
The “Triumph of Charity” shown here is one of the three tapestries from the “Triumph of Seven Virtues” series that George Vanderbilt purchased for Biltmore House. Other examples of the remaining tapestries are housed in just 10 collections across the world, including the Cluny Museum in Paris, the Walker Art Gallery in Liverpool, England, and The Fine Arts Museums of San Francisco.

While multiple sets were created, very few of them survived through the centuries, and there are no examples of the Triumph of Temperance still in existence.

“There are three in Biltmore’s collection, arranged from left to right in the Tapestry Galley: The Triumph of Prudence, The Triumph of Faith, and The Triumph of Charity,” Lauren said.

Triumph of Prudence

Figures of King David and Abigail
Detail from the “Virtue of Prudence” tapestry showing King David and Abigail from 1 Samuel 25.

Each virtue is illustrated through biblical stories and symbols that would have been familiar to people in 16th-century Europe. To more modern eyes, however, the meaning of the figures in the tapestries can be a bit mysterious.

Serpent head symbol
Detail of one of three fearsome serpent heads featured in the “Triumph of Prudence” tapestry.

Triumph of Faith

Overview of Triumph of Faith tapestry
The central figure in the “Triumph of Faith” represents The Church as a body. In the upper left corner, there is a depiction of the story of Jacob’s ladder with an angel climbing into heaven. The chariot of fire next to it represents the prophet Elijah, while the blindfolded woman on the pedestal next to that symbolizes the old law.

“The tapestry in the center of the Tapestry Gallery is the Triumph of Faith, which is believed to be the only one still in existence,” said Lauren.

The Latin inscription at the top reads “Holy Faith believes by the Divine Word and worships God through every dutiful practice.”

Symbolism

Detail of the Triumph of Faith tapestry
Detail of the “Triumph of Faith” showing the figure of the winged man riding a lion.

The virtue of Faith is depicted as a woman holding a church, chalice and cross. Below her, the figure of a winged man represents the human aspect of Christ, riding on a lion, representing both the apostle Mark and the Resurrection.

The ox represents the sacramental nature of Christ. The Eagle represents the apostle John. All four of these symbols were said to have been seen as guardians of the throne of God by the prophet Ezekiel.

Grand Staircase Tapestry

Framed tapestry displayed on the first landing of the Grand Staircase in Biltmore House
Woven in rich reds, blues, and golds, this 15th-16th century tapestry depicts the Christ child with the Madonna and Saint Anne.

Another beautiful tapestry in Biltmore’s collection is displayed in a frame at the first landing on the Grand Staircase.

“This is a Franco-Flemish Renaissance biblical tapestry, created in the late 15th or early 16th century,” said Lauren. “It portrays the Christ child with his mother, the Madonna, and her mother Saint Anne. The three figures are seated on a throne with a chapel and a fortress in the distance.”

This tapestry is one of the older pieces in the Biltmore collection, and while Museum Services doesn’t know as much about it as they do some of the others, they continue to look for details in both the provenance of the piece and its symbolism.

“One thing we can tell, just from the design, is that it was commissioned by an extremely wealthy patron,” Lauren said. “Notice how much blue is used throughout the tapestry, both in the background, and in the robes of the Madonna and Saint Anne. Before the advent of mass-produced dyes, this ‘ultramarine’ blue—which would have been shockingly vibrant when it was first woven—was incredibly difficult to make and, therefore, very expensive.”

Discover Biltmore’s tapestries

Plan your visit now to see the remarkable tapestries noted here–plus the grand Venus and Vulcan tapestry series that graces the Banquet Hall.

Featured image: Detail from the Triumph of Prudence tapestry in the Tapestry Gallery of Biltmore House.

Hosts in Biltmore House: A Brief History

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Our Interpretive Hosts are integral to visits to Biltmore House in Asheville, NC. Whether you’re enjoying the main tour route of America’s Largest Home® or exploring via one of our more in-depth, behind-the-scenes tours, these trained storytellers strive to offer an accurate and entertaining interpretation of Biltmore’s history and collections.

But did you know that Interpretive Hosts weren’t always part of the Biltmore House experience? Let’s take a look back at the history of touring Biltmore, which began before the house was even opened.

Archival estate admission ticket, ca. 1920
Archival estate admission ticket, ca. 1920.

Visiting the Gardens & Grounds of the Estate

According to archival correspondence, George Vanderbilt allowed the public to drive on estate roads as early as 1894—before the construction of Biltmore House was even completed!

But it wasn’t until October 1903 that a formalized pass system was developed, which included an admission cost for everyone, except select guests of the Vanderbilts.

The reverse side of these original estate tickets included the following regulations:

  1. The plucking of flowers or breaking of trees or shrubs is forbidden.
  2. It is forbidden to drive over planted areas or the borders of roads.
  3. The taking of photographs anywhere on the Estate is prohibited.

And the admission rates at this time were as follows:

  • 25c for a vehicle drawn by one horse and carrying 1 or 2 persons, or for a person on horseback.
  • 50c for a 2-horse vehicle carrying not over five persons. For each additional person 10c; for each additional horse 25c.
  • 10c for a single person on foot or with a bicycle.

According to our records, not much changed in terms of regulations or pricing for the first 18 or so years after this initial pass system was developed. In 1921, charges for admission were updated as follows: 5 passenger car (4 passengers & driver) $1; 7 passenger car (6 passengers & driver) $1.50.

Cornelia Vanderbilt Cecil and John A. V. Cecil (center) at the public opening of Biltmore House, 1930
Cornelia Vanderbilt Cecil and John A. V. Cecil (center) at the public opening of Biltmore House, 1930.

Visiting Biltmore House

In 1930, George Vanderbilt’s daughter Cornelia and her husband John A. V.  Cecil opened Biltmore House to the public. This decision was made in response to requests to increase tourism in the Asheville area during the Depression and to generate income to preserve the estate.

This milestone was a fundamental shift in the way the public was able to experience Biltmore. Previous to this, only select guests of the Vanderbilts were fortunate enough to see the interiors of America’s Largest Home® and the invaluable collection it housed.

“Mr. Cecil and I hope that through opening Biltmore House to the public, Asheville and Western North Carolina will derive all the benefit they deserve and that the people who go through the house and the estate will get as much pleasure and enjoyment out of it as Mr. Cecil and I do in making it possible. I also want to say that we both feel in doing this, it is a fitting memorial to my father. After all, it was his life’s work and creation.”

— Cornelia Vanderbilt Cecil’s welcome speech at the opening of Biltmore House, March 15, 1930, as quoted in the Asheville Citizen

One of our Biltmore Interpretive Hosts leads a small group tour in the Winter Garden
One of our Biltmore Interpretive Hosts leads a small group tour in the Winter Garden.

Hosts in Biltmore House

In the late 1980s, hosts were introduced to the Biltmore House experience. For the first time, guests were offered accurate information about the collection, the Vanderbilt family, and the house itself.

Today, our Interpretive Hosts undergo extensive training to ensure they have knowledge about every object on display—yet they do not follow a script, making each of their interactions with our guests truly unique.

We invite you to discover all of our wonderful tour offerings at Biltmore House, and enjoy a one-of-a-kind experience every time, thanks to our talented Interpretive Hosts.

Outstanding In Our Field: Biltmore’s Farming Legacy

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When it comes to farming history, Biltmore is truly outstanding in the field. Learn about how we continue to honor this agricultural legacy by connecting our present and future initiatives to our historic past.

Archival image of men cutting hay at Biltmore
Archival photograph of our farming history: estate workers harvesting hay at Biltmore

Establishing a legacy

When George Vanderbilt began planning his grand estate in Asheville, North Carolina, his vision was twofold. First, he wanted to create a relaxing place to entertain friends and family. Just as important, however, was his desire to preserve the Blue Ridge Mountain beauty surrounding his home.

In choosing Frederick Law Olmsted, world-renowned landscape architect, to design the expansive gardens and grounds of Biltmore Estate, Vanderbilt was not only setting the stage for some of the most remarkable gardens in America, but he was also availing himself of Olmsted’s years of experience in managing vast tracts of public and private land.

An archival photo of our farming history at Biltmore
Archival farm image of the Historic Horse Barn and Line House Cottages for Biltmore Dairy employees.

Olmsted’s advice

After visiting the property in 1889 with Vanderbilt, Olmsted wrote: “My advice would be to make a small park into which to look from your house; make a small pleasure ground and garden, farm your river bottom chiefly to keep and fatten livestock with view to manure, and make the rest a forest, improving the existing woods and planting the old fields.”

Vanderbilt agreed with Olmsted’s recommendations, including the suggestion that agricultural operations be developed and that Vanderbilt implement Olmsted’s long-term plan for sustainability. From this decision came the nation’s first planned forestry program and the beginning of a family focus on environmental stewardship that continues today with George Vanderbilt’s descendants who still own and manage Biltmore.

Archival photo of estate workers and residents at the Market Gardener's Cottage at Biltmore
Agricultural workers and estate residents at the Market Gardener’s Cottage, photographed in front of an elaborate display of estate-raised produce,

Farmer Vanderbilt

Agricultural operations at Biltmore were intended to achieve three goals: supplying dairy products, meat, poultry, fruits, and vegetables for use in Biltmore House; providing income through sales of farm products; and serving as a learning laboratory in successful farming for farmers and educators.

Receipts and invoices in the estate’s archives document the construction of farm buildings and cottages, the purchase of animals, supplies, and equipment, and the hiring of farm staff beginning as early as September 1889.

Agricultural programs included beef, pork, and poultry farms, an apiary, vegetable gardens, fruit orchards, hay for livestock, and more. The most successful of these initiatives would be Biltmore Dairy, which eventually became one of the largest operations in the southeast.

Biltmore Forestry
Our emphasis on managed forestry continues today across the estate.

Forestry continues on the estate

Today, more than 4,000 acres of the estate are managed under a plan written by a certified consulting forester. We utilize selection harvest in 15-year rotations, allowing a chance for different species to grow and mature.

Instead of focusing on just a profitable bottom line, Biltmore strives to create a true multiuse sustainable forest: one that provides healthy wildlife habitats, beautiful aesthetics, recreation opportunities, and the ability to persist for generations to come.

Man standing in front of cattle
Kyle Mayberry, Director of Agriculture, oversees Biltmore’s current farming operations.

Today’s agricultural operations

Biltmore currently farms approximately 2,500 acres of land. This includes our estate vineyards, cropland for grains and forages, pasturage for cattle, chickens, hogs, sheep, and horses, and 8,000 square feet of greenhouses that supply estate restaurants with a variety of artisan lettuces, leafy greens, herbs, edible flowers, and heirloom tomatoes.

To help preserve one of our most valuable resources—the land—Biltmore seeks to continue the tradition of resource stewardship by following best agricultural practices including rotational grazing of livestock; rotating crops on a four-year cycle to help reduce soil erosion and increasing soil fertility; and using goats to control invasive plant species in areas of steep terrain, which allows maintenance crews to take on other projects while reducing some diesel fuel usage in equipment.

Biltmore’s farming operations stretch far outside the estate. Through Biltmore® Grown, you can also savor our high-quality, estate-raised products at your own table, long after your visit to the estate has ended.

As part of our farm history, we raise heritage hog breeds that George Vanderbilt favored
One way we continue our farming legacy is by raising some of the same heritage breeds that George Vanderbilt favored like these Berkshire hogs.

Connecting our past and present farm history

Biltmore continues to honor George Vanderbilt’s legacy of preserving the land and protecting the environment through many ecological, recycling, and alternative energy programs.

Guests visiting the 8,000-acre estate can take a deeper look into our agricultural history at Antler Hill Barn, where you can see antique farming equipment, watch craft demonstrations, and visit friendly farm animals at the Farmyard, and through the Farm to Table Tour & Taste guided experience, which includes a special tour of Biltmore’s farms on the rarely-seen West Side of the estate.

Featured image: Archival image of Edith Vanderbilt operating a farm tractor while her daughter Cornelia and others watch.