Controlled Approach: Preserving the Road to Biltmore Posted on June 9, 2017 at 12:00 am.Written by Coleman Minter For Western North Carolina native Jason Mull, his daily work at Biltmore can sometimes seem very invasive—but that’s only because he heads up a crew of six gardeners who are primarily focused on the Approach Road, and their work includes control of invasive plant species. “Jason is one of our unsung heroes working behind the scenes. He has great technical know-how and a wealth of knowledge for plants,” said Parker Andes, Director of Horticulture. “He also has a special skill in controlling and eradicating undesirable plants while preserving native species,including some endangered ones.” One of the main tasks Jason’s crew tackles is dealing with non-native plant species, such as invasive grasses, shrubs, and vines. Most troublesome are Chinese silver grass, porcelain berry, and elaeagnus. These plants crowd out native species, threatening the integrity of Olmsted’s Approach Road design. “We use all kinds of equipment from tractors to dump trucks to get rid of these plants,” said Jason. “And then we grind up the material we remove to make mulch that we use across the estate.” When they are not fighting back invasive plant species, Jason and his crew have a long list of seasonal tasks, including tree pruning and planting, mulching, and using chain saws to clear brush and dead wood. It’s a never-ending list, but they enjoy keeping the historic landscape true to Olmsted’s plans, often referring to original notes and drawings made by Olmsted that are part of Biltmore’s collection. In addition to his commitment to Biltmore, Jason has a deep connection to these mountains. He grew up loving the outdoors, a trait instilled in him by generations of family who also hail from this area. His job as Approach Road crew leader at Biltmore keeps him outdoors most of the time, and he’s happy about that. “I’ve been with Biltmore for two decades working on various gardens here,” said Jason. “We work every day to assure that our guests see Biltmore in the best possible light, the way landscape designer Frederick Law Olmsted wanted it to be viewed.” — Featured image: Jason Mull and his team at work on the Approach Road
Lucky in Love: The Dresser Girls and Marriage Posted on May 31, 2017 at 12:00 am.Written by Stacie King Ward McAllister, a well-known arbiter of New York society, once said of Edith Stuyvesant Dresser and her sisters: “Every one of those girls will marry splendidly and they will never have to seek husbands.” And he was right. Sisters Edith, Natalie, Pauline, and Susan each celebrated their unions with romantic wedding ceremonies and—though some were cut short—marriages full of love. Natalie Bayard Dresser Brown in her wedding gown, ca. 1897 (cropped) Natalie Bayard Dresser Brown Natalie was the first of the Dresser girls to marry. She had been wooed by John Nicholas Brown, a member of the prominent Brown family of Providence and Newport, Rhode Island. Edith Stuyvesant Dresser, Susan, and their governess, Mademoiselle Marie Rambaud, were living in Paris at the time and returned to the United States to attend the wedding. The ceremony was held at Trinity Church in Newport in September 1897. As their parents had passed years earlier, Daniel LeRoy Dresser, the Dresser girls’ brother, walked Natalie down the aisle. She wore the same diamond-accented veil worn by their mother, Susan Fish LeRoy Dresser, at her wedding. Unfortunately, Natalie was widowed just three years later and never remarried. Pauline Georgine Warren Dresser, ca. 1897 (cropped) Pauline Georgine Warren Dresser Merrill Pauline, the youngest of the Dresser girls, was the next to marry. After Natalie’s wedding, Edith Stuyvesant Dresser, Susan, and Mlle Rambaud planned to return to Paris—this time, with Pauline. However, before the trip took place, Pauline became engaged to Rev. George Grenville Merrill, an Episcopal minister, and long-time family friend. The couple wed on December 1, 1897, at Trinity Church in Newport with Edith serving as Maid of Honor. And like Natalie, Pauline wore the same veil worn by their mother and was escorted down the aisle by their brother Daniel. Pauline and her husband were happily married for more than 40 years. Edith Stuyvesant Dresser in her engagement portrait, ca. 1898 (cropped) Edith Stuyvesant Dresser The April 1898 announcement of George Vanderbilt’s engagement to Edith Stuyvesant Dresser was a leading topic in newspapers of the era as George was considered America’s most eligible bachelor. According to one 1898 New York World article, much of the speculation ascribed the engagement “to everything except the right thing—love.“ Many assumed the wedding to be a grand affair, but the couple decided to marry in Paris with as little fanfare as possible. As required by French law, there was a brief civil ceremony on June 1, 1898, and a religious ceremony the following day. Edith’s gown was trimmed in the same lace worn by her grandmother nearly a century before. And she, too, wore her mother’s veil, just as her sisters had before her. Her brother-in-law Rev. George Grenville Merrill assisted in officiating the religious ceremony and Daniel, once again, escorted one of his sisters down the aisle. George and Edith enjoyed a beautiful life together at Biltmore until George’s unexpected passing in 1914. Susan LeRoy Dresser d’Osmoy, ca. 1899 (cropped) Susan LeRoy Dresser d’Osmoy Susan, the eldest Dresser girl, remained in Paris with Mlle Rambaud after her three younger sisters had all moved back to the United States. But she too would soon marry. In 1899, she wed Viscount Romain d’Osmoy of Paris. Little is known about the ceremony. However, we do know she was given away in marriage by her brother-in-law, George Vanderbilt, as Daniel was unable to travel to Paris for the wedding. And she also wore the same wedding veil as her mother and sisters. Edith and her eldest sister Susan doing needlework, ca. 1890 (cropped) A Legacy of Romance The 1898 New York World article said of Edith Stuyvesant Dresser and her sisters: “Now, the Dresser girls did not grow up really beautiful, but they had something deeper than beauty—brains…They were clever, too. When they opened their mouths people liked to listen. They had a way of saying bright things, or talking about the serious things in life—literature, art, music, politics.” Perhaps it was the Dresser girls’ intelligence that allowed them each to be lucky in love and marry well—or perhaps it was their charm. Regardless, they helped to create a legacy of romance that enveloped the Vanderbilt name. Though we do not have the wedding veil worn by Edith, her three sisters, and their mother, other special pieces of this romantic legacy are now part of our permanent collection at Biltmore.
A Tribute to the First Hostess of Biltmore Posted on May 17, 2017 at 9:01 am.Written by Amy Dangelico As the youngest of eight children, George Vanderbilt had a very close relationship with his mother, Maria Louisa Kissam Vanderbilt, who became the first hostess of Biltmore. After his father’s death in 1885, it was George who took on the task of caring for her, a task that played a significant role in the selection of Asheville as the location for Biltmore. But before we delve into that, let’s take a look at a few pieces from our archives and collection that highlight their special mother-son bond. The Elm Island Series Photograph of George Vanderbilt in 1873, two years after receiving The Elm Island Series from his mother For George’s ninth birthday, his mother gave him three volumes from Reverend Elijah Kellogg, Jr.’s Elm Island Series and within each, she inscribed “George from Mama Nov. 14th 1871.” With titles like Boy Farmers of Elm Island and The Ark of Elm Island, one might guess that George had a taste for adventure, but the stories are also instructive. Throughout the series, the main characters are faced with all sorts of ethical dilemmas that challenge their resolve to be upstanding young men, all while they navigate the treacherous waters of the West Indies. Maria Louisa’s thoughtful gift helps to shed light on George’s boyhood interests as well as how deeply she valued and encouraged her children’s moral and intellectual growth. The gift of a poem An unsigned, undated poem was found tucked away among some of George’s personal papers. Bound with a ribbon, the three pages were composed in perfect penmanship. Upon reading the poem, it becomes apparent that it was from Maria Louisa, written for the occasion of George’s 21st birthday. Through her carefully-crafted prose, Maria Louisa bids her youngest son to heed the call of work, to put right what he finds wrong: To give a kindly word of cheer To those who heavy burdens bear Such work will bless, when nobly done. And such work comes to every one. He helps the age in which he lives, Who does his best – and his best gives To carry sunshine everywhere… Just as his mother urged, George did, in fact, develop a sound moral compass and strong philanthropic sense, qualities that helped establish his original vision for Biltmore. In the Blue Ridge Mountains Vanderbilt party near Biltmore Station; March 1891. Seated (L-R) are Margaret Bromley, Maria Louisa Vanderbilt, Marguerite Shepard, and two unidentified women; unidentified person seated behind Mrs. Vanderbilt. Standing (L-R) are Margaret Shepard, possibly Frederick Vanderbilt, and George Vanderbilt. In 1887, Maria Louisa visited Asheville with George, now her designated caretaker, amid growing concerns over her health. While we have no archival documentation stating the exact nature of Maria Louisa’s health problems, we do know that Asheville’s mountain air was promoted as a curative for a variety of ailments. As a result of their visit, George fell in love with the area’s landscape—as well as its supposed medicinal benefits to aid his dear mother—and he set into motion the process of acquiring land for his country retreat. Family portraits by Sargent (L – R) Mrs. William Henry Vanderbilt by John Singer Sargent, 1888; mannequin representing Mrs. Vanderbilt with clothing recreated from that portrait for the 2019 A Vanderbilt House Party – The Gilded Age exhibition Around that same time, George commissioned renowned artist John Singer Sargent to paint a portrait of his mother which is displayed in the Tapestry Gallery in Biltmore House, along with Sargent’s 1890 portrait of George himself. In 1895, Sargent painted Richard Morris Hunt, Biltmore’s architect, and Frederick Law Olmsted, the estate’s landscape architect; both of these works can be seen in the Second Floor Living Hall. Other Vanderbilt family portraits by Sargent include Mrs. Benjamin Kissam, George’s aunt, and Mrs. Walter Rathbone Bacon, one of George’s favorite cousins. Yet it is Sargent’s portrait of Maria Louisa, titled Mrs. William Henry Vanderbilt, that has been referred to as “one of Mr. Sargent’s greatest successes in portraiture.” The first hostess of Biltmore Detailed paper wig created for Maria Louisa Vanderbilt’s mannequin as part of our 2019 A Vanderbilt House Party exhibition Maria Louisa visited Biltmore only three times—once while the house was still under construction—before she passed away. According to the Guest Book, she visited at Christmas 1895 when the house first opened, presiding as hostess, and then again the following May. After her passing on November 6, 1896, in New York, condolences sent to George came from many, including his dear friend John Singer Sargent, among others. And though Maria Louisa Kissam Vanderbilt was only able to visit her youngest son’s visionary masterpiece a few times, she is remembered fondly as the first hostess of Biltmore. Plan your Biltmore visit today Today’s guests can admire the Sargent portrait of Maria Louisa Kissam Vanderbilt to the left of the door into the Library.Whether you’re planning a surprise for your own mother or simply looking forward to visiting America’s Largest Home®, we invite you to join us soon.
Music strikes a chord at Biltmore Posted on May 17, 2017 at 12:00 am.Written by Karina Hux On June 13, 1902 a very elegant newcomer arrived at Biltmore House by train from New York. You could say this special addition to the Vanderbilt Music Room was truly made for Biltmore–and you’d be right! Music Room in Biltmore House The new member of the family was a handsome Steinway Model D concert grand piano that George Vanderbilt ordered from Steinway Hall, the company’s world-renown New York City showroom. The piano was built at the Steinway factory in Astoria, Queens, then shipped to Biltmore and placed in the Tapestry Gallery. Music was an important part of the entertainment at Biltmore, and the beautiful Steinway quickly became popular with family and friends. During a visit to Biltmore in March 1905, Edith’s sister Pauline Merrill wrote to a friend and described it as “a wonderful-toned concert piano which Mr. Webb plays at any hour, on request or without it!” The enthusiastic piano player was the brother of George’s brother-in-law Seward Webb, the husband of his sister Lila. The same grand piano in the Tapestry Gallery is believed to have been played by famed American pianist Van Cliburn when he visited Biltmore in the 1960s. Although the Music Room was not finished during George Vanderbilt’s lifetime, there is a pianoforte or square piano there, made by Joseph Newman of Baltimore around 1835. There was even a piano in the Banquet Hall’s Organ Loft in the early 1900s, according to Biltmore House employees at the time. Mattie Alexander Duke played it and sang regularly for the Vanderbilts and their guests. But it took until 1998 to finally install a pipe organ in the loft—a restored Skinner pipe organ dating from 1916. With the 21st year of our Biltmore Concert Series kicking off July 27, music continues to play an important role on the estate. See our stellar line-up and join us for these outstanding performances.
Like Father, Like Son: William Henry Vanderbilt Posted on May 16, 2017 at 12:00 am.Written by Ellie Garst William Henry Vanderbilt, born in 1821, was one of three sons and eight daughters of Cornelius “Commodore” Vanderbilt. Although he was destined to follow the Commodore into the shipping and railroad business, William Henry would eventually share his passion for collecting art with his youngest son George Vanderbilt. As a young man, William Henry studied accounting at Harvard University. After graduation, his first job as an accounting clerk was with his father’s biggest competitor. Eventually William Henry went to work with his father and the family business continued to prosper. The Commodore passed away in 1877, leaving the majority of his fortune and his business interests to his trusted son and associate William Henry Vanderbilt. William H. Vanderbilt portrait by Jared B. Flagg, c. 1877; Breakfast Room at Biltmore A passionate collector of art Due to his own business success and the assets he inherited, William Henry was able to pursue a passion for art collecting that he had developed in earlier years but had not been able to fully realize until later. Like most other wealthy gentlemen of the time who were amassing art collections, William Henry tended to purchase what was fashionable, and in the early 1880s, French paintings in the realist or academic style were most desirable. By the time William Henry’s youngest child George Washington Vanderbilt was born in 1862, the Vanderbilt family fortunes had expanded even further. Wealth and luxury were a way of life. George Vanderbilt was growing up in a world of that his parents and even his older brothers and sisters had not experienced. The family traveled extensively throughout Europe, and by the time George was 12, he began to accompany his father on art collecting trips overseas, setting a precedent for traveling abroad at least once a year for the rest of his life. Like father, like son George Vanderbilt inherited his father’s passion for admiring and collecting art. As a 16-year-old, one of his travel journals recorded some of the sites he and his father visited, such as Versailles, the Louvre, and the National Gallery in London. The journal also reveals that George was a serious student of the arts and of history, spending many hours strolling through museums and libraries, visiting art studios with his father, and studying art and history in his hotel room. Among other things, he commented on his admiration of classical antiquities, medieval French architecture, and English country houses. Thus the seeds of the future–and what would eventually transpire at Biltmore–were already planted in his mind. When George was around 19, his father built a new Italian Renaissance style mansion at 640 Fifth Avenue with living quarters in the Bachelors Wing for his youngest son. George’s rooms on the third floor included not only a bedroom and dressing areas, but also a private library to house his growing collection of books. Perhaps even more than art, book collecting had become one of George Vanderbilt’s main interests. Going to the Opera by Seymour Guy, 1873; Second Floor Living Hall at Biltmore George Vanderbilt’s inheritance William Henry passed away in 1884, bringing George a sizeable inheritance from his father’s estate. In addition, George also inherited a number of pieces from his father’s art collection, including a painting by Seymour Guy commissioned by William Henry in 1873. Entitled Going to the Opera, the work features William Henry, his wife Maria Louisa, and their eight children gathered together in the family residence at 459 Fifth Avenue where they lived when George Vanderbilt was a child. While most of the older siblings are grandly dressed to attend an evening at the opera, the younger children (including George, who is the boy seated at the table) and their parents wear more casual clothing suited to an evening at home. A closer look at the piece reveals a member of the household staff standing in the back of the room holding coats–an interesting detail to have included in this family painting. The commission and future exhibition of Going to the Opera was a definite statement reflecting the Vanderbilt family’s rise in society. This painting remains in the Biltmore collection and is visible in the hallway outside of Mr Vanderbilt’s Bedroom as you leave Second Floor Living Hall. Book cases for a book collector Herter Brothers bookcases; Third Floor Living Hall at Biltmore Not surprisingly, a set of beautiful bookcases custom built by the Herter Brothers of New York also came to George Vanderbilt from his father’s house. The Herter Brothers firm was well known for their exquisite designs and furnishings for the finest homes of the day, including the White House and Jay Gould’s mansion. Look for these bookcases in the Third Floor Living Hall at Biltmore House. Grand glass La Farge stained glass window displayed at Biltmore’s Winery In 1879, William Henry Vanderbilt commissioned a series of stained glass panels for his Fifth Avenue home. Created by John La Farge, a contemporary of Louis Comfort Tiffany, the panels express allegorical scenes related to hospitality, prosperity, and other classic themes. The set of panels entitled The Fruits of Commerce shown here form a triptych that is now on display at the Winery in Antler Hill Village. Lighting the way Deerpark Restaurant at Biltmore For sheer size, nothing George Vanderbilt inherited from his father compares to a pair of enormous decorative lanterns that once adorned the entrance of William Henry’s mansion at 640 Fifth Avenue. The massive lanterns once watched over crowds of curious onlookers; today they welcome guests who visit Deerpark Restaurant located on the grounds of Biltmore. See Biltmore’s treasures for yourself Plan your visit to Biltmore and learn more about the Vanderbilt family and the treasures collected and displayed in America’s Largest Home®. Featured blog image: Photograph of William Henry Vanderbilt, c. 1882
An April Engagement Brings a Biltmore Legacy Posted on April 19, 2017 at 12:00 am.Written by Stacie King Please enjoy this archived content. Our Fashionable Romance exhibition was on display from February 2016 through July 2016. If April showers bring May flowers, what do April engagements bring to Biltmore? For George Washington Vanderbilt, April 1898 brought his engagement to Edith Stuyvesant Dresser. That, in turn, brought about two wedding ceremonies: the first being the couple’s civil service on June 1, performed by the mayor of Paris at the Town Hall of the Eighth District in the Rue Anjou. Mary Lee Ryan Cecil’s wedding gown on display at The Biltmore Legacy (left) Another wedding At noon the next day, George and Edith were wed in a religious ceremony at the American Church of the Holy Trinity. Afterward, the newlyweds, along with family and friends, returned to Edith’s apartment on Rue Vernet for a reception that included two bottles of champagne set aside for the occasion 24 years earlier–at Edith’s birth–by her maternal grandfather. Following an extended honeymoon in Europe, the couple took up residence at Biltmore House, beginning their legacy of gracious hospitality that continues to delight our guests today. Wedding gown and veil of Mary Lee Ryan Cecil. Fashionable Romance In honor of the Vanderbilts and their descendants, The Biltmore Legacy in Antler Hill Village is currently hosting the Fashionable Romance Exhibition which features all the beautiful details and descriptions of 60 years of family weddings. You’ll discover stories of “Cupid’s richest captive” as the newspapers of the day dubbed George Vanderbilt and his marriage to Edith Stuyvesant Dresser–a “very charming and accomplished girl.” Original satin pumps worn by Cornelia Vanderbilt at her wedding to John Cecil. Other exhibition highlights include the stunning re-creation of the gown Cornelia Vanderbilt wore for her 1924 marriage to the Honorable John Cecil, and the glamorous 1950s wedding dress and exquisite Lee family veil worn by Mary Lee Ryan when she married George Vanderbilt’s grandson William Cecil. The heirloom veil was also worn by Mary Ryan’s first cousin Jacqueline Bouvier when she married future President John F. Kennedy in 1953. Planning your own group event or fairytale wedding or Biltmore engagement? The gardens and grounds of America’s Largest Home® can provide the perfect setting for your special day!
Sip, Savor, and Share on Scholar’s Walk Posted on March 21, 2017 at 12:00 am.Written by Ellie Garst More than three decades after opening, the timing was right to refresh Biltmore’s Winery, creating more spacious tasting rooms and a new wine bar in the area known as Scholar’s Walk. Modern renovation The first phase of the project was completed in April 2016. Plenty of wine enthusiasts were on hand for the special preview event and they added their names and their comments to pieces of lumber that would be used in the next stages of renovation. Our winemakers and hosts were overwhelmed by all the warm wishes that were incorporated into the construction and will now remain a permanent part of the Winery. The final phases of the project will be finished in Spring 2017, with a new space for specialty wine tasting experiences located where the original wine bar was, plus a new wine bar on Scholar’s Walk by the iconic clock tower. History of Scholar’s Walk “Scholar’s Walk has an interesting history,” said Heather Jordan, Director of Wine Marketing. “When the Winery was first opened, few people knew as much about wine production as they do today. We wanted to help guests understand what we were doing, so we created Scholar’s Walk as a way to tell our wine story.” With a mix of photography, videos, informational panels, and a timeline mural, Scholar’s Walk engaged guests and helped them learn about our vineyards and our commitment to handcrafting fine wines. Ann Ashley, Vice President of Talent and Organizational Development, was a member of the team that opened the Winery in 1985, and she remembers helping develop the educational aspects of Scholar’s Walk. “We had some wonderful displays,” says Ann Ashley, “including a light-up map of our vineyard and audio recordings that explained our winemaking philosophy. It was state-of-the-art technology for the 80s!” Learning more Today’s guests can enjoy learning more about the history of Biltmore Wines by exploring the timeline on display at the Winery entrance in Antler Hill Village and the archival photographs and informational panels in the tunnel beyond it—none of which was open to the public when the Winery first opened. We’ve also added more storytelling and behind-the-scenes views in our specialty tours and tastings. New wine bar Now that our expanded tastings, tours, and specialty wine experiences have eliminated the need for Scholar’s Walk as an educational tool, we’re ready to convert this elegant brick, beam, and stucco space into a modern wine bar featuring outdoor seating with a view of the iconic clock tower atop the Winery. “We intend it to be a very relaxing spot,” Heather said, “more like a lounge, where you can linger to enjoy Biltmore wines with friends. We will have a full selection of wines, and there are visually stunning details such as the bar itself, made from a tree that was original to the property.”
Inside Biltmore Blooms: Balancing Books and Blossoms Posted on March 21, 2017 at 12:00 am.Written by Shalee Sparks Each spring, our floral team is tasked with creating imaginative displays throughout America’s Largest Home® in honor of Biltmore Blooms. This year’s theme is “Celebration of Flowers,” highlighting Vanderbilt family celebrations. However, as Biltmore Blooms is coinciding with Designed for Drama: Fashion from the Classics, our new exhibition inspired by George Vanderbilt’s love of literature, you may also notice another motif in the decorative arrangements: books. The floral design in the Entrance Hall during Biltmore Blooms often introduces the theme for each event and exhibition, and this spring is no exception. The most notable element is a massive swirl of natural dried honeysuckle vines, somewhat resembling a tornado, suspended over the table. Amid the faux and dried flowers are printed pages and books from local thrift stores that appear to be flying. “We hope this feature might suggest to our guests that the books and the knowledge they represent can become creative inspiration—something much greater than ‘just a book,’” explains Cathy Barnhardt, Floral Displays manager. Beneath the beautiful whirlwind, the Entrance Hall table is covered with an eclectic collection of ferns and orchids—the same flower that adorned Cornelia Vanderbilt’s 25th birthday celebration—as well as glass cloches and vases, magnifying glasses, and books, bringing together both themes of the season in a seamless fashion to celebrate Biltmore Blooms. Anchoring the table display is a large Wardian case with even more orchids inside. The petite glass greenhouse gives the display a whimsical feel, but it also serves as a nod to the delicate flower’s unique history. In the early 1800s, orchids and other exotic plants were shipped from the tropics in protective Wardian cases to make their European debut. “The table décor suggests that George Vanderbilt’s love of books and knowledge came together with his love of home and gardens to create Biltmore,” says Cathy. Join us this spring as we celebrate Biltmore Blooms and Designed for Drama with this breathtaking display and more.
Character Arc in a Costume: Isabel Archer’s Evening Gown Posted on February 13, 2017 at 12:00 am.Written by Karina Hux Our new exhibition, Designed for Drama: Fashion from the Classics, brings together the artistry of great literary works, film making, and costume design. In honor of its premiere, let’s take a closer look at one of the Academy Award®-nominated gowns showcased in America’s Largest Home® and the narrative that inspired it. Written by Henry James in 1881, The Portrait of a Lady is the story of Isabel Archer: a spirited young woman who inherits a fortune and then falls into an unfortunate relationship. In the 1996 film adaptation of the same name, costume designer Janet Patterson, known for her sumptuous 19th century creations, illustrates the character’s struggles through her Victorian period dress. Patterson conveys Isabel, played by Nicole Kidman, and her character arc through many evocative outfits—from her charming light blue striped suit and cheerful straw hat worn in the beginning of the film to her more somber, sophisticated suit of deep red damask worn later—but the black and gold sequined evening gown she wears toward the end of the film is particularly expressive. The two-piece costume is made of patterned mesh fabrics over lamé (fabric with interwoven metallic threads) and silk and is elaborately trimmed with beads, sequins, and metal thread embroidery. The low, wide neck of the gown and its very short cap sleeves are both lined with a band of heavily beaded black net over gold. Beneath is a long-line fitted bodice of diagonally patterned gold net over diagonally gold-embroidered lamé. The complexity of the bodice may reflect the complexity of Isabel’s life at this point, a time when she must make increasingly difficult and emotionally moving choices. Beneath the bodice, the gown’s skirt of vertically striped black net over gold lamé falls straight to the ground with beaded appliqué flowers lining the hem. Underlayers of pleated black silk peek out from the edges. And, of course, the most dramatic element of Isabel Archer’s evening gown: the train. Made of black silk overlaid with layers of gold net, the purposefully long train trails behind the dress, ending with square edges decorated with gold floral embroidery and sequins. In her journey from a spunky and independent woman to a miserably repressed wife, the repeated shots of Isabel’s long, intricate trains dragging as she walks throughout the film seem to demonstrate all that has held her back. This exquisite evening gown is just one of 10 costumes on display in Biltmore House designed by four-time Oscar® nominee Janet Patterson. In addition to other designs from The Portrait of a Lady, multiple costumes from Far From the Madding Crowd (2015) will be highlighted as well. Join us for Designed for Drama and discover how the artistry of costume design helps bring classic literary characters to life.
Olmsted’s Deliberate Approach Posted on February 6, 2017 at 12:00 am.Written by Ellie Garst The three-mile Approach Road that meanders from Biltmore Village up to Biltmore House is not there by accident—it’s the result of a very intentional and complex design by Frederick Law Olmsted, Biltmore’s landscape designer. Everything by design In Olmsted’s own words, “…the most striking and pleasing impression of the Estate will be obtained if an approach can be made that shall have throughout a natural and comparatively wild and secluded character; its borders rich with varied forms of vegetation, with incidents growing of the vicinity of springs and streams and the remote depths of a natural forest.” The road is a perfect blending of forest and landscape with no hard edges to separate the two. The lack of long-range views is intentional. “The Approach Road is the first important garden and landscape feature you see on the estate,” said Parker Andes, Director of Horticulture. “It gives you a true feel for Olmsted’s skill.” Mountain laurel blooms along approach road “Along the brook and on the edge of the drive, Olmsted planted low-growing plants. For variety of color in the winter, he used hardy olives, evergreens with an olive tint, junipers, red cedars, and yews,” explained Parker. “All of these created the complexity of light and shadow that define a picturesque style.” George Vanderbilt (front row, far right, in a light-colored hat) and Frederick Law Olmsted (to Vanderbilt’s right) with the crew that dug the Approach Road Changes through time Over time, all of Biltmore’s landscapes have matured and changed in appearance. The challenge for today’s landscaping team lies in determining Olmsted’s original intent for the approach road, and they use archival resources such as early plans, letters of correspondence written during the construction of the estate, and information about Olmsted’s design philosophies to help them stay true to the original vision. Sometimes, variations from the approach road plan are necessary. For example, Olmsted planted some exotic plants that were not invasive at that time, including Oriental bittersweet, mahonia, and barberry. We’ve replaced those with others plants that offer similar characteristics and looks. We also now know that certain plants will not thrive where originally planted, so we select others that are able to do well in those original locations. “It’s a continual learning process, and each year I discover something new,” said Parker. Leaf peeping on the Approach Road during fall is a favorite past time for visitors.