Valentine’s Day Arrangement Posted on February 10, 2015 at 12:00 am.Written by Karina Hux Make your cake stand “stand out” from the crowd this Valentine’s Day with our super-simple centerpiece idea. We've selected our Biltmore Beaded Cake Stand as a base for its even, reflective surface and pretty beaded detailing that complements any décor. Materials Biltmore Beaded Cake Stand 6 fresh roses 2 votive candles 6–8 votive holders (various colors/sizes) 1 larger pillar candle and candle stand Metallic hearts or other decorative elements Foil-covered chocolates Instructions Place a large candle on a candle holder atop the cake stand to create a focal point. We chose a multi-colored (shades of brown) glass candle stand to add height and texture to the centerpiece. Arrange small votive holders around the cake stand. (We used a mix of clear and antiqued finish holders.) Add votive candles to 2 holders; fill the others with water. Trim roses, leaving a 2-inch stem on each. Tuck them into the water-filled votive holders. Scatter metallic hearts or other decorative elements and tuck foil-covered chocolates between the candles in any remaining space. Arrangement shown on our Beaded Cake Stand. Biltmore Beaded Serveware Collection available at Belk and belk.com.
7 Tips for Making Fresh Cut Flowers Last Posted on February 3, 2015 at 12:00 am.Written by Karina Hux Cathy Barnhardt, Floral Displays Manager, has spent 35 years at Biltmore and is nationally known for her work. She began her career in the estate’s greenhouse, but now handles everything “Christmas at Biltmore.” With Valentine's Day just around the corner, Cathy shared some tips and tricks she has used over the years to make floral arrangements last as long as possible. 1. Be sure that there is no foliage below the water level of the vase or pushed into a block of floral foam. Soft tissues will decompose quickly and foul the water. Some flowers such as gypsophilia (baby’s breath), or snapdragons decompose very rapidly and require fresh water daily. The water in a vase should be clear, never cloudy, which indicates bacterial growth. 2. Change the water daily if possible for the greatest vase life of your materials. If it is not feasible to change the water daily, then it is important that you check the arrangement frequently and “top off” the water. The woodier stemmed and hollow stemmed materials are generally the heaviest drinkers, and should be checked daily. 3. Direct sunlight and heat or drafts will shorten the life of your arrangement. Place arrangements with this in mind. 4. Don’t put your arrangement in a heavily air conditioned room to “keep it fresh.” The air conditioning can dehydrate the materials. 5. Do not mist arrangements in place. Misting can cause some flowers to wilt as it draws the moisture from within the petals to the surface where it evaporates. Misting may cause spots on some blossoms and will certainly damage furniture finishes, paint, or woodworking. 6. Pinch off faded or wilted blooms to encourage newer ones to open. 7. If a flower wilts, you may try filling the sink with warm (not hot) water, submerge the entire flower briefly and then re-cut the stems under water. Leave the flowers standing in the warm water for half an hour, and then rearrange in cool water.
A fashionable lady Posted on January 22, 2015 at 12:00 am.Written by Karina Hux From her debutante days onward, Edith Vanderbilt was a fashionable lady who enjoyed wearing some of the most elegant styles designed by the exclusive fashion houses of the era. (Right) Standing portrait In the late 1800s, standing portraits like this one were popular because a standing pose allowed a lady to display all the details of her beautiful costume to best advantage! Note the extraordinary length of lace falling from the delicate floral trim at Edith's shoulders (the floral design is also echoed in her sweeping skirt) and the height of her feathered hair ornament. (Left) 1900 As a young mother, Edith Vanderbilt's style of dress reflected a bit more restraint than her glamorous debutante and engagement gowns, but there were still rich layers of details to keep the style engaging. Notice the striking combination of Edith's elegant sleeves layered in stripes and dots, the lavish lace bow at her throat, and the dangling brooch pinned to her bodice. (Right) March 1907 On this date, the New York Times featured a front-page story on Edith Vanderbilt wearing a gown of mountain homespun cloth woven by artisans who worked for Biltmore Industries–a business the Vanderbilts developed to provide economic support for local crafters in the community. Edith Vanderbilt always chose examples of current styles to flatter her tall, slim figure, and this sleek suit is no exception. In addition to enjoying the elegant ensemble, Edith used it as an attractive tool to help influence her social connections and push sales of Biltmore Industries merchandise. (Left) A fashionable lady Throughout her life, Edith Vanderbilt would continue to be celebrateded for her fashion sense and good taste. (Top) Featured blog image A 1911 portrait of Edith Vanderbilt painted by Italian artist Giovanni Boldini, known for his glamorous renderings of notable members of society. This portrait hangs in the Tapestry Gallery at Biltmore House, just outside the entrance to the Library.
Rosita: The Lady in Red Posted on January 13, 2015 at 12:00 am.Written by Heather Angel Rosita, by Spanish painter Ignacio Zuloaga (1870–1945), is one of the most eye-catching works in George Vanderbilt’s collection and represents his interest in Spanish art, which gained popularity in the last years of the 19th century. Lounging on a divan draped with a mantón de manila (a flamenco dancer’s accessory), Rosita is wrapped in a white fringed shawl with a red floral flamenco skirt billowing out. She leans on her elbow and smiles, a huge red flower in her dark hair. Rosita is confident: a model at ease with being an object of beauty. So, how did this captivating woman come to stay permanently at Biltmore? Spanish artist Ignacio Zuloaga, ca. 1925 A celebrated artist In 1913, Zuloaga, known as “The Great Basque,” was living in Paris where his reputation had grown since his first exhibition in 1890. He came from a family of artists and his great-grandfather was a contemporary of Goya, who Zuloaga cited as one of his major influences. A rising star in the art world by the turn of the century, Zuloaga was known for his portraits, especially those of women with a great deal of personality. He also had a reputation for hosting memorable Parisian parties attended by artistic luminaries of the day, such as the famed conductor and cellist Pablo Casals. “To draw another connection to Biltmore’s collection, we know that he was respected by John Singer Sargent, who actually wrote the introduction to a 1914 catalog of Zuloaga’s work on display in Boston,” says Meghan Forest, Biltmore’s Associate Curator. Charles and John Kraushaar in their New York gallery. Photo courtesy of Kruashaar Galleries. Modern art, circa 1914 In January 1914, an American exhibition of Zuloaga’s paintings was held at the prestigious Kraushaar Galleries at 260 Fifth Avenue in New York. The show was reviewed in the February issue of Art and Decoration, a leading art journal of the time: “Mr C W Kraushaar, following up on his success of last season, showed for two weeks eight pictures by Ignacio Zuloaga, the greatest realist of the very realistic Spanish school.” The article goes on to say that “his Rosita, in the pattern of her shawl and of the couch on which she reclines, is masterly in painting.” According to Meghan, recent research on their correspondence indicates that George Vanderbilt did in fact attend the exhibition. He wrote to Kraushaar in January 1914 offering to purchase the painting and requesting the frame in which it is displayed today inside Biltmore House. Rosita finds a home at Biltmore After George Vanderbilt’s death, Edith Vanderbilt paid for the painting and requested that it be sent to a museum rather than to Biltmore. In 1915, Rosita entered the collection of the National Museum (now the Smithsonian American Art Museum) on loan. There she stayed until 1924, when Cornelia Vanderbilt Cecil and her husband, the Honorable John Francis Amherst Cecil, visited to view the painting and requested its return to Biltmore. The painting arrived in December 1924, with Rosita taking her place as one of Biltmore’s most intriguing permanent residents. While Rosita was not at Biltmore during George Vanderbilt’s lifetime, our records indicate that her first placement was the Second Floor Living Hall—a decision made by Cornelia and John Cecil. She was later displayed in the Billiard Room in the 1970s before taking up residence in the hallway outside of the Louis XV Suite in more recent years. This animation shows Rosita’s difference in appearance before and after conservation treatment in 2023. Conserving Rosita In 2023, Biltmore’s in-house conservator, Nidia Navarro, completed the conservation treatment of Rosita’s ornate frame while the painting itself was sent to Ruth Barach Cox for conservation. The painting conservator worked to remove old, discolored varnish and overpainting that was added during past conservation treatments and restore the vibrant colors and brush strokes to their original splendor. Early photos of the painting and Cox’s inspection revealed that the original work featured body hair in the sitter’s armpit, a common practice around the world in the early 20th century. Cox’s treatment returned the painting to its original appearance. Be sure to look for the recently conserved Rosita painting on display in the hallway outside of the Louis XV Suite on your next visit to Biltmore House.
Edith Stuyvesant Vanderbilt: a very charming and accomplished girl Posted on December 30, 2014 at 12:00 am.Written by Stacie King In honor of Edith Vanderbilt’s birthday on January 17, we’d like to share a glimpse into her childhood and young adult years before she married “the most eligible bachelor in the world.” In April 1898, an article appeared in the New York Herald announcing the engagement of George Washington Vanderbilt to Edith Stuyvesant Dresser. Much attention was given at the time to George Vanderbilt’s family connections and the fact that he had long been considered one of the most eligible bachelors in American society. But what of his fiancée, Edith? Other than basic facts about the identity of her parents and the marital status of her siblings, little more was said about Edith other than that she was “a very charming and accomplished girl.” Childhood adventures Edith was born in Newport, Rhode Island in 1873. She was the fourth child of Colonel and Mrs. George Warren Dresser, who was a descendant of the last Dutch governor of New York. The Dressers divided their time between Newport and their New York residence, and much of what we know about Edith’s childhood comes from an unpublished narrative written in 1943 by her younger sister Pauline. According to Pauline, the Dresser children enjoyed a wide variety of pets—including Edith’s 19 turtles that lived in the backyard—and a wide variety of adventures such as roller skating in their dining room while it was being repaired for water damage. Growing up in Newport Both of Edith’s parents both passed away in 1883, but the children’s elderly maternal grandparents stepped in to raise the five siblings who ranged in age from six to nineteen. The young Dressers moved to their grandparents’ home in Newport, and a governess named Mademoiselle Marie Rambaud was added for the girls. Pauline’s memoirs mention how Mademoiselle Rambaud had the Dresser girls adhere to the following regime: “Two hours’ exercise, rain or shine, and early bed hours… We were not allowed to get up until seven… half an hour for dressing, then, if we hurried sufficiently, a chance to run outdoors for a few minutes … before a hasty glass of milk and a roll, which preceded the hour of piano practice from 7:45 to 8:45. A quarter of an hour for family prayers in my grandmother’s room…then breakfast at nine in the dark dining room…, and lessons from 9:30 to 1:30 in winter, and 9:30 to 11:30 in summer. Lunch at 1:30, then another hours’ practice from 2 to 3 – walking every day from 3 to 5. Supper at 5:15 –… and bed at 6:15 in winter and summer, until I was fourteen years old: then only, was I allowed to dine with the family and go to bed at 8:00 P.M…. But life in Newport wasn’t all hard work, and Edith and her sisters were encouraged to enjoy outdoor pursuits such as horseback riding, carriage driving, and swimming. Summers were particularly lighthearted as the Dresser girls, accompanied by their governess and their pet collie Paddy, walked to the beach three times a week, returning in a public horse-driven bus. Apparently Paddy loved to swim so much that he would visit the beach on his own, jumping into a cab for the return trip home. The girls would look out to see what appeared to be an empty cab pull up to their house, and out would jump Paddy, leaving a laughing cab driver behind. The Paris years Following the death of their grandmother in 1892, Edith and her sisters spent some time traveling, returning to Newport for a few months before taking an apartment in Paris for the next several years. In 1896 and 1897, the Dresser girls vacationed for the summer in the French town of Dinard. Still pet lovers as they had been from childhood, they acquired two dogs in France – “Mlle Follette,” who would “die for France,” standing on her hind legs then falling over as though felled by an enemy’s bullet, and Bluette, a bulldog. Time in Dinard was light-hearted and fun, with most of their friends in attendance. They “picnicked and swam and danced and enjoyed themselves hugely.” After their last summer together in Dinard, Edith and her oldest sister Susan stayed in Paris while Natalie and Pauline Dresser returned to Newport for the first time in four years. It was a time of new beginnings for each of them as the Dresser sisters began to meet and fall in love with the gentlemen they would one day marry. Edith Vanderbilt’s legacy Without a doubt, Edith Vanderbilt’s childhood and young adulthood certainly molded her into much more than “a very charming and accomplished girl.” The development of her striking personality traits such as intelligence, sophistication, an outgoing nature, a love of adventure, the ability to relate to people of all backgrounds and cultures, resilience in the face of difficulty, and strong commitment to family make her a woman we continue to admire. Pictured above, right: the Dresser girls with their grandmother (L-R: Natalie, Edith, Grandmother Susan Fish Le Roy, Pauline, Susan) Pictured above, left: Dresser girls in Dinard, 1896 or 1897 (L-R: two servants, Edith, Mlle. Rambaud, Pauline, Susan, Natalie; Bluette the bulldog in foreground & Mlle. Follette to the left of the bicycle)
Wintry Words Arrangement Posted on December 28, 2014 at 12:00 am.Written by Karina Hux It’s easy to make lush floral arrangements in spring and summer, but what about winter, when many flowers and plants are out of season? Christy Leonard, one of Biltmore’s Floral Designers, shared a great idea for creating a fresh arrangement that’s simple to put together and can easily transition into spring. “This is a great way to freshen your décor after the holidays,” said Christy, “with some of the elements that you probably have on hand.” Christy selected our Biltmore Beaded Serveware Cake Stand as the foundation for her design, arranging fresh plants, winter greenery and votive candles as a backdrop for Scrabble tiles arranged into words of the season like “let it snow.” “The Scrabble letters add a bit of whimsy to this project, and make it more personal,” Christy said. “You can continue to change out the words and the plants as needed to suit your mood and to add a bit of color as spring approaches.” Click here to find our Biltmore Beaded Serveware Collection. Also available at Belk and belk.com. How-To Materials Cake Plate 6–inch plant of your choice (Peace Lily pictured) 6–inch plant liner 5 (2-inch) assorted plants of your choice (available at your local nursery) 4–5 single stems fresh or silk flowers of your choice (Peruvian Lily pictured) Greenery (pine and seeded eucalyptus pictured) Moss 3 votive candles Scrabble game pieces (or other block letters) Stick ‘Em floral adhesive Adhesive tape Instructions Clean and polish the cake plate. Set the 6–inch plant with liner on the back center of the cake plate and adhere with Stick ‘Em adhesive on the bottom. Set your 3 votives in the location of your choice centered around the 6–inch plant and secure with the adhesive. Set 3 of your 2–inch plants in the votives and secure with adhesive. Place the remaining two 2–inch plants around the base of the plants. Place greenery and moss around the votives and plants, using moss to conceal the plant pots. Place fresh flowers of your choice around the moss and votives. Place each stem in a water tube. Place the letters to spell out your favorite quote. Secure block letters with adhesive tape. Tip: To transition to the next season, add color by changing out fresh-cut flower colors, quotes, and any 2–inch plants.
George Vanderbilt and His Automobiles Posted on December 18, 2014 at 12:00 am.Written by Heather Angel Although Biltmore House was equipped with superb stables, the Vanderbilts did not rely solely on horses and carriages for transportation. Although horse-drawn carriages, ships, and trains were popular when George Vanderbilt was born in 1862, engineers and inventors were already experimenting with “horseless carriages” or automobiles. It wasn’t until the early 1900s that the Vanderbilts and their friends began to experience the convenience and speed of driving. George Vanderbilt was particularly fond of automobiles and collected them over the years. George (third from left) and Edith Vanderbilt (far left), friends, and chauffeur in Godesberg am Rhein, Germany, 1906. Road trips Biltmore archives show that George Vanderbilt became an avid fan of automobiles during a visit to Europe in 1903 when his good friend William (“Willie”) Bradhurst Osgood Field offered George and Edith Vanderbilt the use of his car and driver. Vanderbilt wrote Field: “I am so in love with this mode of travel that I mean to order an auto like yours when I get back to Paris, with the few improvements that have been made since. It makes travelling a different thing and simply a natural transition instead of an effort. We have decided to remain over here all winter and hope to do some more automobiling next summer…” (George Vanderbilt to William B. Osgood Field, William B. Osgood Field Papers, Manuscripts and Archives Division, Astor, Lenox and Tilden Foundations, New York Public Library, New York, New York.) In a subsequent letter, Vanderbilt again comments on his affection toward automobiles, saying, “We are still enchanted with auto and indebted to you.” North Carolina driver’s license for George W. Vanderbilt from 1913. His first car We aren’t certain what kind of vehicle Mr. Vanderbilt purchased in Paris during this time, but photographs suggest the vehicle may have been made by Panhard et Levassor–the most popular maker of automobiles in France in the early 1900s. As planned, the Vanderbilts remained in Europe for several more months. In 1904, George mentions a “delightful” three-week trip along the Spanish coast (notwithstanding a mechanical problem that delayed them for several days), several 2–3 day trips from their initial home base in Paris, a planned move to London allowing shorter road trips to visit cathedrals, and a six-week excursion throughout England, Scotland, and Wales. While the Vanderbilts would continue to enjoy “automobiling” in Europe during their frequent trips, they would not purchase an auto in America until January 1907. Why the delay? Perhaps it was because most American roads were typically in poor condition compared to European roads. But by the mid-1890s, Biltmore’s roads were nationally recognized as being of the quality needed throughout the country. In North Carolina, “Buncombe County…had accomplished more road improvements by 1914 than any other county in North Carolina,” and George Vanderbilt was given much of the credit. George Vanderbilt’s 1913 Stevens-Duryea Model C-Six, the only automobile remaining in the Biltmore collection. American automobiles In 1907, George Vanderbilt ordered a Stoddard-Dayton car delivered to his home in Washington, D.C. In 1911, he purchased a 1912 six-cylinder, six-passenger Model Y Stevens-Duryea for $4,000. Within a year, he traded the 1912 Stevens-Duryea for a 1913 Stevens-Duryea Model C-Six, which arrived in May 1913. Receipt for purchase of Stevens-Duryea car; sold to George Vanderbilt for $3096.90 in May, 1913. The Stevens-Duryea C-Six is the only vehicle that George Vanderbilt purchased remaining in the Biltmore collection and is today an extremely rare model, believed to be one of only 10 still in existence. It has been carefully conserved but not restored and is in private storage. Intriguing details of this vehicle include Edith Vanderbilt’s monogram hand-painted on the doors and the old-fashioned kerosene lamps that provided backup for the car’s newfangled electric headlights! Detail of parts and maintenance for Stevens-Duryea car. Learn more about the Vanderbilts’ travels at The Vanderbilts at Home and Abroad exhibition inside The Biltmore Legacy building in Antler Hill Village, which offers a fascinating glimpse into the lives of George and Edith Vanderbilt and their daughter Cornelia.
Whistler and Vanderbilt: an artist and his patron Posted on November 20, 2014 at 12:00 am.Written by Karina Hux George Vanderbilt was a knowledgeable art collector, acquiring both the classics—like tapestries from the 1500s—and works from contemporary artists of his time such as Renoir. For portraits of his family, he turned to one of the leading artists of the era: James McNeill Whistler. Best known today for the iconic portrait of his mother, Whistler (1834–1903) was an American-born artist who worked in Europe most of his life. No stranger to controversy, he was influenced by both the schools of realism and impressionism, later developing a unique symbolism in which the subjects of his paintings became less important than forms, colors, and mood. While we don’t know exactly when Vanderbilt and Whistler met, we do know they had mutual friends and it’s likely Vanderbilt was familiar the artist’s work in London and Paris. By 1897, the two men were acquainted enough that Vanderbilt requested Whistler paint his portrait. In May 1897, Vanderbilt wrote: “Yesterday when Sturges told me you were not in London I was greatly disappointed, both because I had looked forward to seeing you, venturing to hope for a Sunday afternoon visit to your studio, to make up for the visit I lost in March, and because I have a favor to ask of you. Is there a chance of your returning to London soon and if you do will you consider me a fit subject for a portrait? . . . I cannot begin to tell you how much I want an example of your great work. I revel at present in possessing your etchings but want an oil too. Hoping you will consider this favorably believe me with deep esteem your admirer.”* Whistler promptly agreed, stating: “I think I may frankly say that I would not ask for a more sympathetic subject than yourself and therefore am greatly pleased at the prospect of painting your portrait.” By the end of the year, the portrait was completed, with Whistler writing on December 30: “My dear Vanderbilt, Now that the great work is complete and I fancy you and I who have been so much in it may in our present enthusiasm say ‘great work!’. . . For my part I look upon this painting with real delight and am well pleased to be hereafter represented by it in my own country. And I am happy in believing that you too have in it complete enjoyment and satisfaction. You have been charming!” The two men remained friends, with their correspondence showing Vanderbilt admiring Whistler’s art and opinions equally. He also continued collecting Whistler’s works, commissioning a portrait of Edith Vanderbilt in 1898 that was completed in 1902 and purchasing the artist’s self-portrait. Over the years, Vanderbilt invited Whistler to Biltmore House repeatedly but Whistler never returned to the United States. When the artist died in July 1903, Vanderbilt was a pallbearer at the funeral. Edith Vanderbilt Gerry gifted two Whistler works in the Biltmore collection to the National Gallery of Art after her death—George Washington Vanderbilt and Gold and Brown: Self-Portrait. Her oval portrait remains on display in the Tapestry Gallery. *Vanderbilt to Whistler, London, England, May 18, 1897. Excerpted courtesy of Whistler Collection, Glasgow University Library.
Timeless Tradition Continues at Biltmore’s Employee Christmas Party Posted on November 11, 2014 at 12:00 am.Written by Karina Hux Although Christmas at Biltmore is our busiest season of the year, for one special night each November, Biltmore employees and their families gather to enjoy their own special Christmas evening amidst the twinkling lights and beautiful decorations adorning Biltmore House. The impressive décor is admired by all, but the child inside many of us would likely wonder, “What good is a 35-foot Christmas tree without equally grand amounts of gifts?” How our tradition began When George Vanderbilt opened Biltmore House to his family and friends on Christmas Eve 1895, guests were greeted in the Banquet Hall by a splendidly tall tree laden with gifts for estate workers. Although the wrapped packages under today's Banquet Hall tree are decorative rather than full of surprises, that doesn’t mean Biltmore has ended the Vanderbilt gift-giving tradition. During our staff Christmas party, all children 11 and younger receive a present chosen especially for their age range. The celebration continues Archival information from 1898 shows that Edith Vanderbilt quickly assumed an active role in estate Christmas preparations as soon as she and George returned from their honeymoon in October of that year. She began making lists of all employees' children, their ages, and choosing special gifts for each of them—more than 100 children in all! Today, Michaela Schmidlin, Entertainment and Event Programming Manager, oversees the process of choosing appropriate gifts for each age range. The toys are timeless, often requiring creativity rather than batteries to operate, and preference is given to North Carolina manufacturers. “It’s really neat to me that this tradition has remained year after year. We’ve modernized it a little with Excel spreadsheets and such, but otherwise, it hasn't changed that much. We give more than 300 gifts each year, and though they are more contemporary than the presents children would have received in the early 1900s, they always reflect the Vanderbilt spirit of warmth and generosity,” Michaela said. “A Vanderbilt Christmas” Each year, the estate is decorated according to a special theme that celebrates George Vanderbilt's love of the holiday season. “Not only did Mr. Vanderbilt provide very generous Christmas bonuses to employees, but can you imagine what this party meant to employees' children and families? Some people came from as far away as the Tennessee state line, and that was quite a trip—especially in horse and wagon days,” said Michaela. This delightful tradition is just one of the ways Biltmore honors Mr. Vanderbilt’s legacy today, and we are delighted to keep history alive each year at the annual Christmas party. Images — Featured image: A Biltmore family enjoys the annual staff Christmas party — First image: A family admires the Banquet Hall Christmas tree — Second image: Children of all ages enjoy Christmas at Biltmore — Third image: Biltmore employee Christmas party held at Antler Hall in 1916 (Edith Vanderbilt is right of center in a black hat; Cornelia Vanderbilt is on her left in a light-colored hat)
Behind Biltmore Poinsettias Posted on October 29, 2014 at 12:00 am.Written by Karina Hux The Winter Garden is known as one of Biltmore’s premier displays of holiday greenery during Christmas at Biltmore. Throughout the years, this room has hosted countless musicians, carolers, and even ballerinas during the holidays, all surrounded by the beauty of red, pink, and white poinsettias. In fact, nearly 100 poinsettias adorn this room alone, with grand total of 1,200 poinsettias decorating the estate through the season. From November 7 through January 11, the poinsettias are strategically placed, rotated, and replaced to provide the best color. However, many guests are surprised to find out just how complex these hearty plants are–and that for about half of these plants, their journey on the estate begins much earlier. “Each February, my crew and I decide what poinsettias we would like to have for the next year's displays,” says Conservatory Gardener Jordana Chalnick. “Last year we had a red poinsettia with white splotches for the front display; this year we will use a pink variegated poinsettia.” Once the varietals are determined, the poinsettias are grown from rooted cuttings inside Biltmore production greenhouses starting in July. What makes these plants unique is that they are a short-day photoperiod crop, meaning they naturally flower when the nights become longer than the days. Some varieties need to be covered with a black cloth, sheltering them from all light, to force them to bloom at the desired time. Jordana explains that timing is key. “We grow two crops of poinsettias for two target dates: November 2 and December 1. A shorter finish week means the plant will color earlier. This would be a variety we select for early November. A longer finish week means it will color later, and these are the varieties we select for December 1. Development is monitored to determine if we will need to cover them and if so, the plants are covered in the evening with a black cloth beginning in September for five to six weeks,” she says. Although Biltmore does not have the space or staff to grow all of the poinsettias used during the holidays, the remaining plants come from two growers in North Carolina. From propagating the poinsettia cuttings, to monitoring their light exposure, to placing and replacing each plant around the estate, our horticulture team does an excellent job year after year–just one of their many jobs during Christmas at Biltmore!