Part 357: Thomas G. Moses und “Das Deutsche Haus” in Indianapolis, 1897
Thomas G. Moses started the year 1897 still painting for Sosman & Landis at the Alhambra Theatre space. This was another of the company’s annex studios for their subcontracted work. When the Alhambra opened its doors for the season, the Chicago Tribune noted that Thomas G. Moses painted two “beautiful new curtains” for the theatre (15 August 1897, page 29). Moses recorded that his other projects at the Alhambra only consisted of “a lot of small time stunts” and nothing that would ever appear on Broadway. The studio was located in a rough neighborhood on State Street and Archer Avenue. The theatre had been dedicated on September 1, 1890. H. R. Jacobs retained management until April, 1897. His replacement for the next season was the one who requested that Moses paint the two new backdrops.
By May, Moses wrote, “I again got that awful wanderlust, and as I was sub-contractor I had a perfect right to make any contracts I chose, as long as I gave Sosman and Landis their ‘bits.’” Moses continued, “I felt that I was an expensive piece of humanity to the firm as they had promised to give me all I could do – even if they had to rob the Clinton Street Studio to do it, so I felt my going would release them from worry.” Scenic artists received a weekly salary at Sosman & Landis only if there was work. Moses recognized that if Sosman & Landis had to “rob the Clinton Street Studio” to provide him with work, it really meant that he would be taking work away from his fellow artists. For the summer, Moses again left the employ of Sosman & Landis and Chicago. He ventured to Indianapolis where Fred McGreer and Ed Loitz joined him for few projects there.
Moses wrote that one of their Indianapolis projects was for the “German House.” Das Deutsche Haus was later christened the Athenæum. The venue was affiliated with the German-American community of the city who had raised the funds to create a large complex. The building was located at 401 E. Michigan, the fifth and largest hall constructed in Indianapolis by the German-American community.
Many German immigrants relocated to the United States following the failed Revolutions of 1848. They arrived to the city in large waves between 1848 and 1860. The immigrants formed a variety of singing and theatrical societies, as well as political groups and social clubs. As with other immigrant communities, these associations and clubs were specifically intended to preserve memories of their homeland and continue many of their familiar traditions. In Indianapolis during 1892 several German groups joined to form an association that would finance a home dedicated to preserving German culture and heritage. Two lots were purchased at the corner of Michigan and New Jersey Streets in an area of the city known as Germantown, or Lockerbie Square. The building was designed by Bernard Vonnegut of Vonnegut & Bohn. Vonnegut was a second-generation German-American living in Indianapolis at the time.
His building design included an auditorium, gymnasium, restaurant, beer garden, and meeting rooms. The massive complex was constructed in phases between 1892 and 1898. The restaurant, the Rathskeller, is still open and remains one of the oldest restaurants in Indianapolis.
Construction for the East Wing of the complex began immediately in 1892 and was finished by 1894. Construction for the West Wing began in 1897 on the corner of Michigan and New Jersey Street; the directors of the organization secured a lot south of the existing building that was 202 feet square. The price tag for the proposed West Wing expansion was $80,000 and included a performance space. The second floor music hall featured a stage area that measured 98 feet by 59 feet (Indianapolis Journal, 19 April 1896, page 20). The proscenium opening was 33 feet wide by 27 feet deep. Moses’ mention of a painting project at the German House was likely the creation of scenery for the music hall stage in the West Wing expansion.
Also in 1897, the Musikverein (Music Society) was founded at Das Deutsche Haus. Their performances were featured in the music hall of the West Wing. The Musikverein included a variety if groups, such as their all-male choir, mixed choir and sixty-piece orchestra. The Wets Wing was decorated in the German Renaissance Revival style, incorporating a steep-pitched hip roof and a three-story brick tower with a curved mansard and spire.
During World War I, anti-German sentiment prompted the curtailment of many German social activities in the building. Furthermore, the old name of the Das Deutsche Haus was erased over the main entrance and the new name “Athenæum” inscribed in its place. The name change for the complex was celebrated on Washington’s birthday “at which Governor Goodrich assured the 700 members of his confidence and their loyalty (Logansport Pharos-Tribune, 23 Feb. 1918, page 12).
To be continued…
