Arts & Culture – Page 5 – The Indiana History Blog

“A Permanent Emblem of Its Own:” The Indiana State Flag & Its Designer

Indiana’s state flag waves from all corners of the state, from the Statehouse to a farmhouse in Selma. It has so proliferated the state’s landscape that it’s easy to assume it has flown since Indiana’s birth. However, it was not until 100 years after statehood that Indiana got a flag representative of the Hoosier people; and it was decades after that before the public recognized the design. We’ll examine why so much time elapsed before Hoosiers proudly hoisted blue and gold from their flagpoles.

We were surprised to learn that the U.S. flag was made Indiana’s official state flag by the Indiana General Assembly in 1901. This changed when, in 1914, Indiana Daughters of the American Revolution (DAR) delegates Mary Stewart Carey, of Indianapolis, and Mrs. William Gaar, of Richmond, attended the 23^rd Continental Congress of the National Society, DAR in Washington, D.C. At the conference they observed that the Memorial Continental Hall was decorated with state flags, but that Indiana was one of few states missing representation. The women returned to Indiana with the goal of obtaining a state banner that was representative and unique to Indiana, particularly in light of Indiana’s upcoming centennial of statehood. The Indianapolis News reported on March 11, 1916 that:

The Indiana Daughters of the American Revolution, and some other patriotic organizations, have decided that it is wholly suitable, and very desirable that the Indiana centennial observance should be lastingly marked by the creation and adoption of an Indiana state banner.

Mary Stewart Carey, Chairman of the State Flag Committee, accessed HistoricIndianapolis.com

The Indiana DAR established a State Flag Committee, headed by Carey, and hosted a public competition for the design of a state banner. The Indianapolis News reported in 1916 that the DAR chapter was careful not to infringe on the existing state flag, reporting that the group:

[I]s not proposing the creation or adoption of a state flag. There is no disposition to try to share the place of the one flag, but there is a feeling that it is wholly appropriate to adopt an individual standard or banner. Other states—all of them thoroughly patriotic and loyal—have done so.

The committee offered a $100 award for the winning entry and received over 200 submissions from Hoosier men and women, as well as applicants from other states. Carey contended in a report of the State Flag Committee:

It is difficult to find a motive to be expressed on our banner, as Indiana has no mountain peak, no great lake or river exclusively its own—but it is possible to find some symbol expressive of its high character and noble history.

As the banner competition progressed, Carey urged contestants to submit simpler designs that could be “recognized at a distance, and simple enough to be printed on a small flag or stamped on a button.” She encouraged applicants to design banners “striking in symbolism” and utilize colors differing from those of the U.S. flag. Hadley’s submission met these suggestions, featuring a gold torch representing liberty atop a blue background. Radiating from the torch were thirteen stars on the outer circle to represent the thirteen original states, five stars in the inner circle to represent the states admitted before Indiana, and a larger star symbolizing the State of Indiana.

(In 1976, David Mannweiler of the Indianapolis News reported that Hadley’s additional submissions in 1916 won prizes for first, second, third and all honorable mention awards. Mannweiler noted that one of the entries included a tulip tree leaf and blossom and another featured an ear of corn with an Indian arrowhead).

Indianapolis Recorder, October 1, 1955, accessed Hoosier State Chronicles.

After Hadley’s design was selected, it was submitted to the Indiana General Assembly in 1917 for approval and adoption as Indiana’s official state banner. The legislature ordered that the word “Indiana” be added above the star representing the state. The enacted law stated that the banner “shall be regulation, in addition to the American flag, with all of the militia forces of the State of Indiana, and in all public functions in which the state may or shall officially appear.” So as not to conflict with the 1901 legislation, the U.S. flag remained Indiana’s official state flag and Hadley’s design was referred to as the Indiana state banner. In 1955, the General Assembly approved an act making Hadley’s design the state flag of Indiana.

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Paul Hadley (left) observes John Herron Art Institute student Ralph E. Priest (right) applying gold leaf to an Indiana State Flag, ca. 1923

The flag’s designer was born August 5, 1880 in Indianapolis, but spent much of his life in Mooresville, Indiana. Hadley initially attended Indianapolis High School (later renamed Shortridge High School), but transferred to Manual Training High School to study under “Hoosier Group” artist Otto Stark. According to fine arts curator Rachel Berenson Perry, in the fall of 1900 Hadley enrolled in the Pennsylvania Museum and Industrial School of Arts in Philadelphia and studied interior decorating for two years, afterwards working as an interior decorator in Chicago.

Paul Hadley, circa 1905, (Picture Postcard by J. P. Calvert), courtesy Mooresville Library.

Hadley returned to Mooresville and primarily painted watercolors of local landscapes, Some of the subjects he commonly depicted included cabins, streams, woods, outhouses, farmhouses and shrubbery. Perry reported that in 1921 Hadley’s studio in the Union Trust building in Indianapolis had become “well known among art enthusiasts.” The Indianapolis Star noted in December of that year that Hadley traveled through Italy, Switzerland, France, England and Belgium, painting water colors that he later exhibited at the Woman’s Department Club in Indianapolis. The Star article described the water colors:

Of charming quality and lovely color, a veritable delight as to design and pattern, likewise expressive of poetic feeling and an imaginative faculty that bespeaks the true artist, these pictures form an important series in the beautiful work coming from Mr. Hadley’s brush within the last few years that is indeed distinctive.

“House Among Trees,” watercolor on white paper, courtesy of Indianapolis Museum of Art.

Hadley gained a reputation for his watercolors and frequently exhibited his work in Indianapolis. He participated in Indiana Artist Club exhibitions and belonged to the prestigious Portfolio Club. The Indianapolis Star Magazine and a Hoosier Salon booklet reported that Hadley received awards for his watercolors at the annual Hoosier Art Salon and Indiana State Fair. A 1922 Indianapolis Star article asserted that the winning Indiana State Fair pieces conveyed “freshness of outlook, evidence of fine color sense and a feeling for harmony and balance. His creative ability and versatility are evident in the handling of various subjects in different mediums.” That same year Hadley was invited to teach at the John Herron Art Institute, where Art Association of Indianapolis bulletins show he frequently exhibited watercolors.

Hadley joined the faculty of the John Herron Art Institute in the fall of 1922 as an interior decorating instructor. The Indianapolis Star reported in November of that year that he taught topics relating to “color design and arrangement of furniture in home interiors.”

In 1929, Hadley’s job at Herron transitioned to water-color instructor. According to The American Magazine of Art, a change in school administration in 1933 led to the dismissal of Hadley along with seven other professors, including “dean of Indiana painters” William Forsyth. Hadley transferred to the Art Institute’s museum in 1932, working as assistant curator.

John Herron Art Institute, Students sketching in the lobby of the museum, 1921, courtesy of HistoricIndianapolis.com.

An Indianapolis Star Magazine article, published in 1951, highlighted the prevalence of his work, stating that “there is a Hadley water color in most of the Indianapolis high schools, and a large one is in the John Herron Art Institute.” The article added that Hadley’s “products are in demand everywhere. Many established artists regard him as a great teacher, partially responsible for their own successes. He is regarded as one of the best water color technicians of the Middle West.” David Mannweiler noted similarly in his 1976 Indianapolis News article that Hadley is regarded as “dean of Hoosier watercolor painters.”

***

Hadley’s banner submission was met with some apathy, as the Attica Ledger noted in 1917 that:

there were several of the lawmakers that were not enthusiastic over the proposition for a state flag and Gov[ernor James P.] Goodrich himself thought so little of the proposition that he allowed it to become a law without his signature.

Similarly, the Hoosier public remained largely unaware of the emblem. The Ledger suggested that same year that most readers would not recognize the banner if they passed it. The Indianapolis News reported at the end of 1917 that the banner had yet to be publicly displayed (having only been exhibited at a DAR convention) until Carey presented it to the crew of the U.S.S. Indiana. Perry noted that after Carey’s gesture the banner “virtually disappeared from public consciousness for several years.” Indianapolis newspapers reported in 1920 that the public remained generally unaware of the banner’s existence. The Indianapolis News asserted that “probably not one person in a thousand knows what the state flag is.” An Indianapolis Star article lamented the banner’s lack of visibility, stating:

[I]n the four years that have elapsed since the centennial celebration, this flag has never been displayed at a public gathering with the exception of the celebration of the centennial of Indiana [U]niversity, and then, through the instrumentality of a pageant master from another state. It was not seen during the Indianapolis centennial celebration, nor during the recent encampment of the Grand Army of the Republic. . . The flag is not to be found in the Statehouse . . . some one in authority should see that this flag should be manufactured and should be displayed on all suitable occasions together with the flag of the United States.

The Indianapolis News reported in 1931 that members of the Mooresville Delta Iota Chapter of Tri Kappa made state banners to sell through their sorority. Member M.E. Carlisle stated “‘We have felt that the state banner has not been receiving the proper attention in the state’” and that “‘many people do not know that we have one and some that do would not recognize it if they saw it. Our idea is to acquaint the state with its banner.’”

Visibility of the banner increased somewhat when American soldiers serving overseas in World War II, the Korean War, and the Vietnam War requested it as a symbol of home and solidarity. The Indianapolis Star reported in 1942 that:

When Hoosier soldiers gather in USO headquarters or other recreation spots, the Indiana flag of blue and gold is a symbol of home, displayed much more widely now than it was during World War No. 1. Viewing the banner prompts handclasps which are the beginning of friendships, stories of people at home, and singing of ‘On the Banks of the Wabash.’

The banner was sent to Hoosier soldier Private First Class Edman R. Camomile, serving in the Korean War, who flew it from a hilltop on the war front. He stated “‘It is the most wonderful thing that could happen to me. Just knowing the United States flag and all 48 state flags are flying high over different areas of Korea shows that they all stand for peace to all mankind.’” According to the News, an unofficial query showed that the state did not mass produce the flag and that they were made only when ordered, speaking to the continuing lack of demand for the emblem. Marine Corporal Tony Fisher, fighting in the Vietnam War, requested an Indiana flag. He flew it over his gun pit, returning it “tattered and torn and perhaps bullet nicked.”

By 1966, many Hoosiers recognized Hadley’s design because of concerted efforts by the Indiana legislature to encourage celebration of the state’s sesquicentennial. On February 24, 1965, the Indiana House of Representatives approved a resolution stating observance of the sesquicentennial “should include widespread display of the State Flag of Indiana throughout the State.” The resolution directed state-funded institutions and schools to purchase and display the flag. Additionally, the Indiana Senate approved a resolution honoring Hadley for his design, stating “in connection with the observation of the Sesquicentennial Celebration in 1966, [the Senate] does hereby honor and commend Mr. Paul Hadley, an octogenarian citizen of the State of Indiana, for his brilliant and perceptive work in designing the official flag of the State of Indiana.”

The measures were largely successful in bringing awareness to the flag. A June 2, 1966 Indianapolis News article reported “almost any school child can recite the significance of the present official flag” and that “today it is known by all public-spirited Hoosiers of all ages.” The Delphi Journal noted that the state flag, purchased by the “Sesqui” group, was on display and would be exhibited at the REMC auditorium. The Tipton Tribune informed readers that the Sesquicentennial Queen would be delivering a tribute to Hadley. The anniversary of statehood was commemorated on a national scale at the Tournament of Roses Parade in Pasadena, California with a float depicting the state flag and other symbols of Indiana. The flag continues to be used publicly to represent and celebrate the Hoosier state, such as its display at the 2015 Statehood Day, an event that kicked off Indiana’s bicentennial celebration.

Check out IHB’s new historical marker and corresponding notes to learn more about the flag and its designer.

Location: Intersection of E. Main Street and Indiana Street, Mooresville (Morgan County, Indiana).

Beulah Bondi: Jimmy Stewart’s “Mom”

bondi-and-stewart-porter-co-mueum — Jimmy Stewart and Beulah Bondi, courtesy of the Porter County Museum.

Beulah Bondi’s is not a recognizable name today, but her face certainly is. You’ve likely seen it in classics such as It’s a Wonderful Life and Mr. Smith Goes to Washington. The Valparaiso, Indiana native portrayed Jimmy Stewart’s mother four times on film, including Vivacious Lady and Of Human Hearts, in addition to Wonderful Life and Mr. Smith. According to the Chicago Daily Tribune, Stewart affectionately called Bondi “Mom.” By the ripe old age of 39, Bondi was cast to play characters well beyond her age and she became the equivalent of “Hollywood’s mother,” despite herself never marrying or having children.

old — Depiction of Bondi’s character in “Track of the Cat” (1954), courtesy of Oscars.org.

“America’s greatest character actress,” according to United Artists, MGM, and Paramount, was born Beulah Bondy in 1888. She got her start at the age of seven as “Little Lord Fauntleroy” at Valparaiso’s Memorial Opera House. After the lead actress fell ill, she had one week to memorize 47 pages worth of lines and became hooked on acting after delivering them on the stage. The young actress was drawn to “dramatics” and the stage throughout her public education, including her time at the Convent of the Holy Name and Valparaiso University.

After graduation from university, she traveled the Midwest with a theatrical touring company. The Valparaiso Vidette Messenger reported that she changed her last name to “Bondi” at the suggestion of an Indianapolis journalist. Bondi noted, laughing, that “‘He said all of the letters in my name should be above the [credit] line.”

by-line — “The Shepherd of the Hills” promotional material, 1941, accessed IMDb.com.

Following her work with an Indianapolis stock theater company, Bondi began her professional acting career in 1919. She was promptly informed by her first director that she “‘had no more talent than on the head of a pin.'” This criticism equipped her to endure even the most difficult directors of stage and film. In 1925, Bondi made her Broadway debut, beginning a prolific Broadway career that would eventually deliver her to Hollywood acclaim. According to the Valparaiso Vidette Messenger, film producer Samuel Goldwyn viewed her Broadway performance as a bigoted neighbor in the three-year run of Elmer Rice’s “Street Scene” and brought her to Hollywood.

From “dowagers to harridans,” Bondi deliberately chose character work, embodying each of the characters she played. In 1929, the Valparaiso Vidette Messenger printed excerpts of colorful New York reviews of Bondi’s portrayals:

“As a catty and scandal mongering neighbor Miss Beulah Bondi never overplays a role that would tease a lesser actress to do so.”

“Beulah Bondi who was so good in ‘Saturday’s Children’ and so amusing in ‘Cock Robin,’ turns out a gossipy busy body with remarkable detail and rare effect.”

In “Street Scene:” “the comedy relief is intrusted [sic] to the greatest character actress in America, Beulah Bondi. Hers was a magnificent performance.”

Bondi reflected in 1976 that “With each part, I ‘meet the woman’ for the first time when I read the script . . . And then I imagine her past life-what made her into the character she is.” She appeared in over 50 major films, appearing with Hollywood greats such as Clark Gable, Greta Garbo, Joan Crawford, Fred MacMurray, Barbara Stanwyk, and of course her “son” Jimmy.

live — Beulah Bondi, James Stewart, Guy Kibbee, and Ruth Donnelly in “Mr. Smith Goes to Washington,” courtesy of Getty Images, accessed IMDb.com.

The Vidette Messenger noted that Bondi came to be greatly respected by directors because she:

“was never given ‘The Grand Build-up’ by inspired press agents. She is just one of the ‘old timers’ on the various lots, highly capable and highly dependable. Neither temperamental nor demanding, she is an actress to delight both producers and directors. She choses [sic] her parts with great discrimination, asking always the best, and always giving her best.”

of-human — Montage: The Journal of the Academy of Motion Picture Arts and Sciences, Vol. 1 No. 1, (May 1939), p.22, accessed Margaret Herrick Library, Academy of Motion Picture Arts and Sciences.

Bondi received recognition and accolades for her supporting roles, receiving commendation by the New York Times for her role in the 1939 film On Borrowed Time, in which she played opposite Lionel Barrymore. She was nominated for an Academy Award for Best Supporting Actress in 1936 for The Gorgeous Hussy and 1938 for Of Human Hearts. At the sunset of her career, Bondi received an Emmy award in 1977 for Outstanding Lead Actress for a Single Appearance in a Drama or Comedy Series for her portrayal as Aunt Martha on an episode of The Waltons.

The Vidette Messenger aptly concluded in 1976 that Bondi “deserves a place in the series of local celebrities-and unlike some who have gone off to conspicuous success in the entertainment world-she never belittled the town that was the scene of her childhood. She is a product of Valparaiso-and proud of it.” In her 80s, Bondi quipped to the newspaper that same year “‘I never played an actress my own age . . . I now play girls of 16.'” The acclaimed Hoosier passed away on January 12, 1981 in Hollywood, leaving behind a legacy of compelling silver screen characters.

old-bondi — Jo Mannies, “Beulah’s Debut 47 Pages Long,” Valparaiso Vidette Messenger, April 13, 1976, 1.

Ben-Hur Races to the Top in Indy

hur poster — 2016 movie poster, courtesy of Imdb.com.

The release of the new Ben-Hur movie this summer reminded us of the story’s Hoosier origins. This latest production from Mark Burnett and Roma Downey is the fifth time that film producers have interpreted Crawfordsville native Lew Wallace’s best-selling novel for the screen. Many are familiar with the 11 Academy Award winning adaptation starring Charlton Heston in 1959 and most film buffs know that there were two earlier versions in 1907 and 1925. The 1907 film prompted a landmark U.S. Supreme Court decision that protected copyrighted works from unauthorized motion picture adaptation. The 1925 film arguably has a better chariot race than the 1959 movie. There was also a forgettable and regrettable Canadian mini-series reboot of Ben-Hur in 2010.

In a world of constant movie reboots, one ponders: if Lew Wallace were alive today and re-wrote Ben-Hur in a contemporary setting, would he have Ben-Hur racing in the Indianapolis 500?

What if we told you that Ben-Hur did, in fact, race at Indianapolis? Of course, the race did not take place at the Indianapolis Motor Speedway; instead it took place in 1902 at English’s Theater during the Ben–Hur stage play’s first visit to Indianapolis.

The stage race as explained and illustrated in pages of Scientific American. Image from General Lew Wallace Study and Museum website.

On November 13, 1902, the Indianapolis News reported “J.J. Brady is here in advance of ‘Ben-Hur,’” and “brings with him a corps of stage carpenters and mechanics, who have practically to reconstruct the stage . . . so that the play may be given properly.” Although English’s stage was new, crews needed to rebuild it in order to accommodate the chariot race. Producing that scene called for eight live horses running at full gallop on treadmills, cycloramic scenery and, other apparatus. All this equipment and animals imposed an estimated weight of over 50 tons on the stage, which required pouring a special cement foundation. The public was anxious to see the spectacle, even if it meant staking out a place in line many hours in advance. The Indianapolis News reporter observed:

“A few individuals sat and shivered all night in the lobby of English’s waiting in patience and with an unwonted supply of cash in their pockets for the box office to open. They were men who had been hired to buy seats for some of the performances of ‘Ben-Hur.’”

Ticket prices ranged from fifty cents to two dollars. Even at that rate, a day after the tickets went on sale, the English Theater reported “over $10,000 was taken in at the box office window” and representatives for the producers of the play (Marc Klaw and Abraham Erlanger) announced that the sales “beat all records for the play in advance sales.” The Supreme Tribe of Ben-Hur, a national benevolent society headquartered in Wallace’s hometown of Crawfordsville, nearly bought out one performance by itself. The Tribe planned to run an excursion via train for its members from Crawfordsville to see the play.

Basill Gill as Messala (Left) and William Farnum as Ben-Hur (Right) in the 1902 Indianapolis production. Courtesy of Hoosier State Chronicles. — Ben-Hur and Messala face off in a promotional picture for the production. Courtesy of Hoosier State Chronicles.

However, a few members of the Hoosier public were dubious about purchasing tickets. In particular, one woman was of the opinion that the play was to take two weeks to complete. When the box office manager informed her that the entire play was presented every night, she remained quite suspicious that anyone “could put all that book into a one-night drama.”

Production managers sought to cast extras from Indianapolis’s denizens, advertising a salary of $4.25/week. That was enough to encourage a crowd of men, women, and children to stand outside in a late Indiana autumn for an hour and a half waiting for their opportunity at show business. An assistant stage director eventually made an appearance and sorted through the crowd. One “gray beard” was turned away because the assistant director believed him not to be “nimble afoot.” The rejected man futilely protested to the assistant director and argued “he could get around faster than two-thirds of the younger fellows that had been accepted.”

With the extras cast, the production opened on Monday, November 25, 1902. After witnessing opening night, an Indianapolis reporter wrote, “There [will] be critics who see nothing good in the American stage or in the works of American dramatist: if the American stage had done absolutely nothing worthy in its long career but this, had its fame to rest solely on this production of ‘Ben-Hur’ it has justified its existence.”

Mabel Bert in costume for theatrical production of Ben-Hur. Courtesy of the Digital Public Library of America. — Mabel Bert in costume as the mother of Ben-Hur. Courtesy of the New York Public Library.

The cast, as it appeared in Indianapolis, included William Farnum as Ben-Hur and Basil Gill as Messala. Farnum’s performance was described as realizing the part to the fullest degree. Among the other actors and actresses in the production, Mabel Bert’s portrayal as the mother of Hur is worth noting because she was the only cast member with a major role to be with the company continuously since the production opened on November 29, 1899 in New York City. Mrs. Bert told a reporter,

“I have always been the mother of Ben-Hur – various Ben-Hurs, however, for Mr. Farnum is the third I have mothered on the stage…It does make me a trifle lonely sometimes to lose my stage children and stage friends that way. But then, too, it affords a certain amount of variety that is interesting and keeps my work from becoming at all monotonous.”

Ellen Mortimer as Esther (Left) and William Farnum as Ben-Hur (Right) in the 1902 production. Courtesy of Hoosier State Chronicles. — Esther and Ben-Hur in a promotional photo for the production. Courtesy of Hoosier State Chronicles.

The public certainly found nothing monotonous about the play. In fact, the production was originally slated to run for two weeks in Indianapolis, but four days after opening night the Indianapolis News reported that the high demand for tickets had prompted producers to extend the play for another week. Box office receipts for the first two weeks alone were estimated in excess of $35,000. That figure broke all box office records for Indianapolis and was the highest figure for all productions of Ben-Hur to that date.

The cover of the Souvenir Album of the 1902 Indianapolis production of Ben-Hur. Courtesy of Indiana Historical Society.

The Indianapolis News attempted to describe the sales phenomenon in Indianapolis:

“‘Ben-Hur’ occupies a unique position on the native stage, since it appeals alike to habitual theater patrons and those who seldom find enjoyment in offerings of the stage. While the elaborate scenic equipment and realistic chariot race command the admiration of the spectators, the rare beauty and force of ‘Ben-Hur’ as a drama give a lasting distinction to this most uplifting, inspiring and soul-stirring play.”

This description of the popularity of Ben-Hur, while no doubt true, neglects that a major reason for the large turnouts was because the author of Ben-Hur was a native Hoosier son. Some Indiana cities, such as Covington, Franklin, and Noblesville, brought large numbers of their population and sold out individual performances. In fact, Covington could not secure as many tickets as they had citizens who wanted to attend; the Indianapolis Sentinel reported that a small riot broke out as a result.

While various Indiana cities were hoping to witness the performance, Crawfordsville was no exception, as it was Ben-Hur’s birthplace. A contingent of Athenians and Montgomery county residents had the theater to themselves for a performance on December 2. Among those in attendance at that performance was James Buchanan Elmore, aka the Bard of Alamo. After witnessing the arrest of the Hur family, Buchanan leaned over to a newspaper reporter and said, “Seems to me if I was bossing that show I would make the actors speak softer and not so rough, it don’t seem like Scripture voices.”

An example of the final scene from the theatrical version of Ben-Hur, which opened at the Grand Opera House, Seattle, on Oct. 9, 1905. Courtesy of the University of Washington.

Although the December 2 performance hosted one Montgomery County literary celebrity, another one was conspicuously absent, that being General Lew Wallace, the author of Ben-Hur. Wallace was recovering from an illness during the Crawfordsville excursion. However, he was sufficiently recovered to attend a matinee with his son, daughter-in-law, and his two grandsons on December 12. Wallace watched most of the play from a private box and tried to remain as inconspicuous as possible, lest he be called upon to deliver a speech. Wallace and his party were invited behind the stage so that they could witness how some of the scenes were produced, especially the chariot race. Wallace took special interest in watching the race and all of the mechanization that was involved. While backstage, Wallace met the starring members of the cast and reportedly chatted for several minutes with the actor incarnating his literary creation. Before returning to his box Wallace remarked to a stage manager that the production had reached a state of perfection. Ben-Hur ended its stay in Indianapolis the day after Wallace’s visit, before moving to Milwaukee for a two-week engagement.

Eleven years later, when Ben-Hur was making another visit to Indianapolis, Hector Fuller aptly noted in the Indianapolis Sunday Star,

“If Indiana had contributed nothing else, save this one play to the American stage it might be counted that the Hoosier state had done its part. For ‘Ben-Hur’ is the dramatic marvel of the age. It has held the stage now for fourteen years, and in that time over 10,000,000 people have seen it.”

Learn more about Lew Wallace, his father David Wallace, his stepmother Zerelda Wallace, and his mother Esther Test Wallace with other IHB historical resources.

exhibit 1

Stop by our exhibit in the Indiana State Library to see memorabilia from productions of Ben-Hur.

The Indelible Ross Lockridges

final jr sr — Ross Lockridge Sr. and Jr. camping, photographed by three-year-old Ernest (son of Sr.) in the summer of 1942, image courtesy of Evansville.edu.

Ross Lockridge Sr. and Jr. left an indelible mark on Indiana history through traditional history publications and fictional depiction. However, the father and son have yet to be cemented in the annals of state history. We hope to contribute to that reversal.

The senior Lockridge was born in Miami County, Indiana in 1877 and went on to graduate from Indiana University in 1900. He married and returned to his north central Hoosier home. He became the principal of Peru High School, and later earned a law degree from IU in 1907. Not long after, he moved to Fort Wayne and worked as employment manager and welfare director at Wayne Knitting Mills. He also served three years as executive secretary of the Citizen League of Indiana, which lobbied for a new state constitution and advocated for women’s suffrage.

mills — Wayne Knitting Mills, 1910, courtesy of History Center Notes & Queries.

While in Fort Wayne, Lockridge Sr. helped organize the Allen County Fort Wayne Historical Society. During this time his reputation grew as a writer of pioneer Indiana history. According to Larry Lockridge, his grandfather, Ross Sr.,” developed his own brand of ‘Historic Site Recital,’ combing public speaking, drama, and local history.” Between 1937 and 1950, Lockridge Sr. served as a director of IU Foundation’s Hoosier Historic Memorial Activities Agency. Some of his published works include: George Rogers Clark (1927), A. Lincoln (1930), LaSalle (1931), The Old Fauntleroy Home (1939), and Labyrinth (1941), Theodore F. Thieme (1942). His The Story of Indiana (1951) was primarily used as a text in Indiana at the junior high school level.

The historian also wrote about Johnny Appleseed, the Underground Railroad, and Indiana’s trails, rivers, and canals. Another extended work, which continues to aid transportation history researchers, is Historic Hoosier Roadside Sites, commissioned in 1938 by the Indiana State Highway Association. He worked tirelessly to mark the state’s landscape with monuments and markers, preserve records, and execute historical pageants. His clear and concise writing style has added to Hoosier’s knowledge of their past.

marekrs paper — The Vidette-Messenger (Valparaiso, IN), March, 23, 1936, courtesy of Newspapers.com.

According to Larry Lockridge, his grandfather “didn’t exactly whitewash history,” but he “certainly edited it. He attempted to bind people to their own local history through heroic narrative.” After the tragic drowning of Ross Sr.’s 5-year-old son, Bruce, in Fort Wayne, his dedication to historical work intensified. Larry contends:

“Preaching history as resurrection of the worthy dead was his idealistic, nonmetaphysical challenge to time and mortality, grounded in the tragedies of his own life and the pettiness of the contemporary scene.”

Ross Jr. assisted his father with historical projects, but according to Larry was “not his father’s puppet at such performances” and “never approached his father’s ease of performance and lack of self-consciousness.”

Ross Jr. was born in Bloomington, Indiana and moved to Fort Wayne. When he was 9-years-old the family returned to Bloomington and his literary dreams took root.

According to an Indiana Public Media article (IPM), Junior attended Indiana University, where he was known as “A+ Lockridge,” graduating with the highest GPA ever awarded by the school (4.33). Scarlet fever precluded his plan to join IU’s English Department, leaving him bedridden for eight months. He was later accepted as at doctoral student at Harvard University, where he began his famed novel.

kasdl;fkl;sdfk — Raintree County cover, courtesy of Goodreads // Ross Lockridge Jr. signing copies of Raintree County in Indiana, courtesy of Altered Book Arts.

According to an Altered Books Arts article, he withdrew from his studies and taught at a nearby college, so he could focus on his literary magnum opus. The IPM article reports that he studied abroad in Europe in 1934, where he “first had the vision of writing a novel that would draw upon the would-be literary heritage of his maternal grandfather, a schoolteacher and poet who had lived in Indiana’s Henry County.” This evolved into the character of John Shawnessy, who after losing his wife went on to fight in the Civil War, attempted to write the Great American Novel, and ended up in the fictional Raintree County.

Photo of a raintree planted in honor of Ross Jr. behind the Lockridge house, image courtesy Larry Lockridge, accessed IPM.

Although Johnny had his successes, the character flashed back in memory wondering about the country’s future. He is influenced by several cultural concepts, one of which is to find the legendary Rain Tree, supposedly planted somewhere in the Raintree County by the celebrated Johnny Appleseed, who is buried in Allen County. The tree Lockridge sought to feature is based on a real Golden Rain Tree, which blooms in the summer with subtle yellow flowers that drop like a raining of yellow pollen dust.

In addition to Allen County, Monroe County is represented in the book. Larry noted, “We have county fairs and patriotic programs and outdoor sex and footraces and weddings and temperance dramas and rough talk . . . all of this he picked up in the culture of Bloomington” (IPM). Ross Jr.’s wife, Vernice, did the final typing of the novel, an 18 month endeavor and, unlike many writers, her husband gave her full credit for her help in constructing the 1060-page novel.

Altered Books Arts summarizes the novel’s themes, stating:

“In the course of its thousand pages philosophy, religion, sex, and history all flow together in a narrative that spans 40 years, recollected in a single day. In some ways it is an Indiana Ulysses, though Lockridge said that whereas Joyce wished to make the simple obscured, he wished to make the obscure simple. When it came out Thomas Wolfe and Walt Whitman were frequently cited for comparison, but it seems closer to in technique and feeling to the panoramic narrative of John Dos Passos’ U.S.A.“

Ross Lockridge Jr. by river, image courtesy of Larry Lockridge, accessed IPM.

Ross Jr.’s labor of love was met with much anticipation from his publisher, Houghton Mifflin. However, in order to win MGM’s high-profile contest for best new literary work, an award of $150,000, he was pressured to revise and cut several sections from his masterpiece. His likely selection as Book of the Month club winner, meant that he had to make many more extensive cuts. He conceded reluctantly and worked tirelessly to trim it for publication. His publisher Dorothy Hillyer wrote “Ross was quite capable of fussing eighteen hours a day over that manuscript. He was in love with it, almost sexually.” (He ended up cutting out a 356-page dream sequence, which is retained at Bloomington’s Lilly Library).

These compromises, the killing of his darlings, so to speak, and the completion of his life’s work plunged him into a deep depression. Despite generally rave reviews about the novel and winning MGM’s literary award, Lockridge’s depression worsened and he returned to Bloomington. His son regarded this as a mistake, “not because of Bloomington’s particular atmosphere but because it felt to him as if he had come full circle. . . . It was the symmetry of fate that he was returning home to die.”

Larry noted that his father began exhibiting bizarre behavior, inspecting knives in the kitchen and opening and closing cupboards, claiming he was “looking for a way out.” Public backlash about the book’s sexuality and irreverence, especially by his Bloomington neighbors, made him doubt the quality of his work and worsened his fragile state. (According to IPM, the publication of his neighbor Alfred Kinsey‘s Sexual Behavior in the Human Male promoted Lockridge to quip “It seems Mr. Kinsey and I have succeeded in making Bloomington the sex center of the universe”).

snake pit — The cover of Mary Jane Ward’s autobiographical novel about her own struggles with mental illness, image courtesy of IPM.

Ross Jr.’s father hoped to combat his son’s malaise with recitation, the memorization of the Declaration of Independence, hearkening back to their old historical endeavors. Ross Jr. reluctantly entertained his mother’s Christian Science ministrations, but remained in a debilitated state. Ross Jr. was not alone in his distress; his cousin Mary Jane Ward suffered from mental illness, which she depicted in her successful autobiographical novel The Snake Pit.

Witnessing her husband’s ongoing suffering, Vernice convinced him to seek treatment at Indianapolis’s Methodist Hospital, where he underwent electroshock convulsive therapy and insulin-induced coma. Further distressed and embarrassed by the procedures, he gave staff the impression he had recovered and was released.

According to Larry, his father tried to write a second novel, a “thinly disguised autobiography, from Fort Wayne days to the present.” He had planned to begin the story with his young brother’s tragic death and,

“the tranquil Avenue of Elms, Creighton Avenue in Fort Wayne, whose backdrop was the Great War. It is in this city that his brother Bruce drowns, that his house catches fire, that there is a great strike at the mill, that he falls in love with Alicia Carpenter, that he decides to become a writer, and that through ‘the brutality of fate’ his personality is set by the age of ten.”

He was never able to finish a second novel. On March 6, 1948, the day after Raintree County was declared a number one best seller, Ross Lockridge, Jr. took his own life at age 33 in Bloomington. Unable to locate her husband, Vernice went out to their garage. There she discovered his limp body in the running car, a vacuum cleaner hose piping exhaust into the car. The death of the new literary star stunned the nation, attracting over 2,000 to his funeral and prompting an obituary on the front page of the New York Times.

In 1957, MGM produced a big screen depiction of Raintree County, featuring Montgomery Clift, Elizabeth Taylor, and Eva Marie Saint.

Weeks after the death, Vernice found a note written by her husband, stating “‘Dearest, Have gone for early morning walk to clear head. Love, Ross.” On the back side he wrote:

“The purpose of Raintree County is to present life in its many-sided variety with idealism triumphant. An irreverent character in a book does not mean an irreverent book. In any event it is an old and good rule that every reader is entitled to his own opinion of a book.”

Surviving the death of a second son, Ross Sr. passed away a few years later in 1952.

marker rain — Henry County plaque, courtesy of IU Press Typepad.

Learn more about the remarkable Lockridges with Larry Lockridge’s 1994 Shade of the Raintree: The Life and Death of Ross Lockridge, Jr., author of Rain Tree County.

The Lost Mrs. Ralston

Photo 1-Jennie C Ralston — Jennie C. Ralston, wife of Governor Samuel Ralston, First Lady of Indiana (1913-1917), image courtesy of Indianapolis Star.

Tracking down a portrait of Jennie C. Ralston, wife of Indiana Governor Samuel Ralston, was our most pressing challenge last week. The problem? It appeared as though no one had actually seen the painting since 1970. When we got a call from Jennie’s great-great granddaughter, who thought the portrait had been donated to the Indiana State Library, we were honored to help track it down.

Though most well-known as wife of Indiana Governor Samuel Ralston, Jennie was a civic leader in Indiana in her own right. Born on November 15, 1861 on a farm near Danville, Indiana, she met Samuel while attending Central Normal College in Danville. She graduated in 1881. The two married in 1889 and lived on a farm near Lebanon, Indiana. Throughout her life, she participated in numerous clubs, often holding leadership roles. A few of her positions included President of the Pioneer Woman’s Memorial Association, in which she helped organize the Parent-Teachers’ Association, Trustee of the Indiana Girls School, and Vice-President of the Indiana Federation of Clubs. She was also a member of the Democratic National Committee from 1934 until she retired on her 91^st birthday in 1953.

Photo 2-Senator Samuel and Jennie — Samuel and Jennie Ralston sitting together on their front porch, c. 1922-1925, image courtesy of Indianapolis News.

The first place we looked for Jennie’s portrait was the Indiana Governors’ Portrait collection, managed by the Indiana State Library and the Indiana State Museum. The collection contains portraits of all of Indiana’s
governors (except for one) since Indiana became a territory. The state museum makes sure every newly elected governor has their portrait painted and added to the collection. Most of the paintings are currently on display in the State House or in government offices.

Photo 3-ralston portrait — Portrait of Indiana Governor Samuel Moffett Ralston by Wayman Adams in the Indiana Governors’ Portrait Collection.

It was possible the collection contained Jennie’s portrait. When he was governor (1913-1917), her husband Samuel significantly expanded the collection. In honor of the state centennial in 1916, he had his own portrait completed by Muncie artist Wayman Adams, and hired T.C. Steele to paint portraits of four famous Indiana governors, William Henry Harrison, Jonathon Jennings, Oliver Perry Morton, and Thomas A Hendricks.

However, no records indicated that Jennie’s portrait came with her husband’s to the Indiana Governors’ Portrait Collection. We contacted nearly every other major archive and museum in Indianapolis and no one seemed to have record Jennie’s portrait in their collection or knew where it currently was.

4 govs — Steele’s portraits commissioned by Gov. Ralston, courtesy of IHB.

Next, we scoured books and digital publications for reprints or references of Jennie’s portrait, with the hope that a citation might lead to a repository that currently owned the painting. After searching through several books from First Ladies of Indiana and the Governors to Portraits and Painters of the Governors of Indiana, there was still no trace of the portrait. Without paperwork, the name of the artist who completed the portrait, or even an image of the painting itself, it seemed difficult to know where else to look. However, there was one source left to check.

Perhaps one of the best places to find information at the Indiana State Library is the trusty clippings files, collected in the 1920s and having grown to nearly 250 linear feet since then. The library maintains a vertical file of clippings from newspaper and magazine articles, pamphlets, and various publications on a number of Indiana topics for public perusal. There are folders dedicated to broad subjects, such as women or health, and others for specific individuals, events, places, and organizations.

Photo 4-jennie c ralston article — Jennie Ralston’s niece, Ruth Cravens (left) presents the portrait of Jennie at IU’s Sycamore Hall girls’ dormitory at. This photo led us to the portrait’s current location in the IU Campus Art Collection. Image courtesy of *Indy Star.*

Luckily, Samuel and Jennie Ralston had a folder dedicated to them in the biography section of the clippings files. Ironically, the first clipping in the folder was a small captioned photo cut from the Indianapolis Star, dated May 22, 1956. The photo showed the portrait of Jennie Ralston presented at the Sycamore Hall girls’ dormitory in Indiana University-Bloomington. Apparently, Jennie’s brother John Cravens, worked at the university as a registrar for many years.

Eventually, we connected with the Campus Art Collection at Indiana University. After sending a scan of the article, Amy Patterson, Campus Art Collection Manager and Registrar at Indiana University told us Jennie’s portrait was indeed in their collection. SUCCESS!

The portrait is currently in storage to undergo restoration and will be rehung next summer. Moral of the story; always check the ISL Clippings Files. You never know what you’ll find in there.

Robert Ingersoll and Lew Wallace’s Legendary Train Ride

Robert Ingersoll (Left) and Lew Wallace (Right). Courtesy of the Library of Congress and Literary History Blog. — Robert Ingersoll (Left) and Lew Wallace (Right). Courtesy of the Library of Congress and American Literary Blog.

Robert Green Ingersoll (1833-1899) remains one of the most influential leaders and intellectuals in “The Golden Age of Freethought” in the United States from the 1870s to the 1910s. Its adherents advocated for skepticism, science, and the separation of church and state. Ingersoll, a Civil War veteran, parlayed his success as a lawyer into an influential career in Republican politics, social activism, and oratory. Ingersoll served as a counterpoint to rising participation and influence in government of religion in the United States, delivering speeches to sell-out crowds that decried religiosity and its public entanglements. Ingersoll was also an early champion of women’s rights, influencing such early feminists as Elizabeth Cady Stanton and later ones such as Margaret Sanger.

Robert Ingersoll addressing an audience in New Rochelle, New York, May 30, 1894. Courtesy of the Council for Secular Humanism.

He also spent considerable time and energy in Indiana, a state whose own religious diversity towards the late nineteenth century expanded, including German Lutherans to Catholics and other protestant denominations. From giving lectures throughout the state to influencing some of Indiana’s well-known historic figures, Ingersoll left a profound impact on the state and its development during the Gilded Age. As an example, Ingersoll delivered lectures at the illustrious English’s Opera House several times. The Indianapolis News wrote in 1899 that his lecture on “Superstition” was well attended and that “several people were shocked by the lecturer’s utterances, and left, some of them stopping in the lobby to ‘talk it over.’ The remainder seemed to enjoy the walk.”

General Lew Wallace, circa 1860s. Courtesy of the Library of Congress.

To get a further sense of this influence, one particular story bears recalling, which involved a train ride with an old Civil War colleague. Lew Wallace, Indiana native, Civil War general, and the author of the novel Ben-Hur, cited Ingersoll as his influence in writing the Christian epic. As Wallace biographers Robert and Katharine Morsberger noted, Wallace “had written the story [Ben-Hur] partly to refute Robert G. Ingersoll’s agnosticism. . . .” The story surrounding this influence is near apocryphal to scholars of both Ingersoll and Wallace. However, Wallace intimated the story’s veracity in the preface to a selection from Ben-Hur entitled The First Christmas.

An example of a passenger rail car, circa 1870s. Image courtesy of Trainweb.org.

On September 19, 1876, both Wallace and Ingersoll supposedly shared a train ride to Indianapolis to attend a Civil War soldiers’ reunion (although one of Wallace’s accounts says it was a Republican convention); both men served the Union Army during the Civil War and fought at the battle of Shiloh. Wallace recounted the highlights of their conversation in his preface to The First Christmas:

[I] took a sleeper [car] from Crawfordsville the evening before the meeting. Moving slowly down the aisle of the car, talking with some friends, I passed the state-room. There was a knock on the door from the inside, and some one [sic] called my name. Upon answer, the door opened, and I saw Colonel Robert G. Ingersoll looking comfortable as might be considering the sultry weather.

General Wallace in his study, 1899. Courtesy of the General Lew Wallace Study and Museum.

Ingersoll invited Wallace to join him in conversation. Wallace accepted on the condition that he could dictate the subject. From there, Wallace asked Ingersoll if he believed in the afterlife, the divinity of Christ, and the existence of God, with the “Great Agnostic” answering in the resounding, “I don’t know, do you?” Then, Wallace asked Ingersoll to present his best case against the doctrines of Christianity, which Ingersoll did with such “a melody of argument, eloquence, wit, satire, audacity, irreverence, poetry, brilliant antitheses, and pungent excoriation [concerning] believers in God. . . .” Ingersoll’s views of both theological and biblical skepticism shook Wallace to the core, with the latter remarking that, “I was in a confusion of mind unlike dazement.”

The title page to the first edition of Ben-Hur, 1880. Courtesy of the Internet Archive.

Lew Wallace’s own theological confusion, what he called “absolute indifference,” seemed spurred into action by Ingersoll’s words: “. . . as I walked into the cool darkness, I was aroused for the first time in my life to the importance of religion.” Thus, Wallace began his own investigation into the doctrines and traditions of Christianity, culminating in the authorship of Ben-Hur and a “conviction amounting to absolute belief in God and the divinity of Christ.” This story found its way into newspapers as well, with reporters recounting the meeting in the Terre Haute Sunday Evening Mail and the Indianapolis News. According to Wallace’s accounts and its echoes in newspapers, his evening with Ingersoll led to a full conversion to Christianity and the writing of one of the most successful religious novels of the period.

Wallace’s conversation with Ingersoll spurring him on to a religious awakening is indeed a compelling story. However, a recently uncovered letter from Ingersoll gives cause to question the tale’s veracity. In 1887, seven years after Ben-Hur‘s publication, Ingersoll responded to a correspondent, lawyer and future Mississippi Governor James K. Vardaman (incorrectly transcribed as Joseph Vardaman), asking about his role in inspiring Wallace’s novel. Ingersoll wrote that he was “never well acquainted with” Wallace and did “not remember ever to have had a conversation with him on the subject of religion.” Ingersoll stressed that the story of their meeting on the train appeared to him as “without the slightest foundation.”

Ingersoll's letter to Joseph Vardaman, as reproduced in an 1922 issue of the Truth Seeker. Courtesy of Southern Illinois University at Carbondale. — Ingersoll’s letter to Joseph Vardaman, as reproduced in a 1921 issue of the Truth Seeker. Courtesy of Southern Illinois University at Carbondale.

For Wallace’s part in creating Ben-Hur, we know from documentary evidence that he was already well-advanced in writing the novel before the time he claimed the interaction with Ingersoll took place. In 1874, Wallace wrote in a letter to his half-sister, “I have just come out of the court room, and business is over for the day. Now, for home, and a Jewish boy whom I have got into terrible trouble, and must get out of it as best I can.” This letter clearly alludes to some of Judah Ben-Hur’s trials, whether being charged with the assassination of Valerius Gratus, being enslaved in a Roman galley, or surviving the sea battle.

While Wallace’s recollections with the “Great Agnostic” may have been a fiction, the story’s enduring popularity among Wallace scholars nevertheless speaks to Ingersoll’s intellectual and rhetorical power. The story of their supposed train ride in 1876 continues to interest scholars and the general public, but whether the event actually happened may be lost to history.

The Lew Wallace statue at the General Lew Wallace Study and Museum in Crawfordsville, Indiana. Courtesy of Wiki Commons.

The Robert Ingersoll statue in Glen Oak Park in Peoria, Illinois. Courtesy of Wiki Commons.

The King’s Final Bow: Elvis’s Last Concert in Indianapolis

Elvis Presley performing at Market Square Area, Indianapolis, June 26, 1977. Courtesy of ElvisPresleyPhotos.com.

Elvis Presley, known around the world as the King of Rock ‘n’ Roll, thrilled audiences for decades with his legendary swagger, good looks, and unique vocal stylings. Among his many concerts over the years, the one that garners much historical attention is the final one, at Indianapolis’s Market Square Arena on June 26, 1977. His final performance, to a crowd of nearly 18,000 people, inspired copious press attention.

Fans lining up to purchase Elvis tickets at Market Square Arena. Courtesy of ElvisPresleyPictures.com.

An article in the Indianapolis News on June 25 listed it as a requisite event for music fans. The Indianapolis Star noted playfully “If you admire Elvis Presley’s back you still can buy $15 seats behind the stage for his concert at the Market Square Arena tomorrow night.” While $15 doesn’t sound like much, that’s the equivalent of nearly $60 today.

Elvis 1977-june-26-ticket- Elvis Presley Music AU — A ticket stub from Elvis’s final concert at Market Square Arena, June 26, 1977. Courtresy of ElvisPresleyPictures.com.

Elvis- 1977-june-26-4- Elvis Presley Music AU — Elvis Presley performing at Market Square Area, Indianapolis, June 26, 1977. Courtesy of ElvisPresleyPhotos.com.

The concert began at 8:30 p.m., but Elvis didn’t perform until 10 p.m.; warm-up acts of brass bands, soul singers, and a comedian filled time before the King. Then for about 80 minutes, Elvis sang both his classic tunes like “Jailhouse Rock” and “Hound Dog,” and his more somber numbers, like “Hurt” and a cover of Simon & Garfunkel’s “Bridge over Troubled Water.” He closed the concert with “Can’t Help Falling in Love with You,” one of his most poignant ballads.

He reportedly told the audience “We’ll meet you again, God bless, adios” as he left the stage. Based on filmed footage, the crowd appeared enthusiastic about the performance; the local press, however, was a bit skeptical.

A ticket stub from Elvis's final concert at Market Square Arena, June 26, 1977. Courtresy of ElvisPresleyPictures.com. — Elvis Presley performing at Market Square Area, Indianapolis, June 26, 1977. Courtesy of ElvisPresleyPhotos.com.

The Indianapolis press seemed divided on the quality of his performance. Rita Rose’s piece in the Indianapolis Star provided a sympathetic take of the show, even as it criticized his appearance. Rose wrote comically:

The big question was, of course, had he lost weight? His last concert here, nearly 2 years ago, found Elvis overweight, sick and prone to give a lethargic performance. As the lights in the Arena was turned down after intermission, you could feel a silent plea rippling through the audience: Please, Elvis, don’t be fat.

She assuaged readers, writing “At 42, Elvis is still carrying around some excess baggage on his midsection, but it doesn’t stop him from giving a performance in true Presley style.” She noted glowingly how well he sang some songs, including “It’s Now or Never,” and “This Time You Gave Me a Mountain.” Rose’s piece emphasized the better elements of the concert and the excitement of the crowd.

Elvis- 1977-june-26-5- Elvis Presley Music AU — Elvis Presley performing at Market Square Area, Indianapolis, June 26, 1977. Courtesy of ElvisPresleyPhotos.com.

Conversely, critic Zach Dunkin’s piece in the Indianapolis News was the consummate bad review:

“Elvis Presley led another crowd of screamers in bananaland last night during his concert at Market Square Area and the question is why,” wrote Dunkin at the start of his piece. He added, “He obviously doesn’t need the money. He apparently doesn’t care about the way his concerts are packaged either.”

The first page of Zach Dunkin's critical piece on Elvis's last concert. Image courtesy of Indiana State Library. — The first page of Zach Dunkin’s critical piece on Elvis’s last concert. Image courtesy of Indiana State Library.

Dunkin went on to call Elvis’s mix of opening acts and his performance a “sideshow,” writing:

“It’s like waiting through the sword-swallower and the fire-eater before seeing the REAL attraction in the back room.” He also heavily criticized the “hawking” of souvenirs by vendors, who he said “came on the P.A. three times and urged the crowd to visit the souvenir stand. He even listed the prices.”

However, Dunkin’s strongest criticism was of the King himself, who he said could “sing when he tries.” His best numbers, in Dunkin’s view, were his renditions of “Hurt” and “Bridge over Troubled Water,” even though Elvis “for some reason had to read the lyrics from a sheet.” Dunkin’s lackluster impression of the King ended with this final take: “It’s time ardent Presley fans quit protecting their idol and start demanding more. They know ‘the King’ can do better.”

Sadly, Presley never got the chance to do better, for his show in Indianapolis was his last. After the concert at Market Square Arena, Elvis took a break from touring and returned home to Graceland. Nearly six weeks after his Indianapolis concert, Elvis died in his home on August 16, 1977 from heart failure, likely caused by years of prescription drug abuse.

Elvis's casket being carried into Forest Hills Cemetery, Memphis, Tennessee, August 19, 1977. Courtesy of ElvisPresleyPhotos.com. — Elvis’s casket being carried into Forest Hills Cemetery, Memphis, Tennessee, August 19, 1977. Courtesy of ElvisPresleyPhotos.com.

For months afterward, Dunkin received scores of angry letters from fans of Elvis for his unfavorable review. In an interview with John Krull, Dunkin talked about the hate mail he received, particularly attacks against his personality and his supposed “envy” of Elvis. Yet, other letters (in his estimation about “20 percent”) were sympathetic, with one letter saying the King “should’ve stayed home.” Dunkin’s review still receives attention from fans of Elvis and students of music history.

A historical marker commemorating Market Sqaure Arena and Elvis's final concert. Market Square Arena was demolished in 2001. Courtesy of Pintrest. — A historical marker commemorating Market Square Arena and Elvis’s final concert. Market Square Arena was demolished in 2001. Courtesy of Pinterest/ElvisCollector.info.

Market Square Arena was demolished in 2001 and it is now a parking lot. A memorial marker for the arena commemorates its history and importance as the venue for Elvis Presley’s final concert.

Elvis Presley’s mark on American music and culture is permanently etched into stone, but his controversial final concert showed the complications and problems associated with his final years. Regardless of the quality of the concert, it will be remembered forever as the place where the King took his final bow.

Carole Lombard: From Fort Wayne Flood to the Silver Screen

lombard collage

Jane Alice Peters became one of America’s favorite movie stars of the 1930s as Carole Lombard. She was born in Fort Wayne in 1908 and spent the first six years of her life in the shingle-style house on Rockhill Street that was built about the year 1905. Her grandfather was John Clouse Peters, one of the founders of the Horton Washing Machine Company, and her mother, “Bess” Knight, was a vivacious and strong actress descended from “Gentleman Jim” Chaney, an associate of the notorious robber baron of the 1880s, Jay Gould.

Described as a tomboy in her youth, Jane Alice fondly remembered her young days in Fort Wayne, attending the Washington Elementary School a few blocks to the south and playing rough games with her brothers, “Fritz” and “Tootie.” While the actress is remembered for her WWII work promoting war bonds, her philanthropic efforts began in Fort Wayne during the Great Flood of 1913. Under the direction of her mother, Bess, her house became a rescue center for flood victims, among other reasons, because the family had one of the only telephones in the area. Jane Alice also remembered helping her mother collect supplies, run errands, and help care for those displaced by the rising waters.

great flood — Flooding in Fort Wayne, 1913, image courtesy of The History Center, accessed Fort Wayne News Sentinel.

Jane Alice and her mother left Fort Wayne in 1914, eventually settling in Hollywood. At age 12, she made her film debut and by 1924 was a glamorous actress for Fox Studios. She changed her name to Carole Lombard, in recollection of an old family friend, Harry Lombard, a relative from Fort Wayne living in California. A 1940 Collier‘s article wrote about the move from Indiana life to early Hollywood stardom:

plane

Her dynamic Hollywood career was highlighted by roles in Mack Sennett films, steamy romances, marriage to William Powell, exotic parties, outstanding comedy roles in major movies opposite the best actors in the business, and, marriage to actor Clark Gable. She starred in films such as Mr. & Mrs. Smith, My Man Godfrey, and Nothing Sacred.

lomby — Photo of Carole Lombard and Clark Gable courtesy of theredlist.com.

On January 15, 1942, Lombard revisited to her Hoosier roots for a war bond rally in Indianapolis. Approximately 12,000 turned out for the event on Ohio and New Jersey streets; millions others viewed the rally through newsreels. While in the city, Lombard attended tea at the governor’s mansion, a flag-raising ceremony at the Statehouse, and ribbon-cutting at an army recruiting office. According to the Indianapolis Star, Lombard exclaimed to the crowd:

“As a Hoosier, I am proud that Indiana led the nation in buying Liberty Bonds in the last war. I want to believe that Indiana will lead every other state again this time — and we will! We won the last war, and with your help we will win this war!”

glamour paper — Lombard with Indiana Governor Henry Schricker, courtesy of caroleandco.wordpress.com; *Hammond Times*, January 16, 1942, accessed NewspaperArchive.org.

Lombard sold a record $2 million in bonds to Hoosiers. Tragically, the following day, her plane crashed in Las Vegas, where she lost her life at age 33. Twenty-two people were killed in the accident, including Lombard’s mother, young servicemen en route to war duty, and agent Otto Winkler, who had begged her to return to California by train.

The Indianapolis Star reports that following her death, Lombard was honored by “President Franklin D. Roosevelt, as a tribute to patriotic spirit, [who] declared Lombard the first woman killed in the line of duty during the war and posthumously awarded her the Presidential Medal of Freedom.”

Learn more about Lombard’s life and the devastating way in which husband Clark Gable found out about her death via Photoplay’s 1942 article.

Whistler’s Mother… Actually, Grandfather

John Whistler came to America as a British soldier in the Revolution, under the command of General John Burgoyne. He was captured, paroled, and sent back to England. His elopement with Anna Bishop, daughter of Sir Edward Bishop, a close friend of his father, brought the young man and woman to America where they made their first home at Hagerstown, Maryland, in 1790.

st c turtle

Major General Arthur St. Clair and Chief Little Turtle, image
courtesy of Army.mil.

The following year, John Whistler joined the army of the United States, which was fighting a confederation of Native American tribes over control of the Northwest Territory. John Whistler traveled west with Governor of the Northwest Territory Major General St. Clair and his army. Opposing St. Clair was the native confederation army led by Chief Little Turtle, comprised of Miami, Shawnees, and Delaware. According to Thomas E. Buffenbarger, U. S. Army Heritage and Education Center, Chief Little Turtle:

led over 1,000 warriors of the native confederacy in attacks on the separate camps. The 270 Soldiers from the militia’s camp fled quickly, giving little resistance to the attack, and leaving the main encampment of the inexperienced regulars of the 2nd Infantry Regiment to fend for themselves. The artillery’s potential firepower was never utilized as artillerymen fell dead around their exposed cannons, cut down by Little Turtle’s warriors. The battalions of infantry formed up and commenced firing to defend against the encircling warriors. . . . As the casualties mounted and the cannons fell silent, the Army’s position became grave. After three hours of fighting, St. Clair ordered a retreat to Fort Jefferson.

Buffenbarger noted that over 900 soldiers and their families, were killed and left behind on both sides of the Wabash. Whistler escaped after suffering severe wounds received at the “Wabash slaughter field” handed to the Americans by Little Turtle’s warriors at Fort Recovery. Back in Cincinnati at Fort Washington, Whistler returned to receive a new assignment and was joined there by his wife.

General St. Clair was replaced by Revolutionary War hero “Mad” Anthony Wayne, to command an Army called the Legion of the United States. When General Wayne’s army arrived, Whistler joined them on the march into northwest Ohio where he participated in the Battle of Fallen Timbers, which “was decisive in ending the Miami Campaign and helped establish the U.S. Army’s proud heritage of victory.”

timber!!!!!!! — The Road to Fallen Timbers, by H. Charles McBarron (U.S. Army Center of Military History), accessed armyhistory.org.

After defeating the Indian confederation under the leadership of the Shawnee brave Blue Jacket, on August 20, 1794, Wayne moved his Legion up the Maumee River to the large American Indian settlement of Kekionga (now the City of Fort Wayne) at the confluence of the Three Rivers.

Wayne ordered a fort to be built in 1794 on the high ground overlooking the confluence of the Saint Mary’s and Saint Joseph rivers and the Miami town of Kekionga. In 1798, Colonel Thomas Hunt began construction of a second American fort at the Three Rivers. This fort, near present-day East Main and Clay streets, was completed in 1800, and served as a replacement for the first hastily built one erected nearby to the south by General Wayne.

fort map — Map by Bert J. Griswold showing the location of Anthony Wayne’s Fort on present-day streets, image courtesy of Architecture & Community Heritage · Fort Wayne, Indiana.

The American forts at the Three Rivers came under attack only once during nearly a quarter-of-a-century while they guarded United States interests in the midst of Native American territory. In 1815, after having withstood a siege three years earlier, this stronghold was replaced, under the direction of now Major John Whistler. By 1816, Whistler (the Fort’s Commandant) was transferred to a new assignment in Saint Louis, Missouri. The fort Whistler had rebuilt during 1815 and 1816 was the last in the Three Rivers region and on April 19, 1819, was abandoned by the U. S. Army.

After the Battle of Fallen Timbers, John Whistler and his wife resided in the garrison at Fort Wayne, and here, in 1800, George Washington Whistler was born, one of fifteen children. George became “Whistler’s Father” the father of James Abbott McNeill Whistler whose renowned oil on canvas, “Arrangement in Grey and Black: Portrait of the Painter’s Mother,” is known to the world as “Whistler’s Mother.”

new whistler — James McNeill Whistler, “Whistler’s Mother,” 1871, image courtesy of National Gallery of Victoria.

The Evocative Poetry of Susan Wallace

Lew Wallace is widely renowned as the Hoosier author of Ben-Hur, the best-selling novel of the nineteenth century. What many people don’t know is that Lew’s wife, Susan Elston Wallace, was also a well-known writer in her day.

old sue — Lew carried this photo of Susan with him in a locket during the Civil War, image courtesy of the General Lew Wallace Study digital collection.

Born on December 25, 1830, Susan was the fourth of nine children born to Maria Aiken and Major Isaac Compton Elston. Major Elston was instrumental in creating a private school where his children could be educated. Susan was described as “petite and studious.” She often climbed to the top of a sturdy bookcase to read, and later retreated to the attic for privacy.

Susan’s mother appreciated and encouraged Susan’s studious nature. In her teens, Susan was sent for either one or two years to a Quaker school in Poughkeepsie, New York, which was run by two sisters, the Misses Robinson. Lew and Susan met in 1849 at a party held in Crawfordsville by her sister. They courted for four years and were married in 1852.

Harper & Brothers published Susan’s first poem, “The Patter of Little Feet,” in February 1858. Over the years, the poem has raised a great deal of speculation. Susan and Lew had one child, Henry Lane Wallace. “The Patter of Little Feet” was such an evocative piece about a parent’s love for her son and loss of her daughter that many readers wondered if they had originally had twins.

The poem itself describes a little boy and his wanderings and play, but one stanza in particular raised questions:

The poem goes on to describe the mother’s longing that she will someday reach heaven and hear the patter of her daughter’s feet on heaven’s floor.

Not only readers but researchers have also been fascinated with the poem. One biography in our research files at the General Lew Wallace Study & Museum states that Susan had twins, but that the daughter died after two days. A paper written about Susan in the 1950s, possibly citing this biography, also makes the same assertion. Wallace scholars have found no cemetery records to support this. Additionally, one Wallace scholar discovered a letter in which Susan referred to the “Twinborn little girl” as a literary invention. Nevertheless, the pathos of her writing certainly complicated scholarly research.

Before the Civil War, Susan’s writings consisted largely of sentimental musings about women and children, flowers, romance, and lives cut short. During and after the war, her writings took a more mature and incisive tone as she continued to write about women and their situation in life.

The poem “Divorced,” written in January of 1868, is a prime example of this:

poem 1 poem 2 Interestingly, this poem does not seem to have raised any speculation regarding Lew’s faithfulness to Susan.

Christmas Eve from Ginevra — Lew’s sketch from Susan’s Christmas story Ginevra, image courtesy of the General Lew Wallace Study digital collection.

Susan also wrote a great deal of nonfiction about her travels, which originally appeared in weekly and monthly publications. Later, they were collected in her books: The Storied Sea, Land of the Pueblos, Along the Bosphorus, The Repose in Egypt, and The City of the King. (Many of her books are available from Amazon in commemorative edition paperbacks published by the General Lew Wallace Study & Museum.) Her short book Ginevra: A Christmas Story is a gothic story about a young noblewoman and the man she loved. It was published with illustrations by Lew Wallace.

Lew Wallace died in 1905 at the age of 77. After his death, Susan poetically wrote to a relative: “The love of my life is gone. I am now 76 years old and my heart is a tired hour glass. It seems hardly worthwhile to watch the slow dropping of the sands… the past is ever present with me, and though I look through all the faces in the world, I shall never see another like that of my first, last and only love.”

Susan died in Crawfordsville on October 1, 1907, leaving behind an body of literary and nonfiction work overshadowed by that of her husband. Learn more about Susan’s life and work here.

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