The House of a Thousand Candles
762 E. Shore Dr.  

In 1905, the Bobbs-Merrill Publishing house released Indianapolis author Meredith Nicholson's (1866 - 1947) novel, The House of a Thousand Candles. The book, partly inspired by Nicholson's visit to a similar house on the East Shore of Lake Maxinkuckee, became one of the best-selling novels of its day and inspired a play and two motion pictures (though the latter one, from 1936, strayed so far from the plot of the novel as to become almost a different story entirely). The setting of the novel in the Culver area (Nicholson changed Culver Academy to an Episcopal girls' school called St. Agatha's) has become part of local legend, and the house, today owned by Craighton Hippenhammer and having an illustrious history on its own outside of the book, still stands.

Nicholson himself had quite a legacy as Hoosier novelist, author, and activist. His former home in Indianapolis, in fact, houses the Indiana Humanities Council; the house of the late Meredith Nicholson, an Indiana author most famous for his novel The House of a Thousand Candles, which he penned at 1500 North Delaware Street, while living in this home; thus many people mistakenly believe that the book was about this house. But Nicholson stated that he was inspired by a house on Lake Maxinkuckee in Culver, Indiana. The Meredith Nicholson House, built in 1903-1904, is believed to be the first Georgian/Colonial Revival style home in Indianapolis. It was sold by Nicholson’s family in 1923

The Meredith Nicholsion Collection of the Indiana Center for History (PDF). A review - Meredith Nicholson: Indiana and Beyond (PDF file)

In 1930, in light of the local connection to the book, the Culver High School Annual wrote to ask Nicholson for some comments for the annual. Below is his letter of response.

The first two illustrations, at the opening and closing of the novel, perhaps best capture the look of the actual house on Lake Maxinkuckee

Meredith Nicholson with Hoosier authors Hewlitt Howland and James Whitcomb Riley

Meredith Nicholson with Hoosier author James Whitcomb Riley

An illustration cover for the modern edditon of the book

The Movies

Realease Date: 23 August 1915
Produced by William Nicholas
Directed by Thomas N. Heffron

Writing Credits (in alphabetical order)
Meredith M. Nicholson ... (novel)
Gilson Willets ... (scenario)

Cast (in credits order)
Harry Mestayer... Jack Glenarm
Grace Darmond... Marian Evans
John Charles... Arthur Pickering
George Backus ... John Marshall 'Squire' Glenarm
Forrest Robinson... Bates
Edgar Nelson... Larry Donovan
Emma Glenwood... Theresa Evans
Gladys Samms... Olivia Evans
Mary Robson... Carmen
Effingham Pinto... Don Jose

In 1915, Grosset & Dunlap of New York reprinted the book in a "movie" edition complete with photos from the film, the original Copyright is marked 1905, by The Bobbs-Merrill Company, November. Published by Grosset & Dunlap of New York.

Stevenson is said to have remarked on an occasion that he wished some one would write a book as good as Treasure Island; that he should like to read it! As it would be unbecoming for me to pretend to greater modesty than he possessed I shall not scruple to say that if a tale of about the same general character as this were to be offered me at a reasonable figure I should not hesitate to buy it.

Readers of novels are not interested in the nature or source of the authors' inspiration. The story itself is the main thin, and it makes no difference whether the writer "thought it up" while shaving, or in church or in jail. Still, as this story is now growing old, some of its later readers may be amused to know how near it came to being something quite different. The first germ of which I was conscious filled me with a longing to write an adventure tale with an old-world atmosphere in a new-world setting. Notre Dame, Indiana, seemed at first a likely scene, though I am unable to say why, unless it were a feeling that the Bell of Notre Dame occurred to me as a good title. About that time I happened to visit some friends at Lake Maxinkuckee, also in Indiana. On a bright September morning, while looking off across the lake at the tower of a boy's school, it flashed upon me that here was an ideal scene for just the type of story I felt impelled to write.

In order to surround the lonely house on the lake with the necessary air of isolation and mystery I fixed winter as the appropriate season. The winter of that year proved to be a snowy one, and I used to go out at night and walk the streets near my home in Indianapolis in the hope of catching the winter spirit. One of my neighbors was remodeling his residence, and the scaffolding lifted against the skyline suggested the unfinished house in and about which the incidents occur.

If writing is not a pleasure the results are pretty likely to be disappointing; that, at least, has been my experience; and I frankly confess that I had a great deal of fun writing this book. It was never carefully planned, though of course I had from the first a general idea of how the adventure was to end; but once started it ran along at its own pace. I wrote what came into my head from day to day, going to my desk for two or three hours in the morning and then spending the afternoon in revision. Some of the chapters were rewritten half a dozen times. One chapter that I thought rather fine, wouldn't fit anywhere and I was obliged to drop it into the fire. I regret to say that no one ever complained of its absence from the book! As the work progressed I began to feel that it was an adventure of my own I was describing; and even now, in glancing over the pages, I have a feeling that it is a personal narrative -- something that I really experienced.

The publisher had, I think, as much fun in finding a market for the book as I had in writing it. No one can have failed to see candles blazing everywhere announcing the book's publication. The title was so impressed upon the public's consciousness that it is still paraphrased frequently to advertise other commodities. I have on my shelf German, French, Spanish, Italian, Swedish, and Norwegian translations. The novel was dramatized and that gifted player, Mr. E.M. Holland, presented the play as far from its originating points as Honolulu; and now the moving picture film is telling the story over again in a new medium.

The critics have praised other books of mine far more heartily than they have praised this one; but in no other case have I found favor with so many readers. The public and the critics view the merits of novels from quite different angles, it seems. But I am glad of the opportunity afforded by this preface to say to the considerable number of persons who have honored me by perusing these pages that their generosity and kindness in this particular have given me what is far from being the least happy experience of my life.


Indianapolis, July 20, 1915. Meredith Nicholson



From the original preface to the book: Note: In adapting THE HOUSE OF A THOUSAND CANDLES for production in motion pictures, the Selig Polyscope Company interpolated several interesting incidents, including a cabaret scene and a masquerade ball. Illustrations used in this volume of these scenes therefore have no reference to the author's text and are printed only in this photo-play edition.

The House of a Thousand Candles provides readers with the view of an outsider coming to Indiana. The book begins: Pickering's letter bringing news of my grandfather's death found me at Naples early in October. John Marshall Glenarm had died in June. He had left a will which gave me his property conditionally, Pickering wrote, and it was necessary for me to return immediately to qualify as legatee. It was the merest luck that the letter came to my hands at all, for it had been sent to Constantinople, in care of the consul-general instead of my banker there.

Photos as follows:



It was re-filmed again in 1919 as an American silent film as a haunting shadow. It was Directed by Henry king and starred H. B. Warner, Edward Piel Jr., Charles hill s ports centre, Florence Oberle.

A 1936 version was also released, by the Nat Levine unit at Republic but completely changed from the original story and probably of little interest to local readers (and reportedly a terrible movie besides!).



Released Date: 1 Jan / 3 April 1936 Directed by Arthur Lubin Writing Credits Meredith M. Nicholson ... (based on a novel by "House of a Thousand Candles") H. W. Hanemann ... (screenplay) and Endre Bohem ... (screenplay) Produced by Dorothy Davenport ... supervising producer (as Mrs. Wallace Reid) Nat Levine ... producer Cast and other credits at ibm . com

The Movie review from the New York Times:
The House of a Thousand Candles (1936)
THE SCREEN; A Cinematic Changeling Is the Film Edition of 'House of a Thousand Candles,' at the Center.
By FRANK S. NUGENT
Published: April 2, 1936

It may shed some light on "The House of a Thousand Candles" to report that it uses the title but not the plot of the novel written some thirty years ago by the Hoosier diplomat, Meredith Nicholson. To the title, Republic Pictures has added a story which might have been dashed off by E. Phillips Oppenheim, but comes, instead, from H. W. Hanemann and Endre Bohem. All of which may be confusing, but is not necessarily disheartening; for, jerry-built as it is, the Center's new photoplay is a lively spy-ring melodrama, briskly directed by Arthur Lubin and played with general effectiveness by Irving Pichel, Mae Clarke, Phillips Holmes, Rosita Moreno and Fred Walton.

Possibly the chief reason for the department's failure to unsheathe the critical axe this morning is the picture's negative virtues. It is an old newspaper canon that what is not done is not news. But we feel that an exception must be noted in the case of a spy film which does not resolve itself into an emotional tug of war between love and duty, with the audience generally losing. Then, too, there is no small measure of satisfaction to be derived from Mr. Pichel's portrayal of a master mind who really displays symptoms of intelligence. In most cases, the brains of these international spy rings prowl about so mysteriously that we feel they are acting out a charade for Mata Hari.

So, then, to "The House of a Thousand Candles," which, in this film edition, is an elaborate gambling casino serving as the headquarters of Mr. Pichel's radio-controlled espionage bureau. We arrive there, inevitably, at one of those crucial moments in European history when only a certain note from England, delivered to Geneva, can save world peace. It is one of the picture's minor incredulities that Britain, in her darkest hour, should have to turn to Mr. Phillips Holmes to serve as the courier. But Mr. Holmes is chosen, is—as we might have warned the British Intelligence Service—duped by a charming agent of Mr. Pichel and, from then until the rousing finale, works to recover the purloined document and destroy the ring.

In his praiseworthy attempts to protect the dove and the olive branch, Mr. Holmes is assisted handsomely by Miss Clarke as a tenacious American girl, by Fred Walton as his light-fingered valet and by Michael Fitzmaurice as the master of ceremonies at Mr. Pichel's candle-illumined rendezvous. It is regrettable, of course, that a master mind as sinister and unscrupulous as Mr. Pichel should have been defeated by such a quartet, but, then, peace at any price is Republic's motto and ours. At any rate, it adds up to a reasonably exciting entertainment and is quite the best spy picture to have come our way since "The Thirty-Nine Steps."

THE HOUSE OF A THOUSAND CANDLES, from the book by Meredith Nicholson; screen play by H. W. Hanemann and Endre Bohem; directed by Arthur Lubin and supervised by Mrs. Wallace Reid; produced by Nat Levine for Republic Pictures. At the Center.
Tony Carleton . . . . . Phillips Holmes
Carol Vincent . . . . . Mae Clarke
Sebastian . . . . . Irving Pichel
Raquel . . . . . Rosita Moreno
Alf . . . . . Fred Walton
Marta . . . . . Hedwiga Reicher
Sir Andrew MacIntyre . . . . . Lawrence Grant
Travers . . . . . Fredrik Vogeding
Barrie . . . . . Michael Fitzmaurice
Jules . . . . . Rafael Storm
Demetrius . . . . . Mischa Auer
Agent . . . . . Paul Ellis
Steward . . . . . Keith Daniels
Radio Attendant . . . . . Charles DeRavenne





The House

The House of a Thousand Candles still stands on the East Shore of Lake Maxinkuckee, and was in 1984 declared a Historic Structure by the County Historical Society.

It is today owned by Professor Craighton Hippenhammer of Illinois, who has spoken about the house and its history on a few occasions in the recent past and published an article entitled "The House of a Thousand Candles: The Lake Maxinkuckee Link" (PDF file)



An image of the interior of the house as it probably appeared around the time of the release of the book (1905 or thereabouts).

Below are some photos of the house as it looked at some point in the past 20 years, taken by a previous owner and made available through the Marshall County Historical Museum.



Craighton Hippenhammer researched and wrote the article entitled "The House of a Thousand Candles: The Lake Maxinkuckee Link"

The Writings Of Meredith Nicholson include:



YEAR	TITLE	TO WHOM DEDICATED
1903	Main Chance	"EKN" (Eugenia Kountze Nicholson)
1903	Little Brown Jug	To You At The Gate
1904	Zelda Dameron	My Father
1905	House Of A Thousand Candles A romantic thriller; sold over 250,000 copies was made into a movie in 1936 recently published in paperback.	Margaret, My Sister
1906	Poems (Short Flight)	"None"
1907	Pory Of Missing Men	Herma Kountze
1907	Rosalind At Redgate	My Mother
1908	War Of The Carolinas	"None"
1909	Lords Of High Decision	Bowman Elder & Edward Robinette
1910	Siege Of The Seven Suitors	Thomas R. Marshall
1911	Style and the Man	"unknown"
1912	A Hoosier Chronicle A serious work examining Indiana society and politics at the turn of the century. Many critics consider this his best work.	Evans Woolen
1912	The Provincial American, and Other Papers	George Edward Woodberry
1913	Otherwise Phyllis	Albert B. Anderson
1914	The Poet	"None"
1915	The Hoosiers Considered one of the best works on Indiana's culture and literature.	Caleb Mills (Wabash College Professor)
1916	Proof Of The Pudding	Carleton McCulloch
1917	Reversible Santa Claus	"None"
1918	Valley Of Democracy	Children: Elizabeth, Meredith, Lionel
1919	Lady Larkspur	"unknown"
1919	A Fifth Reader	"unknown"
1920	Blacksheep, Blacksheep	Louis C. Husmon
1921	Man In The Street	Cornelia
1921	Best Laid Schemes	"unknown"
1922	Broken Barriers Made into a movie with Norma Shearer, James Kirkwood, and Ruth Stonehouse.	Ray Long
1923	Hope Of Happiness	Frank S.C. Wicks
1925	They Lived Happily Ever After	"EKN" Eugenia Kountze Nicholson
1928	Cavalier Of Tennessee	Mary J. Judah
1929	Old Familiar Faces	C. L. Nicholson