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When he was 12 years old, John Augustus was sent to Esloh, an important education center in Prussia, where he spent four years studying with a capable tutor. From 16 years of age until he reached 21 he remained at home and assisted in the family businesses.

Intrigued by stories he had heard of the opportunities available in America, he bid farewell to his family and set sail for the United States in 1836. After landing in Baltimore he traveled over the mountains to Louisville, Kentucky. There he established a friendship with a man who influenced him to move to Evansville, Indiana, where together they established a pottery. This venture was not profitable, so it was soon abandoned.

Next, John Augustus found employment in a planing mill owned by Judge Silas Stephens, a son-in-law of General Robert M. Evans for whom Evansville was named. Some years later that mill was destroyed by fire, but by that time Reitz had saved up enough money to go into the lumber milling business for himself.

In 1839, he married Miss Gertrude Frisse who was also a native of Prussia. Between 1841 and 1863, ten children were born to them. In those days the Ohio and Wabash River valleys were heavily forested with excellent hardwood timber and Reitz's lumber business grew and grew until in the 1880's his mill was producing more feet of hardwood lumber than any mill in the country. He became known as the "Lumber Baron" of the midwest. His sons, Francis Joseph and John A. Jr. joined him in his business.

Mr. Reitz was also actively engaged in other successful enterprises including a foundry, railroads, banking and real estate. Through all these he amassed a vast fortune. In 1846, Reitz was elected Mayor of Lamasco, a small west side town of some 3,500 population that was incorporated into the city of Evansville in 1857. He then became a respected citizen of Evansville, serving on the City Council, and in 1863 elected on the Democratic ticket to represent both Vanderburgh and Warrick Counties in the 43rd General Assembly of the Indiana House of Representatives.

Visitors enter the house from First Street through a triple set of double doors. The outside doors are set with beautiful beveled glass. The second set, which are usually folded back, are constructed of solid panels of black walnut. The third or interior set have gorgeous stained glass panels that were installed as part of a redecoration project. The stained glass lunette over the doors dates to 1871, when the house was built.

Moorish style decoration enjoyed a brief period of popularity during the later years of the Victorian Era, and the Reitzes employed it in the remodeling of the halls. The walls are covered with a heavy flocked wall covering in two shades of antique gold now painted over. Moorish arches are featured in the walnut wainscoting and a molded frieze next to the ceiling employs an example of ancient Arabic Script. The Moorish style chandeliers are pierced brass inset with jeweled glass.

Over the console table on the right hangs a huge portrait of Francis Joseph Reitz signed by "W.A. Duncan" and dated 1887.

In 1893, some of the family attended the great Columbian Exposition in Chicago. There they fell in love with a handsome white onyx and gold mantelpiece that was part of the Tiffany exhibit. When the Exposition closed, they made arrangements to purchase the mantelpiece at a reported price of $15,000. Workmen from the Tiffany Company were hired to bring the piece to Evansville and install it in the drawing room, where it is seen today. This was apparently the beginning of an extensive remodeling and redecorating project that extended over most of the next decade.

When the redecoration was completed, the house was put in the condition in which we see it today. No records have been found to give us an idea of how many thousands of dollars were spent on the project, but it must have been a considerable sum, considering the magnificent parquet floors, the molded and hand painted ceilings, the stained glass, the damask wall coverings, the elaborate window treatments and the elegant chandeliers. Most of the work of carving, molding, gilding and hand painting was done by artisans brought in from Italy, France and Germany.

The grand drawing room (above) measures 15 by 31 feet with ceilings 13 feet high. Green damask covers the walls just as they were when the Reitz family lived here. The ceiling is hand painted with garlands of pink roses that matched the Aubusson rug that once lay on the floor. Two matching Jelliff parlor sets dating to about 1865 are some of the original Reitz furniture. Carved in the backs of the sofas and chairs is a head of the goddess Athena, an image often used during the Victorian Era. The same face is carved in the gold leafed window cornices. The lace curtains are reminiscent of the once once used, but the swags above the windows are made of the original curtain fabric. Matching gold leaf pier mirrors on opposite ends of the room reflect and re-reflect the beautiful chandeliers.

A small side chair beside the fireplace once belonged to Harriet Beecher Stowe, the author of Uncle Tom's Cabin. It was given to the Reitz Home Museum by a New York antique and art collector who once lived in Evansville. Also the handsome Mathushek rosewood square piano dated 1882 came to the house as a gift. Above the piano is a large pastel portrait of the youngest daughter, Louise, who died of tuberculosis in 1886 when she was 29. Also on the wall is a hand painted on porcelain portrait of John Augustus Reitz, the builder of the house.

The elaborately carved teakwood cabinet in the corner was brought from China by Charles Denby, a neighbor of the Reitzes. Denby was appointed the United States Ambassador to China by President Grover Cleveland, and he served in that post for 13 years under succeeding presidents Benjamin Harrison and William McKinley. Denby gave the cabinet to one of the Reitz descendants, who later brought it to the house.

Across the hall where the walls are covered with rose damask, the ceiling is molded plaster in the Italian style. Over the windows are wooden cornices of burled walnut with gold inlay. Interior shutters here and throughout the house, were installed when the house was built and have never been refinished. Doorknobs throughout the first floor are bronze, decorated with a Greek key design. The bronze chandelier was originally for gas. The fireplace mantel is carved walnut over a front of Italian tile mosaic, with a fireplace screen of rosewood inset with panels of embroidered silk. On the wall on the far side of the room are two framed needlework pictures that were done by the Reitz sisters. The one on the right has a three dimensional pattern and is signed by "Josie Reitz" and dated 1864, while the other is done in cross stitch in a style called Berlin work. The portrait is of Mathilda, the next to the youngest of the Reitz sisters. This room was called the parlor and was used as a music room and by the family for less formal occasions.

Adjoining the parlor, is the family sitting room, in later years used as Francis Joseph's study. The elaborate ceiling is of a material called Lincrusta-Walton featuring an oak leaf and acorn design with the acorn reappearing in the bronze chandelier. Stenciled canvas covers the lower half of the walls.

The fireplace is fronted with a rare pink marble over which is a handsome carved walnut mantel. Fender and fixtures are wrought iron. The handsome center table with massive carved legs is not a Reitz piece but came from a house several blocks down the street. The Reitz family bible is displayed on the table.

Beautiful stained glass panels over the windows are set in brass trimmed frames that are hinged so they may be swung out for more light or for cleaning.

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