Issue 4, Spring 1987

The image is a cover of a magazine titled “Alabama HERITAGE”. The word "Alabama" is in a dark red cursive font. The word "HERITAGE" is capitalized. The main visual element is an illustration that combines a vintage map and a portrait of a man with dark hair and facial hair. The map in the background features North and South America, surrounded by ornate designs reminiscent of old-world cartography. Below this, there’s another text that reads “Hernando de Soto”. The entire composition has an artistic and historical feel.

Issue 4, Spring 1987

On the cover: Illustration by Terry Henderson; map after Mercator (1595).

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Features

Composition and Scene: The image appears to be a historical or artistic representation, possibly from a book or manuscript. It depicts a dramatic confrontation between two individuals and a large, old-fashioned sailing ship. The ship is anchored near the shore, and it features multiple sails and flags. The individuals are positioned on the land, aiming their bows and arrows at the ship. The scene is depicted in a simplistic manner, with minimal detailing in the depiction of land, water, and sky. An ornate border design adorns one side of this rectangular image. Figures and Ship: The two figures are in dynamic poses, suggesting movement or action. Both individuals have their bows drawn, ready to shoot. The sailing ship stands out prominently, its size and presence emphasized. The ship’s design evokes an old-world charm, with traditional rigging and masts. Flags flutter from the ship’s mastheads, adding to the sense of drama. Aged Appearance: The image has visible wear marks, contributing to its vintage or historical feel. The faded colors and texture evoke a sense of antiquity. Overall Impression: The composition captures a moment of tension and conflict between the land-based archers and the imposing ship. Whether this scene represents a battle, a siege, or a symbolic encounter remains open to interpretation.
Detail from a map of the New World by Jode, 1593. [Courtesy W.S. Hoole Special Collections Library, University of Alabama]

The Spanish Heritage of the Southeast

By Lawrence A. Clayton

At first glance, the idea of a Spanish heritage in the Southeast seems strange. Southerners speak English, not Spanish., Most trace their religious roots to Protestant England rather than to Catholic Spain. But, as Lawrence Clayton points out, the story of the South could have been very different. Spaniards were the first Europeans to explore this part of the world. Had they been adventurers and colonists of a different type with goals other than those they had, the American South might have a different heritage today. Some of the reasons it does not can be found in the story of the Spanish conquistadors in Alabama and the Southeast–in what they sought, what they found, and what they left behind.

The Search for Hernando De Soto

By John C. Hall

Hernando De Soto’s entrada, perhaps more than other Spanish expeditions into the southern United States, has captured the imagination of scholars and the public alike for a number of reasons, primarily because the possibility of correlating De Soto’s accounts with the landscape of the South would provide a wealth of historical detail. This article chronicles the search for Hernando De Soto’s campsites.

Central Figure: The central figure is a man, standing tall and upright, his face looks directly at the artist. He is adorned in an elaborate attire that exudes historical or royal significance. The clothing features intricate designs and patterns, suggesting opulence and ceremonial importance. Elements resembling armor hint at possible military or noble associations. The man holds the hilt of a sword with both hands, the blade pointing downwards. Background and Setting: The background provides an impressionistic portrayal of nature. Sparse trees and an open sky create a sense of space around the figure. The overall composition balances the detailed figure against the simpler natural backdrop. Aesthetic and Tone: The black and white engraving lends a timeless quality, evoking a sense of antiquity. The image invites contemplation, inviting us to imagine the story behind this enigmatic figure.
Hernando De Soto [Courtesy W.S. Hoole Special Collections Library, University of Alabama]
The painting portrays a scene of manual labor involving humans and animals. Central Focus: A person dressed in yellow is prominently featured; they appear engaged in strenuous activity. This individual is holding onto handles connected to an apparatus, possibly for plowing or some other form of agricultural work. Oxen: In the foreground, there are two oxen harnessed to the same apparatus that the person is handling. This indicates that the oxen are being used to aid in the labor. Background: In the background, two additional individuals can be seen. Their faces have been obscured for privacy reasons, but they also appear to be engaged in similar laborious activities. Color Palette: The painting uses earthy tones and has an overall muted color palette.
Detail of “Shipment of First Iron Produced in Russellville,” a fresco by Conrad Albrizio, completed in 1938. [Photo courtesy Chip Cooper]
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The Battle of the Beehive Furnace Mural: Russellville, Alabama

By Robert Mitchell

On the north wall of the Russellville post office is a mural: laborers working around a massive beehive iron furnace. The painting seems like an unlikely target for controversy, but in the 1930s it was the center of a conflict that eventually involved the Speaker of the U.S. House of Representatives. The debate was, ultimately, about more than the mural’s subject matter; at its heart is the question of ownership. To whom does federally supported public art belong?

Mr. Spirit and His Alabama Wits

By Eugene Current-Garcia

William Trotter Porter–also known as “Mr. Spirit” or “The Tall Son of York”–used his New York sporting journal Spirit of the Times to bring attention to a new type of American literature: Southwestern frontier humor. Porter ennobled a new class of writers. With his help, the authors he published were able to  bring new zest and vigor to American fiction. This article recounts the story of Porter and his top authors. It includes two excerpts by J.J. Hooper and John Gorman Barr, both published by Porter.

This painting portrays a middle-age white man wearing formal attire. The man stands against a muted background with soft, diffused tones. The individual’s dark hair is neatly combed backward, adding to the overall formal appearance. The posture and attire convey an air of formality. The artist skillfully balances realism and grandeur.
Johnson Jones Hooper, creator of Simon Suggs. [Courtesy Alabama Dept. of Archives and History]
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