Issue 12, Spring 1989

This captivating image graces the cover of the “Alabama Heritage” magazine from Spring 1989. Let’s delve into its intricate details: General Overview: The image portrays a serene and enchanting scene where pink tulips emerge through a pristine white snow landscape. These tulips symbolize the transition from winter to spring, embodying resilience and hope. Text Elements: At the top, the title “Alabama” is elegantly written in green cursive font. The word "Heritage" is in an all caps serif font below "Alabama." Below it, a smaller subtitle states: “Published Quarterly by The University of Alabama.” The bottom left corner displays “Spring 1989,” indicating the publication date. Next to it, the issue number “12” signifies that this is the twelfth edition. Finally, the price “.50” is noted in the bottom right corner. Image Content: Pink tulips dominate the scene, their delicate petals contrasting against the snowy backdrop. The snow partially covers the tulip leaves and stems, emphasizing the clash of seasons. Droplets cling to the tulip petals, suggesting recent snowfall or melting snow.

Issue 12, Spring 1989

On the cover: Snow covered tulips on University of Alabama campus. [Photograph by Chip Cooper]

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Features

The sketch portrays an indoor scene, possibly from historical times. The setting is an elegant room with arched windows that allow beams of light to stream through. The room exudes a sense of grandeur and sophistication. Specific Elements or Objects: Marine Animal Skeleton: At the center of the room stands a massive marine animal skeleton. The intricate details reveal the ribcage, vertebrae, and skull. It appears to be that of a whale, emphasizing its colossal size. The skeleton is elevated on a platform, drawing attention from the observers. People: Four individuals, dressed in period attire, surround the skeleton. Their expressions convey curiosity and awe. Perhaps scholars, scientists, or enthusiasts, they are engaged in studying this remarkable specimen. Room Interior: The room features arched windows, allowing natural light to illuminate the space. Between the windows, statues stand on pedestals, adding to the room’s elegance. The walls may be adorned with tapestries or other decorative elements. Floor Decorations: Various items, such as vases and potted plants, are thoughtfully arranged on the floor. These subtle touches contribute to the overall ambiance. This captivating scene invites us to explore the intersection of history, science, and wonder. The juxtaposition of the ancient marine skeleton with the refined room creates a sense of intrigue and intellectual curiosity.
Albert Koch used this etching of the zeuglodon he constructed on several exhibition pamphlets. [Albert Koch]

Doctor Koch and his “Immense Antediluvian Monsters”

By Douglas E. Jones

Albert Koch was one of the more ingenious showmen of the nineteenth century. He was also a keen observer of geologic phenomena and a competent natural historian, although he was not professionally trained. His museum drew large crowds only when strange and spectacular creatures were displayed, keeping the peripatetic Koch busy searching for new specimens. Among his specimens was a 114-long “sea serpent”–a crazy-quilt monster assembled by Koch himself from the bones of multiple fossil whales. Fraud, showman, scientist–this is the story of Albert Koch and his fabulous creatures.

The image portrays an industrial or construction site from a historical era. The scene exudes a sense of activity, hard work, and progress. Specific Elements or Objects: Fence: Dominating the foreground is a tall wooden fence. The fence appears sturdy and well-constructed, serving as a boundary. Its height suggests privacy or security. Ground: The ground is uneven and muddy, devoid of vegetation. Evidence of recent activity, perhaps heavy machinery or foot traffic. Buildings: Multiple structures dot the scene. The central building, partially constructed, draws attention. Its sloped roof hints at architectural design. Smaller buildings, possibly sheds or temporary shelters, scatter around. People: Workers populate the site. Engaged in various tasks, they wear attire typical of the era. Their presence signifies collective effort and progress. Hill (Backdrop): A tree-covered hill forms the distant backdrop. Nature juxtaposed against human-made structures. This historical snapshot captures the essence of development, labor, and architectural ingenuity. The muddy grounds and wooden fence hint at the challenges faced during construction.
The Banner Mine compound for prisoners, c. 1912, consisted of a cluster of wooden buildings surrounded by wooden wall. The facility and the mine were owned by Pratt Consolidated Coal Company. [Courtesy Birmingham Public Library Archives]
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Punishment Seven Times More: The Convict Lease System in Alabama

By Robert David Ward and William Warren Rogers

For sixty-two years–from 1846 to 1928–and longer than any other state in the Union, Alabama leased its prisoners either to individuals or, more generally, to large coal mining companies. The practice began as a practical measure designed to help the state pay for its prison system by forcing prisoners to earn their own living. In time, however, it became clear that the convict lease system was badly broken. After the Civil War, convicts were put to work rebuilding railroads. These prisoners died in awful numbers as contractors worked and starved them to death. Even at the best of times, the system provided a life of utter filth, degradation, and vicious punishment. This is the story of that system.

Rammed-Earth Houses Mount Olive

By Leigh Anne Roach

To help pull America out of the quagmire of the Great Depression, the federal government paid artists to paint post office walls. It paid photographers to take pictures of poor farmers. It paid men to plant trees, to build parks. And in one state–Alabama–the federal government even paid workers to construct houses out of dirt. Those dirt houses still stand today in Mount Olive, Alabama–monuments to a time when widespread poverty in America prompted many of the nation’s leaders to dream of creating a new society. 

This black and white photograph depicts a middle-age man standing in front of a house. The man is wearing a light-colored button down shirt, blue jeans, and appears to have a dark object hanging from his left pocket. The setting appears to be a residential area with trees and grass. The house is a single-story structure with white walls and dark roofing, featuring multiple windows. The yard is covered in grass with patches of uneven growth. Trees in the background suggest the presence of a garden or small wooded area behind the house. The overall scene evokes themes of everyday life and home maintenance.
Rammed-earth houses make for “comfortable living,” according to John Cousins, who should know. Cousins grew up in a “mud” house, as he calls it, on Mount Olive’s Rosemary Road, and he liked the house and the neighborhood so well he later purchased the rammed-earth house next door. Cousins’ nephew lives in one of the houses, and Cousins is renovating the house he owns for his son. [Chip Cooper]
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