Issue 27, Winter 1993

General Overview: The image appears to be a cover for a publication called “Alabama Heritage.” It features an intricate illustration reminiscent of stained glass artwork. The central focus is on a historical figure depicted in a stylized manner. Specific Elements or Objects: Text Elements: The title “Alabama HERITAGE” is prominently displayed at the top of the cover. Smaller text below the title is not clearly legible due to the image resolution. Illustration: The central figure wears armor with intricate designs, suggesting a historical context. In their left hand, they hold an object that remains indistinct. The background features trees with detailed branches and leaves, creating a pattern akin to stained glass. The sky transitions through multiple colors, evoking either dawn or dusk. This cover art combines historical aesthetics with artistic flair, making it intriguing and open to interpretation.

Issue 27, Winter 1993

On the cover: 1925 Tiffany stained-glass window in the main library of the University of Alabama. [Photograph by Alice Wilson]

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Features

The image portrays a person dressed in historical military attire. Their face is slightly obscured by dark shadows. Attire Details: The individual stands upright, facing forward. They wear a greyish-blue military uniform with structured shoulders. Gold buttons adorn the center of the jacket. A red sash drapes over the right shoulder and under the left arm, adding a touch of color. On their left side, they hold what appears to be a sword or saber handle, secured to their belt by gold-colored straps. Their right hand grasps either gloves or a hat. The background is dark and nondescript, emphasizing the figure.
Gen. John C. Pemberton (1814-1881), a Pennsylvania native, was regarded as a traitor by Southerners after he surrendered Vicksburg to Federal forces on July 4, 1863. [Courtesy Bowie Lanford, Vicksburg National Military Park]

Disaster and Disgrace: The John C. Pemberton Story

By Michael B. Ballard

John C. Pemberton was one of the most reviled generals of the Civil War. Though he fought for the Confederates, he was born in Philadelphia, Pennsylvania. His first command as a major general was a disaster because he lacked skill in public relations. He failed to defend the Confederate stronghold in Vicksburg, Mississippi, surrendering after a siege of forty-seven days. Anxious to tell his side of the story, he waited in Demopolis, Alabama, for a court of inquiry to convene–but it never did. He returned at last to Virginia, where Jefferson Davis failed to give him a new command. Finally, Pemberton resigned and accepted a new commission as lieutenant colonel of artillery, a position in which he fought until the end of the war. Pemberton remains a cipher: was he inept, cowardly, or just misused?

Decorative Arts in the Black Belt

By Bryding Adams, Joey Brackner, and Gail Trechsel

A 1985-1994 survey of Alabama’s decorative arts reveals a wealth of new information about the cultural history of the state.  This feature highlights the work of artisans from one of the survey areas most thoroughly investigated at the time of publication, the Black Belt.  The river towns that sprang up there during the early nineteenth century served as commercial centers for the region and connected the Black Belt to the port of Mobile. The towns also attracted artisans and craftsmen who produced necessities and luxury items for local markets as well as for other communities in the vicinity. 

Stoneware Jugs: The photograph features two old, weathered stoneware jugs placed side by side. Each jug possesses a round body, a narrow neck, and a single handle. Their material appears to be ceramic, with a glazed surface that has worn away in places, revealing the rough texture beneath. The jug on the left is slightly larger and has its top part broken off, exposing the jagged edge. Both jugs exhibit signs of age, including chips and stains, hinting at their long history. Color and Placement: The jugs boast a brownish hue, with darker spots where the glaze has worn off over time. They rest on what seems to be a wooden surface, adding to the rustic ambiance. Positioned near a window, they bask in natural light, casting soft shadows. Through the window, we catch a glimpse of greenery or trees, although it remains slightly out of focus.
William Isaac Mulder made pottery in Montgomery, including, most likely, these alkaline-glazed jugs from the Wetumpka area. [Jugs courtesy of Margaret Anne Mulder Kelley; photograph by Joey Brackner]
The image predominantly features a yellowish tone with bold red and black text. Title and Subtitle: At the top, we see the title: “MONTGOMERY AND PLAY PHOTOPLAY” in large, vibrant red letters. Just below the title, a smaller black subtitle reads: “WONDERFUL TWO REEL FEATURE WITH CIRCLE OF PEOPLE IN THE CAST.” The author’s name, “BY MISS LEONA LOOMAN,” appears right below the subtitle. Event Details: The central portion of the poster announces an event at the “GRAND THEATRE” on Wednesday and Thursday of the current week. Showtimes are listed from 4:10 PM to 11:00 PM. Admission prices are indicated as 10 cents and 20 cents. Film Description: The film seems to depict Jefferson Davis, the inaugural President of the Confederate government. It’s noted that this film showcases something unique: “has ever been shown on canvas.” Additionally, there’s mention of cannon firing at night across Alabama river. Benefit Event: The poster concludes with information about a benefit for Montgomery’s Men’s League. Overall, this vintage poster invites viewers to a captivating cinematic experience, promising a fascinating two-reel feature with historical significance.
The front cover of the original theater program. The film’s debut played to capacity crowds. [Courtesy Alabama Department of Archives and History]

“Present and Past in the Cradle of Dixie”

By Tanya L. Zanish

In 1914 the Business Men’s League of Montgomery funded the production of a short film with the hope of attracting out-of-state business to Alabama. The plot features a Southern belle romancing a gentleman from New England by showing him the sights of Montgomery. After its premier, the film dropped from public consciousness. In the 1920s, the original print was donated to the Alabama Department of Archives and History, where it was forgotten until rediscovered in 1986. Now restored, the film provides a fascinating glimpse of pre-World War I and its inhabitants.

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Black Wings of Tuskegee

By Jerry A. Davis

Finally given the opportunity to become fighter pilots, African Americans brought credit to their country during World War II. Though the War Department was hesitant about sending the pilots into combat overseas, the Tuskegee airmen proved to be invaluable in the war effort. They were pivotal in the advance at the Remagen Bridge. In a time when the military was still segregated, the Tuskegee airmen proved that the race of a properly trained soldier was insignificant. What mattered was the training.

The photograph is in black and white, which gives it a timeless quality. Two individuals are captured in the frame, a man and a woman. The person in the foreground appears to be seated, wearing a dark coat. Their head is turned slightly towards the second individual. The second person, also dressed in dark clothing, seems to be holding something close to their face. The object’s shape suggests it could be a camera or binoculars. The background lacks distinct features, making it difficult to discern the context or location.
First Lady Eleanor Roosevelt, an avid supporter of equal opportunity for black Americans, joined Tuskegee’s chief flight instructor C. Alfred “Chief” Anderson for an aerial tour of the air field. [Courtesy NASM, SI]

Departments

Art in the South

A Stained-Glass Tiffany Knight

By Robert O. Mellown

The library at the University of Alabama boasts a remarkable stained-glass window featuring a “Christian Knight.” Designed in 1925 by Tiffany Studios in New York and commissioned by the Alabama Division of the United Daughters of the Confederacy, the handsome memorial commemorates the role university students played in the Civil War.

The focal point of the window is a standing figure adorned in what appears to be medieval armor. The armor includes a sword and a shield. The face of the central figure is intentionally undetailed, creating an anonymous or universal soldier representation. Surrounding Decorative Elements: The stained glass window is composed of several panels: Intricate Designs: Some panels feature intricate patterns, adding to the overall visual richness. Smaller Figures and Symbols: Other panels depict smaller figures or symbols, contributing to the window’s storytelling. The color palette is vibrant, incorporating shades of blue, red, yellow, and green. These colors harmonize beautifully. Circular Medallions: Positioned at the corners around the central figure, these medallions contain various symbols or designs. Text Panels: Below the main image, there are rectangular panels with inscriptions or text. Framing and Structure: The stained glass window is framed by dark leading, which outlines and separates the different sections of colored glass.
Designed by Tiffany Studios, New York, 1925, the “Christian Knight” window commemorates the contribution of University of Alabama cadets to the Civil War. [Alabama Heritage]
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