Issue 34, Fall 1994

The image features the cover of a publication titled “Alabama Heritage.” The central focus is a grayscale illustration or photograph of a statue. The background is white, providing a clean and minimalist aesthetic. Specific Elements or Objects: Text: At the top, in elegant, cursive blue font, we see the title: “Alabama Heritage.” Below the title, there’s smaller black text that likely contains additional information about the publication. Unfortunately, it’s not clear enough to read. Central Image: A grayscale depiction of a female figure in statue form. The figure has wings, suggesting a celestial or angelic motif. She raises one arm, holding something that resembles either a torch or an object emitting light. Her attire consists of a draped garment that exposes one shoulder. This cover image exudes artistic and cultural significance, inviting readers to explore the heritage and stories within the publication.

Issue 34, Fall 1994

On the cover: Detail of the Caldwell Mausoleum, c. 1920. This statue of an angel inside the Gothic Revival Caldwell Mausoleum exemplifies the attention to detail and the artistry found in the funerary art of Mobile’s Magnolia Cemetery. [Photograph by Mark Halseth, Courtesy Friends of Magnolia Cemetery]

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Features

Tombstone with Crown: A prominent white tombstone stands at the center of the frame. Its design is intricate, featuring delicate engravings that tell stories of lives lived. At the top of the tombstone rests a crown sculpture, symbolizing nobility or perhaps a person of significance. Unfortunately, the engravings are not entirely legible from this angle. Statue of a Seated Figure: Adjacent to the tombstone, there stands a beautifully detailed statue. The figure is seated, its posture contemplative. The head rests gently on one hand, evoking a sense of reflection or mourning. The sculptor has captured the folds of clothing with remarkable precision. Cross Tombstone: To the right of the central tombstone, we see another marker. This one is simpler in design, marked by a cross. Its minimalism contrasts with the ornate tombstone nearby. Flora and Greenery: The cemetery is not devoid of life; lush palm trees and other vegetation surround the graves. The vibrant green leaves provide a natural backdrop, softening the stone elements. The juxtaposition of life and remembrance is poignant.
The form and variety of funerary sculpture in Magnolia is remarkable. [Photograph by Chip Cooper]

The Tangible Past: Mobile’s Magnolia Cemetery

By John Sledge

Mobile’s Magnolia Cemetery is rich in tradition and folklore, as the burial ground for Alabama governors, congressmen, mayors, generals, doctors, lawyers, writers, plague victims, Jews, free blacks, society women, and even Apache warriors. But the story of Magnolia Cemetery itself is rich; its existence parallels the evolution of cemeteries in the United States, while its exceptional sculpture strikingly demonstrates the Victorian acceptance, even celebration, of death. The article notes how the founding, growth, neglect, and recent triumphant restoration of this nineteenth-century cemetery make for an important story in our own death-denying age.

Old Stars in Alabama: General Ormsby M. Mitchel

By Kay Cornelius

General Ormsby M. Mitchel , called “Old Stars” by his troops, swept into Huntsville with the vanguard of the Third Division of the Army of the Ohio on the morning of April 11, 1862. Author Kay Cornelius writes of Mitchel’s promise of military genius, noting the aggressive strategies which led him to Huntsville, further into enemy territory than any other Union leader. Also noted is his ongoing battle with the Union military bureaucracy which often thwarted his efforts, as well as his stay in Huntsville, where the local citizens reviled him as evil incarnate. This comes together as the intriguing story of a man who made himself the object of so much hatred on one hand and so much admiration on the other.

The image portrays a man dressed in a military uniform. Specific Elements or Objects: Military Uniform: The person wears a meticulously detailed military uniform, complete with buttons down the front and an emblem on the shoulder. Oval Frame: The portrait is enclosed within an oval frame, which features a white border. Blue Background: Surrounding the oval frame is a solid blue background, providing contrast to the monochromatic tones of the portrait.
General O.M. Mitchel (1809-1862) occupied Huntsville with his Federal troops during the spring and summer of 1862. The experience was not pleasant for Huntsvillians or the general. [From Ormsby MacKnight Mitchel: Astronomer and General, by F.A. Mitchel, 1887]
The scene unfolds against a backdrop of serene blue skies, where a charming two-story house stands nestled amidst nature’s embrace. The house exudes a timeless appeal, its weathered facade hinting at stories etched into its wooden walls. Specific Elements: The House: A traditional two-story dwelling, its white-painted exterior evokes memories of yesteryears. The gabled roof, adorned with faded white shingles, shelters the home. Numerous double-hung sash windows punctuate the facade, some graced by dark shutters. A sturdy chimney emerges from the right side of the roof, a testament to cozy hearths and crackling fires. The Porch: A welcoming porch extends across the front of the house, beckoning visitors. Supported by four square columns, the porch bears the marks of time and weather. Two steps lead upward, inviting guests to linger and share stories. Patriotic Flags: Proudly displayed, two American flags flutter in the breeze. Their presence adds a touch of nostalgia, evoking memories of celebrations and unity. The Hidden Bicycle: Partially obscured, a bicycle leans against the house. Its worn frame suggests countless rides through sun-dappled lanes, perhaps by children or adults seeking adventure. Natural Surroundings: Lush greenery envelops the homestead, casting dappled shadows on the ground. The trees stand as silent witnesses to generations of life within these walls.
Marmaduke Williams House, Tuscaloosa. [Alabama Historical Commission]

Alabama’s Most Endangered Historic Places

By Mary Elizabeth Johnson Huff with Robert Gamble

In 1994, the National Trust for Historic Preservation launched a nationwide effort to highlight historic places most endangered in this country. This effort in Alabama, sponsored jointly by the Alabama Historical Commission and the Alabama Preservation Alliance, aims to publicize threatened historic places in the state through news releases and other means. This article features the plights of ten such endangered sites, ranging from the Marmaduke Williams House in Tuscaloosa to the Greyhound Bus Station in Montgomery, each with its own important place and story in the history of Alabama.

Departments

General Overview: The image portrays a moment from the past, featuring a large ship docked at a wooden pier. The setting exudes an air of nostalgia, hinting at an earlier time period. The ship stands as the central focal point, surrounded by a bustling crowd of people. Their attire and the ship’s design provide clues about the historical context. Specific Elements or Objects: Ship: The ship dominates the scene. It boasts an elongated structure with a flat deck. A prominent smokestack rises from the ship, suggesting steam-powered propulsion. Multiple masts and riggings adorn the vessel, although no visible sails are present. People populate the ship’s deck, engaged in various activities or perhaps awaiting departure. Pier/Dock: The ship is securely moored to a wooden pier. The pier’s construction features sturdy beams and planks. Weathered and worn, the pier bears the marks of time and use. People: Numerous individuals populate the scene. Their clothing evokes an earlier era, likely late 19th to early 20th century. Some gaze toward an unseen point of interest, while others engage in conversation. The people add life and context to the historical tableau. Adjacent Structures: Small wooden structures line the pier. Their purpose remains ambiguous – perhaps storage sheds or workshops. Sky: The sky appears clear, devoid of visible clouds. Sunlight bathes the scene, but the monochromatic nature of the image obscures the exact time of day.
The only known photograph of the monitor USS Tecumseh, painted white, was taken shortly before the ship was launched from the Jersey City, New Jersey, shipyard in 1863. The Tecumseh later hit a mine and sank in the Mobile Bay, where she still rests today. Also pictured is the Tecumseh’s sister ship, the Mannahata (later re-names the Manhattan), which was launched a month later. The original print of this rare photograph is 23″ wide by 15 3/4″ tall, mounted on a paperboard with an inscription, “Brady and Co.,” referring to the company of Civil War photographer Matthew Brady. [Courtesy the Museum of the City of Mobile]

Southern Architecture and Preservation

 ‘Damn the Torpedoes! Full Speed Ahead!’

By Mindy Wilson

The only known photograph of the monitor USS Tecumseh was taken shortly before the ship was launched from the Jersey City, New Jersey, shipyard in 1863. The Tecumseh later hit a mine and sank in Mobile Bay, where she rests today. This rare, historic photograph now resides at the Museum of the City of Mobile.

Art in the South

W. C. Rice

By Kathy Kemp
Photographs by Keith Boyer

Alabama Heritage is proud to present an excerpt from Kathy Kemp’s Revelations: Alabama’s Visionary Folk Artists (Crane Hill, 1994). This selection discusses the life and career of W.C. Rice, a man who found religion and, eventually, his calling as an artist.

General Overview: The photograph captures an outdoor scene with an eerie and mysterious ambiance. It features several handmade signs scattered around an old, weathered house. The signs bear cryptic messages, adding to the unsettling atmosphere. The setting appears to be in a rural or semi-abandoned area, surrounded by overgrown vegetation. Specific Elements: Handmade Signs: A rusty metal sign stands prominently, displaying the ominous message “YOU WILL DIE” in white paint. Another sign, made from wood, reads “READ THE BIBLE” in bold black letters. A third sign, less legible, reads "JESUS SAVES". An air conditioning unit bears the warning: “HELL IS HOT HOT HOT HOT HOT.” Background: An old house stands behind the signs. Its roof appears dark, and the walls are light-colored, suggesting wear and decay. The overall scene evokes a sense of mystery, perhaps hinting at forgotten stories or hidden secrets
Several signs can be found outside of W.C. Rice’s home. [Keith Boyer]
The image captures a single fish swimming in water, with the backdrop giving off a serene and deep aquatic ambiance. Specific Elements or Objects: Fish: The fish is the central element, exhibiting a mix of colors including brown, white, and green. It has distinct patterns on its body resembling stripes or spots that contribute to its camouflage ability. The fins are well-spread, showcasing their translucent nature with visible lines of bones or rays running through them. Its tail fin is particularly prominent, displaying an array of beautiful colors and intricate designs. Water: The water surrounding the fish is dark greenish in color, indicating depth and density. There are particles visible in the water which could be tiny organisms or debris floating around. Lighting: There’s a subtle play of light that illuminates certain parts of the fish’s body while leaving others in relative darkness, adding to the overall aesthetic appeal.
The Vermilion Darter fish was formally given its scientific name (Etheostoma chermocki) in 1992. [L. J. Davenport]

The Nature Journal

The Case of the Vermilion Darter

By L. J. Davenport

The vermilion darter, which exists entirely within a total range of three stream miles at the headwaters of Turkey Creek, offers ichthyologists a golden opportunity to study the ways in which speciation occurs within closed-off populations. Its numbers have recently dropped because of its proximity to suburban areas. The darter provides not only an example of speciation but a vivid example of the need to protect all living creatures–both known and unknown.

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