Issue 43, Winter 1997

The image features the cover of “Alabama Heritage” magazine. The main focus is a portrait painting of an individual. The person in the portrait wears formal attire, including a white shirt and a black coat. Above the portrait, bold white letters spell out “ALABAMA HERITAGE.” Below the portrait, there’s additional text indicating that the publication is affiliated with the University of Alabama and the University of Alabama at Birmingham. The composition includes: A framed portrait painting. The individual in the portrait wears formal clothing. The prominent text “ALABAMA HERITAGE” above the portrait. Smaller text below the portrait mentioning the universities’ affiliation. The overall color scheme appears dark and rich.

Issue 43, Winter 1997

On the cover: Portrait of Jean Simon Chaudron, (1758-1846) by Rembrandt Peale, 1806. [Courtesy Anita Marie Baker Naff]

Purchase This Issue

Features

The image shows a person whose face has been obscured or blurred out. The individual is wearing what appears to be a coat and has dark, shoulder-length hair. The background is a monochromatic brown tone, and the overall image has an aged or vintage appearance. The central focus of the image is a person with their face intentionally obscured or blurred, making it unrecognizable. The individual has dark, shoulder-length hair and is wearing a coat with a visible collar and lapel. The monochromatic brown tones give the image an old-fashioned or vintage aesthetic. Unfortunately, there are no discernible background details due to the focus being on the individual.
Enraged by the murder of his family, Geronimo (c. 1820-1909) terrorized the Southwest from the 1850’s until his surrender in 1886. “He was one of the brightest, most resolute, determined looking men that I have ever encountered,” said U.S. Gen. Nelson A. Miles. [Courtesy Rose Tree Inn, Tombstone, AZ; Reproduction by Richard Byrd, Bisbee, AZ]

Geronimo and the Chiricahua Apaches: The Alabama Years

By H. Henrietta Stockel

When Geronimo and his warriors caused too much trouble on the Arizona/Mexico border, the United States Army set out to relocate the Apache tribe. Tricked into believing that he and his warriors would be reunited with their families, Geronimo surrendered to Gen. Nelson A. Miles. During a brief imprisonment in Florida, the Apaches suffered such ill health that the government relocated them to Mt. Vernon, Alabama. Here Geronimo struggled to feed his people, selling his possessions to tourists, rounding up stray children and escorting them to school, and generally keeping the peace. Once labeled “The Terror of the Southwest,” Geronimo rose to the needs of his tribe and did everything he could to secure their health and safety.

Images of Alabama: Country Churches

By Anderson Scott

Photographer Anderson Scott shares his passion for capturing “some of the most beautiful places on earth:” country churches. He also provides some common observations about the churches he has visited in Alabama. Scott’s photography can be found at the National Museum of American Art, the Corcoran Gallery of Art, and the San Francisco Museum of Modern Art.

The image depicts an abandoned and dilapidated building with a collapsed roof. The building appears to have been neglected for quite some time. Let’s break down the details: Building: The central focus is an old structure, possibly a church or similar building. Its architecture includes what seems to be a bell tower, suggesting its historical significance. State of Disrepair: The building is in poor condition. The roof has caved in, exposing the interior to the elements. Broken windows and crumbling walls indicate decay. Overgrown Vegetation: Surrounding the building, the grass and vegetation have taken over. Weeds and wild plants cover the ground, emphasizing the abandonment. Foreground Grave: In the foreground, there’s a grave marked by a cross. Flowers and other items have been placed on it, suggesting remembrance or reverence. Atmosphere: The cloudy sky adds to the somber mood. The overall scene evokes feelings of abandonment, loss, and decay.
Near Gordonsville, Alabama. [Anderson Scott]
The image depicts a person standing in front of an old, possibly abandoned building. The building itself appears to be constructed from stone, with multiple windows. Some of these windows are boarded up or broken. A black and white scene unfolds in the image. An individual stands in front of an aged building. The person wears dark clothing. The building behind them has a historical or weathered appearance, constructed from stone. Visible signs of wear and tear suggest its age. Several windows adorn the building, some of which are boarded up or show signs of disrepair. The location or setting beyond this immediate environment remains unclear.
SGT. Robert J. Lancaster, whose first trial took place in the Marion County Courthouse in 1921, was convicted in 1924 of second degree murder in the death of Willie Baird. [Courtesy Alabama Department of Archives and History]
Purchase This Feature

The Lynching of Willie Baird, Labor and Violence in 1921 Alabama

By Glenn Feldman

On December 2, 1921, Willie Baird turned himself in to the Winston County Sheriff, seeking protection from Company M of the Alabama National Guard. The Alabama National Guard had been called in to the area to “keep the peace” at a United Mine Workers of America strike. Baird had witnessed Private James Morris and Company M shoot and kill his father-in-law, Adrian Northcutt, a union leader and preacher. Baird killed Morris in self-defense, and the violence captured national attention. On January 13, 1921, nine members of Company M stormed the jail and lynched Baird on Manchester Road in Jasper. The ensuing trials against the nine members of Company M caused state and national controversy and had a major effect on Alabama’s coal miners.

Black Belt Elegance: Late Antebellum Alabama Parlors

By Lee W. Rahe

The parlors of antebellum Alabamians served as ornate and beautiful places to read, gather with company, or bond with family. The design of such parlors was strictly dictated by such publications as Godey’s Lady’s Book and Magazine, which gave advice on everything from fashionable carpet fabrics to chair and table designs. These antebellum parlors often reflected high fashion; the wealthiest planters owned costly pianos and tête à têtes, lounges that “allowed two occupants to face each other without physical contact.” These rooms shed light into the daily lifestyles of rich antebellum families.

Purchase This Feature
he scene portrays a classic and elegant living room setting. Here are the key elements: Vintage Sofa: The central focus is a vintage sofa with golden upholstery and a dark wooden frame. The intricate detailing on the wood adds to its charm. Chairs: Flanking the sofa are two chairs, each adorned with red cushions. They complement the sofa’s design and provide additional seating. Wooden Table: Positioned in front of the sofa, there’s a small wooden table. On it, we find an open book, a quill, and an ink pot. This arrangement suggests a cozy reading nook or perhaps a writer’s corner. Flooring: The floor is covered with an exquisite floral carpet. The intricate patterns add a touch of opulence to the room. Windows: In the background, three large windows are draped with delicate lace curtains. These allow soft, diffused light to filter into the room, creating an inviting ambiance. The overall aesthetic exudes a sense of refinement and nostalgia, as if we’ve stepped back in time to a bygone era. The choice of colors, materials, and furniture arrangement all contribute to this timeless feel.
Drawing room, or parlor, from Gaineswood. [Photo courtesy Rickey Yanaura]

Departments

Art in the South

Rembrandt Peale Portrait of Jean Simon Chaudron Restored

By John Sledge

Rembrandt Peale (1778-1860), one of early America’s most renowned Romantic artists, painted portraits of many distinguished figures, including Thomas Jefferson and George Washington. His portrait of Jean Simon Chaudron displays qualities typical of Peale’s work. The flesh tones are deep and rich. The eyes, nose, mouth and hair are carefully rendered and detailed. During the winter of 1995,  the painting was restored to “gallery standards,” and was unveiled at the Mobile Museum of Modern Art in 1996.

The person in the portrait wears formal attire, including a white shirt and a black coat.
Jean Simon Chaudron 91758-1846), “Blind Poet of the Canebrakes,” by Rembrandt Peale, 1806. [Courtesy Anita Marie Baker Naff]
The central focus of the image is a tortoise with a textured shell. Its legs and head are extended out from the shell. The person’s hands gently hold the tortoise from below. The background appears to be an outdoor setting with grass and natural light.
An adult gopher tortoise captured on a feeding foray, Henry County. [Photograph by L.J. Davenport]

The Nature Journal

Gopher Tortoises

By L. J. Davenport

L.J. Davenport examines the largely sedentary life of the gopher tortoise, including hibernation patterns and reproductive practices.

Back to top arrow