Issue 44, Spring 1997

The cover of the magazine titled “ALABAMA HERITAGE” features an artwork. The main title, “ALABAMA HERITAGE,” is displayed prominently at the top in white capital letters against a dark purple background. Below the title, there’s an artwork featuring two individuals in an intimate setting. The individuals in the artwork appear to be dressed in historical or period clothing. They are seated on an elegant sofa. The background color surrounding the artwork is dark purple, matching the tone at the top where the title is displayed. At the bottom of the image, there’s text in white letters indicating that this publication is affiliated with two universities: “PUBLISHED BY THE UNIVERSITY OF ALABAMA AND THE UNIVERSITY OF ALABAMA AT BIRMINGHAM.”

Issue 44, Spring 1997

On the cover: Consuelo, Duchess of Marlborough, and Her Son, Lord Ivor Spencer-Churchill, 1906, by Giovanni Boldini. [Courtesy Metropolitan Museum of Art New York]

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Features

his is a vintage, sepia-toned image featuring a central figure whose face is obscured. The individual is surrounded by flying doves, creating an elegant and grand scene. Here are the key elements in the image: The central figure wears an ornate dress adorned with intricate designs and patterns. A headpiece, embellished with jewels and decorations, rests atop the figure’s head. Several white doves are captured mid-flight around the central figure, suggesting movement and life. The background, though not clearly defined, appears opulent with rich textures and materials. The overall sepia tone imparts a vintage or historical feel to the image.
Alva Vanderbilt dressed as a Venetian princess for the contume ball she and Willie K. gave on March 26, 1883. A housewarming for the Fifth Avenue mansion, the ball also marked the entrance of the Vanderbilts into the highest ranks of New York society. [Courtesy New York Historical Society]

Alabama’s “Bengal Tiger”: Alva Smith Vanderbilt Belmont

By John Sledge

Mrs. Alva Smith Vanderbilt Belmont was a force to be reckoned with. John Sledge traces the life of the ferocious woman from her early childhood in Mobile to her high society life in New York. Her final days were spent lobbying for women’s suffrage, which she lived to see in 1920 with the adoption of the 19th Amendment. Through two marriages and travels around the world, Alva lived her life to the fullest.

Fiercely determined, Alva thought little of the feelings of those around her. She once proclaimed, “I always do everything first…I blaze the trail for the rest to walk in.” Leaving behind several architectural masterpieces, including the famed Marble House in Newport, as well as the legacy of her life, Alva is not an Alabamian to be forgotten.

Chatelaines

By Marion Ruth Yount Sams

Up until the twentieth century, chatelaines were an important part of women’s fashion. The word chatelaine means “lady of the castle,” but the word also became associated with the object that the lady of the house hooked over her belt. From these objects dangled multiple chains attached to keys and other items necessary for managing her household. Southern women would have been familiar with chatelaines in the nineteenth century. Domestic manuals of the day advised women to lock away their valuables to prevent petty thievery by servants, so there were always a number of small keys to manage.

However, with the advent of short skirts and numerous variations of handbags that could hold more, the chatelaine gradually disappeared. Bits and pieces of them can be found at antique markets, but rarely does one find an intact chatelaine. Although few modern examples remain, the word lives on; Hilary Rodham Clinton was once referred to as the chatelaine of the White House.

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The image showcases a collection of ornate, vintage-style necklaces laid out on a piece of fabric. The necklaces are made of gold-toned metal and feature various pendant designs, including a book, scissors, and heart shapes. The lighting casts soft shadows, giving the image a warm and elegant feel. Here’s a breakdown of the elements in the image: Necklaces: Multiple necklaces are displayed, each with a distinct pendant design. Book Pendant: One necklace features a book-shaped pendant adorned with intricate engravings. The book pendant exudes an air of wisdom and literary charm. Scissors Pendant: Another necklace boasts a pair of scissors as its pendant. The scissors are artistically designed, perhaps symbolizing creativity or precision. Heart-Shaped Pendants: There’s also a necklace with heart-shaped pendants. These hearts are delicately crafted, with intricate patterns engraved on them. Fabric Background: The fabric underneath the jewelry is white, with delicate lace detailing along the edges. It adds a touch of elegance and femininity. Red Cloth: In the bottom left corner of the image, a piece of red cloth peeks through. Its vibrant color contrasts beautifully with the gold-toned necklaces. Lighting: Soft lighting illuminates the jewelry and fabric, casting gentle shadows. This lighting choice enhances the textures and details, creating a visually appealing composition. The overall aesthetic suggests a blend of vintage charm and artistic flair.
These elegant English chatelaines, though ornately designed, would have been considered everyday jewelry because of their utility. The sterling silver chatelaine on the left contains (from left to right) a match safe, tape measure, scissors, thimble, and pill case. The second chatelaine, c. 1880, holds a compact, pinwheel, notepad with ivory leaves, and a scent bottle. [Photograph by Randal Crow, Birmingham]
The central focus of the image is a neoclassical building. Here are some specific features: The building has a circular shape and is characterized by its white columns. Its domed roof stands out, with an aged copper appearance that gives it a greenish-blue color. Above the entrance, there’s a clock visible on the front facade. The building is surrounded by well-maintained grassy areas, which appear vibrant and green. In the background, we see trees with leaves in various stages of changing colors, suggesting it might be autumn. Interestingly, there are no visible signs of activity or people around the building, creating a serene and quiet atmosphere.
Like the rotunda at the University of Alabama, Virginia’s rotunda also burned, but not until 1895. The second rotunda, begin in 1896, diverged somewhat from Jefferson’s and was restored to its original configuration in 1974. [Photograph by Robert Llewellyn, Virginia]

Jefferson’s “Academical Village”

By Delos D. Hughes

It has often been said that the University of Alabama and the University of Virginia bear a striking resemblance. Delos D. Hughes explores the possible influence of Thomas Jefferson and his academic village on the construction and planning of the University of Alabama.

Although there are no direct links between Jefferson and the Alabama governor at that time, Israel Pickens, Jefferson’s Virginia certainly inspired at least some of the architecture on the University of Alabama campus. Hughes discusses several possible theories that support the relationship between Jefferson and Alabama. Although the mystery has never been solved, Jefferson’s academical village clearly had a profound impact on the University of Alabama architects.

The Alabama Rotunda

By Robert O. Mellown

The University of Alabama campus originally featured a dominating rotunda, grandly situated in the center of the mall, or quadrangle as we know it today. A prominent campus landmark, it was modeled after the Pantheon in ancient Rome, and inspired by the Renaissance engravings of Andrea Palladio.

Unfortunately, Alabama’s campus burned to the ground during the final days of the Civil War, leaving nothing but debris. For over a century, the only evidence of the rotunda’s existence lay in one lone photograph and a few sketches. Then in 1984, workers laying computer cables stumbled upon the foundation of the Rotunda buried only inches below the surface. Today the foundation is preserved and serves as reminder of what was once the heart of a campus.

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The image appears to be a detailed sketch or etching of an architectural structure. It could be a building, temple, or some other significant edifice. Central Dome: The central structure boasts a prominent dome roof. This dome is the focal point and sits atop the main building. Columns: Surrounding the central dome are numerous columns. These columns appear to be made of stone and are quite tall. They encircle the building, creating a sense of grandeur. Entrance: Between two of the columns, there’s a visible entrance. It seems to be a door or opening leading into the structure. Additional Rooms or Extensions: Attached to the central dome structure are smaller rooms or extensions. Each of these has its own roof, contributing to the overall architectural complexity. Intricate Details: The drawing style is intricate and detailed. You can see the texture of the roof tiles, the stonework of the columns, and other fine details. Monochromatic: The image is monochromatic, rendered in shades of black, white, and gray. Mystery Symbol: In the top-right corner, there’s another smaller object or symbol, although it’s not entirely clear what it represents.
This is a sketch of the University of Alabama rotunda, drawn by an antebellum student. It reveals a side view of the building not seen in other sketches of the structure. [Courtesy William Stanley Hoole Special Collections Library, University of Alabama]
The central focus of the image is an old wooden cabin with a rusted corrugated metal roof. The cabin appears to be aged and weathered, with darkened wood and visible wear. It’s surrounded by tall grasses and wildflowers, suggesting it hasn’t been maintained for some time. In the background, there’s a dense collection of green trees that appear healthy and full. The sky above the trees is clear and bright but not directly visible in the image. There’s no visible human activity or presence; the scene evokes a sense of solitude.
An example of Alabama’s barns.
[Photograph by Milly Wright, Florence]

Barn Again!

By Harvey H. Jackson III

The Alabama countryside is dotted with dilapidated structures that were once the heart of rural life. Epicenters of Alabama agriculture, the barns have evolved over the years and adapted to different uses. Harvey Jackson III explores the origins of the Alabama barn and the types of barns found in rural Alabama. Tragically, these rustic icons are disappearing at an alarming rate. Farm buildings are a vital part of Alabama’s heritage, and preserving their legacy is important in remembering the state’s past.

Departments

The image you’ve uploaded depicts a single dark purple or burgundy fruit hanging from a branch, surrounded by lush green leaves. Let’s break down the details: Fruit Description: The central focus of the image is a dark, almost burgundy fruit. It appears to be smooth and has a small stem connecting it to the branch. The fruit’s color suggests ripeness, and its shape is typical of many fruits found in nature. We can’t discern the exact type of fruit from the image, but it resembles some varieties of berries or small drupes. Leaves and Branch: The fruit hangs from a branch covered in green leaves. These leaves have visible veins, indicating they belong to a tree or bush. The leaves are vibrant and healthy, suggesting that the plant is thriving. The background is blurred, emphasizing the fruit and leaves in the foreground. Natural Lighting: The image benefits from natural lighting, which casts soft shadows and highlights on the leaves and fruit. Overall, it creates a serene and organic scene, likely captured outdoors.
A ripe muscadine (consumed immediately after this photograph was taken), Shelby County. [Photograph by L.J. Davenport]

The Nature Journal

Muscadines and Scuppernongs

By L. J. Davenport

Muscadines are closely identified with the South, serving as both foodstuff and cultural icon. Their natural distribution embraces Dixie, from Virginia to central Florida, along the Gulf of Mexico to eastern Texas, up the Mississippi River to Missouri and the Appalachians. L.J. Davenport examines the history and uses of the muscadine. 

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