Issue 51, Winter 1999

The cover of the magazine titled “ALABAMA HERITAGE” features an array of vintage Alabama state currency notes arranged in an overlapping manner. These historical notes have intricate designs, including images and texts. The title “ALABAMA HERITAGE” is prominently displayed at the top in large, white capital letters against a dark background. Key features: The title “ALABAMA HERITAGE” is written in bold, white text at the top. Below the title, there’s an assortment of historical Alabama state currency notes. Each note has intricate designs with texts and images; they are arranged overlapping each other. The notes appear aged with a yellowish tint, indicating their historical nature. A dark border surrounds the central image, making the title and notes stand out. The text on the cover reads: “ALABAMA HERITAGE.”

Issue 51, Winter 1999

On the cover: Alabama currency. [Photograph by Rickey Yanaura, currency courtesy Hoole Special Collections Library, University of Alabama]

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Features

The opulent room exudes luxury and sophistication. Here’s what I observe: Chandelier: A grand crystal chandelier hangs from the center of the ceiling, casting a warm glow across the room. Ceiling: The ceiling features intricate moldings and patterns, adding to the room’s elegance. Walls: Golden frames adorn the walls, showcasing exquisite artwork or mirrors. The draperies, gracefully cascading to the floor, add a touch of refinement. Seating Area: Two plush chairs with rich upholstery are arranged around a small, ornate table. This cozy seating area invites relaxation and conversation. Floor: Although not clearly visible, I imagine it complements the overall lavish aesthetic of the room. The ambiance suggests a place where one can unwind, perhaps in a historic mansion, a luxurious hotel suite, or even a palace. The attention to detail in the room’s design speaks of wealth and taste.
Fendall Hall’s parlor [Alabama Historical Commission]

Fendall Hall’s Murals

By Elizabeth Via Brown

Since purchasing Eufaula’s Fendall Hall in 1973, the Alabama Historical Commission has been working to restore the fine Italianate mansion constructed over a century ago. One of the final steps is the restoration of the hand-painted murals and stencils in the hallway, parlor, and dining room. The article relates the history of the house and details the work being done by professional conservators to bring the distinctive murals back to life. Constructed 1859-60, Fendall Hall is located on a hill above the Chattahoochee River and is now operated by the Historical Commission as a house museum.

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Narratives of Former Alabama Slaves

By Kathie Farnell

In the late 1930s, the federal Work Projects Administration launched an ambitious plan: to document slavery by interviewing the people who had experienced it. Although many of the former slaves were in their seventies and eighties, they had vivid memories of life under the “peculiar institution.” In the interviews, the ex-slaves give vivid descriptions of life under slavery, some tragic and some humorous. Their accounts, a number of which are quoted in Alabama Heritage, cover daily life, work, health, separations from family and friends, the Civil War, and emancipation. Individually and as a group, the interviews provide an in-depth picture of the varied experiences of those who endured and survived slavery.

The photograph appears to be sepia-toned, giving it a vintage aesthetic. The subject is seated on wooden steps, which lead to an entrance—possibly a porch or the front of a building. The person’s posture is relaxed, and they are dressed in formal attire: a suit, tie, and dress shoes. The background showcases the wooden architectural elements, including vertical planks and part of a column.
Stepney Underwood, 1937 [Alabama Department of Archives and History]
Setting and Era: The image appears to depict a street scene from the mid-20th century, given the style of cars and architecture. The sepia tone adds to the vintage feel, evoking nostalgia for a bygone era. Main Subject: The focal point is a two-story building occupying most of the frame. The building has a somewhat worn appearance, suggesting age and history. Building Features: Ground Floor: The ground floor of the building houses several storefronts with awnings. People can be seen near these storefronts, implying that they might be shops or businesses. Upper Floors: Above the ground floor, there are balconies, indicating residential or office spaces. The building’s architecture reflects a blend of functionality and aesthetics. Signs of Aging: Some windows are boarded up or covered, hinting at wear and tear. The building’s facade shows signs of use and history. Street Scene: Vintage cars are parked along the street, reinforcing the mid-20th century context. Utility poles and lines are visible against a clear sky.
The Mobile Press Register building in the 1940s. [Erik Overbey Collection, University of South Alabama Archives]

Mobile’s Own Ozymandias: Ralph B. Chandler and His Newspapers

By Judith Sheppard

In 1929 an Ohio native named Ralph Chandler launched the biggest newspaper battle Mobile had ever seen. With the backing of some of the most powerful men in the state, this feisty upstart challenged the venerable Mobile News-Item and its morning edition, the Register. From 1929 to 1932, the Mobile Press, Chandler’s paper, and F. I. Thompson’s Register battled for readers, turf, advertisers, and the moral high ground. When the dust settled, Chandler had won, and the new combined paper, the Mobile Press Register, reigned supreme until the Press’ demise in January 1997. Author Judith Sheppard, a journalism professor at Auburn University, relates Chandler’s exciting story.

The Bank of Selma Five-Dollar Bill: The top bill features a slightly faded and worn appearance. It was issued by “The Bank of Selma.” Valued at five dollars, this vintage paper currency bears intricate design elements. In the center, there’s an illustration of a steamboat, capturing the essence of the era. On the left side, there’s a portrait—possibly representing a prominent figure from that time. Serial numbers and signatures are stamped on the bill for authenticity. The State of Alabama Twenty-Five-Cent Bill: The bottom bill is also ornate and aged. It was issued by “The State of Alabama.” Valued at twenty-five cents, this currency showcases detailed artwork. The central design features a train, evoking the historical context. Like the other bill, it bears serial numbers and signatures. Text on the Bills (as per OCR): Top Bill (The Bank of Selma): “ALABAMA” “THE BANK OF SELMA” “FIVE DOLLARS” “SELMA” Bottom Bill (The State of Alabama): “THIS STATE OF ALABAMA WILL PAY TO BEARER IN MONTGOMERY TWENTY-FIVE CENTS”
[Walter B. Jones Collection, Hoole Special Collections Library, University of Alabama; photograph by Rickey Yanaura]

Alabama’s Nineteenth-Century Paper Currency

By Guy R. Swanson

Before the standardization of currency around the turn of the century, not just the federal government but states, banks, railroads, small businesses, and even private individuals issued a wide variety of paper money. Between 1790 and 1865, more varieties of paper money circulated within the country than at any other time in the nation’s history, and Alabama was no exception. In this article, currency specialist Guy Swanson describes the history and development of paper money in Alabama. According to Swanson, “The study of currency used or produced in Alabama during the nineteenth century reveals much about the state’s political, social, and economic development.” 

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Departments

Main Subject: The central focus of this painting is an old wooden mill. The mill appears weathered and aged, with visible signs of wear and tear. It stands prominently in the composition, drawing the viewer’s attention. Water Wheel: Attached to the side of the mill is a large wooden water wheel. The wheel is constructed with metal bands, suggesting durability. The water wheel is partially submerged in flowing water, which cascades down from a higher level. This indicates the presence of a small waterfall or rapid nearby. Structure Details: The mill itself is made of weathered wood, with multiple windows and doors. Some of the windows are open, while others remain closed. The architectural style reflects a rustic and traditional design, evoking a sense of history and nostalgia. Natural Setting: The surrounding environment features rocks and vegetation. The rocks are visible beneath the water wheel, emphasizing the natural flow of water. Trees and other greenery can be seen in the background, suggesting a serene and picturesque location. Lighting and Shadows: Sunlight illuminates the scene from the left side, casting shadows on the mill and the ground. The interplay of light and shadow adds depth and dimension to the composition.
To represent energy systems of the past, Sheeler painted the dilapidated but still functioning (in 1939) nineteenth-century mill at Hamilton, Alabama, in Marion County. It was the most picturesque painting in the series. [Courtesy Curtis Galleries, Minneapolis]

Art in the South

The “Precisionism” of Charles Sheeler

By Robert O. Mellown

In 1938 Philadelphia artist Charles Sheeler accepted an assignment from Fortune magazine to produce what the editors envisioned as a “Power” portfolio–a series of images that would illustrate industrial energy for an upcoming issue of the magazine. The portfolio was almost two years in the making. Although the assignment originally called for eleven paintings, Sheeler produced only six, five of which delt with modern technology.  Two of these paintings dealt with Alabama: one portrayed the instillation of the Unit No. 2 hydroelectric turbine in the dam at Guntersville, while the other depicted the dilapadated but still functioning nineteenth-century mill at Hamilton, Alabama. These two paintings remain powerful evocations of the state’s past and its hope for the future in 1939.

The Nature Journal

Periodical Cicadas

By L. J. Davenport

Every thirteen years, near the beginning of May, the woodlands of Alabama waken to an eerie, incessant din. The noise is quickly traced to thousands of two-inch-long creatures that arise overnight, crawling up from deep below the soil surface to perch and sing. And just as suddenly, toward the end of the same month, they completely disappear. They are periodical cicadas, and they are the topic of L.J. Davenport’s Winter 1999 entry in the Nature Journal.

The image captures a close-up view of a cicada clinging to the rough surface of a tree trunk. The insect is prominently displayed, showcasing its intricate body structure and colors. Its wings are translucent with a golden hue, featuring detailed venation and spots. The body is predominantly black, contrasted by bright orange markings on its eyes and parts of its legs and wings. The cicada is the central focus, with its detailed body structure clearly visible. It has a black body with bright orange markings on the eyes, parts of the legs, and edges of the wings. The wings are translucent, displaying intricate venation and spotted patterns. The cicada clings to a greyish-white tree trunk with a rough texture. In the background, blurred green foliage provides a natural backdrop that accentuates the insect’s colors.
A periodical cicada. [W.M. Howell]
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