Issue 56, Spring 2000

The magazine cover titled “ALABAMA HERITAGE” features a vintage black and white photograph as its main visual element. The person in the photo wears historical attire, including a jacket and bowtie. The title “ALABAMA HERITAGE” is prominently displayed at the top in bold, white capital letters against a dark background. The photograph occupies most of the cover, framed within an ornate border. At the bottom of the image, there’s text that reads: “PUBLISHED BY THE UNIVERSITY OF ALABAMA AND THE UNIVERSITY OF ALABAMA AT BIRMINGHAM.”

Issue 56, Spring 2000

On the cover: Sarah Ann Mason Martin, 1840, in the first daguerreotype taken in the Southeastern United States. [Courtesy Alabama Department of Archives and History]

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Features

The image shows a man possibly standing while looking off to the side.. They are dressed in formal attire, holding what appears to be a book or document. The individual wears a dark suit with wide lapels and a white shirt underneath. Their hands are clasped together, holding an object that resembles a book or some type of folded document. The background is dark and indistinct, focusing the viewer’s attention on the person. The overall sepia tone gives the image an aged appearance.
F.A.P. Barnard [William Stanley Hoole Special Collections Library, University of Alabama]

The Extraordinary Frederick Augustus Porter Barnard

By Robert O. Mellown and Gene Byrd

Former University of Alabama alumnus and president William R. Smith remembered one of his favorite professors at the university, F. A. P. Barnard, as “a marvel of intellectual brilliancy and practical versatility. He was conceded to be the best at whatever he attempted to do; he could turn the best sonnet, write the best love story, take the best daguerreotype picture, charm the most women, catch the most trout, and calculate the most undoubted almanac.” Barnard’s reputation as a renaissance man was well deserved, and his contributions to academia and the natural sciences in the nineteenth- century south were enormous. Robert Mellown and Gene Byrd chronicle two of Barnard’s many interests — daguerreotypy and astronomy — and the accomplishments he made in those respective fields.

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The sepia-toned photograph features a woman possibly standing looking towards the camera. The person wears elegant attire, including a laced or embroidered dress. A prominent necklace with large beads or jewels drapes around their neck. Their hands are gently clasped together in front of them, displaying grace and poise. The background is dark and indistinct, drawing attention to the subject.
Marie Bankhead Owen [Alabama Department of Archives and History]

When Stars Fell on Alabama

By Harvey H. Jackson, III

In the spring of 1935—when the country was scraping out of its worst-ever depression and Franklin D. Roosevelt’s make-work New Deal policies were starting to take shape—the Federal Writers Project was born. When critics assailed the project designed to put unemployed writers to work, Harry Hopkins, the director of the Works Projects Administration, reportedly cut them off with a blunt, “Hell, they’ve got to eat just like other people.” First, administrators set about deciding what these writers would write about. Soon the idea of individual guides to each of the states, complete with highlights of their histories and accomplishments, won favor. Hardy Jackson describes the involved—and often contentious—process administrators in Alabama went through to develop the state’s version of the project.

Foreground and Mid-Ground: The image portrays a serene, historical landscape. In the foreground, we see an open field with brush strokes suggesting grass or vegetation. A path or road leads from the foreground towards the middle of the image. Architectural structures grace the mid-ground: On the left, there’s a tall building with a cylindrical tower. Its architectural style hints at a church or religious establishment. Adjacent to this building is a smaller structure with an arched roof. To the right, a large hill or mound dominates the scene. At its peak rests what appears to be an ancient fortress or castle. Artistic Style: The sepia tones lend an aged, historical ambiance to the drawing. The sky, minimally detailed, suggests either early morning or late evening due to its light tone.
“The celebrated Pyramid of ‘Cholula’,” Cram wrote in his sketchbook. “The hill is entirely artificial and many Aztec remains are visible.” [Illustration courtesy Margaret Thorington Kohn McCall]

Daniel Cram’s Sketches of the Mexican War

By John McCall, with T.J. Beitelman

In the summer of 1847, young Lt. Daniel Houston Cram of New Hampshire stepped onto Mexican soil and into one of the most important—but often neglected—conflicts of the nineteenth century. During the Mexican War, fourteen thousand American soldiers lost their lives—as did many more Mexicans—fighting over the land that would eventually become the American southwest. Cram not only saw it firsthand as a participant, he stole moments to sketch some of the more dramatic scenes in a notebook that has been passed down through generations of his family. John McCall, assisted by T.J. Beitelman, tells the story of Cram’s Mexican War experiences, complete with photographs and detailed descriptions of the sketches themselves.

Departments

Let’s explore the captivating details of this classic living room: Color Palette and Atmosphere: The walls are painted in a deep, elegant green, evoking a sense of sophistication and timelessness. A white fireplace mantel stands at the center of one wall, adorned with carefully arranged objects. The room exudes a vintage charm, reminiscent of bygone eras. Furniture and Decor: Two red upholstered chairs with intricately carved wooden frames flank the fireplace. Their design suggests a Victorian or similar style. To the right, a grand piano graces the room. Sheet music rests on its surface, hinting at musical performances or practice sessions. Above the piano hang two framed portraits, adding to the room’s vintage aesthetic. The floor is covered by a large, ornate rug with intricate designs, harmonizing with the overall color scheme. Window and Drapery: Heavy drapery covers the window, matching the room’s opulent ambiance.
The Humphreys-Rogers House reopened in April 1999 as the Decorative Arts Center for Alabama. [EarlyWorks Museum, Huntsville]

Southern Architecture

History on the Move: The Evolution of the Humphreys-Rodgers House, c. 1848 

By Christopher Lang

In 1991 the 330-ton Humphreys-Rogers house, a historic brick mansion in Huntsville, made an astonishing half-mile journey from its original site to the EarlyWorks Museum in downtown Huntsville. The move was only the most recent in a long process of remodeling and preservation stretching back to its construction in 1848. Now fully restored, the building houses period room-settings and special exhibits on the decorative arts.

Recollections

The Great Depression

By Roy L. Mott, Sr.

Roy L. Mott recounts his childhood in the Great Depression, watching his parents to struggle to make ends meet. The times were hard, but the Mott family was brought closer together than ever, creating fond memories even in the midst of the difficulties of the period.

The image appears to be a small, oval-shaped cameo brooch. It features a carved design on a red background, though the details are somewhat unclear due to the image’s resolution. The carving seems intricate, suggesting craftsmanship, and gives off an antique or vintage vibe.
[Alexander Ingram; Rickey Yanaura]
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