Issue 62, Fall 2001

The image appears to be a cover of a magazine or brochure titled “ALABAMA HERITAGE.” Here are the key elements: Title: “ALABAMA HERITAGE” is prominently displayed at the top in white capital letters against a black background. Illustration/Photograph: Below the title, there’s an illustration or photograph capturing a serene and picturesque landscape. Landscape: The scene depicts a small town or village nestled in a valley. Various buildings, including what appears to be a mill, dot the landscape. Water Body: A river or canal flows through the settlement. Background: Mountains rise in the distance, set against an orange-purple sky, suggesting either dawn or dusk. Mood: The overall mood conveyed by the image is peaceful and idyllic. The text “ALABAMA HERITAGE” is also visible on the cover.

Issue 62, Fall 2001

On the cover:  William Frye’s “Vue of the
Huntsville Spring from Nature,” c. 1845. [Courtesy Warren Rhett/Photograph by Robin McDonald]

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Features

Why Alabama Needs a New Constitution

By Albert P. Brewer

Alabama’s constitution is the longest in the world, more than forty times as long as the US Constitution, and longer even than Moby Dick. The state’s charter has been amended 706 times, for reasons as general as changing statewide school spending and as specific as allowing Mobile County to start a mosquito control program. In the Fall 2001 issue of Alabama Heritage, former Governor Albert P. Brewer outlines the case for abandoning Alabama’s current constitution and writing a new one from scratch. He explains how the present constitution’s provisions for an unstable tax structure, limited home rule, and restricted public spending impose needless handicaps on local governments, businesses, and citizens. With Alabama’s constitution celebrating its one hundredth birthday this year, Brewer’s words come at a particularly appropriate time in the hot debate on constitutional reform.

The image features an open book with aged, yellowed pages. The book appears weathered and well-used. The visible page contains handwritten text in English. At the top of the page, it reads “Constitution of the State of Alabama 1901.” The handwriting is legible but has an old-fashioned style. A shadow is cast over part of the book and the background, suggesting that the image was taken with natural light. The background is relatively plain and lacks significant details.
Montgomery historian Richard Bailey holds the 1901 Constitution in a photo that appeared on October 15, 2000, in the first of seven Mobile Register editorials titled, “Alabama’s Constitution: Century of Shame.” [Courtesy of the Mobile Register 2000]
The Yellow Execution Chair: The image portrays a bright yellow chair with restraints, reminiscent of an execution chair. The chair is positioned against a clean, well-maintained brick wall. Its sturdy build suggests durability and functionality. Multiple brown leather straps are affixed to the chair, designed for restraining the occupant’s arms, legs, and chest. There are no visible inscriptions or additional objects in the frame. Background and Flooring: The brick wall serves as the backdrop, adding a sense of permanence and somberness. The floor appears to be composed of dark tiles or a similar material.
Alabama’s electric chair, “Yellow Mama” [Bettmann/CORBIS]

To Die in Dixie: Alabama and the Electric Chair

By Derryn E. Moten

This ought to shock you. Seventy-four years after electrocuting its first condemned prisoner in 1927, Alabama is one of the last states in the country to use the electric chair as its sole means of execution. Since that year, the state has put 175 individuals to death. An additional 190 on death row are currently waiting their turn–the seventh highest number of any state in the union.

In the Fall 2001 issue of Alabama Heritage, Derryn E. Moten investigates the gruesome history of electrocution as a form of capital punishment, and he explains the charged controversy that has surrounded the practice in Alabama from the beginning. From the invention of the electric chair by a New York dentist, to a technological rivalry between Thomas Edison and George Westinghouse, to the construction of Alabama’s “Yellow Mama” by a convicted burglar serving sixty years, Moten traces the bizarre course of Alabama’s ultimate form of criminal justice.

Twickenham: Or How Huntsville Came to Share Its History with a London Suburb

By John R. Jordan, Jr.

What’s in a name? In Huntsville’s case, you could start with greed, power, factionalism, and international politics. But that’s just the beginning. In the early nineteenth century, the Tennessee River Valley attracted the attention of many men seeking freedom and fortune. Two of these individuals–a rugged homesteader named John Hunt and a moneyed plantation farmer named LeRoy Pope–would play key roles in the foundation of the area now known as Huntsville. In the Fall 2001 issue of Alabama Heritage, John R. Jordan, Jr., describes the tenacious rivalry between these two men for the rights to own and name the budding settlement. How the town eventually came to be known as Huntsville, rather than Twickenham, as Pope had wished, is a revealing tale of their ugly struggle.

Setting and Composition: The scene portrays a serene rural landscape during either sunrise or sunset. A calm river meanders through the center, reflecting the soft hues of the sky. In the foreground, a wooden watermill stands prominently. Its wheel partially visible, it evokes a sense of history and industry. A quaint wooden bridge leads to the watermill, inviting exploration. Lush green trees adorn both sides of the riverbank, creating a tranquil atmosphere. Mid-ground structures include white and red buildings, possibly homes or barns, nestled amidst fenced pastures. A horse-drawn carriage crosses another bridge over the river, adding movement and life to the scene. The distant background reveals rolling hills, extending the landscape’s expanse. Color Palette and Mood: The warm hues of the sky—hints of orange, pink, and gold—suggest either early morning or late evening light. Softly painted clouds enhance the serene ambiance. Overall, the color palette exudes tranquility and nostalgia. Emotional Impact: The painting invites viewers to pause, appreciate nature’s beauty, and imagine the stories hidden within its idyllic setting. It evokes feelings of peace, simplicity, and a connection to the past. Artistic Technique: The artist skillfully balances realism with a touch of romanticism, capturing both natural details and emotional resonance.
John Hunt, a pioneer squatter, turned north Alabama’s Big Spring- painted here in its early days by William Frye- into a hub for a growing community of independent- minded frontiersmen like him. [Courtesy Warren Rhen, Photography by Robin McDonald]

Places in Peril 2001

By Brandon Brazil and Patrick McIntyre

What is it about historic neighborhoods that gives each one of them its own unique sense of place? Good planning might be the best answer. In the Fall 2001 issue of Alabama Heritage, Brandon Brazil and Patrick McIntyre renew the magazine’s popular annual “Places in Peril” feature, this time turning their focus on the concrete planning and legislation needed to preserve the unique character of Alabama’s historic neighborhoods. “Keeping a historic neighborhood intact does not happen by chance,” they write. “Successful local historic districts depend heavily on a committed and educated historic preservation commission that evenly applies design guidelines to regulate development.”

Their discussion is followed by a review of the state’s most recent additions to the list of endangered historic landmarks. From the commercial encroachment on the elegant Sweetwater Plantation in Florence, to Opelika’s Frederick House, which faces removal or demolition as the result of church expansion, ten new properties are described that now face the threat of loss.

he picture depicts an old, possibly abandoned house. Here are some key features: The house is of traditional design, constructed with wood and featuring a pitched roof. Its white facade shows signs of wear and tear, suggesting age and neglect. Boarded-up windows hint at abandonment or perhaps ongoing renovations. A porch runs along the front, supported by decorative white columns with intricate designs. The grey roof appears relatively well-maintained compared to the rest of the structure. Overgrown bushes in front of the porch add to the sense of neglect. The sky is cloudy but bright, casting soft light on the scene.
The John Glascock House is one of three remaining examples of the Gothic Revival style in Tuscaloosa. [Photograph by Robin McDonald]

Departments

The image features a vibrant green Luna moth (Actias luna) resting on a rough surface, which appears to be either a rock or tree bark. Here are the key details: Luna Moth: The central focus of the image is the Luna moth itself. Its wings are fully spread, showcasing their beautiful, broad shape. The moth’s color is a striking, vivid green. Delicate veining is visible on the wings. Two prominent eyespots adorn the wings, adding to its visual appeal. The moth’s body is small in comparison to its expansive wingspan. Background: The rough texture of the surface contrasts with the moth’s bright color. The background material resembles either a rock or tree bark.
A luna moth on a sweetgum trunk [W. Mike Howell]

Nature Journal

“Luna Moths (And Pheromones)”

By L. J. Davenport

Luna moths do not eat; instead, they spend their single week of life seeking a mate. L.J. Davenport discusses the use of pheromones in the luna moth’s mating cycle.

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