Tag: Mississippi

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Charlotte Capers: “The House”

In addition to their numerous charitable endeavors, the Junior League of Jackson has issued two quite remarkable publications. The first, in 1978, was their landmark Southern Sideboards, a truly luminous work that has since gone through fifteen printings, five of those Southern Living Hall of Fame editions. The recipes in Southern Sideboards altogether comprise nothing less than an exhaustive tutorial for home cooks in the Deep South, and if that weren’t enough also includes a heart-felt introduction by Wyatt Cooper.

Their second, more important work, is Jackson Landmarks (1982) dedicated to the Manship House, one of Jackson’s most beloved architectural treasures. Jackson Landmarks is important not only for the wealth of detail and historical data, but also because Jackson’s urban landscape has changed significantly in the 35 years since its publication, and an estimated 25-30% of these structures are gone.

Jackson Landmarks also includes this essay by Charlotte Capers. Miss Capers was director of the Mississippi Department of Archives & History from 1955-1969, and during that time saved the Old Capitol from destruction and saw to its renovation and establishment as the state historical museum. Miss Capers also oversaw the restoration of the Governor’s Mansion. In addition, Capers was a “world-class raconteur”, a writer (The Capers Papers as well as hundreds of magazine articles and book reviews) a wit and a close friend and companion of Eudora Welty. Charlotte Capers is a significant figure in Mississippi history and deserves a work of equal if not greater thoroughness than the one recently afforded Fannye Cook.

The House

My first opportunity to participate in this book was an invitation to write a brief and breezy history of Jackson.” Well, Jackson goes back to the 1820s and I don’t, so I declined. When I was reminded that I do go back to the 1920s, and what’s a hundred years more or less, I agreed to write a few recollections of my old home at 705 North State Street, as I remember it and as for me it was the heart of Jackson when I was very young.

When I first saw the house it was white, and I was five years old. Therefore, it remains in my memory as white, and only recently I learned that it was not white to begin with, but a darker hue much favored by home owners of the 1890s, when it was built. Perhaps it was buff or brown or gray. It doesn’t matter, except to point out that things are not always what they seem. The house was built by Mr. and Mrs. A. D. Gunning on the corner of North State and George streets. The Cunnings had a large family and must have been much given to hospitality, as the house was plainly built for entertaining. A large reception hall opened into a graceful living room on one side, and a dining room with striking midnight blue wallpaper and painted white paneling on the other. A mirror was built into the ornately carved hall mantelpiece; a central staircase which divided and curved upward from the landing was the architectural focus of the hall. Shining oak floors invited dancing, and of more concern to my mother, suggested more rugs than we had and required a good deal of waxing and polishing.

After the Cunnings, the house was owned by Mr. and Mrs. Arthur C. Crowder. Mr. Crowder was at one time mayor of Jackson; Mrs. Crowder was the former Mattie Robinson Saunders, whose family home was a block away on the corner of North State and Boyd streets. When the Crowders moved to Birmingham, the house was purchased by St. Andrew’s Church as a rectory for my father and his family. Subsequent owners were the Lamon Goings, who had a Studio of the Dance therein, and Mr. and Mrs. Harry Jacobs, who adapted the house for use as a retail outlet for their business, Greenbrook Flowers. The original architecture is essentially unchanged.

As I see the house now, it is big. As I looked at it with five-year-old eyes, it was tremendous. Adorned with every detail and conceit available to admirers of the Victorian style, it had towers, minarets, gables, a scary basement, a cobwebbed attic, cushioned window seats, and wonder of wonders, swinging doors for the dogs. Scaled to fit the family canines, these doors opened at the touch of a muzzle. When I tried to describe them to a contractor for my own house, he was confounded. My dogs have to bark to get in. So everything isn’t more convenient now than it used to be. Ask the dogs. Anyway, when I was a child I saw the house as a fairy-tale castle, and untroubled by the economic realities of maintaining such an establishment, I thought it was a perfect home.

This depends upon your point of view, of course, and I remember Our struggle to keep the house warm in the winter. Beautified by countless windows and French doors, 705 North State was a veritable cave of the winds. The windows called for draperies which we could not afford, so my mother settled for glass curtains. My childhood memories seem to return filtered through yards and yards of filmy material, which let in the light as well as the breezes. Another problem was the coal furnace. Coal was expensive, plus the fact that my father had to stoke the furnace and bring coal to the fireplaces throughout the house. My father solved this problem by rising above aesthetics and installing a pot-bellied stove squarely in the middle of the elegant reception hall. This at least indicates that he put first things first, like not freezing to death. The feature of the house which I remember with most affection, next to the dog doors, was my bathtub. It was splendid, something like a gondola, mounted on iron paws with a stalwart wooden rim. Into its watery vastness could submerge the vicissitudes of childhood, and dream great dreams as they soaked away. When I left that bathtub, and moved to a shorter and stubbier one, my dreams grew shorter and stubbier.

It seems to me that 705 North State Street was a fine place for growing up in Jackson and learning the lay of the land. Around the corner and less than five minutes by skate, foot, or bicycle, was Davis School. The New Capitol was only a few blocks away, and young skaters did not hesitate to skate through the tiled basement floor and admire the Egyptian mummy who was the star of the building. A streetcar track ran in front of the house. When we were very young, we would put two straight pins on the track, spit on them, and wait for the streetcar. As it rumbled past it fused the pins into a charming design of crossed swords. If you wished to travel, the streetcar could deliver you north, south, or west. East was the Pearl River, and the suburbs in that area were not yet developed. As St. Andrew’s was the only Episcopal church in Jackson for a long time, my father’s congregation was scattered all over town and from Clinton on the west to Madison on the north. Sometimes Father would let me ride with him in the family Essex when he went calling, and we covered a lot of territory. The Fairgrounds were within walking distance, as were the downtown picture shows. Beulah, my nurse, took me to the Fair every year on the five dollars my grandmother sent us. This included lunch. When we got home, Beulah became our cook. I should note that Beulah was not my nurse because I was sick, but because I was a child, and nurses were what children had in the 1920s. Nurses were for taking care of children, cooks were for cooking, and so far as I knew, maids had bit parts, like “Your carriage awaits, madam,” in the occasional stage plays which came to the Century Theater.

An interesting thing, at least to me, is the fact that I can remember the telephone numbers of the neighborhood children, I have always had a block in my head about numbers, and now I have trouble remembering my own telephone number. At any rate, to suggest the size Of Jackson in the 1920s, I could get Mary Woodliff at 2628; Winifred Green at 1210; Ann Sullens at 560; and Maude McLean at 247. As Maude’s father was a doctor, we thought we would help his practice, which did not need any help, by making up a jingle for him. It went like this: “If you think you’re going to heaven, call two-four-seven.” I believe you call the Fire Department nowadays, whatever your destination.

The Depression was an exciting time at 705 North State. There were a good many home weddings, as it was more economical to get married in the Rectory than in the home of the bride. Sometimes a drop-in bride and groom, having proven that they were of age and met other canonical requirements long since forgotten, got married in the living room, and if any of my friends were there Father might ask us to be witnesses. This custom ended when Winifred Green and I stood up with a lisping groom, and got the giggles every time he repeated his vows. Mother was good about entertaining, and we had a lot of company. I always had a Hallowe’en party and a birthday party, and during the Depression some of our company often included tramps. Tramps are now known as vagrants or street people, but they amount to the same thing. Our tramps knew the best places for a handout, and occasionally one would make a great impression on my father, who would invite him to spend a few days with us One of our favorites called himself Jiggs, and more than repaid us for our hospitality by his tales of travel and adventure. Jiggs left us wearing my father’s clerical vest, and some months later appeared in a news magazine, photographed in ecclesiastical garb while attending a Tramps’ Convention in Washington. It is interesting to observe that in spite of the real economic hardship of the Depression, I don’t remember it as a bad time. It was in the 1920s that we learned to dance, and perfected our skills later during the Depression at dances in our homes, including the Rectory, to the Dixieland jazz of Joe White and his combo, fifteen to twenty-five dollars for four hours, depending on the number of instruments.

This isn’t much of a “brief and breezy history of Jackson,” but it may recall a certain time in a certain place, both gone forever. North State Street has just about given up the ghost, the town has grown into a city, the city has spread into the suburbs, and sometimes I can’t remember my street address. •sour crowd” had a good time, there was room in our house for friends and my grandparents and my brother and his wife, and even for transients who could tell a tall tale.

Much of what was once “old Jackson” was swept away by commercial development after World War Il, but as this is written, 705 North State Street still stands! (And still does. jly)

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WPA History of Calhoun County

You can find a print resolution of this document in the Mississippi Library Commission’s Online Resources. It is a formidable file, 1.7 G, but I’d encourage everyone with an interest or–as in my case–love for this place, this land, these skies, these people, to download the copy at MLC just to have it. Dennis Murphree’s introduction is a testament of devotion from the heart of a man who loved his home, his people, and the land he grew up in; the rolling, wooded foothills of the Appalachians. They strike a very strong chord in my heart.

A Holy Grail among Calhoun County historians would be the volume provided for “the (Calhoun County) library,” which might possibly be in the Murphree house in Pittsboro.

From the Forward:

“This volume of historical data is one of a series of eighty-two, assembled by the W. P. A. Mississippi Historical Research Project, under the Division of Women’s and Professional Projects, Miss Ethel Payne, Director. In 1935, under the New Deal, funds were allocated to the Works Progress administration for that purpose. The project was set up on a state-wide basis, February 19, 19236, with a unit in each county, and employing about 400 persons of work relief status. The plan was unique in that it provided for the writing of eighty-two county histories instead of one state history. Each volume purports to set forth the background of social, economic, and political history of its respective county.

The original Project Proposal, which has been closely followed, succinctly states the objectives and character of the work: “Historical research and compilation of historic data: Work to consist of (1) searching city, county and official records, (2) interviewing old inhabitants, (3) collecting date, (4) compiling data pertaining to historic, civic and cultural development of locality. Index and condense into handy volumes for educational and reference purposes.

This compiled data will be made a permanent record. One volume of the historical data will be given to the State Department of Archives and History, one volume to the county library, and other volumes to other designated public institutions. Particular consideration will be given to the making of photographs and sketches of public institutions, municipal halls, schools, churches, and all historic sites and places of interest as well as photographs of old portraits of pioneer citizens and famous men and women who have been instrumental in building and developing Mississippi.”

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Dock Bishop

Mississippi politician Dennis Murphree became governor of Mississippi twice on the death of the state’s chief executive while he held the lieutenant governancy, and was governor during the Great Flood of 1927. Murphree was also a newspaperman, editor of The Monitor-Herald, the weekly in his native county of Calhoun, and took a deep interest in its people and their histories.

I reproduce here Murphree’s account of the story of Dock Bishop, a north Mississippi outlaw whose reputation has passed into the romance of legend. In the summer of 2002, deputy marshals from Fort Worth made a 12-hour journey from Texas and replaced the brick inscribed “WISE” in the Sarepta cemetery with a proper tombstone for their fellow officer. The ceremony was well-attended by the good people of Calhoun County.

The Hanging of Dock Bishop
by Dennis Murphree

The Monitor-Herald, Calhoun City, Calhoun Co., MS, Thursday, April 9, 1942 

A few days ago the newspapers of the nation carried the thrilling story of how the FBI or “G” men had surrounded the Number One Bad Man of the United States, Charles Chapman, over in Neshoba County, Mississippi, and called on him to surrender. When he refused the demand and opened fire these representatives of the law promptly sent him to his death with eighteen bullet holes in his body. For years, it is said, Chapman had slipped in and out of this, his home community, being shielded from the law by friends and kinsfolks, while members of the FBI kept relentlessly on his trail until they finally cornered him and sent him to his death.

Pondering this grim story and talking with friends who had first-hand and personal information about its stark details, there came from time to time back to my mind the story of Calhoun County’s All-time Bad Man, and his gruesome end. This is a story which was fresh in the minds of all Calhoun County folks in my earliest boyhood days, and the details were so thoroughly implanted in my fresh young mind in those days that I have never forgotten. One day this week, I was gratified indeed to have a personal visit from my lifetime friend, Uncle Bill Yancy, 87 year old citizen of Sarpeta, and talking over these things with him and having him refresh my mind on various points, I decided I would endeavor to write this story for Calhoun County folks, all of whom have heard of it, and many of whom perhaps will find it of interest.

Nearly sixty years ago, up in the high hills of Northeast Calhoun County and along the line of Lafayette, there lived the characters of this story among a people who were honest, sincere, hardworking, mostly god fearing, and all in all the kind and type of folks who are even yet the very backbone and sinew of good citizenship of our land today. The blight of the four years of Civil War still lay heavy on the land. Times were hard, money was scarce, opportunity was lacking and yet these people made the best of what they had, and enjoyed life as best they might. There was a dance one night in the home of a good citizen who lived Northeast of Sarepta, with a fiddle and a banjo, and a man to “beat the straws,” in a big old log house, with a huge fire place, in which blazed a big fire of hickory logs and fat pine knots. It was the old-fashioned square dance. “All hands up and circle left,” “right hands across and left hands back,” ladies do see and gents you know,” “swing your partner and promenade.”

Ab Kelly was quite a character. Big and strong, a fine fellow when sober, but given to being quarrelsome and overbearing when under the influence of the brand of “wildcat” liquor, which was at that time a rather plentiful product on Cowpen and Potlockany. Ab was at the dance, more or less looking for trouble. Dock Bishop was there too. He was a man of striking appearance. More than six feet tall, coal black hair and eyes, handsome face, fine personality, Dock with his impressive personality, made many friends easily. Always he was a favorite with members of the fair sex.

On this night, Dock was having a fine time, dancing with one of the most beautiful girls present. Round and round he went, keeping perfect time, his polished boots seeming to tap most lightly as he lifted his beautiful partner to the strains of “Soldier’s Joy” and the “Eighth of January.” Somehow the sight of Dock Bishop having such a good time jarred on Ab Kelly’s vision. Somehow, Ab resented it. So, when Dock swung by with his partner on his arm, Kelly deliberately spat a brown stream of tobacco juice on Dock Bishop’s polished boot. Dock looked Kelly in the eye, half stopped, but decided to let the insult pass. Round he came again, and this time Kelly spat a big shot of tobacco juice on Bishop’s new jean trousers.

This was entirely too much. An invitation to go outside, a wild melee in which others joined, and in a few moments, Kelly was flat on the ground with a pistol bullet through his shoulder, and there was the beginning of a feud which smoldered as messages passed back and forth between the principals and with friends on both sides being slowly drawn into the affair. Months passed and finally in the little town of Dallas, two miles north of the Calhoun-Lafayette County line, the long smoldering feud burst into full blaze when principals and friends on both sides met and engaged in a general battle and shooting scrape, in which it is said that Dock Bishop, always a crack shot with a pistol, shot and killed two men whose name was Harmon and shot through the mouth another man who was present. This was too much, and immediately the officers of the law began a manhunt for Dock Bishop, and for two or three other men who were his kinsmen and friends charged as accessories to the crimes.

But Dock Bishop, like Charles Chapman, had many friends, many kinspeople scattered throughout the area from Yoccona to Scoona Rivers. It was not easy to catch him. Over a period of several months, he roamed the territory accompanied by his friends, staying a night with one kinsman, a week with another, moving as the word was brought to him of efforts being made to apprehend him. I do not remember whether or not a reward was offered for their capture. Evidently there must have been.

Anyway, down in the Robbs neighborhood in Pontotoc County and the Paris neighborhood in Calhoun County, each bordering the Calhoun-Pontotoc line, there appeared a man named Wise, from Texas, who claimed to be a cow buyer or cattle man and who made it his business to try to locate Dock Bishop and his associates. In reality, Wise was a famous detective, and he felt that he was outwitting these bad men thoroughly. But he was badly wrong, and he paid for his error with his life. Wise made friends with a member of the Bishop crowd, and agreed to reward this man if the man would direct him to Bishop’s hideout. All plans were made, and it was agreed that on a certain night, the accomplice would go on ahead of Wise and from time to time drop pieces of torn newspaper in the road so that Wise might follow and take the outlaws in their nest.

Jim Bishop was the man who promised to lead Wise to the outlaw den. It was the theory of the state in the prosecution of Dock Bishop that Jim Bishop was a tool and accomplice of Dock Bishop and that instead of leading Wise to the place where he might arrest Dock Bishop and the others, he betrayed Wise and led him to his death.  Whatever is the truth about this, there can be no doubt but that Wise on a starlight night followed what he thought was a certain trail to catch the outlaws.

As a boy I saw the place where Wise was murdered. A narrow country road winding along the ridges and slopes of the red hills some five miles southeast of Sarepta in Calhoun county, and only a little way from the Pontotoc County line, came at one point between two huge white oaks trees, neither tree being more than ten feet from the road bed. It was down this road came Detective Wise on that starlight night way back in 1884, looking from time to time for the piece of newspaper scattered along the road. Neighbors who lived in hearing distance swore on the witness stand that suddenly there rang out on the still night air several gunshots and then there was silence again. The story is that when Wise walked down the road and just as he reached the two huge trees a signal was sounded and from shotguns and pistols a stream of bullets and buckshot poured into his body killing him instantly. Wise was missing several days before the countryside was aroused. But aroused it became when the story of the shots and his disappearance became known.

Posses were formed and a widespread search of the countryside was made. Combing the woods and the entire country, one member of this searching party, riding horseback through the woods, noticed as his horse stepped across a fallen log, a piece of bright red clay lying there. A clod of red clay lying by itself there in the deep woods aroused his suspicions. He got down off his horse and tied him to a nearby bush. Then he went and got down on his knees and began to remove the leaves, pine straw and other debris which covered the spot. It was a matter of a moment to determine that the earth had been disturbed there and recently. He notified other members of the posse and soon with shovels they began to remove the earth. Buried almost under the huge fallen log in a shallow grave not more than two feet deep, they found the bullet torn and mangled body of Detective Wise, and as you can very well imagine, excitement flared to a crescendo. Word went by telegraph back to Texas and within a short period there appeared on the scene grim and determined relatives of the dead man bent on seeing to it that the murderers of Detective Wise should be speedily brought to justice.

The shocking crime was too much for even the friends of Bishop and his associates. No more could they find shelter and safety in the home of people in that country. No more could they roam scot free. Public indignation mounted to such extent that realizing they could no longer escape, Bishop and one or two others went to Oxford and surrendered themselves all the while bitterly denying the murder of Wise. Money was not lacking to defend Dock Bishop and so there was employed as his legal counsel, the Hon. Hamp Sullivan of Oxford, one of the greatest criminal lawyers of his day and age.

Representing the State of Mississippi as District Attorney was the Hon. Ira D. Ogglesby, reputedly one of the ugliest men in personal appearance ever known in that country, but at the same time, one of the brightest and shrewdest prosecuting attorneys that section has known. From the very outstart, it was a battle of giants. Sullivan, with all his vast legal knowledge and great ability, took advantage of every legal technicality, every loophole, every possible avenue to save and acquit his clients. Ogglesby on the other hand backed by the majority of the law as well as public opinion, met his adversary on every point and maneuver.

Bishop was tried first. He was the chief object of the state’s attack. He was the acknowledged leader of the gang. Back and forth the battled raged, with each prospective juror being scrutinized and put under the legal microscope. Many were challenged and set aside. Those finally chosen were seated only after a barrage of questions seeking in every way and manner to determine their leanings or opinions. For days on end Ogglesby put on the stand an array of witnesses linking one to the other certain facts which all together would irrevocably damn and convict the accused Dock Bishop. Then for days, Sullivan threw forward an array of men and women whose testimony he hoped would raise a doubt as to Dock Bishop’s guilt. In the end, after many hours of deliberation, the jury filed back into a tense and crowded courtroom with a unanimous verdict of “guilty as charged.”

Standing cool, calm, and unruffled in the court’s presence, Dock Bishop declined to make any statement as to why the sentence should not be pronounced and heard the Judge sentence him to be “hanged by the neck until your are dead, dead, dead, and may the Lord have mercy on your soul.” Then followed many months of waiting while Mr. Sullivan appealed to the Supreme Court and finally that high court said: “The case against Dock Bishop is affirmed,” and set the date on which he should die. Friday, the fourth day of July, 1886, was the awful day on which Dock Bishop was slated to pay with his life for his crime.

Bright, hot sunshine fell upon the untold thousands of men, women, and children, who on horseback, on foot, in mule and ox wagons and all other kinds of transportation then in existence, wended their way toward Pittsboro, the county seat of Calhoun “to see Dock Bishop hung.” The Board of Supervisors had made arrangements to have the hanging in public. They had selected a valley two miles west of Pittsboro on the old Pittsboro and Big Creek road as the site. It was a natural amphitheater, at the head of a little hollow where on three sides the earth sloped down to the little valley and under the fine trees that covered these hillsides, thousands upon thousands of people from all over Calhoun, Pontotoc, Lafayette, and Yalobusha Counties gathered in restrained silence, waiting, watching for the dread event. A gallows of huge square timbers had been built there, and from the cross beam several feet above the hinged trap door there hung a brand new grass rope, already coiled ready for the fatal knot.

As the appointed hour drew nigh, there was a buzz from the crowd, and coming slowly down the winding country road, there was a wagon with spring seats on which sat the sheriff and his deputies, one on each side of the prisoner. In the back of the wagon, partly covered by a quilt, was the black draped coffin inside of which the body of the prisoner was soon to rest. Scott Hardin, a good man and true, was sheriff of Calhoun County. He led the way up the steps of the scaffold and the prisoner followed.

Dock Bishop stood on the gallows and looked over the great crowd assembled. There was the stillness of death over all. Pale from his long days in jail, Bishop was yet a fine looking man in the very prime of his life. A minister prayed for the forgiveness of all sins, and especially for the soul of the condemned man. Then Dock Bishop was offered the opportunity to speak for the last time on earth, and stepped forward. There was not a tremor in his voice. There was no hint of a breakdown. Calmly and with deliberation, Dock Bishop expressed his thanks to those who had befriended him; he told of how he held no malice against him nor against those officers of the law at whose hands he must suffer his life. With almost his last breath, he finished his statement by declaring that he was innocent of the death of Wise, at the same time admitting that he had killed a man in Alabama.

Not a muscle in his fine body quivered as Dock Bishop stepped on the fatal trap. The black cap was swiftly slipped over his face, and then the peculiarly tied hangman’s knot was adjusted so that it would break his neck when he fell. There was a long drawn sigh from the assembled thousands, and then Sheriff Hardin swiftly raised his hatchet and struck the rope which was so tightly stretched across the block, but not striking with the full blade, severing all strands in two save one, and the Sheriff found it necessary to make the second stroke. The trap door fell with a bang and Dock Bishop’s body shot through the hole, jerked tight on the end of the rope several feet below. There was the sound of a sharp crack as the bones of neck snapped, and swinging slowly in the ghastly circle, Dock Bishop’s body “hung by the neck until he was dead, dead, DEAD.”

When his body was finally cut down, and placed in the coffin, there stepped up to the sheriff a comely woman, who made request that she be given the rope which had taken Bishop’s life. “I was the wife of Detective W.A. Wise,” she said, and these men are my brothers.” She was given the rope, and took it back to her home in Texas.

I was born on January 6, 1886. Dock Bishop was hung on July 4, of that same year. (NOTE: July 4, 1886 was a Sunday, which casts doubts upon this being the actual date of the hanging.) I was, therefore, only six months old, and the things I tell you are, of course, only those that were told to me when I was a little boy. But I have never forgotten them, and there are many, many people yet living in Calhoun County today who will remember as I have this terrible tragedy and its shocking sequel. Jim Bishop was finally found not guilty. Bob Lamar, another one of those implicated, was kept in jail for months and years and finally the case against him was nolle prossed. W.A. Wise’s body lies today in the old cemetery at Sarepta far from those who loved him, while Bishop was buried I know not were.

And so ends the story of the man who in his day was Calhoun County’s “Charles Chapman” while “time marches on.”

Dock Bishop (b. 27 Oct. 1857, Marion County, Alabama) was buried in the Collums Cemetery, which is some 8 mi. northeast of Bruce, Mississippi.

 

Tom  Freeland, Oxford historian, added this postscript in August, 2014:

The article is correct about outlawry in that area. Not quite 20 years later, two federal marshals went to a house east of Yocona and north of Dallas (but nearby– outskirts of what is now Tula) to arrest a counterfeiter/parole violater. He talked them in to staying for the dinner just put on the table, and the arrestee and another shot the marshals through a window (at the trial, the coroner testified that marshalls had cornbread in their throats at death. In Greek mythology, those who killed dinner guests had gruesome eternities). They were later brought back to town, and James Stone (Phil Stone’s father) and his law partner as special prosecutors held an inquest by torchlight, largely to try to make clear to the crowd justice would be done. Later, both murderers were sentenced to hang, after a trial in which W.V. Sullivan (who had been a senator in the interim, and who was NOT a favorite of the Stones) defended the ringleader. When he was sentenced, he asked to be hung seperately than his cofelon, who was black. The judge pronounced sentence, stating that it “is not a social occasion,” that they were to be hung together. They were.

The ringleader wrote a confession which was published and sold at the hanging (I have a copy), there are pictures of them being taken from the jail in a wagon on the Square. Dept of odd coincidences; There’s an account of the day of the hanging in Blotner’s bio of Faulkner, because that was also the day 6-year old Billy Falkner moved to Oxford with his family. A few years later, James Stone bought Sullivan’s law office, where I am seated at this moment. A few years ago, an elderly client, since deceased (who gave me an original of the confession from which I got my copy) told me that she was related to the murderer, and that a cousin out in the county still has a trunk with mementos of the incident, including the window curtains with bullet holes in them. She would not tell me who it was because the family is still VERY private about this lore.

Further aside: There are not too many instances of double murders of US Marshalls in the history of the marshall service. This one is still remembered in their histories.

This is the entry on Wise from the “Officer Down Memorial Page,” (www.odmp.org) The a non-profit organization dedicated to honoring America’s fallen law enforcement officers..

Marshal Wise was shot and killed in Oxford, Mississippi, while working undercover in an attempt to apprehend two men who were wanted for murder in Texas. Marshal Wise had first gone to Oxford to return a prisoner to the local sheriff. While in town the Sheriff requested Marshal Wise’s assistance to capture the two men. Marshal Wise returned to Fort Worth where he was given permission by the City Marshal to return to Oxford to help with the investigation.

Upon his return to Mississippi, Marshal Wise disguised himself as a cattle buyer and made contact with a man close to the suspects. The man agreed to help Marshal Wise in exchange for part of the reward money. Marshal Wise devised a plan to drug the suspects with tainted whiskey and then take them into custody. The informant, however, betrayed Marshal Wise and informed the suspects of the plan. As Marshal Wise approached the home the suspects ambushed him on the roadway, shooting him with a shotgun and pistol.

The suspects buried his body on the side of the road where it was located the next day by a search team. Three suspects were eventually apprehended and sentenced to death. Two of the sentences were overturned but the third man was hung in Pittsboro, Mississippi, on July 3, 1886.

Marshal Wise had been with the agency for 18 months and was survived by his wife. He is buried in Sarepta Cemetery in Sarepta, Mississippi.

 

The following letter comes from a descendant of the Bishop family in the tri-corner area of Calhoun-Lafayette-Pontotoc in Mississippi. It was written by Dock Bishop, who was convicted for the killing of a federal marshal and hanged on July 4, 1886. The circumstances of the crime and the atmosphere of the time and place were such that Bishop passed from outlawry into legend, and his story became a fireside tale in the area for generations. The narrative is uneven and at times unintelligible, but those are likely for the most part due to my errors as a transcriber, and a sentence may be missing, since this is a poor copy of the original.

A few things to note are, first, the date, which Bishop gives as Oct. the __ 1850, cannot be correct, since Bishop murdered Detective Wise October 2, 1884. Why Bishop gave this date is unaccountable, but duress likely played a factor. The handwriting is in Spencerian script, a Copperplate-based style, widely used from approximately 1850 to 1925, the American de facto standard writing style for most correspondence prior to the typewriter. The use of this script, along with somewhat good—if uneven—spelling indicates some degree of education. The use of “verrie” for “very” is likely due to a familiarity with older versions of the King James Bible, composed when that variant was still in use. The letter does not mention his two co-defendants in the crime(s), Jim Bishop and Bob Lamar, but a certain G.D. comes in for condemnation, and the wording hints that Dock is trying to put the finger on him.

Finally, it seems to be that Dock signs the letter “Jeff Bishop,” and it seems reasonable to assume that Jeff/Jefferson may well have been Bishop’s actual given name.

Oxford, Miss
Oct. the ___ 1850

Mr. Bill Bishop

My dear cousin, with pleasure I write you this leaves me well and hope this will find you and all the counsel. The same I wrote has as soon as I got back from Pittsboro tho have not heard from him, yet I will not have my trial the 26 of this month for the judge has called in his court and now I will have to say here until March. I think that my case will be misprocessed here and then they will send me to Coffeeville. I fear though I hope that I can stay here where I can be with my friends. I have not seen my counsel in time time cousin I am so troubled now I have a letter from my sister and ma is dead and it is verrie grievous to me to hear

I get my trial and want you to find out all you can for me so I still have no trouble when the time comes for my trial I want you all to write me for I am glad to hear from you all tell Jim that I want him to come to me soon would be glad to read a letter from him and learn all the news. I have been expecting some of you up for some time. I want you to bring me a bushel of potatoes when you come. I hear from my wife each week she is well and in good heart about my cast and has no fears but what I will come home when I have my trial she has some good evidence for me since court. Cousin, I want you to not forget to go to see

I will take it as a favor if you all will do this much for you and you shall never lose anything by it in the future. Give my love to Cousin Mallie and kiss the little ones for me. Tell them I will send them my picture when I go out to court so I can get one taken for them. Tell my little cousin that I got those peaches she sent me while I was at Pittsboro. Would be glad if you could bring them all with you at court here to see me. Tell Hal I don’t think that he has treated me right by not evidencing my card. Cousin, I have a heap to tell you when I have a chance. Tell Henry to not think hard of me for not writing him for I have so much writing to do. I want you all to come around to see me when you can at

Pittsboro this month that I think that I can demand a trial at any time and they are bound to give it to me if my liberties is debared on account of that case being against me there I want you to do all you can here on this case for I think that Jim will be present in his trial in this court and get up all you can in regards to evidence. Let me hear from you as soon as you get this with the news in the community. I hear that G.D. ed was gone and I think he is ashamed of himself and can not stand to face everybody that ever knew him after surviving such lies as he did. He is 8 miles (about) Pontotoc near Cedar Grove. I am your true cousin with love to all the connections.

Jeff Bishop

And, finally, we have “The Ballad of Dock Bishop,” written by Dottie Moore of Pontotoc County, which is justly more about Texas lawman William Wise than Doc Bishop. What a Ft. Worth detective was doing in Calhoun County then is complicated—and ambiguous—even when detailed in Selcer and Foster’s Written in Blood: The History of Fort Worth’s Fallen Lawmen, Volume 1, 1861-1909, but his murder initiated a reinstatement of justice in an area scoured by war. Bishop was hanged on July 3, 1886, “the first white man legally hanged in the state of Mississippi since the Civil War”. Selcer says that this ballad is a “variation on the more famous ‘Ballad of Sam Bass’ and ‘Ballad of Jesse James’”. He also notes that the ballad was frequently sung—to an unknown tune—at folk gatherings for over fifty years.

When I lie down at night to rest
And slumber deep steals o’er me,
As I close my heavy eyes in sleep,
Dark visions pass before me.

I see a calm still moonlight night,
No breath of air is stirring;
No sound the silence breaks, except
The wings of insects whirring.

I see a forest deep and dark,
A man walks through it quickly,
Now in the shade, now in the light
Where the dark leaves mingle thickly.

A man with soft, brown, shining eyes,
And gold brown hair o’er lying,
And daring courage on his face,
On his own strength relying.

He treads the darksome forest through,
Where outlaws lie in hiding,
No fearful thought in his strong heart,
The thought of fear, deriding.

He is a bold, true officer
Attending to his duty,
No thought he gives to nature bright,
Nor the night’s calm, holy beauty.

He follows scraps of paper thrown
Into the path before him,
By one in whom his trust he placed
Who threw a glamour o’er him.

He’s walking swiftly to his doom,
But alas! He does not know it;
He sees naught of the danger there,
Oh, God! If thou would show it!

A little distance on ahead
Are two oak trees, o’er bending,
Behind which two cold hearted men
Evil faced are standing.

Crouched, with weapons cocked in hand,
Awaiting for his coming,
They make no sound to warn their prey
Of the awful risk he’s running.

He’s nearer, he’s almost in their hands,
Will nothing now delay him
From those who plotted, worked and planned
To murder and betray him?

Ah! No, for now he steps along
In the path marked out before him;
He sees the fiendish daces not,
No sense of fear steals o’er him.

Another step, Great God! A shot!
Of oaths and groan a medley;
Another shot! And the ground around
With his lifeblood, gleams redly.

“Tis done, a noble soul is sent
to the land of Heavenly Glory;
a brave detective low is laid
by hands all red and gory.

O, Heavenly Father, pity her,
Whose heart will now be broken,
Grant her in mercy, from thy throne,
Some sweet, peace-giving token.

Help her to bear the awful blow,
Her heart with thy grace cover;
She, in the far off “Lone Star” state,
Awaits her husband lover.

Be thou a friend to this fair child,
As much as to the mother,
Oh, Father of the fatherless,
Than Thee, they have no other.

The murderers, here, may still go free,
By lawyers shrewd, defended,
Free in this world, but yet the next,
Shall see their triumph – ended.
–Dottie Moore

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Sarepta

Sarepta was originally called Zarephath, meaning “a workshop for the refining and smelting of metals.” It was a small Phoenician town, near present-day Surafend (or Sarafend), about a mile from the Mediterranean coast, almost midway on the road between Tyre and Sidon. It is mentioned for the first time in the voyage of an Egyptian in the fourteenth century B.C. Sennacherib captured it in 701 B.C. (Schrader, “Die Keilinschriften und das Alte Testament”, 1883, pp. 200 and 288).

Despite its relative insignificance, Sarepta has the distinction of being named in both the Old Testament and the New. We learn from I Kings, 7:8-24, that it was subject to Sidon in the time of Achab and that the Prophet Elias, after having multiplied the meal and oil of a poor woman, raised her son from the dead. The charity of this widow was recalled by Christ (Luke 4:26). It was probably near this place that Christ cured the daughter of the Chanaanite or Syro-Phoenician woman whose faith He praised (Mark 7:24-30).

Sarepta is mentioned also by Josephus (“Ant. jud.”, VIII, xiii, 2); Pliny (Hist. natur., V, 17); the “Itinerarium Burdigalense; the “Onomasticon” of Eusebius and St. Jerome; by Theodosius and Pseudo-Antoninus who, in the sixth century calls it a small town, but very Christian (Geyer, “Intinera hierosolymitana”, Vienna, 1898, 18, 147, 150). It contained at that time a church dedicated to St. Elias. The “Notitia episcopatuum” of Antioch in the sixth century speaks of Sarepta as a suffragan see of Tyre (Echos d’Orient, X, 145); none of its bishops are known.

Some titular Latin bishops are mentioned after 1346 (Eubel, “Hierarchia catholica medii aevi”, I, 457; II, 253; III, 310; “Revue benedictine”, XXI, 281, 345-53, 353-65; XXIV, 72). In 1185, the “Green Monk” Phocas (De locis sanctis, 7) found the town almost in its ancient condition; a century later, according to Burchard, it was in ruins and contained only seven or eight houses (Descriptio Terrae sanctae, II, 9).

Sarepta was erected into a bishopric by the Crusaders, who raised a chapel over the reputed spot where Elijah restored the widow’s child. In the twelfth century it seems to have been a fortified city with a port and some stately buildings. Today, Sarepta is known as Khirbet Sarfend, between Tyre and Sidon, on the seashore; the ruins show that the town extended 1800 metres north and south, but that it was not very wide.

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Mrs. Downing’s Children’s Garden

Edith Downing’s kindergarten was at 901 Poplar Boulevard, on the corner with North Jefferson Street.

Mrs. Downing’s husband, James Downing, was an executive with the Mississippi State Banking Department. A native of Lima, Ohio, Mrs. Downing attended the public schools there, Lutheran College, and graduated from Ohio Northern University. Later she took special musical instruction in Aberystwith, Wales, and in London. She was in charge of the music department of the Mississippi Institute, French Camp when she met and married James Young Downing. The couple moved to Jackson in 1912.

The Downings moved to 901 Poplar in the very early Fifties, and opened the kindergarten in 1951 or ’52. She and two other teachers, Catherine Lefoldt and Martha Taylor, held classes in a long, low building on the south side of the lot with a playground in between. The school building was a little shotgun with an “L” at the end with a one-way mirror where parents could watch their children at play.

 

As in all schools, everyone loved recess and the big green wooden jungle gym in the middle of the playground was a focal point for games. The May Day celebration featured a May Pole dance. The girls wore pressed, and probably starched, dresses every day. Students were often given worksheets, and stars were given for correct results. There were many “hands on” games where the children would begin an activity then move on to others in a planned order to stimulate their learning. A child’s birthday was celebrated with a party and he or she was told to throw pennies in a bucket to tell how old they were. Sometimes Mrs. Downing would split the double popsicles she served for sharing. Students also took turns churning cream in a wooden butter churn.

The kindergarten was warm and welcoming place, the teachers kind and attentive, and many of its far-flung graduates have remained close friends throughout the past 60 plus years.

 

Class of 1956-57: Bob Biggs, Graham Blue, Bill Brockman, Eddy Butler, Rick Carter, David Chapple, Laura Neal Dear, David Denny, Miriam Dickson, Kay Eisenstatt, Bruce Evans, Frank Ezelle, Karen Ezelle, Patty Farlee, Betsy Finger, Betsy Gordin, Lee Gotthelf, Gary Grant, Susan Haynes, Sarah Hendrix, Janice Hines, Bill Hollingsworth, Pam Howie, Jane Hutto, Sandra Jackson, Bob Lawrence, Harry Kirshman, Dudley Marble, Linde Mitchell, Joe Morris, Alan Orkin, Marianne Painter, George Reynolds, Roseanne Solomon, Ethel Louise Seay, Sally Sherman, Rusty Shields, Ely Siegal, Sue Stevens, John Studdard, Lynn Thomason, Tommy Underwood, Kathryn Weir, Willie Wiener, Robert Whitfield, Lina Yates, Yandell Wideman

(Contributors to this article include Bill and Nan Harvey, Cecile Walsh Wardlaw, Tish Hughes, Sally Brown, Patsy Shappley, Susan McRae Shanor, Michelle Hudson, Karen Ezelle Redhead, Susan Shands Jones, July Lane Douglass and Cindy Callender Fox, Annie Laurie McRee, Dr. Richard Pharr, Bill and Martha Mitchell Brockman.)

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Farish: Jackson’s Dead End Street

After over forty years and $25 million, the prospect of transforming Farish Street into an urban oasis of bright lights, great food and memorable music has lost its luster.

In January 1980, a month before Farish Street was listed on the National Register of Historic Places, the city of Jackson launched plans to revive the area by making a contract with the National Business League for a $200,000 revitalization study. The contract as well as the cost of its extension a year later (an additional $34,000), was paid out of a Community Development Block Grant (CDBG) from the U.S. Department of Housing and Urban Development. The result of this study was the city’s ambitious 1984 Farish Street Revitalization Plan, which proposed to restore commercial and cultural activity in the district by enforcing codes, upgrading the infrastructure, improving housing and constructing a park between Farish and Mill streets. These improvements were to take place over a five-year period, but by 1989, the effort had failed; businesses had not moved into the area, crime was rampant and what housing existed was substandard.

But the revitalization of Farish Street retained its glamour, and in 1999, by far the largest infusion of money came from the State of Mississippi and Fannie Mae, $6 million from each. This money went to upgrade the infrastructure of the historic district, which began in 2002, the same year the city signed a contract with Performa Real Estate to develop the area at an estimated cost of $20 million. Six years later, Performa left the city after a bitter imbroglio with Mayor Frank Melton.

*(Community Development Block Grant – HUD)
(Not included in this document are amounts for donations of real estate (e.g.: from state of Mississippi; donation of Alamo from Sunburst Bank), funding for the Smith-Robertson Museum and contract fees paid to Performa Entertainment and subsequent developers, among other costs.)
1) Hester, Lea Ann. “City expected to extend study of Farish Street.” The Clarion-Ledger 19 October 1981: 1B. Print.
2) Ibid.
3) Hester, Lea Ann. “Farish: Older than thought?” The Clarion-Ledger 23 July 1801: 1B. Print.
4) Scruggs, Afi-Odelia E. “Development plan fails to revitalize Farish Street.” The Clarion-Ledger 10 December 1989: 1A. Print.
5) Ibid.
6) Simmons, Grace. “Farish Street consultants to share info.” The Clarion-Ledger 9 October 1993: (no page cited)
7) Gates, Jimmie. “Renovation closer for Farish Street’s Alamo Theatre.” The Clarion-Ledger 22 November 1995: (no page cited)
8) Harris, Barbara. The Jackson Advocate. “Farish Street Historic District gets infusion of national, state funding.” 7 March 1996: 1A. Print.
9) Ibid.
10) Fleming, Eric. “Farish Street renovation under way.” The Mississippi Link. 26 March 1998. 1A: Print.
11) Henderson, Monique H. “Draft document targets Farish St. Historic District:12M allotted for development of district.” The Clarion-Ledger. 27 April 1999. 1B Print.
12) Ibid.
13) Mayer, Greg. “$1.5M grant going to Farish Street.” The Clarion-Ledger. 22 March 2001. 1B: Print.
14) Ibid.
15) _______. “Black museum receives grant.” The Picayune Item. 12 January 2000. (no page cited)
16) Mitchell, Jerry. “$2M-plus in grants awarded to state civil rights sites.” (“$210,000 will help stabilize the foundation and repair the Medgar Evers House Museum in Jackson.”) The Clarion-Ledger. 3 August 2011. (no page cited)

Prospective investors have been discouraged by the unaccountability of financed development in the area, particularly by the Farish Street Historic District Neighborhood Foundation, the steering organization for the revitalization project, which was founded in 1980, moved to the Office of City Planning in 1995 and disappeared (along with its documentation) in 2006. The ensuing decade brought diminishing appeals for Farish revitalization, and in 2015, Mayor Tony Yarber, faced with what was to become a chronic city-wide breakdown of essential infrastructure, stated in 2015 that the project was “on the back burner”.

Once considered the keystone project towards the revitalization of decaying downtown Jackson, Farish Street has instead become a byword for boondoggle and corruption as well as a forlorn Potemkin village in the heart of the city.

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Ars Voces: Anthony DiFatta – A Precarious Balance

I call myself a painter; I paint, so I’m a painter. A teacher of mine, William Baggett, said, “Too many students call themselves artists, and they’re not artists; they’re students.” That stuck with me. I’m still learning, so I’m a student too, and I never want to get past that.

At USM, Jim Meade became my mentor. Meade steered us towards the formality of composition. He would talk about the Golden Mean, the Golden Rectangle, the Fibonacci sequence, and how all those tied into aesthetics. We would draw forms and divide them up, explore the geometry of formats just to get us geared into recognizing that this is the way things can be arranged so that your brain knows it’s there, even though it’s not drawn out. It was so boring! I often thought to myself, ‘What am I doing? I came here to become a good artist and to find something that nobody’s ever done before and become famous; that’s why I’m here!’ But it ended up becoming a completely different experience.

The first class I took I failed. The teacher said that I could render things okay, but that I didn’t know anything about drawing. At that point I realized that I either had to dump all my preconceived ideas about art and begin learning, or I’d have to find something else to do, and there was nothing else I wanted to do. I’d just gotten out of the military, I was 24, one of the “old guys” in the class. And these young kids were, well, drawing circles around me. I had to humble myself, tell myself that I had to learn, and if I want to discard it, I’d discard it. So we did gesture drawing, weight drawing, blind contour, taking the works of Renaissance painters, placing tracing paper on top and finding how they lined up their compositions, learning from masters of their art. When we were given more freedom to start making decisions, form was so ingrained it was natural. We didn’t even have to think about it. Then Jim came up with a great phrase, which I attribute to him because I’ve never heard anyone else use it except myself, but he called it cultivated intuition. You cultivate a visual idea so much that it becomes intuitive.

Meade would also tell me not to worry about coming out with my own style. He told me that style is either going to happen or it’s not; it’s going to be you coming out. He would tell me, “Miles Davis didn’t get a trumpet and start writing his own music and improvising; he learned the notes, he played the scales, he did the boring stuff over and over and over. Once he got good at the boring stuff, then he played other people’s music. Then, when he became proficient in other people’s music, people he admired, he took all those things and was able to push it further out than it had ever been pushed before.” That made complete sense to me. I wasn’t in college to make paintings, I wasn’t studying art to make paintings; I was studying to learn how to paint, the paintings would come later.

Visual strength is seeing something that connects deeper than ‘Wow, that’s a pretty horse in that painting.’ Or ‘That painting looks just like a photograph.’ It might be a great painting that looks just like a photograph, or it might be a shitty painting that looks like a photograph; but the fact that it looks like a photograph is irrelevant. It could simply consist of a few squiggly lines in the right place and it would be charged. Dali’s work is cool and interesting and psychological, but it relies so heavily on the subject matter being shocking that it’s a matter of diminishing returns: the more often you see his work it doesn’t grab you like it did the first time. I’m not sure if what he was doing defeated his purpose visually. Van Gogh’s Chair is powerful on both levels. I think good art engages with precariousness in balance between the linear composition and the color; you want unity, but you don’t want so much unity that it’s boring. You have to have some contrast. I guess I’ve allowed for this chaos and order by allowing all the chaos and accidental stuff to happen at first, so I’ve got to put it together. I don’t want to take away that spontaneity, but I want it to eventually look like a flat piece of art with everything fitting within the frame.

Every art professor in the world would probably cringe to hear someone say this, but art is something that you hang on your wall and you look at every day. If people didn’t have art hanging on their walls, then artists wouldn’t exist. I have a painting by Ellen Langford that see every day, and every time I look at it, it re-engages me. And I notice something different about it; either I’ll look at it formally, at the composition, the way she treats the negative space between the trees and around the house, or I’ll look at the expressions on the faces and see the animals in there. There’s a lot going on, but at the same time it’s simple; it’s got this juxtaposition, this push/pull, so what jumps out at me most often is what’s farthest  away. Arnheim talks about this in his book, about flattening the space by making what’s farthest away in the painting come forward.

Even in my non-representational pieces, I’m very much concerned with the negative space and the picture plane. If everything doesn’t look like it belongs there, if everything doesn’t relate to that flat surface, then it doesn’t work. I try to put a sort of weird overlapping depth in there, but it also has to be flattened. So you’re tricking the minds of your viewers with this push/pull going on; it’s a visual element I use to re-engage the viewer. When people say ‘This artist is so talented,’ it’s almost an insult to the hard work it takes to be decent at something. That’s also what’s exciting about it. My work has continued to change and evolve, and I still learn things. They can refer to me as an artist when I’m good.

Anthony DiFatta, self-portrait