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20,000 percussion caps, as well as the four bronze cannon of Totten's battery. Long arms in the Arsenal's inventory consisted of: M1822.69 cal (flintlock) 5,625 M1822.69 cal (percussion-converted | [
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) 53 M1842.69 cal smoothbore (percussion) 357 M1855.58 cal rifle-muskets 900 M1817 common rifles 125 M1841 rifle ("Mississippi Rifle") 54 M1847 mus | [
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ketoon 2 Hall's carbines 267 Hall's rifles (flintlock) 2,864 Total 10,247 Of this number, approximately 9600 weapons were serviceable, or ready-for-issue. Note there were only 1,364 percussion weapons available. Disposition of | [
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the weapons found in the Arsenal is somewhat sketchy, but from various records it can be surmised that the 5th, 6th, 7th, and 8th Arkansas Infantry Regiments, mustered in June, 1861, were issued M1816 / M1822.69 caliber | [
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flintlocks. The 9th and 10th Arkansas, four companies of Kelly's 9th Arkansas Battalion, and the 3rd Arkansas Cavalry Regiment were issued flintlock Hall's Rifles. The units comprising the infantry force of | [
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Rock, the supply of arms had been almost completely exhausted, and only old "junker" weapons were left. Most of the equipment, arms, and machinery at the Little Rock Arsenal was removed to east of the Mississippi River by order of Maj. Gen. Earl Van Dorn in April and May 1862, and | [
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accountability for it is lost at that point. By all appearances, the equipment was sent down the river to Napoleon, Arkansas, and from there to Jackson Mississippi, where it was probably destroyed during the Vicksburg campaign in the early summer of 1863. Major General Thomas C. Hindman, sent to command | [
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the district of Arkansas in May, 1862, found the state nearly destitute of military material. Hindman established another armory at Arkadelphia, and revived the Little Rock Arsenal as a collection point and depot for armaments and ammunition manufacture for small arms. Hindman recorded | [
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omel, castor oil, spirits of nitre, the various tinctures of iron, and other valuable medicines. Most of these works were located at or near Arkadelphia on the Ouachita River, 75 miles south from Little Rock. The tools, machinery, and the material were | [
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gathered piecemeal or else made by hand labor. Nothing of this sort had been before attempted on Government account in Arkansas to my knowledge, except for the manufacture of small arms, the machinery for which was taken away by General Van Dorn and there was neither capital nor sufficient enterprise among the citizens to engage in such | [
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undertakings A further supply, along with lead and caps, was procured from the citizens of Little Rock and vicinity by donation, purchases, and impressments. This ammunition, and that which I brought with me, was rapidly prepared for use at the Laboratory established at the Little Rock Arsenal for that purpose. As | [
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illustrating as the pitiful scarcity of material in the country, the fact may be stated that it was found necessary to use public documents of the State Library for cartridge paper. Gunsmiths were employed or conscripted, tools purchased or impressed, and the repair of the damaged guns I brought with me and | [
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about an equal number found at Little Rock commenced at once. But, after inspecting the work and observing the spirit of the men I decided that a garrison 500 strong could hold out against Fitch and that I would lead the remainder - about 1500 - to Gen'l Rust as | [
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soon as shotguns and rifles could be obtained from Little Rock instead of pikes and lances, with which most of them were armed. Two days elapsed before the change could be effected. " The Confederate ordnance establishment at Little Rock was reactiv | [
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ated in August, 1862. Looking around for a suitable person to head this activity, General Hindman turned to the Confederate Navy and borrowed Lieutenant John W. Dunnington. Lt. Dunnington was the commander of the gunboat C.S.S. Ponchartrain, which | [
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had been brought to Little Rock in hopes of converting it to an ironclad. Dunnington was selected to head the ordnance works at Little Rock, and although he continued to draw his pay from the Confederate Navy Department, he was placed in charge of all Confederate or | [
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149, Chapter IV of the "Captured Rebel Ordnance Records," and are most enlightening as to the scope of Confederate ordnance activities at Little Rock during this crucial time. According to Dunnington, "When I assumed command at this Post, all material | [
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had been removed to Arkadelphia. There were no persons employed. No shops were open for repair of arms or for fabricating ammunition. Material, tools, etc., had to be procured as well as the employment of laborers. Work commenced the last part of the month." The military force | [
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at Little Rock under Dunnington's command consisted of four officers: himself, Major John B. Lockman, Captain C.C. Green, and 2nd Lt. W.W. Murphy. In addition to these, he had 20 enlisted men and a civilian force composed of | [
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ated: one pair of musket bullet moulds; 10,000 buck & ball shot cartridges; repaired: 750 muskets, shotguns, and rifles; received and repaired: ordnance stores and ordnances; performed: guard, office, and police duties | [
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; inspected: Posts at Camden and Arkadelphia." Lt. Col. Dunnington continued to build up his works at Little Rock until November 1862, when Captain Sanford C. Faulkner (composer of The Arkansas Traveler) was placed in charge of the Arsenal | [
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. Dunnington presumably returned to his naval duties and the Ponchartrain. A "Summary of the Work Done for November, 1862, Little Rock Arsenal" shows: Fabrication: 75,000 buck & ball cartridges - percussion 14,000 buck & ball cartridge | [
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s - flint 275 paper fuzes 117 rounds, 6-pounder canister shot 130 rounds, 6-pounder ball shot 96 ammunition packing boxes Repaired: 2,236 shotguns and rifles (repaired mostly for troops in service) 23 pistols (re | [
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paired mostly for troops in service) Received & Issued: 752 packages of ordnance and ordnance stores received and mostly issued to troops in service. Repaired and painted: 4 gun carriages Performed: Guard, office, and police duties. Perhaps the most illuminating | [
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or more of all small arms ammunition was still for flintlock weapons, indicating that no less than a sixth of the Confederate troops in this vicinity were still armed with obsolete flintlock weapons. The "Summaries of Work done at Little Rock Arsenal, | [
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C.S.A." continue at about the same pace and scale from August 1862 until August 1863. Appended to the "Summary" for August, 1863 is the ominous notation, "During the last week in the month, nearly all stores at the Arsenal have been | [
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packed and sent to Arkadelphia, in obedience to orders from Chief of Ordnance, District of Arkansas." This then marks the beginning of the evacuation of ordnance activities from Little Rock, with the city being surrendered to the advancing Federal troops of Frederick Steele's Arkansas Expedition | [
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on September 11, 1863. In 1864, after Little Rock fell to the Union Army and the arsenal had been recaptured, General Fredrick Steele marched 8,500 troops from the arsenal beginning the Camden Expedition. The arsenal was briefly seized once more by Joseph Brooks loyalists during the Brook | [
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s-Baxter War of 1874. = = Decommissioning = = In 1873, the building was renamed Little Rock Barracks and used as a barracks for married officers and their families. The building was drastically altered the inside and outside. Prior to renovation, | [
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a rear basement door provided the only entrance to the building, while the tower served as a hoist to move munitions between floors. By 1868, front and rear porches had been added to the building, as well as interior walls and stairs, some of which remain today, including the central | [
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staircase. In 1880, Douglas MacArthur was born on the northwest upper floor of this building while his father, Captain Arthur MacArthur, was stationed there. In the 1880s, the federal government began closing many small arsenals around the country in favor of smaller ones built near railroads for | [
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quick deployment. The arsenal commander received word from Washington that the Little Rock site must be abandoned "not later than October 1, 1890." On April 12, 1893 the tower building and the surrounding buildings were traded to the city of Little Rock for 1,000 acres (4 km 2) in North Little Rock under the condition that the building and | [
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land be "forever exclusively devoted to the uses and purposes of a public park" for 1,000 acres (4 km 2) in Big Rock Mountain on the north side of the Arkansas River, present day North Little Rock. That site later became Fort Logan H. Roots. All of the original buildings surrounding the Tower Building | [
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were demolished. = = <unk>sthetic Club = = In 1894 the Little Rock <unk>sthetic Club, one of the oldest women's societies west of the Mississippi River, moved into the Tower Building. This was prompted due to increased membership and a need for larger, more permanent quarter | [
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s. The previous year, club members working with women's organizations throughout the state, raised money to furnish the Arkansas Building of the Columbian Exposition at The Chicago World's Fair. At the fair's conclusion, artifacts from the exhibit were displayed in the Tower Building, with the <unk> | [
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sthetic Club invited to meet in the "Columbian Room." Except for <unk>sthetic Club meetings, the Tower Building remained largely unoccupied for almost fifty years and suffered significant deterioration. The <unk>sthetic Club provided much-needed financial support during the period and even paid the electric | [
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bill during the Great Depression. The <unk>sthetic Club is still headquartered in the Tower Building. = = Public use = = The building and the surrounding park were used for many public purposes throughout the early 20th century. The Tower Building served as headquarters for the United Confederate Veterans Reunion, May 15 | [
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– 18, 1911. Over 106,000 Civil War veterans, the largest popular gathering in the history of the city up to that time, attended and were housed in the building or camped in the park, which had also become a popular camping area. Later the building served as an armory for the Arkansas National | [
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Guard. In 1912, the second floor of the Tower Building became Little Rock's first public library. In 1917, Little Rock built a fire station in the park, that building is now gone. A band shell named for H. H. Foster also was built in the park during this time, but also | [
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no longer exists. In 1936, Works Progress Administration built the Museum of Fine Arts, now called the Arkansas Arts Center, just south of the Tower Building. The arsenal was listed in the National Register of Historic Places in 1970. Due to its association with the Camden Expedition of 1864, the arsenal may be included | [
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fundraisers and missionary organizations. She produced a few Christian-themed books such as The Children ’ s Book of Hymns and, in collaboration with her sister Dorothy, He Leadeth Me. She designed a stained glass window for St. Edmund's Church, Pitlake, and | [
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her painting of the Christ Child, The Darling of the World Has Come, was purchased by Queen Mary. Barker was equally proficient in watercolour, pen and ink, oils, and pastels. Kate Greenaway and the Pre-Raphaelites were the principal influences on her work. She | [
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olph Caldecott – two artists who exerted strong influences on her later art. = = = Art education and first professional work = = = Barker took correspondence courses in art, probably until about 1919. In 1908 at 13 years, she entered an evening class at the Croydon School of Art | [
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prize in the Croydon Art Society's poster competition, and shortly afterward was elected the youngest member of the Society. The art critic for the Croydon Advertiser remarked, "Her drawings show a remarkable freedom of spirit. She has distinct promise." Following her father ’ s death | [
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in June 1912, the seventeen-year-old Barker submitted art and poetry to My Magazine, Child ’ s Own, Leading Strings, and Raphael Tuck annuals in an effort to support both her mother and sister. Her sister Dorothy taught kindergarten in two private schools before opening | [
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" of St. Andrew's. The children in the kindergarten modelled for the Flower Fairies until the kindergarten closed in 1940. In an interview in 1958, Barker said, "My sister ran a kindergarten and I used to borrow her students for models. For many years I had an atmosphere of children about | [
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me – I never forgot it." She also painted the children of relatives as well as Gladys Tidy, the Barkers' young housekeeper, who posed for the Primrose Fairy in 1923. The plants were painted from life, and if a specimen was not readily at hand | [
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, Kew Gardens staff would provide her the specimens needed. Barker designed and built the Flower Fairy costumes, and based each on the flowers and leaves of the particular plant to be illustrated. The costumes were kept in a trunk in her studio along with wings made of twigs and gauze | [
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. Each was broken down after an illustration was completed and the parts recycled for other costumes. She often referred to Dion Clayton Calthrop's English Costume. = = = Middle years = = = In the late 1920s, Barker began to doubt she was doing enough for the church and considered focusing | [
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solely on sacred works. Family and friends recommended she continue secular and sacred works, which she did. Barker continued to attend evening classes at the Croydon Art School between the 1920s and the 1940s, eventually receiving a teaching position. She took sketching trips to Amberley and Storrington in Sussex | [
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and to Cornwall and the southern coast with family and friends. She visited and stayed with artist Margaret Tarrant in Gomshall, Surrey and with family in Ugglebarnby, Near Whitby, North Yorkshire. In 1940, the Barker's live-in maid retired, and Dorothy | [
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Barker closed her school at the back of the house in The Waldrons. She continued to supervise the household, and to give both her mother and sister the care they needed. Dorothy and her sister collaborated upon only two books: Our Darling's First Book and the Christian-themed, He Leadeth | [
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Me. In 1954 Dorothy Barker died of a heart attack. Barker was unable to pursue her art to any significant extent following her sister's death, as all the care of her aged mother devolved upon her, but she did manage to begin planning a stained glass window design in her | [
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sister's memory for St. Edmund's, Pitlake. = = = Later life and death = = = Barker's mother died in 1960, and, in 1961, Barker moved from 23 The Waldrons to 6 Duppas Avenue in Croydon. She restored a maisonette | [
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in Storrington, Sussex, England, bequeathed by her friend Edith Major, and named it St. Andrew's. After taking up residence, her health began to deteriorate. She was in and out of nursing and convalescent homes, and tended by relatives and friends. Bark | [
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er died at Worthing Hospital on 16 February 1973, aged 77 years. Two funeral services were held – one in Storrington Church and one in Barker's maisonette. Her ashes were scattered in Storrington churchyard. In 1989, Frederick Warne, a division of Penguin Books since | [
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indicated, "I have always tried to paint instinctively in a way that comes naturally to me, without any real thought or attention to artistic theories." Kate Greenaway was a childhood favorite and an influence on her art. Barker's child subjects wear nostalgic clothing as Greenaway's children do, though | [
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work. The Pre-Raphaelites were a strong, lifelong influence on Barker. She once indicated, "I am to some extent influenced by them — not in any technical sense, but in the choice of subject matter and the feeling and atmosphere they could achieve." She admitted | [
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subjects, donated to charitable institutions and church sponsored events, or exhibited through various art organizations. She illustrated magazine covers, dust jackets, and produced series of postcards for Raphael Tuck and other publishers such as Picturesque Children of the Allies (1915), Seaside Holidays (1918), and | [
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Shakespeare's Boy and Girl Characters (1917, 1920). Her own Old Rhymes for All Times (1928) and The Lord of the Rushie River (1938), a tale about a girl who lives among swans on a riverbank, were critically well received. Set about | [
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consciousness. Simon the Swan, intended as a sequel to Rushie River was outlined in 1943 with Groundsel, but only developed in 1953. It was published posthumously in 1988 and is critically considered less successful than Groundsel. = = = Christian-themed works = = = Bark | [
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er was a devout Christian, and produced religious-themed works throughout her life. She published eight postcards and five guardian angel birthday cards for the Society for Promoting Christian Knowledge in 1916 and in 1923 respectively. Christmas cards were designed for The Girls' Friendly Society over a 20-year | [
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oil, The Feeding of the Five Thousand (1929), for the chapel in Llandaff House, a home for destitute women at Penarth, Wales, and The Parable of the Great Supper (1934) for St. George's Chapel, Waddon. The Fee | [
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; Society for the Preservation of Christian Knowledge, 1916 Shakespeare's Boy Characters; C. W. Faulkner, 1917 Shakespeare's Girl Characters; C. W. Faulkner, 1920 Seaside Holiday; J. Salmon, 1918, 1921 Elves and Fairies; S. | [
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Harvey, 1918 Guardian Angel; Society for the Preservation of Christian Knowledge, 1923 Christmas cards; Girls' Friendly Society, 1920s, 1930s Christmas cards (US); Barton-Colton, 1920s, 1930s Beautiful Bible Pictures; Blackie, 1932 = = = Books = = = Flower | [
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Fairies of the Spring; Blackie, 1923 Spring Songs with Music; Blackie, 1923 Flower Fairies of the Summer; Blackie, 1925 Child Thoughts in Picture and Verse (by M. K. Westcott); Blackie, 1925 Flower Fairies of the Autumn | [
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; Blackie, 1926 Summer Songs with Music; Blackie, 1926 The Book of the Flower Fairies; Blackie, 1927 Autumn Songs with Music; Blackie, 1927 Old Rhymes for All Times; Blackie, 1928 The Children ’ s Book of | [
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Hymns; Blackie, 1929; rep. 1933 Our Darling ’ s First Book (written in collaboration with Dorothy Barker); Blackie, 1929 The Little Picture Hymn Book; Blackie, 1933 Rhymes New and Old; Blackie, 1933 A Flower | [
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