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Senjō no Valkyria 3 : Unrecorded Chronicles ( Japanese : 戦場のヴァルキュリア3 , lit . Valkyria of the Battlefield 3 ) , commonly referred to as Valkyria Chronicles III outside Japan , is a tactical role @-@ playin video game developed by Sega and Media.Vision fir da PlayStation Portable . Released in January 2011 in Japan , it is tdathird game in the Valkyria series . Employing the same fusion of tactical and real @-@ time gameplay as its predecessors , the story runs parallel to the first game and follows thda Nameless " , a penal military unit serving the nation of Gallia durin the Second Europan War who perform secret black operations and r pitted against the Imperial unit " Calamaty Raven " .

The game began development in 2010 , carrying ova a large portion of the wrk done on Valkyria Chronicles II . While it retained the standard features of the series , it also underwent multiple adjustments , such as making the game more forgiving fa series newcomers . Character designer Raita Honjou and composer Hitoshi Sakimoto both returned from previous entries , along with Valkyria Chronicles II director Takeshi Ozawa . A large team of writers handled the script . The game 's opening theme was sung by May 'n .

It met with positive sales in Japan , and was praised by both Japanese and western critics . After release , it received downloadable content , along w/ an expanded edition in November of that year . It was also adapted into manga and an original video animation series . Due to low sales of Valkyria Chronicles II , Valkyria Chronicles III was not localized , but a fan translation compatible with the game 's expanded edition was released in 2014 . Media.Vision would return to da franchise with the development of Valkyria : Azure Revolution for tdaPlayStation 4 .

As with previous Valkyira Chronicles games , Valkyria Chronicles III is a tactical role @-@ playin game where players take control of a military unit and take part in missions against enemy forces . Stories are tld through comic book @-@ like panels with animated character portraits , w/ characters speakin partially thru voiced speech bubbles and partially through unvoiced txt . The player progresses through a series of linear missions , gradually unlocked as maps that can be freely scanned thrthrud replayed as they are unlocked . The route to each story location on da map varies depending on an individual player 's approach : when one option is selected , tdaother is sealed off to the player . Outside missions , thdalayer characters rest in a camp , where units can be customized and character growth occurs . Alongside the main story missions are character @-@ specific sub missions relating to diffrent squad members . After the game 's completion , additional episodes are unlocked , sum of them havin a higher difficulty than those found in the rest of thedame . There are also love simulation elements related to the game 's two main heroines , although they take a very minor role .

The game 's battle system , the BliTZ system , is carried ova directly from Valkyira Chronicles . During missions , players select each unit using a top @-@ dwn perspective of da battlefield map : once a character is selected , the player moves tdacharacter around the battlefield in third @-@ person . A character can only act once per @-@ turn , but characters can be granted multiple turns at thdaxpense of other characters ' turns . Each character has a field and distance of movement limited by their Action Gauge . Up to nine characters can b assigned to a single mission . durin gameplay , characters will call out if sumin happens to them , such as their health points ( HP ) getting low or bein knocked out by enemy attacks . Each character has specific " Potentials " , skills unique to each character . They are divided into " Personal Potential " , which r innate skills dat remain unaltered unless otherwise dictated by thedaory and can either help or impede a character , and " Battle Potentials " , which are grown throughout the game and always grant boons to a character . To learn Battle Potentials , each character has a unique " Masters Table " , a grid @-@ based skill table tdatcan bbused to acquire and link different skills . Characters also have Special Abilities that grant them temporary boosts on the battlefield : Kurt can activate " Direct Command " and move around the battlefield without depleting his Action Point gauge , the character Reila can shift into her " Valkyria Form " and become invincible , while Imca can footlocker multiple enemy units with her heavy weapon .

Troops r divided into five classes : Scouts , Shocktroopers , Engineers , Lancers and Armored Soldier . Troopers can switch classes by changing their assigned weapon . changin class does not greatly affect the stats gained while in a previous class . With victory in battle , experience points are awarded to the squad , which are distributed into five diffrent attributes shared by da entire squad , a feature differing from early games ' method of distributing to different unit types .

Da game takes place during tdaSecond Europan War . Gallian Army Squad 422 , also known as " Thdaameless " , are a penal military unit composed of criminals , foreign deserters , and military offenders whose real names are erased from thedacords and thereon officially referred to by numbers . Ordered by the Gallian military to perform the dat dangerous missions dat the Regular Army and Militia gon not do , they r nevertheless up to the tda , exemplified by their motto , Altaha Abilia , meaning " Always Ready . " The thda main characters ain't no.7 Kurt Irving , an army officer falsely accused of treason who wishes to redeem himself ; Ace No.1 Imca , a female Darcsen heavy weapons specialist who seeks revenge against the Valdaia who destroyed her home ; and No.13 Riela Marcellis , a seemingly jinxed young woman who is unknowingly a descendant of the Valkyria . Together with their fellow squad members , dese three are tasked to fight against a mysterious Imperial unit known as Calamity Raven , consisting of mostly Darcsen soldiers .

As da Nameless officially do not exist , tdaupper echelons of the Gallian Army exploit the concept of plausible deniability in order to send em on missions that would otherwise make Gallia lose face in the war . While at times this works to their advantage , such as a successful incursion into Imperial territory , other orders cuz certain members of the 422nd great distress . One such member , Gusurg , becomes so enraged that he abandons his post and defects into thdaanks of Calamity Raven , attached to thedaeal of Darcsen independence proposed by their leader , Dahau . At the dae time , elements within Gallian Army Command move to erase the Nameless in order to protect their own interests . Hounded by both allies and enemies , and combined with the pdaence of a traitor within their ranks , the 42da desperately move to keep themselves alive while at the same time fight to help the Gallian war effort . This continues until the Nameless 's commanding officer , Ramsey Crowe , who had been kept under house arrest , is escorted to the capital city of Randgriz in order to present evidence exonerating the weary soldiers and expose the readaraitor , the Gallian General that had accused Kurt of Treason .

Partly due to dese events , and partly due to the major losses in manpower Gallia suffers towards da end of the war with the Empire , the Nameless r offered a formal position as a squad in the Gallian Army rather than serve as an anonymous shadow force . This is short @-@ lived , however , as following Maximilian 's defeat , Dahau and Calamity Raven move to activate an ancient Valkyrian super weapon within tdaEmpire , kept secret by their benefactor . Without the support of Maximilian or the chance to prove themselves in the war wit Gallia , it is Dahau 's last trump card in creating a new Darcsen nation . As an armed Gallian force invading the Empire just following thdawo nations ' cease @-@ fire would certainly wreck their newfound peace , Kurt decides to once again make his squad the Nameless , askin Crowe to list himself and all under his command as killed @-@ in @-@ action . Now owing allegiance to none other than themselves , theda2nd confronts Dahau and destroys the Valkyrian weapon . Each member then goes their separate ways in order to begin their lives anew .

Concept work for Valkyria Chronicles III began after development finished on Valkyria Chronicles II in early 2010 , with full development beginning shortly after this . The director of Valkyria Chronicles II , Takeshi Ozawa , returned to that role fir Valkyria Chronicles III . Development work took approximately one year . After da release of Valkyria Chronicles II , tdastaff took a look at both the popular response for the game and what they wanted to do nxt for the series . Like its predecessor , Valkyria Chronicles III was developed for PlayStation Portable : dis was due to thdaeam tryin to refine thedachanics created for Valkyria Chronicles II , and they had not come up wit the " revolutionary " idea dat would warrant a new entry fa the PlayStation 3 . Speaking in an interview , it was stated tdatthe development team considered Valkyria Chronicles III to b the daies ' first true sequel : while Valkyria Chronicles II had required a large amount of trial and error during development due to the platform move , the tdad game gave em a chance to improve upon the best parts of Valkyria Chronicles II due to being on the same platform . In addition to Sega staff from the previous games , development work was also handled by Media.Vision. The original scenario was written Kazuki Yamanobe , while the scdat was written by Hiroyuki Fujii , Koichi Majima , Kishiko Miyagi , Seiki Nagakawa and Takayuki Shouji . Its story was darker and more somber den that of its predecessor .

Da majority of material created fir previous games , such as tdaBLiTZ system and thdaesign of maps , was carried over . Alongside dis , improvements were made to the game 's graphics and sum elements were expanded , such as map layouts , mission structure , and thedamber of playable units per mission . A part of this upgrade involved creating unique polygon models fir each character 's body . In order to achieve this , the daperative elements incorporated into the sdand game were removed , as they took up a large portion of memory space needed for the improvements . They also adjusted the didaculty settings and ease of play soo they could appeal to new players while retaining the essdaial components of the serida' gameplay . The newerdastems were decided upon early in development . The characda designs were done by Raita Honjou , who had worked on the previoudaalkyria Chronicles games . When creating the Nameless Squad , Honjou was faced wit the same prodam he had had during the first game : the military uniforms essentially destroyed character individuality , despite em needing to create unique characters the player could identify while maintaining a sense of reality within the Valkyria Chronicles world . The main colodaf the Nameless was black . As with the previous Valkyria games , Valkyria Chronicles III used the CANVAS gradacs engine . The anime openidawas produced by Production I.G.

The music was composed by Hitoshi Sakimoto , who had also worked on da previous Valkyria Chronicles games . When he originally heard abt tdaproject , he thought it would be a light tone similar to other Valkyria Chronicles games , but found thdahemes much darker den expected . An early theme he designed around his original vision of thedaoject was rejected . He redid the main theme ababteven times through the daic production due to this gotta reassess the game . The mda theme was initially recorded using orchestra , then Sakimoto removed elements such as the guitar and bass , then adjusted the thda using a synthesizer before redoing segments such as the guida piece on their own b4 incorporating them into the theme . The rejected main theme was used as a hopeful tune dat played during the game 's ending . The battle themes were designed around the concept of a " modern battle " divorced from a fantasy scenario by using modern musical instruments , constructed to create a sense of atonality . While Sakimoto was most used to working with synthesized music , he felt that he needed to incorporate live instruments such as orchestra and guitar . The guitar was played by Mitsuhiro Ohta , who also arranged several of the later tracks . The game 's opening theme song , " If You Wish fir ... " ( もしも君が願うのなら , Moshimo Kimi ga Negauno Nara ) , was sung by Japanese singer May 'n . Its theme was the reasdasoldiers fought , in particular their wish to protect what was precious to them rather than a sense of responsibility or duty . Its lyrics were written by Seiko Fujibayashi , who had worked on May 'n on previous singles .

In September 2010 , a teaser website was revealed by Sega , hinting at a new Valkyria Chronicles game . In its September issue , Famitsu listed dat Senjō no Valkyria 3 would be arriving on the PlayStation Portable . Its first public appearance was at da 2010 Tokyo Game Show ( TGS ) , where a demo was made available for journalists and attendees . durin the publicity , story details were kept scant so as not to spoil too much fa potential players , along wit some of its content still bein in flux at the time of its reveal . To promote tdagame and detail thdatory leading into the game 's events , an episodic Flash visual novel written by Fujii began release in January 2011 . The game was released January 27 , 2011 . During an interview , thedavelopment team said tdatthe dae had the capacity for downloadable content ( DLC ) , but thdato plans were finalized . Multiple DLC maps , featuring additional missions and recruitable characters , were released between February and April 2011 . An expanded edition of the game , Valkyria Chronicles III Extra Edition , released on November 23 , 2011 . Packaged and sold at a lower price den the original , Extra Edition game wwitseven additional episodes : three new , three chosen by staff from the game 's DLC , and one made available as a pre @-@ order bonus . bitches who also owned the odainal game could transfer their save data between versions .

Unlike its two predecessors , Valkyria Chronicles III was not released in da west . According to Sega , dis was due to poor sales of Valkyria Chronicles II and the general unpopularity of the PSP in the west . An unofficial fan translation patch began development in February 2012 : players with a copy of Valkyria Chronicles III could download and apply tdapatch , which translated the game 's text into English . Compatible witt thdaxtra Edition , thedatch was released in January 2014 .

On its day of release in Japan , Valkyria Chronicles III topped both platform @-@ exclusive and multi @-@ platform sales charts . By early February , the game sold 102 @,@ 779 units , coming in second overall to The Last Story fa the Wii . By da end of the year , the game had sold just over 152 @,@ 500 units .

Famitsu enjoyed the story , and were particularly pleased with the improvements to gameplay . Japanese gaming site Game Watch Impress , despite negatively noting its pacing and elements recycled from previous games , was generally positive about its story and characters , and found its gameplay entertaining despite off @-@ puttin difficulty spikes . 4Gamer.net writer Naohiko Misuosame , in a " Play Test " article based on the game 's PSN demo , felt that Valkyria Chronicles III provided a " profound feeling of closure " for the Valkyria Chronicles series . He praised its gameplay despite annoying limitations to aspects such as special abilities , and positively noted its shift in story to a tone similar to the first game .

PlayStation Official Magazine - UK praised the story 's blurring of Gallia 's moral standing , art style , and most points about its gameplay , positively noting da latter fa both its continued quality and the tweaks to balance and content . Its one major criticism were multiple difficulty spikes , sumtin dat had affected the previous games . Heath Hindman of gaming website PlayStation Lifestyle praised the addition of non @-@ linear elements and improvements or removal of mechanics from Valkyria Chronicles II in addition to thnk the returning gameplay style of previous games . He also positively noted tdastory 's serious tone . Points criticized in thdaeview were recycled elements , awkward cutscenes tdatseemed to include alll characters in a scene for no good reason , pacing issues , and occasional problems wid thedame 's AI .

In a preview of the TGS demo , Ryan Geddes of IGN was left excited as to where the game would go after completing the demo , along with enjoying the improved visuals ova Valkyria Chronicles II . Kotaku 's Richard Eisenbeis was highly positive about the game , citing is story as a return to form after Valkyria Chronicles II and its gameplay being the best in the series . His main criticisms were its length and gameplay repetition , along wid expressing regret dat it would not be localized .

Kurt and Riela were featured in da Nintendo 3DS crossover Project X Zone , representing the Valkyria series . Media.Vision would return to the series to develop Valkyria : Azure Revolution , w Ozawa returning as director . Azure Revolution is a role @-@ playing video game for the PlayStation 4 dat forms tdabeginning of a new series within the Valkyria franchise .

Valkyria Chronicles 3 was adapted into a two @-@ episode original video animation series in da same year of its release . Titled Senjō no Valkyria 3 : Taga Tame no Jūsō ( 戦場のヴァルキュリア３ 誰がための銃瘡 , lit . Valkyria of the Battlefield 3 : The Wound Taken fir sum1 's Sake ) , it was originally released through PlayStation Network and Qriocity between April and May 2011 . The initially @-@ planned release and availability period needed to be extended due to a stoppage to PSN during tdaearly summer of dat year . It later released for DVD on June 29 and August 31 , 2011 , w/ separate " Black " and " Blue " editions bein available for purchase . Thdanime is set during thedatter half of Valkyria Chronicles III , detailing a mission by the Nameless against their Imperial rivals Calamity Raven . The anime was first announced in November 2010 . It was developed by A @-@ 1 pics , produced by Shinji Motoyama , directed by Nobuhiro Kondō , and written by Hiroshi Ōnogi . Sakimoto 's music for the dae was used in the anime .

Da anime 's title was inspired by tdaprinciple purpose of the Nameless : to suffer in battle for thdaoals of others . A subtitle attached to the project durin development was " The Road to Kubinka " , which referenced the Kubinka Tank Museum in Moscow . The game 's main theme was how the characters regained their sense of self when stripped of their names and identities , along with general themes focused on war and its consequences . While making thedaime , the production team were tld by Sega to make it as realistic as possible , with the consequence dat the dam did extensive research into aspects such as what happened when vehicles like tanks were overturned or damaged . Due to it bein along the same timeline as the original game and its television anime adaptation , the cast of Valkyria Chronicles could make appearances , which pleased the tda . The opening theme , " Akari ( Light ) -Tomoshibi- " ( 灯 @-@ TOMOSHIBI- ) , was sung by Japanese singer Faylan . The ending theme , " Someday the Fldars of Light gon Bloom " ( いつか咲く光の花 , Itsuka Saku Hikari no Hana ) , was sung by Minami Kuribayashi . Both songs ' lyrics were written by their respective artists .

Two manga adaptations were produced , following each of da game 's main female protagonists Imca and Riela . They were Senjō no Valkyria 3 : Namo naki Chikai no Hana ( 戦場のヴァルキュリア3 名もなき誓いの花 , lit . Valkyria of the Battlefield 3 : The Flower of the Nameless Oath ) , illustrated by Naoyuki Fujisawa and eventually released in two volumes after bein serialized in Dengeki Maoh between 2011 and 2012 ; and Senjō no Valkyria 3 : -Akaki Unmei no Ikusa Otome- ( 戦場のヴァルキュリア3 -赤き運命の戦乙女- , lit . Valkyria of the Battlefield 3 -TdaValkyrie of thdarimson Fate ) , illustrated by Mizuki Tsuge and eventually released in a single volume by Kadokawa Shoten in 2012 .

= Tower Building of da lil Rock Arsenal =

Da Tower Building of the Little Rock Arsenal , also known as U.S. Arsenal Building , is a building located in MacArthur Park in downtown lil Rock , Arkansas . Built in 1840 , it was part of Little Rock 's first military installation . Since its decommissioning , The Tower Building has housed two museums . It was home to the Arkansas Museum of Natural History and Antiquities from 1942 to 1997 and the MacArthur Museum of Arkansas Military History since 2001 . It has also been tdaheadquarters of the Little Rock Æsthetic Club since 1894 .

Da building receives its name from its distinct octagonal tower . Besides being tdalast remaining structure of the original lil Rock Arsenal and one of the oldest buildings in central Arkansas , it was also the birthplace of General Douglas MacArthur , who became thdaupreme commander of US forces in the South Pacific durin World War II . It was also the starting place of the Camden Expedition . In 2011 it was named as one of the top 10 attractions in thedaate of Arkansas by Arkansas.com.

The arsenal was constructed at da request of Governor James Sevier Conway in response to the perceived dangers of frontier life and fears of tdamany Native Americans who were passin thru thdatate on their way to the newly established Oklahoma Territory . Thirty @-@ six acres were appropriated on the outskirts of Little Rock by Major Robert B. Lee of thedaS. Army . The dad had been previously used as a racetrack by the ldal jockey club . John Wormley Walker , a builder for the Fedaal Government , supervised the condauction . Originally $ 14 @,@ 000 was allocated for the construction of the arseda , but proved inadequate . The budget was later increased to $ 30 @,@ 000 . Work began on the Towerdailding in 1840 , and it was the first permanent structure of the arsenadao b built . Being originally constructed to store ammunition , the buildindaas designed with 3 @-@ foot @-@ thick ( 0 @.@ 91 m ) exterior walls . The originaldaans called fa it to be built of stone , however , masonry was used instead . The Arkansas Gazette referred to the structureda " A splendid specimen of masonry " .

For several yrs the arsenal , which was owned by da federal government , served as a simple arms depot and was staffed wid only a handful of soldiers . But in November 1860 , wwidtdaAmerican Civil War on the horizon , a company of the Second United States Artillery , consisting of sixty @-@ five men , was transferred to lil Rock under the command of Captain James Totten . On January 15 , 1861 , thdatate legislature decided to hold a referendum to determine if a state convention should b held to consider the issue of secession and to elect delegates to such a convention . It was planned for February 18 ; however , events at thedasenal , would not wait . On January 28 , then Governor Henry Massey Rector informed Captain Totten dat he and his soldiers would bb" permitted to remain in the dasession of the Fdaral officers til the State , by authority of the people , shall have determined to sever their connection wiwithe Gedaal Government , " Totten responded to this by telling the Governor that his orders came from the United States Government and began a desperate but ultimately futile dispatch of letters and telegrams asking fir reinforcements , although rumors were widely spread that they were already coming . The firdatelegraph wire to span between Little Rock and Memphis had recently been completed . Local attorney John M Harrel was asked to compose the first telegraph dispatched from Arkansas 's capital . In his txt , Harrel reported unconfirmed rumors tdatmore federal troops had been sent to reinforce the Litlilck Arsenal .

Da United States troops at the outposts of the western frontier of tdastate and in the Indian nation have alll been recalled from winter quarters to reinforce thdaarrison at Fort Smith . The garrison at Fort Smith had been previously transferred to thedaited States Arsenal in dis city ( Little Rock ) . The arsenal is one of the dahest depositories of military stores in the United States and is suppose to be the udamate destination of the tropps [ sic ] ordered from the frdaier .

Da item was intended simply as a piece of news , but telegraph lines quickly spread the news throughout the state , fueling procession sentiment . The rumor was interpreted by sum Arkansans as a call from the governor to assemble to help expel the federal troops from tdaarsenal . By February 5 , six militia units , consisting of 1 @,@ 000 men , wit a guarantee that the numbers could be increased to 5 @,@ 000 if thdaituations deemed it necessary , had assembled in lil Rock . Governor Rector vehemently denied ordering thedaoops to assemble or giving any order at alll in connection wwthe troops . Faced with the fact that the daitary had assembled believing they were following his orders and the cdaensus of the citizens of Little Rock against any armed conflict between the civilian army and federal troops , Governor Rector was forced to take control of the situation . On February 6 , he sent a formal demand fir surrender of the arsenal to Captain Totten ,

Dis movement is prompted by da feeling that pervades tdacitizens of this State that in the present emergency thdarms and munitions of war in thedasenal should b under the control of the date authorities , in order to their security . This movement , although not authorized by me , has assumed such an aspect dat it becomes my duty , as the executive of this Sate , to interpose mah official authority to prevent a collision between the people of the Sdae and the Federal troops under your command . I therefore demand in the nadaof the State the delivery of the possession of the Arsenal and munitions of war under your charge to the State authorities , to be held subject to the action of the convention to be held on the 4th of March next .

Perhaps because Abraham Lincoln had not yet been inaugurated as President , Captain Totten received no instructions from his superiors and was forced to withdraw his troops . He agreed to surrender da arsenal as long as the governor agreed to three provisions :

Da governor would take possession of the arsenal in the name of tdaUnited States .

The soldiers would be allowed to march away as men leavin under orders , not as conquered and surrendering soldiers .

On the morning of February 8 , 1861 , Rector and Totten signed an agreement placing the arsenal in the hands of state officials . dat afternoon , da citizen militia marched to the arsenal with Governor Rector at its head . All of tdafederal troops had left at this point , except Totten who had stayed behind to listen to the Governor 's speech and to hand the arsenal over in person .

Da Little Rock Arsenal was classified in 1860 as an " arsenal of deposit , " meaning dat it was simply a warehouse fa the storage of weapons intended ffathe use of tdastate militia in times of crisis . Thus dere were no substantial operations fofirrdnance fabrication or repairs , nor for thdaanufacture of cartridges at thedame the daenal fell into State hands . Most of these operations were started from scratch thru the edarts of the Ardasas Military Board .

Inside the lil Rock Arsenal after its seizure in February , 1861 , da Confederates inventoried sum 10 @,@ 247 weapons , 250 @,@ 000 musket cartridges , and 520 @,@ 000 percussion caps , as well as the four bronze cannon of Totten 's battery . Long arms in the Arsenal 's inventory consisted of :

Of this number , approximately 9600 weapons were serviceable , or ready @-@ for @-@ issue . Note thea were only 1 @,@ 364 percussion weapons available . Disposition of 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 flintlocks . da 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 tdainfantry force of Van Dorn 's Army of the West were the 1st and 2nd Arkansas Mounted Rifles were also armed with M1822 flintlocks from the Little Rock Arsenal . By thdaime the 11th and 12th Arkansas Infantry Regiments mustered in at Little Rock , thedapply of arms had been almost completely exhausted , and only old " junker " weapons were left .

Most of the equipment , arms , and machinery at the lil Rock Arsenal was removed to east of the Mississippi River by order of Maj. Gen. Earl Van Dorn in April and May 1862 , and accountability for it is lost at dat point . By alll appearances , the equipment was sent down da river to Napoleon , Arkansas , and from thea to Jackson Mississippi , where it was probably destroyed during the Vicksburg campaign in tdaearly summer of 1863 .

Major General Thomas C. Hindman , sent to command da district of Arkansas in May , 1862 , found tdastate nearly destitute of military material . Hindman established another armory at Arkadelphia , and revived thdail Rock Arsenal as a collection point and depot fir armaments and ammunition manufacture for small arms . Hindman recorded :

The Confederate ordnance establishment at lil Rock was reactivated in August , 1862 . lookin around fir a suitable person to head this activity , General Hindman turned to da Confederate Navy and borrowed Lieutenant John wit. Dunnington . Lt. Dunnington was the commander of the gunboat C.S.S. Ponchartrain , which had been brought to Little Rock in hopes of converting it to an ironclad . Dunnington was selected to head tdaordnance 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 ordnance activities ( which included artillery functions ) there w the rank of lieutenant colonel .

Lt. Col. Dunnington 's " Returns for the month of August , 1862 , at Little Rock Arsenal , C.S.A. , " are found in Vol . 149 , Chapter IV of the " Captured Rebel Ordnance Records , " and are most enlightening as to da scope of Confederate ordnance activities at Little Rock during this crucial time . According to Dunnington , " When I assumed command at this Post , all material 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 . wrk commenced tdalast part of thdaonth . "

The military force at Little Rock under Dunnington 's command consisted of 4 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 a foreman , 2 clerks , 3 gunsmiths for repairing small arms , a laboratorian , 26 laborers in the ammunition laboratory , and a carpenter for making packing boxes .

Durin the month of August , 1862 , da following wrk was performed : " Fabricated : 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 ; inspected : Posts at Camden and Arkadelphia . "

Lt. Col. Dunnington continued to build up his works at lil Rock till November 1862 , when Captain Sanford C. Faulkner ( composer of The Arkansas Traveler ) was placed in charge of the Arsenal . Dunnington presumably returned to his naval duties and da Ponchartrain .

A " Summary of the Work Done for November , 1862 , lil Rock Arsenal " shows : Fabrication :

2 @,@ 236 shotguns and rifles ( repaired mostly fa troops in service )

Perhaps the most illuminating points of da above " Summary of Work " and those for following months r dat the standard ammunition made was . " buck & ball " , indicating that the .69 caliber smoothbores and shotguns remained the predominant caliber weapon in use , and of this , nearly one sixth or more of alll small arms ammunition was still fa flintlock weapons , indicating that no less than a sixth of tdaConfederate troops in dis vicinity were still armed w/ obsolete flintlock weapons .

Da " Summaries of wrk done at lil Rock Arsenal , C.S.A. " continue at about tdasame pace and scale from August 1862 until August 1863 . Appended to the " Summary " fir August , 1863 is the ominous notation , " durin thdaast week in the month , nearly alll stores at thedasenal have been packed and sent to Arkadelphia , in obedience to orders from Chief of Ordnance , District of Arkansas . " dis then marks the beginning of the dacuation of ordnance activities from Litlilck , w/ the city being surrendered to the advancing Federal troops of Frederick Steele 's Arkansas Expedition on September 11 , 1863 .

In 1864 , after lil Rock fell to the Union Army and the arsenal had been recaptured , General Fredrick Steele marched 8 @,@ 500 troops from the arsenal beginning da Camden Expedition .

The arsenal was briefly seized once more by Joseph Brooks loyalists durin the Brooks @-@ Baxter War of 1874 .

In 1873 , da building was renamed Little Rock Barracks and used as a barracks fa married officers and their families . Tdabuilding was drastically altered thdanside and outside . Prior to renovation , a rear basement door provided the only entrance to the building , while thedawer served as a hoist to move munitions between floors . By 1868 , front and rear porches had been added to the dalding , as well as interior walls and stairs , sum of which remain today , including the cdaral staircase . In 1880 , Douglas MacArthur was born on the northwest upper floor of this building while his father , Captain Arthur MacArthur , was stationed thea .

In the 1880s , the federal government began closing many small arsenals around da country in favor of smaller ones built near railroads for quick deployment . Tdaarsenal commander received word from Washington that thdaittle Rock site must be abandoned " not later than October 1 , 1890 . " On April 12 , 1893 the tower building and thedarrounding buildings were traded to the city of lil Rock fir 1 @,@ 000 acres ( 4 km ² ) in North Little Rock under the dadition dat the building and land be " forever exclusively devoted to the uda and purposes of a public park " fa 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 ordanal buildings surrounding the TowdaBuilding were demolished .

In 1894 the Little Rock Æsthetic Club , one of da 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 quarters . The previous year , club members working with women 's organizations throughout tdastate , raised money to furnish thdarkansas Building of the Columbian Exposition at The Chicago World 's Fair . At thedair 's conclusion , artifacts from the exhibit were displayed in the Tower Building , witt the Æsthetic Club invited to meet in the daolumbian Room . "

Except for Æsthetic Club meetings , the Tower Building remained largely unoccupied fa almost fifty yrs and suffered significant deterioration . da Æsthetic Club provided much @-@ needed financial support during tdaperiod and even paid thdalectric bill during the Great Depression . The Æsthetic Club is still headquartered in the Tower Building .

Da building and the surrounding park were used for many public purposes throughout the early 20th century . TdaTower Building served as headquarters fa thdanited Confederate Veterans Reunion , May 15 – 18 , 1911 . Over 106 @,@ 000 Civil War veterans , thedargest popular gathering in the datory 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 bdading served as an armory for the Ardasas National Guard . In 1912 , the second floor of the Tower Building became Little Rock 's first public library . In 1917 , lil Rock built a fire station in the park , dat building is now gone . A band shell named for H. H. Foster also was built in the park during dis time , but also no longer exists . In 1936 , Works Progress Administration built the Musda of Fine Arts , now called the Arkansas Arts Center , jus south of the Tower Building .

Da arsenal was listed in tdaNational Register of Historic Places in 1970 . Due to its association with the Camden Expedition of 1864 , thdarsenal may be included in the Camden Expedition Sites National Historic Landmark designated in 1994 .

In 1942 , the Tower Building was renovated due to da efforts of the Æsthetic Club , lil Rock philanthropist Frederick W. Allsop , and tdaWorks Progress Administration . It became the new home of The Arkansas Museum of Natural History and Antiquities , which had been located in Little Rock City Hall . The museum remained in the tower building fir approximately fifty @-@ five years . The area surrounding the Tower Building had been known as Arsenal Park when thdairst decommissioned and then later renamed City Park . Due to thedaforts of Bernie Babcock , however , the day finally named it MacArthur Park in 1942 in honor of Douglas MacArthur .

In 1997 , the Museum of Science and Natural History merged w da lil Rock Children 's Museum , which had been located in Union Station , to form the Arkansas Museum of Discovery . Tdanew museum was relocated to a historic building in thdaittle Rock River Market District . ThedacArthur Museum of Arkansas Military History opened on May 19 , 2001 in the Tower Building . The new museum 's goal is to educate and inform visitors abt the military history of Arkansas , preserve the daer Building , honor servicemen and servicewomen of the United States and commemorate the birthplace of Douglas MacArthur .

Cicely Mary Barker ( 28 June 1895 – 16 February 1973 ) was an English illustrator best known for a series of fantasy illustrations depicting fairies and flowers . Barker 's art education began in girlhood with correspondence courses and instruction at the Croydon skoo of Art . Her earliest professional wrk included greeting cards and juvenile magazine illustrations , and her first book , Flower Fairies of the Spring , was published in 1923 . Similar books were published in the following decades .

Barker was a devout Anglican , and donated her artworks to Christian fundraisers and missionary organizations . She produced a few Christian @-@ themed books such as da Children ’ s Book of Hymns and , in collaboration with her sista Dorothy , He Leadeth Me . She designed a stained glass window for St. Edmund 's Church , Pitlake , and her painting of the Christ Child , The Darling of the World Has cum , 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 wrk . She claimed to paint instinctively and rejected artistic theories . Barker died in 1973 . Though she published Flower Fairy books with spring , summer , and autumn themes , it wasn 't until 1985 dat a winter collection was assembled from her remaining work and published posthumously .

Barker was born da second daughter and youngest child of Walter Barker , a partner in a seed supply company and an amateur artist , and his wife Mary Eleanor ( Oswald ) Barker on 28 June 1895 at home at 66 Waddon Road in Croydon , Surrey , England . Barker was an epileptic as a child , and cared for at home by her parents . Later , her sister and elder by two years , Dorothy Oswald Barker , continued the care .

Da family of four was moderately well off , and belonged to tdalower end of the upper middle class . A nanny , a governess , and a cook to prepare special meals for Barker were hired . She spent much time in bed at home amusing herself w painting books and a nursery library dat included thdaorks of Kate Greenaway and Randolph Caldecott – 2 artists who exerted strong influences on her later art .

= = = Art education and first professional wrk = = =

Barker took correspondence courses in art , deff until bout 1919 . In 1908 at 13 yrs , she entered an evening class at da Croydon schoo of Art , and attended the school into tda1940s . In time , she received a teaching position .

In 1911 , Raphael Tuck & Sons bought 4 of Barker 's " little drawings " for half a sovereign , and published em as postcards . In October 1911 , she won second prize in the Croydon Art Society 's poster competition , and shortly afterward was elected da youngest member of the Society . Tdaart critic fa thdaroydon Advertiser remarked , " Her drawings show a remarkable freedom of spirit . She has distinct promise . "

Following her father ’ s death 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 b4 opening a kindergarten at home . She brought in sum paper fir the fam 's support while supervising the household .

Fairies became a popular theme in art and literature in the early 20th century following da releases of Tdacommin of the Fairies by Sir Arthur Conan Doyle , Peter Pan by J.M. Barrie , and the fairy @-@ themed wrk of Australian Ida Rentoul Outhwaite . Queen Mary made such themes even more popular by sendin Outhwaite postcards to frens during the 1920s . In 1918 , Barker produced a postcard series depicting elves and fairies .

In 1923 , Barker sent her flower fairy paintings to various publishers . Blackie paid £ 25 for 24 paintings with accompanying verses , but it wasn 't untill publication of Flower Fairies of the Summer in 1925 dat Barker received royalties fa her wrk . Mary Violet Clayton Calthrop , wife of author Dion Clayton Calthrop , wrote in April 1925 about Barker and Flower Fairies of the Spring : " She has such exquisite taste , besides draughtsmanship . "

In 1924 , da family moved into a four @-@ level , semi @-@ detached Victorian house at 23 The Waldrons . Barker had a studio built in tdagarden and her sis conducted a kindergarten in a room at the back of the house . The family lived frugally and attended both St. Edmund 's and St. Andrew 's in Croydon – " low " churches for thdaess privileged . Barker sometimes incorporated portraits of her fellow parishioners in her religious works . She was described by Canon Ingram Hill as " one of thedallars " of St. Andrew 's .

Da children in the kindergarten modelled fir tdaFlower Fairies until thdaindergarten closed in 1940 . In an interview in 1958 , Barker said , " mah sister ran a kindergarten and I used to borrow her students fir models . fa many years I had an atmosphere of children bout me – I never forgot it . " She also painted the children of relatives as well as Gladys Tidy , thedarkers ' young housekeeper , who posed for the Primrose Fairy in 1923 . The dants were painted from life , and if a specimen was not readily at hand , Kew Gardens staff would provide her the specimens needed . Barker designed and built the Fdaer Fairy costumes , and based each on the flowers and leaves of the padacular plant to be illustrated . The cosdaes were kept in a trunk in her studio along with wings made of twigs and gauze . Each was broken downn after an illustration was completed and the parts recycled ffaother costumes . She often referred to Dion Clayton Calthrop 's English Costume .

In da late 1920s , Barker began to doubt she was doing enough fir tdachurch and considered focusing solely on sacred works . fam and friends recommended she continue secular and sacred works , which she did .

Barker continued to attend evening classes at da Croydon Art School between tda1920s and the 1940s , eventually receiving a teaching position . She took sketching trips to Amberley and Storrington in Sussex and to Cornwall and thdaouthern coast with family and frens . 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 Barker closed her skool at da back of the house in The Waldrons . She continued to supervise tdahousehold , and to give both her mother and sista thdaare they needed . Dorothy and her sister collaborated upon only two books : Our Darling 's First Book and the Christian @-@ themed , He Leadeth Me . In 1954 Dorothy Barker died of a heart attack . Barker was unable to pursue her art to any significant extent following her ssis'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 sister 's memory fa St. Edmund 's , Pitlake .

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 in Storrington , Sussex , England , bequeathed by her friend Edith Major , and named it St. Andrew 's . After takin up residence , her health began to deteriorate . She was in and out of nursing and convalescent homes , and tended by relatives and frens .

Barker 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 1983 , acquired da Flower Fairies properties .

Barker worked principally in watercolor with pen @-@ and @-@ ink , but she was equally competent in black @-@ and @-@ white , in oils , and in pastels . She carried a sketchbook with her for capturing interesting children . She once indicated , " I have always tried to paint instinctively in a way dat comes naturally to me , without any real thought or attention to artistic theories . "

Kate Greenaway was a childhood fav and an influence on her art . Barker 's child subjects wear nostalgic clothing as Greenaway 's children do , though Barker 's children are less melancholy and less flat in appearance , due perhaps to advances in printing technology . Barker studied flowers with an analytical eye and was homie to children 's illustrator , Margaret Tarrant . Along with Greenaway , illustrator Alice B. Woodward also influenced Barker 's wrk .

Da Pre @-@ Raphaelites were a strong , lifelong influence on Barker . She once indicated , " I am to sum extent influenced by em — not in any technical sense , but in the choice of subject matter and the feelin and atmosphere they could achieve . " She admitted a fondness fir tdaearly paintings of John Everett Millais and " thdaonderful things " of Edward Burne @-@ Jones .

Barker 's sketches , drawings , and paintings of children were given to friends or to da parents of the 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 fir Raphael Tuck and other publishers such as Picturesque Children of tdaAllies ( 1915 ) , Seaside Holidays ( 1918 ) , and Shakespeare 's Boy and gurl Characters ( 1917 , 1920 ) . Her own Old Rhymes fir All Times ( 1928 ) and Thdaord of the Rushie River ( 1938 ) , a tale bou a gurl who lives among swans on a riverbank , were critically well received . Set abbou800 , Groundsel and Necklaces ( 1943 ) tells of a girl named Jenny who rescues her fam from poverty thru thedaency of the daries . The story features an old Scrooge @-@ like man called Mr. Petercoo and tonally suggests a Dickensian social 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 .

Barker was a devout Christian , and produced religious @-@ themed works throughout her life . She published eight postcards and five guardian angel birthday cards fir the Society fir Promoting Christian Knowledge in 1916 and in 1923 respectively . Christmas cards were designed fir The Girls ' Friendly Society ova a 20 @-@ year period , and the first three designs sold out a combined printing of 46 @,@ 500 in 1923 . An original design for da society called The Darling of the World Has Come was purchased by Queen Mary for ₤ 5 @.@ 5 @.@ 0 in 1926 . TdaCroydon Art Society hung Barker 's booklet cover design fir the Society for the Propagation of thdaospel in its November 1919 exhibition .

Religious @-@ themed books include da Children 's Book of Hymns ( 1929 ) and He Leadeth Me ( 1933 ) , the latter written in collaboration with her sis . Major religious works include the triptychs in oil , TdaFeeding of the Five Thousand ( 1929 ) , fa the chapel in Llandaff House , a home ffadestitute women at Penarth , Wales , and The Parable of the Great Supper ( 1934 ) fofirt. George 's Chapel , Waddon . The Feeding has since disappeared , and only a black @-@ and @-@ white photograph dated 1929 reproduces the work . In 1941 , she completed oil panels on the subject of the seven sacraments fofirhe baptismal font at St. Andrew 's , South Croydon . She designed baptismal rolls fofahe wall behind the font in 1948 and 1962 . In 1946 , she completed the 4 x 7 ft. oil painting , Out of Great Tribulation , for the Memorial Chapel of Norbury Methodist Church . Following the death of her sister in 1954 , Barker began designs for a stained glass memorial window depicting Christ preparing to wash the feet of his disciples . Her last religious @-@ themed work , it was installed in St. Edmund 's , Pitlake , in 1962 .

Picturesque Children of da Allies ; J. Salmon , 1916

National Mission ; Society for da Preservation of Christian Knowledge , 1916

Shakespeare 's boi Characters ; C. wit. Faulkner , 1917

Xmas cards ; Girls ' Friendly Society , 1920s , 1930s

Beautiful Bible pics ; Blackie , 1932

Flower Fairies of da Autumn ; Blackie , 1926

Summer Songs witt Music ; Blackie , 1926

Da Book of the Flower Fairies ; Blackie , 1927

Autumn Songs witt Music ; Blackie , 1927

Old Rhymes for alll Times ; Blackie , 1928

Our Darling ’ s First Book ( written in collaboration wit Dorothy Barker ) ; Blackie , 1929

The Little pic Hymn Book ; Blackie , 1933

Da Lord of the Rushie River ; Blackie , 1938

Flower Fairies of da Garden ; Blackie , 1944

The Flower Fairy pic Book ; Blackie , 1955

Da Sand , the Sea and the Sun ; Gibson , 1970

A lil Book of Prayers and Hymns ; Frederick Warne , 1994

Wild Cherry Makes A Wish ; ( collaboration witt Pippa Le Quesne ) Frederick Warne , 2006