he saw significant action, but he would be dead in october of 1862 from fever. the majority of artillery rounds all have convenience to shiloh. recovered through the years from the battlefield, representing the types of explosive rounds or solid shot utilized here. about half of grant's artillery was rifled artillery. about 85%. two gun boats at play at the battle of shiloh. u.s. tyler and lexing topp. wooden gun ships income. large eight-inch guns and 32 pounders. served well in defense of the, left of grant's last line and then they fired salvos into the

confederate-held camps throughout the night of the 6th on into the morning of the 7th. shr shrapnel found on the battlefield. we found shrapnel as far as three miles inland from pittsburg landing. the drum. a great deal about the story behind the drum is one of the early things donated to the park, but cited as being recovered from the battlefield, or near the battlefield. perhaps abandoned. by retreating forces, and then preserved all of these years here at shiloh to be utilized as part of the exhibits. drummers played a special roll in the military organization. the drum was communication. think of it as 19 century walkie-talkie. beats on that drum told the men in the regimen certain things to

do. it called them to breakfast. it woke them up in the morning. it put them to sleep at night. it, various beats of the drum told them to do different things in formation. they could even fire by the beast drum. load and fire by the beat of the drum. all kinds of things the drums are used for and they were used for communication. music was an important part of their life but a drummer asirchd 20 an infantry regimen served a communication role. hence, they were always near the officers so that they could issue the commands by drum necessary for the troops. we've left the battlefield visitor's center a and moved to our collection, museum collection storage facility. in here will be the elements of collection retained at shiloh that aren't on exhibit as well as the archival documents. majority of those archival

documents relate to the park's administrative history. so they're associated with the establishment of the park or the national cemetery, not necessarily specific to the civil war, although we have a few documents going into the sieve is war, and we them divided up into the -- the building here with the archived documents stored here in this room. and arranged in a different series. these would also include photographs. in this collection. all right. see what we got here. for many of these, we do have the glass plate negatives for. here's 1895 veteran s reunion a

shiloh. that picture had been taken out by shiloh just underneath shiloh church. here's a photograph of them around the spring. these would all have been veterans and their tafamilies. from this time frame up through the 1930s, pretty regular reunions being held here at the battlefield. step into the other -- compartment. battle opened up when combat patrol sent out by every peabody on the command, major james powell. three companies of the 25th missouri and two companies of the 12th mission infantry participated in the first fighting battle of shiloh out in

the field, and the first known participant of the battle named, recorded as wounded, was a frederic klingler of the 25th missouri infantry. this is klingler's sword, and the metal components of the associated scabber and this has a inscription on it. the bearer of this sword, f.j. klingler company b, infantry, was the first officer wounded sunday morning. 4:45 would have been a.m. in the battle of shiloh and remained 2.5 days on the battlefield. so this is klingler's sword that he would have carried with him in the combat, and then subsequently retained and it

would be inscribed. this is one of the newest pieces of the park collection doing to the park. i hope to get this on permanent display soon. because it's so -- iconic with a very prominent part of the shiloh story. the opens of the battle, and to have it returned here and we're able to share this with the public is quite unique. this hall rifle, a series of these were issued to mississippi troops, and at correspondent, we hope to get this on display at our courant facility. the owned by a man in courant, mississippi. we have it here until we can design the proper exhibit 4.

>> kind of unique that -- it's pretty majel. fragile. because at some point in time it was torn before it came to us, is a photograph reportedly found in the grave of an unknown soldier lying in the national cemetery. so this war time grave, the image mounted on the back, but the specific grave of which this is recovered whose site is an unknown is grave 757 in the national cemetery. so this would be an image of a sweetheart, maybe wife, of that individual who died here, unfortunately, remain was not

identified. either at the time of burial or upon exhumation, and so simply another question mark, who's the unknown soldier and who's the sweetheart? ip guess could you say, god only knows. so -- a unique item to come up with the dead. you saw the jackknives and some of the personal items like pipes and things and then to see, to see an image, a photograph come out let's see. what do we got here? more. more items collected from the national dead exhumed here. the vast majority of them. these are kind of neat. these were rings that would have been buried with their owners. apparent wedding bands. they would have been with the

physical remains, upon ex-oohum thags were collected. the pipes in particular. items that would have been buried with their owner. insignia on the cap or cap of your hat of united states infantry soldier. the item didn't survive the hat, but the metal did. recent archeology off the battlefield we found, we found the buckle with the leather strap and the two side buttons, and they were in the ground where the cat would have sat and deteriorated and all that was there was the buckle, and the buttons still in the orientation, they would have been at the time that the cap was either dropped there or just lied there. it's amazing. 1999 -- yeah. 1999. summer of 1999, 2-it-all started

in the pring of 1999. it was brought to our attention at new site park service cane river location, in louisiana. that a family long living in that area even before the civil war had a problem of retreat of nathanael's army, of 1864. spring of 1864. the united states army left a large amount of baggage and equipage, and the family went out and recovered this. amongst it were two -- two -- civil war tents. one of those tents was a sievely tent. designed by henry hawkins sibley based on a plains indian teepee pattern. the family had had these tents in there their possession since

recovering at that point in time. one of them's a wall tent and then this is the sibley tent. remarkably, it's now known there are only two sibley tents in the american civil war in existence in the world. one in each hemisphere of mother earth. this one is in our hemisphere, and in possession of the american people now. this tent, regis negotiations with smithsonian institute, will be traveling to washington for potential display at the national african-american museum and the civil war exhibit of the african-american experience in the civil war. so that we're excited about that. the conservation and the expedition of tents is very

difficult, they're quite large. this is a huge tent, and they got all kinds of issues on their display, because they're heavy, they're cumbersome. we're talking about old canvas and we're talking about old threads, stress points, are weak, and they're going to be strained more with the exhibition. so we are making available the sibley on loan for the exhibit. it's going to be conserved. so it's going to receive some much-needed cleaning, but we're excited that it will be in front of the public at least for a temporary exhibit, maybe a year's time frame, and they'll be able to get some benefit from it. henry sibley got the patent for these in 1850s. mid-1850s. first used in the utah expedition commanded by albert sydney youngston of the united states army, in 1856-1857 time

frame, through 1858, and over jaum, it appears that roughly 44,000 of the tents proud -- unfortunately, sibley who worked out an aaround where he would receive about $5 per tent joined the confederate state's army and never recovered any money from the manufacturer of the tents made off his patent. so we're excited about this object to be going on display, receiving some conserve tigs treatment and then maybe before it returns to shiloh we might be able to work out a plan of getting it displayed here, but we're going to have to have complete exhibit overhaul to do anything with it here. this is probably the most unique item. bar none. considering there's only one like to in the western hemisphere. the other one, in all places, in copenhagen denmark. within the collection, about half the total tonnage of the civil war remains upon the

earth. it's amazing. >> this is the second tent that we received. it's the wall tent which is standard wall tent. you see where it's been patched. some of the patches are probably associated with the use the family made of these tents through the years. they also have some minor tears in these tents from their being used. you can see here these all require some sort of patching up, if there's of a design to put this one on display as well. but i understand they koonconti to use these tents throughout the year. summertime sleepouts, barbecues, put the tents up and make use of

them, which if i had the same thing, i think i'd make use of them, too, and then when the new site was being established there, they contacted the park service about the possibility of getting them in a repository, and one wen it was realized that we had two surviving civil war tents, word went out to some war sites, if anybody was interested, and we were. and we come up with the change by two tents for the people of the united states. these objects are meant to impart a linkage a tie, to that period. these tents were slept in by actual soldiers. they were actually moved, stored, carried, transported, by physical being of that time frame. that's why the items or that

linkage, they don't exist today, because like us in our future we will pass unto time they have passed unto time but these objects survived. they're accidents. two tents, half of what exists in the world for the civil war time frame are right here. they're accidents of survival, and they're here to impart appreciation and understanding for a different time and different people. >> you can watch this or other american artifacts programs anytime by visiting our website. c-span.org/history and watch american artifacts every sunday at 8:00 a.m., 7:00 p.m. and 10:00 p.m. eastern here on c-span3. all weekend long, american history tv is in oklahoma city, oklahoma, to explore its history. you're watching american history tv, 48 hours of people and events telling the american story. on the fifth anniversary of

the bombing of the alfred p. murrah building in oklahoma city, frank keating dedicated a national memorial to the victims on the site where the building once stood. 168 people, including 19 children, died in the 1995 blast. >> on april 19th, fire years ago, another spring wednesday like today, the flag of our nation was flying over the murrah building. it is flying over our memorial today, and i know it flies proudly in all of your hearts. for those who perpetuated this act, we have one message -- in america, you can speak and write and vote and complain, but there is no right to maim and bomb and kill. [ applause ] >> and if you think that you can

bring that flag down, there is your answer. we have so many special guests today. it is a homecoming for many of you who came to oklahoma in 1995, and gave us your sweat and your tears and your support. we welcome home all of you. this is your home. we are all oklahomans today, and we are all americans. may god continue to bless our beloved land. my husband and i and our parson designed the outdoor symbolic memorial here and that

is everything you see in this space is kind of green park-like space. this project was given out as a competition, and we decided to participate in this competition, because we felt like it was a way we could tribute to the community, and give them something that would help them. as part of that competition process, the memorial foundation which was established here sort of a guiding force in creating this memorial, they sent out a mission statement, or a set of guidelines to which we should follow when we thinking about how to design this memorial. and there were a couple of things that really were important. they gave us the whole boundary, the perimeter and inclutsed in that was this seconds of fifth street that is now where our reflecting pool is. that used to be a regular street that just ran through the site, and they had opted, before we ever became involved, they decided to close off this street permanently and make it part of this memorial room.

another thing that was really important, an important guideline, is that they wanted all the participants to create a design that would allow for the survivor tree to remain, and the survivor tree is located at the it is a symbol of surviving. itself, the tree itself is a survivor. it almost didn't survive the bombing, and because it was such a dynamic symbol of resilience, the community really started to rally around the tree and to gather under its branchs and it became the real symbol for this place. >> this part of the site is where the building used to stand. this is the footprint basically of that building.

those are the walls of the parking garage behind, and one of the guidelines was to find a way to remember those who were killed in this space, so we treated this really as a more sacred space. we're acting rev rently here. it is quieter, and we lined the whole perimeter with these tall pine trees, they're very regional, and they grow to be almost 90 feet tall, and their job is to create this soft, green, protective edge for this site and for these nine rows of empty chairs, and we kind of saw them as the sentinels that are really protective. there is nine rows of chairs here. each row corresponds to one floor of the building, and the chairs on that row really

reflect the people that were working or were visiting that floor of the building when the bomb went off. each chair has a name of a victim inscribed on it. they're not big bold black letters but lightly etched into the glass, and so we thought that was something more subtle and very beautiful. the chairs are made up of glass bases and a are bronze and granite seat and back and they are really designed to be at the scale of a person, you know, something that we're all familiar with is a chair. that's something that we all can relate to across many cultures and many ages, and so we thought that was just a good way to reach a lot of people and in the day you don't see the glass bases as much, especially from a little distance, you don't see them. it seems like these float a

little bit because that glass is not so apparent. at night it is almost the opposite comes true where the glass bases light up and they become the beacons of hope that remind us that good can come out of something so evil. >> there are different sized chairs. >> there are two sizes. they're pretty subtle, the difference. if you look, you can really see that the smaller chairs are for the children, there were 19 children killed. 15 of those were in the day care, and that's on the second floor, so most of those chairs on the second row, and that really starts to speak to me to the tragedy of how this hit just across a whole range of people. what we're looking at here are the gates of time, and they really act as our formal entry markers into the memorial room.

we have one to the east marked 901. the gate to the west is marked 903, and they really reflect or reference the moment of the bomb at 902. we don't literally write that out but we're just referencing 902 is really when what this whole outdoor memorial room is about. those are acting as our edges. each gate is comprised of two walls. in between those walls just a slight pause, a slight almost like a narthex to a church, a slight pause before you enter into the memorial room. you step away from the hustle and bustle of the city and get a slice of the sky and go into the memorial roochl. right in the middle of this whole memorial room is a long reflecting pool, about 313 feet long. it sits where fifth street used

to run through. this used to be a busy active street, and now it is almost a void. we can't go there anymore. we made it inaccessible. it also acts as an organizing element to all the different players in this outdoor room, and it is also kind of a common edge to where we can all come meet and we really saw this main element as a place for to remember those changed forever. the water itself is only three quarters of an inch deep. you probably won't know that unless you get up to the pool edge and look into t we liked the idea of this very quiet mysteriously moving water. we thought that the noise it makes is wonderful, soothing noise to when you are visiting a place like this. it plays a big role on many

sensory levels when you are experiencing a memorial. the record building is where the museum is housed, and that was -- the facade we're looking at is the alley facade. when the bomb happened it damaged the buildings around it so much they had to be demolished and so what was left was this facade that was really evident that something had happened, that fire stairs were tangled against the building, and the windows were blown out, so there were just these dark voids of space where the windows used to be, and when we designed this, we realized it was really important to keep that facade as much in tact as it was the day that the bomb happened because it gives us a back drop, a reminder almost of where we're coming from.

part of this memorial is about recognizing the efforts of those who helped, and this area here is specifically about the children who helped, and the kids did a number of things. they sent letters and pictures and drawings to the rescue workers right after this happened. we heard stories about how when the rescue workers would be finished at night or have a break they would go to cots set up for them and always be a letter or drawing there to kind of revive them or give them inspiration, and the memorial received just a lot of tiles with these pictures of whatever the kids were thinking about and whatever message they had for the community they put on these and painted on tiles. we had a huge archive of tiles to choose from and we wanted to line this whole wall with these

tiles so people would have an idea of even more of what the kids' contribution was. this area is just a big stone paved area, but interspersed are these big basically chalk board slates, and we kind of arrange them like a collage or pictures and they're here almost to be an interactive piece. it is a way that kids and adults can come and still leave the same messages for the community and we really hardly ever see these blank. they are either washed off by the rain or washed off by the people that take care of the memorial and there is always people coming in to leave messages. we feel like that interaction is sort of an important part of

this memorial and it is an important way of people letting other people know you're not alone. when we enter the competition to design this place, we had no idea of the weight that this would be, but once we came here, we met the people, and we started interacting with community, i think we started to really feel the responsibility we had taken on, and we were very fortunate to have a big team of people around us. we were fortunate in that we got to communicate with the community a lot which was due to a process that the memorial foundation had been in place, that they wanted to keep the community involved with this project and keep them up to date on everything that was happening, and so that was really good for us to feel like we were doing this as a partnership with the community. the way it felt very heavy and at the same time when we were finished, on the day before dedication we really had to hand it over. we hoped we had done