Front Cover
 Front Matter
 Front Matter
 To the Business Men's Conferen...
 To Women's Clubs
 To School Children
 To Men's Clubs

Group Title: The Mountain Lake sanctuary and Singing tower
Title: The Mountain Lake sanctuary and Singing tower,
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00055588/00001
 Material Information
Title: The Mountain Lake sanctuary and Singing tower,
Physical Description: 2 p. l., 36 p. : ill., plates, ports. ; 21 cm.
Language: English
Creator: Nornabell, Henry Marshall, 1877-
Publisher: The Highlander publishing co., inc.
Place of Publication: Lake Wales Fla
Publication Date: c1930]
Statement of Responsibility: by Major H. M. Nornabell...
General Note: Cover-title.
 Record Information
Bibliographic ID: UF00055588
Volume ID: VID00001
Source Institution: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: aleph - 001713315
notis - AJC5670

Table of Contents
    Front Cover
        Page i
        Page ii
        Page iii
    Front Matter
        Page iv
        Page v
        Page vi
    Front Matter
        Page vii
        Page viii
        Page 1
        Page 2
    To the Business Men's Conference
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
    To Women's Clubs
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
    To School Children
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
        Page 30
        Page 31
        Page 32
    To Men's Clubs
        Page 33
        Page 34
        Page 35
        Page 36
        Page 37
        Page 38
        Page 39
        Page 40
        Page 41
        Page 42
        Page 43
        Page 44
Full Text





.4 -'

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a- At,

. t..

I "I



* a.
1- '

9/ Z7. 7



"A Symphony

in Stone

- A Rock's


A Bell'

Cry Crystallized."























to find


is so easy

to get

in the world."--JOHN BURROUGHS.




e this

Sanctuary a


to express

to the


spirit of their foundation.

dlic for its loyalty to the
But this occasion should

not pass without
does not end wi

really began

h their dS

when you


you that

such loyalty
Indeed, this
guardians of

their welfare.


you not merely a gift,

but a


is a trust to be

received as a heritage now


s and
and s

in that








belief in your integrity, a su




use of beauty,

on these Mr. Bol has pledged his faith.




not just



America itself, but the world will look to

a faith

is justified.

The gift of the


and Singing Tower is

founded not only on his ideal of a people, but more

critically, on a belief

in their


All that

Mr. Bok has conceived, and that has been so greatly

carried out, now depends
continuance of its spirit.
Mr. Bok has done his

Sanctuary, ti
the Founder

one of you for the

part, the Desi

of the Tower,

these have

gner of the
he Builders,
done their





at each visitation.

and in individual striving, let this





yourselves will show how right has been Mr. Bol's


m you,





H. M. NORNABELL, Director.



their appreciation

see if such

on each

be Architect

of the Carillon,


Addresses By







at Babson Park, Florida




Reprinted From


Lake Wales, Florida.


19s. By The Highlander


Co., Ine.

AU Rigats


VanNatta., Nor. and GIler

(feth Editiom)

Photogrsphe bp

W A AKE you thr world a bit
i more beautiful and better
because you have lived in it."








1W,5 OST visitors to the Mountain Lake Sanctuary ask as
iNI their first question about the Singing Tower which
Mr. Edward W. Bok has giVen to the public:
"Why is it called a Singing Tower?"
This is the traditional name of a carillon tower. From
early medieval times in the Netherlands, Belgium, and the
North of France, watch towers were erected from which
sentinels could see the flooding of the dykes or the coming
of invaders. In such a crisis the blowing of a horn by the
watcher would summon the people to the threatened
Gradually a bell replaced the horn. Then clocks were
introduced into the towers and bells were struck to mark
the passing hours. More bells were added, then chimes on
which simple tunes were played at the quarter hours, and
more fully before the big bell struck the hour. Slowly
through the succeeding centuries still more bells were
added until in the seventeenth century, that majestic
instrument, the carillon was evolved.
These towers were of great national importance in
the community life, calling their people to war, to peace,
to prayer, to work and to feast. As each country saw its
national history reflected in the architecture of the tower
as well as in the music of the bells, both became a single
unit to its folk and known as a "Singing Tower." When
you hear the carillon at the Sanctuary send out its glorious
melodies from the tower's height (some 200 feet) you
will also lose the idea of the tower as just a building, or
of the bells as bells. Instead you will feel the whole unit
alive, a wonderful singing force, the noblest expression
of democratic music, a true Singing Tower.

I had formerly seen the famous Singing Tower of the
Cloth Hall of Ypres and heard its carillon, one of the
most celebrated in Europe. Then, in the war, I saw it
struck by the first shell. For the 18 months when I helped
to defend the Ypres salient I saw the historic old building
gradually shot away until one day, struck by an incendiary
shell, it burst into flames, the bells running in molten
masses, and the Singing Tower of Ypres, the pride of
centuries, fell a victim of war. In the agony of those
months I realized a Singing Tower is the soul of its people.
SOU will notice that both the carillon and the
architecture of the singing towers of Europe reflect
their national history in tradition and material. Both these
forces have contributed to our Singing Tower.
In materials and motifs it often partakes directly of
Florida itself. The coquina rock used in the lower walls
was excavated at National Gardens north of Daytona.
Coquina rock is historic to Florida and was used by the
Spaniards in the old fort at Saint Augustine in 1638. Also
a Florida motif is found in the grille of colored faience

in the lancet windows. Here d
series of under sea forms like the
the development of life is traced
reaching the trees and birds of
centering in a relief showing "m-
The figures of Adam and I
purely allegorical as it is not

Rough a richly

jelly-fish ant
through flora
the upper
an's dominion
:ve in these
yet claimed


d sea-horse,
and fauna
panels and
1 over all."
panels are
I that the

Sanctuary is the original Garden of Eden.
that to time and legend.

We will leave

I IMILARLY the carvings of birds on the marble band
encircling the tower above the great North Door, and
the pinnacles which replace the gargoyles of European
Gothic, show the cranes, flamingoes and native birds of
Whenever possible the architect, Milton B. Medary
and the builders, Horace Burrell & Son have used southern
material in the construction of the Tower. Both the gray


marble at its base called "Creole," which is cut to
the outline of bells, and also the pink "Etowah"
are from the Tate Quarries of Georgia.
The Tower weighs 5,500 tons and is securely a



to a reinforced concrete mat, two feet six inches thick.
This in turn is supported by 160 reinforced concrete
piles, driven* to varying depths from 13 feet 2 inches
to 24 feet 10 inches below ground. The tower rises
from its foundation, 52 feet square at its base to the
majestic height of 205 feet 2 inches. In gradually changing
form and tapering lines it becomes octagonal at the
L-top and but 37 feet wide. The North Door is of hand
wrought brass, by Samuel Yellin, centering in its rich
design the six days of creation as recorded in Genesis.
The Tower is surrounded by a moat. This with the
planting and its reflection in the pool keeps it at one with
the Sanctuary itself. The interior of the Tower is not
open to the public as it is private to the carillon and its
E NOTHER question asked is:
"What is a carillon?"
An exact definition demands too many details of the
technique of tower music. "It is enough to say a carillon
6 is a set of bells tuned to the intervals of the chromatic
scale, that is, proceeding entirely by half tones, the
compass being three octaves or more, the lowest bell being
often many tons, so that in the highest octaves the weight
of each bell is but a few pounds and all the bells hung
'dead' or fixed, that is, so as not to swing."
Many people do not realize the difference between a
carillon and a chime.
"A chime, ring, or peal, is a set of bells not more than
8, 10 or 12 in number tuned to the notes of the diatonic
scale (that is proceeding by a definite order of tones and
.half tones)." The carillon is played on a keyboard or
'clavier, similar to an organ or piano, also an automatic
\ player is installed.


|I|UR CARILLON has 71 bells with 53 tones, or four
and a half octaves, the 18 upper tones are duplicated
so as to avoid the airy sound of small bells. The total
weight of the bells is 123,264 pounds. The tenor bell
alone weighs 11 tons, and the smallest, 12 pounds. It is
the finest and largest carillon ever cast, and has been made
at John Taylor & Son's Bellfoundry at Loughborough,
The Sanctuary and the Singing Tower was formally
Dedicated to the public, for visitation, by Calvin Coolidge,
President of the United States on February 1, 1929.
The carillon is played throughout the winter season at
various times during the week which are announced to the
public. Special recitals are given at Christmas and New
Year's Eve, and the birthdays of Washington, Lincoln
and General Robert E. Lee.
Our carillonneur is the famous Anton Brees of
Antwerp, Belgium. He has played most of the great
carillons of the world, and was recently carillonneur for
Mr. Rockefeller at the Park Avenue Baptist church, New
York. He also opened the fine carillon War Memorial at
Capetown, South Africa. Anton Brees is in residence here
for the carillon season each year.
QEGARDING the pronunciation of carillon, it is
generally accepted as good English to pronounce
carillon with the "0" as in atom. The player is a
carillonneur with the last syllable sounded as "eur" in
Mr. William Gorham Rice, the American authority
who confirms this in his book, "Carillon Music and
Singing Towers of the Old World and the New," was
present with myself and Professor Starmer, lecturer at
Oxford, and Professor Holme of Sydney University,
Australia, also representatives of South Africa and Canada,
when it was agreed- that the majority of English speaking
people pronounced it "car' illon." It is not incorrect to
say "carryohn" after the French just as some call Paris


"Paree," particularly on the continent. Our own
carillonneur, Anton Brees, pronounces it "car'illon" in
the accepted manner. As has been pointed out, neither
accent is derived from the home of the carillon. In the
Netherlands the name is "klokkenspel," while in Belgium
it is "beiaard." Many there would not understand the
meaning of the word carillon, although with increasing
tourists, it will be more used. Carillon, at first
"quatrillon," comes from the French and originates in
the medieval Latin "quadrillionem," meaning the four
diatonic bells of the twelfth century.

U HE thoughtful visitor to the Sanctuary asks the
most far reaching question of all:
"Why has Mr. Bok given the people this beautiful
Sanctuary and its wonderful Singing Tower?"
The answer is best found in the prologue to "The
Americanization of Edward Bok" and in his "Two
Persons." There he tells how the Dutch government
entrusted the care of a dangerous sandbar off the Dutch
coast to his grandfather. Infested with pirates, and as
barren of any vegetation as the sandiest spot of Florida,
nevertheless order was not only established there, but
more. Both his grandparents were true lovers of beauty,
and by their own art and persistence planted the island
so wonderfully with trees and shrubs, they changed their
sandbar into a haven of beauty, where birds rested on
their journey across the North Sea, thus saving the lives
of thousands. Humans came also to this Sanctuary from
the world over for inspiration.
The message left by these grandparents, "Make you
the world a bit more beautiful and better because you
have lived in it," became Mr. Bok's own inspiration
throughout his life in America with his many services to
his fellow men. But he did not find the place to fully
realize his grandparent's message until he walked oneo
evening from his home at Mountain Lake to Iron K
Mountain. The sun was setting and the moon rising at


its full.' Standing between those
a man's ideals and his activities,
mountain, once hallowed by the
of Florida who used to meet here
the Great Spirit, was the place
for birds and humans, and with
you to make your own world a

two ancient symbols of
Mr. Bok felt that this
worship of the Indians
each spring to reverence
to establish a Sanctuary
its beauty help each of
bit more beautiful and

better because you have lived in it.





S Singing Tower to the public Mr. Bok
thing of the people. Will the public co-ope
in the care of the Sanctuary? Will they,
appointed wardens, be guardians of its qui
and its birds? Will visitors not pick the

asks only one
rate with him
as well as its
et, its flowers
flowers, feed

or frighten the birds or make the Sanctuary a picnic
ground for any form of refreshment whatever? Especially
they are asked not to scatter paper or rubbish about, an'd
in walking, keep to the grass paths. This is one place
where visitors are asked, "Please keep ON the grass."
Gentlemen are expected to wear their coats when in the
I, who have seen the martyrdom of the historic
Singing Tower of Ypres and now the birth of this truly
magnificent Singing Tower of Florida, fully realize what
it will mean to you and to all the future generations of





UO PT only must a carillon be
in tune with itself, but the
listener must be in tune with the








to give you

a lecture

on the

S Singing Tower of the Mountain Lake
But I do not wish to lecture, rather I would su
special lines of thought which will help each
that study of the carillon and Singing Tower
must make for yourself alone. Only by doing
rouse deeply within you the understanding
which so great a thing born here in your midst
to you and to your children.
Recently a member of your club said to mr
proposed that we make a study of Singing T
we don't have to now as you are going to lec
about them."

ggest some
of you in
which you
so cart you
and pride
will mean

ie, "It was
powers, but
;ture to us

I hope no one will speak so again of our Singing Tower

for since it has been opened to the public for
is your Singing Tower. It depends not upon
itself, nor upon the carillon whether both wi
this town, what the Singing Towers of Euro
very soul of their community.
It depends upon each one of you if this
really sing, not just through its bells, but in
force, the inspiration which it will bring to
life. And this no lecturer can do for you.
study and your own appreciation of this Sing
come from within.

UT in suggesting to
W is one thought whicl
note. It is this, "Not on
with itself, but the listed
When I visited Mr.
Loughborough, England,
- '--

visitation it
the Tower
ill mean to
pe are, the

tower will
the moral
your daily
Your own
ging Tower

you some outline of study there
h I ask you to take as your key
ly the carillon must be in tune
ner must be in tune with the


great bellfoundry at
our bells were cast,


that celebrated campanologist, the late Professor Starmer,
spoke to me of the carillon as the highest form of
democratic music. When you have studied its history
you will follow his meaning. Then you will realize how
completely it identifies the whole rise of civilization. First
the bell, then the chime, lastly the carillon itself, has been
the people's expression in music, since those primeval days
when shepherds first danced to the tinkling bells of their

"an ins
the rise

Such bells d
tructor of es
tells us. Doi
of man until
the carillon s<
calling them
and harvest,

intimate scoring of

doubtless were made by Tubal Cain,
rery artificer in brass and iron," as
wn through the ages, bells have rung
I gradually in Europe, as I have told
et the whole calendar of its people to
to war and peace, to feasting, to
and school and church. But all this
human history will live for you in

those words which I give you as the keynote to your study
of the Singing Tower. "Not only the carillon must be
in tune with itself, but the listener must be in tune with
the carillon."

ATER that evening at Loughborough I heard the
town carillon giving a recital for its people. They


fallen. Out of this
Wales, 477 men, ar
nephews, laid down
When I looked abou
widows of these vill
born, I understood
sustained them and
again through their I
people of Loughboro
Now how can you

ted it as a War Memorial to their
town, not much larger than Lake
id among them Mr. Taylor's three
their lives for King and Country.
t me at the mothers and fathers and
age lads, calm with suffering nobly
how their carillon had lifted and
how the voice of the fallen spoke
bells. Then I realized how truly the
ugh were in tune with their carillon.

yourself best get in

tune with your

own carillon?
First through sincere conscientious study, above all a
personal study. Thoroughly acquaint yourself with the
real meaning of a Singing Tower. Learn its history, its

-'12 .-


architecture, its carillon, and the full significance of what
Mr. Bok is giving you here.
WHY is a carillon called a Singing Tower? I went into
this subject more deeply in my recent talk at the
Business Conference at Babson Park, so I need not again
repeat the facts there given of the tower, its design and
construction. I will only now dwell on some suggestions
for those studies you must make yourselves. I will recall
that "Singing Tower" is the proper traditional name of a

carillon tower. To
your Singing Tower
of all Singing Tower

further appreciate the meaning of
here I want you to study the origin

Since the day when man first walked erect, he naturally
sought some height, even a tree top, where he could watch
out for danger. Later mounds were built, somewhat like
the American Indians'. Beacon fires were some times lit
on their tops and these could signal news from mound to
mound. Mud and stone watch towers were common to
all early civilizations, such as I have seen still in use along
the Indian frontier where the crack of a rifle defies ,the
raiding Afghan.
Even now a good example of a modern watch tower
can be seen in the Martello towers built along the southern
coast of England to warn of the invasion of Bonaparte.
With the evolution of the watch towers into the
Singing Towers of Holland and Belgium- and northern
France, these gradually changed their warning horn for a
bell. When clocks were invented bells first struck the
hours, then chimes. Finally the carillon was evolved and
the tower and music became one, a Singing VTower.
Ij N YOUR studies of the Singing Tower I ask you to
Z note its democracy. Both in architecture and music
it has been the slowly growing expression of the people
themselves. Whereas the palace and the temple were
reserved for priests and rulers, the tower watched for all,
served all in labour, peace and danger. Until recent years
the finer forms of concert music were exclusive to the


nobility alone. But the Singing Tower gave its music
freely, openly and for all conditions of people.
I particularly want you to note in these primitive
towers not only their architecture but their direct social
relation to our own Singing Tower. They were the great
folk expressions on which were painted or carved the
events of their times, records of war or conquest, or
details of nature. Birds, sacred animals, healing plants or
even vegetables of special virtue, like the onion or garlic,

all these had their place on th
well as portraits or statues of
Assyrian and Egyptian excava
I well remember seeing an
notice of new taxes on the Lai
the border of Thibet. Even
of hope and fear in his old
taxgatherer's eye the world o
mention for those who worry
modern life, that Professor Gil
one of the oldest cuneiform in
wall in 1500 B. C., as "Alack,

they were."

This from

Ce tower or temple walls as
rulers such as one finds on
ancient Lama carving the
masery wall at Hemis, near

now I can recall
eye. It looked
)ver. In passing
over the so-called
Ibert Murray has
scriptions carved
, alack, times are

"good old days"

the glint
so like a
I would
decay of
on such a
not what

gives us




M& supreme quality of useful beauty, that idiom of. folk
art. The spouts through which the Egyptians threw out
the temple waters were carved in particular forms to
indicate their special purposes. Early European Gothic
using these spouts as rain pipes further adorned them with
grotesques, often of the people about them, until later
Gothic ran riot in all the interesting or amusing gargoyles
one sees particularly in such wonderful examples as Notre
Dame in Paris.
With this study you can more keenly appreciate the
beautiful stone carvings of the sculptor, Lee Lawrie, on_
our Tower. Here he has replaced the traditional gargoyles
with pinnacles and other carved units on the buttresses,


. and adorned them with conventionalized birds of Florida,
the crane, pelican, flamingo, and surmounting all, doves
of peace and eagles of security. Instead of the heavy gray
masonry of Northern and Western European Gothic,
Milton B. Medary the architect, has chosen southern
materials to reflect vour own local colour. Dulles Allen

J -.

has also been inspired by your brilliant
and richly tinted sky and flowers to
beautifully coloured tile insets for the
depicting the rise of life from sea forms

North Door
sunlight the
of that first
is this great

Florida sunshine
make a series of
lancet windows,
to man.

inspired, Samuel Yellin has fashioned the great
in a yellow brass that depicts as in a blaze of
six days of creation. Here in a series of
hand wrought panels he portrays the story
Garden of Eden. A truly marvelous work
North Door.

AM stressing the origins of all that pertains to our

S Singing Tower because I want you to
sense of time to its proper perspective. E
because you have seen it rise up from the
just two years, that those meagre days can
its birth. In the inspirations for its design :
materials this Tower has been slowly rising
It is not a thing shot up in a day. It ,
tomorrow like the chance city skyscraper.
conceived it for all time like the beautiful

bring a great
)o not think
Sanctuary in
account for
as in its very
for centuries.
will not end
Mr. Bok has
Taj Mahal of

India, which after all these years still remains one of the
world's masterpieces.
The very marble of the Tower is almost as old as time
itself. Both the pink Etowah and the gray Creole marble
were formed over a hundred thousand years ago in the
carboniferous age. Then the vast primitive vegetation
slowly petrified both mineral and forest life into the
quarries of Georgia, even solidifying in the softer deposits
some of those prehistoric monsters whose gigantic skeletons
you see in the museums.
In the coquina rock of the Tower wall ydio trace clearly


v v__

the action of the receding waters on the early crustaceous
life of those past ages. So you find our Tower is God's
calendar of creation.

SHEN I ask you
forward in your
decipher the entire his
so some thousand yeal
Tower to learn the
architecture, its mate
will reconstruct your
planting, your entire
away as the Indian
Mountain. But the T
of this community is
Then in pursuit o]

not only to loo
perspective. As
F I.

k backward, but
archaeologists can

story or a race rrom its monuments,
rs hence posterity will consult your
culture of your time. From its
rialss, its design, its carillon, they
present history, your birds, your
social life. You and I will pass
who once worshipped on Iron
power will remain. The immortality
secure in its Singing Tower.
f every detail to more deeply attach

you, study the carillon itself, its
bells. The harmonics of these la
considered to enable you to detect
Each carillon bell must have in g
first five tones of the harmonic st
hear the carillon played, you will un

st should
the tone

its music, its
1 be carefully
s of the bells.

;ood tune, at least the
series. Thus when you
understand how to detect

the Hum-tone, a perfect octave below the Strike-tone,
the Strike-tone itself, the principal tone of the bell and the
basis from which other tones are measured; a minor Third

above the

Strike-tone; a perfect Fifth above the
; and a perfect Octave above the Strike-tone.

N TUDY also the life and purpose of the great
carillonneurs of the world, whose present Master is
Anton Brees of Antwerp, Belgium. These men consecrate
their whole lives to their bells, and their great office is
reverenced by their people.
Always keep uppermost the vital democratic force of
the carillon in the every day life of its community.
Particularly in the Netherlands, Belgium, and the North
of France, the whole life of the people is kept in tune by
their carillons. Learn what these meant to their folk in
the late war. Not until the carillons of Belgium and

-4 16}:"-


France sang again did the people take heart for the
reconstruction of their countries.
UEEPLY consider bells in themselves. A bell is the
concrete symbol of human civilization. From those
golden bells prescribed by Moses in Exodus for Aaron's
vestments, to the modern telephone bell, man's history has
been cast in them.
Bells begin and end us. Church bells, wedding bells,
funeral bells, school bells, fire bells, door bells, ships bells,
each has its own tradition in our social life. All the great
events of history have been rung in by bells. Your own
freedom here in America was proclaimed by the Great
Independence Bell of Philadelphia.
The definition of a bell is a bit humorous in its scope,
"a hollow metallic vessel used for making a more or less
loud noise." Surely this includes every variety from the
sweet toned carillon to the rousing alarm clock. The word
"Campana" gives us a key-note to the modern bell. It first
occurs in the late Latin of the Fourth Century A. D. Then
the bell was stabilized in its present form at Campania
where it was made strictly for churches.
Formerly primitive bells were sometimes made of wood
and of many shapes, like the mitre or trumpet or even
square in outline. I have seen some of these still in use in
Kashmir and the Alps, where they warn the mountain
climber of a coming storm.
Others like the sacred Egyptian or Semitic dancer's
were small cymbals or metal discs dashed together in the
hand. From these the Spanish castanet evolved. Metal
bells run by water clocks called Romans to their baths. But
the big bell as we know it became early identified with
churches and monasteries. The Venerable Bede mentions
such an one at Whitby Abbey in Yorkshire in 680 A. D.
Architecture has been greatly influenced by the
bell. The church steeple, at first just a hood protecting
a lantern, owes its elevation to the bell hing aloft
to further its sound. After the Reformation, bells


continued to express the greater democratic freedom by

leaving the cloister,
became of su v
conqueror's first act
and melt it down,
cannon, but for its
important did they
the Hague Conven

like books, for c
7alue in the lif
was to seize the
not just for its
moral effect on
become that all



civil use. Bells then
e of the people, a
big bell of a town
metal to be used in
the conquered. So
civilized nations at

to the


against the seizure of bells.
The largest bell ever cast is the "Czar" of Moscow
made in 1733. It weighs 180 tons and cracked so it could
never be rung, but it has been used as a chapel, with room
for a congregation inside it.
"Big Tom" of Oxford, cast in 1681, still carries on,
calling its students who come from all parts of the world,
at 9 o'clock each night to curfew.
For centuries in Europe bells have symbolized their
people's highest patriotism. The Tenor bell of a carillon
had a formal baptism and Kings or prominent men stood
as its sponsors. Often a signet ring or the key of the
city have been melted into its alloy.
The casting of a Tenor bell is still a solemn occasion
as in those fifteen hundred years ago at Campania when
monks cast it after fasting and prayer at midnight. Now
as then our own Tenor bell was cast at midnight at
In that wonderful Taylor foundry whose firm has


been casting bells since 1370, I saw our carillon in embryo,
in the ingots of Rio Tinto Copper and English Block Tin.
The secret of the bells is not in the alloy, but principally
in the tuning, a process of finest craftsmanship. This
secret is never written, but given only by word of mouth
from the head of the firm to his successor. The device of
the Lamb and Banner which I then saw stamped upon
each ingot of tin is the stamp of Mr. Taylor's house and
k the same as Cornish miners used when the Caesars sent

British tin home to Rome.



roH Tenor bell has generally carried the dedication
of the carillon. On our Tenor bell is inscribed:


I have told you previously of Mr. Bok's purpose in
founding the Sanctuary and giving this Singing Tower
to the people. How nobly he has done his share, posterity,
as well as the present world, can judge. But no one can
do your part for you, and without your co-operation the
bells will sing only to the empty air. Remember now and
always it is not only what the Singing Tower brings to
you, but what you bring to it. Again let me remind you,
'Not only must a carillon be in tune with itself, but the
listener must be in tune with the carillon."



D ECAUSE our Sanctuary and Tower
have found their first truth in the
beauty of Florida itself, its creators have
given you here what all lasting civilizations
have given their people, a tradition to live
up to. But it is yourselves alone who can
make its reality abide. It is for you to
seek Sanctuary.


To School Children

N THE 23rd of June 1611, Henry Hudson, the great
Navigator came to his last stand in the Bay that bears
his name. But a worse evil checked him than the icebergs
closing about his ship, the "Discovery." His crew mutinied.
Starving, ragged, half frozen, these men realized that
between death here or return to England, stood one thing,
the indomitable will of their leader. The mutineers seized
Hudson and thrust him into a small boat, to be cut adrift.
Now there was on this ship one Philip Staffe, a
carpenter from Ipswich. In that moment when he saw his
captain betrayed into the boat, he saw his ship mates
entreat himself to stay and sail for England where waited
comfort, his village Green.
Before the alternative of sure death on the Bay with
Hudson, this man knew bitterly the call of home. But
he also knew the difference between right and wrong. In
that moment of terrible decision, Philip Staffe stepped into
the doomed boat beside Hudson. He chose, "rather to
commit himself to God's mercy," and do his duty to his
master, than to desert with the mutineers to possible safety.
A recent biographer of Hudson says that Philip Staffe,
"Had not heard the bells of St. Mary-at-Key knoll to
church for nothing."
U OW this is the story I want each of you to think
over. Everyone here from the smallest child to the
oldest scholar, knows that each day you have to make a
decision of some kind. Will you be in time for school?
Will you grapple with some problem of history or
mathematics, or just let it slip by half done? These small
decisions are slowly concreting the corner stone of your
future character.
The wise man and woman know there is no such thing


as an immediate decision. The subconscious forces of your
whole life, your attitude today towards your school, your
home, your town, this is not left behind each sunset. Its
strength or weakness rises to your decisions like the echo
of Philip Staffe's bells to his great moment. And
remember this. The bells of St. Mary-at-Key were faithful
to him in his hour of need because he had been faithful to
them in boyhood.

ND yet another story. You have heard of Dick
Whittington the famous Lord Mayor of London in
1327, and his equally famous cat, who so faithfully
followed his fortunes. Dick Whittington was a boy who
loved the bells of Bow Church in London, that famous old
church which still defines the so-called "Cockney" as one
born within the sound of Bow Bells.
The legend noes that hunnrv and penniless. Dick



Whittington was leaving London to seek work elsewhere,

when he sank down on a stone at Highgate Hill. I have
often passed this stone carved in his memory. There he
heard the Bow Bells ring their noon chime. Through his
misery they still called to him, his only friends in that great
city. Clearly they bade him, "Turn again Whittington
thrice Lord Mayor of London." He accepted the call of
the bells, took heart, and returning to London pursued
his fortunes with more courage until finally after a life
of service, this once disheartened boy was able to hear his

bells ring for him in tr
prophecy, "Thrice Lord
of the finest who ever
Today many of you
Whittington chimes of
bid you "turn again."
Here are stories of
part of conscience itself
to consider them, Boys
Singing Tower?

iumphant fulfillment <
Mayor of London."
served that city.
Lr domestic clocks have
ten called Westminster

f their old
He was one

these same
chimes, to

two men whose bells played the
in their lives. Why do I ask you
and Girls of the Mountain Lake



-*( 2 2)-

E COUNTRY is as great as its traditions. Y6u are
heirs to a truly great tradition in the founding of
America. No country has a more stirring record of the
courage, the high purpose of the pioneer men and women
who built up this great nation from a wilderness. But
because the colorful drama of those days has passed, the
need of staunch character has not passed. Honest ideals,
detached impersonal decisions, your world will have even
greater need of these.
This present day with its speed, its false craving for
money and excitement, these will try to the utmost your
ability to make those wise decisions, which will affect not
only yourselves as citizens here, but all America, and that
whole human civilization of which each of you is a
positive link.
And that is why I want to impress upon you your
privilege and also your responsibility here. For this was
Mr. Bok's purpose in giving the Sanpuary and Singing
Tower to you, future leaders of America. Once he, a
boy of the Netherlands, where every hour is set to the
music of the bells, had hii life so tuned by them, their
inspiration abided with him through his early struggles
here in America. Now as with him, with Philip Staffe,
with Dick Whittington, he wishes to make their inspiration
part of your daily life, and so of your useful future.
JjHESE are the thoughts I wish to emphasize to you
Wi rather than any facts or figures of the Tower or of
the Sanctuary. You are at present engaged in a school
world crammed with facts and figures. Just as your
future application of your studies depends on the personal
use you make of them now, so all the Singing Tower and
the Sanctuary will mean to you lies, not in another's
teaching, but in the way you make its great truths your
I had a purpose in recently setting those facts before
your fathers and mothers. It is they alone who can
establish the tradition of your Singing Tower. The family


hearth is the altar stone of tradition. Nothing lasts that
is not founded on family life. Nothing is worth while
that does not follow the oldest record known to man, the
handing down of truth and legends from generation to
generation. It is this sense of solid family tradition that
has made the Singing Towers of Europe such living forces
in their communities.
I N MY journeyings through the carillon towns of
S Northern Europe, I was struck by the love of the
young people particularly, for their bells. In those peaceful
summers before 1914 when I heard some of the great
carillons, Antwerp, Bailleul, Middleburg, I watched the

young faces, some under their native caps, lift 1
or play, and a look of loving trust steal over
they were hearing the voice of a friend. As a
loved my own curfew and the bells of an
Church, so I felt a bond with these boys and gi
Then in the war when I saw them fleeing
wrecked and burning homes, I felt still they 4
alone. Some truth, some sense of fidelity taught
their bells, would remain with those who had
to them. Somehow, they would carry on.
And then on my leave in England I saw
response. At Farnborough near my camp at
the ex-Empress Eugenie, consort of Napoleon

From work
them as if
boy I had
old Priory
from their
lid not go
it them by
been true

a strange
III, lived

in exile at her home where she had fled after the war of
1870. There she had also built a monastery in memory of
her son the Prince Imperial, once an officer of my own

regiment. As I came out of the chapel I saw
most beautiful and powerful woman of her day,
exile ninety-two years old, surrounded by the h
of refugee children of France whom she took
throughout the war. I cannot forget the contras
old days made by their once happy faces, now

her the
now an
care of
t to the

with the sufferings so common to war children. And then
the monastery bell tolled out, clear and calm, above all
tragedy. I saw the young faces lift, smile, like the

-4f24 -

Empress herself. These boys and girls who could not
even speak the language of their foster country still could
speak the world-wide language of the bells. Here a bell
spoke to them, as once their own had done at home.
Through its tongue the children seemed to tell us returning
to the front, they too were carrying on.
I EAUTIFUL indeed as are many of the Singing
Towers of the Old World, still you have here at
the Mountain Lake Sanctuary a setting which they with all
their antiquity lack. Their very age has restricted them
with narrow cobbled streets and cramped buildings which
often confines the tones of the bells. No Singing Tower
in the world has your distinguished and conducive setting
of the Sanctuary.
Now while you are listening to the carillon's music
let me urge you to get in tune spiritually with it. Make
these visits a study of the Singing Tower and Sanctuary,
so you will grasp just what they should mean to you. Do
not come to just wander aimlessly through the Sanctuary.
Come to it roused and eager for all the beauty and truth
it waits to give you.
Fresh from your study of history, yours should be an
especially keen appreciation of its peculiar tradition.
LHAT is a Sanctuary?
Many of you can trace the word to its original Latin
"Sanctuarium," meaning ,a "sacred place," a "refuge."
The idea of Sanctuary.jis.* a d a; man's need of refuge
from trouble,. and'{ no doubt, trouble' ws. the earliest
antique. ,
We read' in Ezekiel how God, prQpused the people,of
Israel, harassedd by long war, 1 wilimake a covenant.of
peace with them and will set my Sanctuary in
their midst for ever more." The Bible will give you many
examples of how it always stood as a place set apart for
peace or where one could retire to refurnish the finer ideals.
Later the Sanctuary or Holy of Holies, as in Solomon's
Temple, was reserved for priests alone. The early


Egyptians, worshippers of a personal Deity, centered their
Sanctuary about the statue of some Goddess or God, like
Isis or Osiris. With them, as later with the Greeks and
again the Romans, who inherited their tradition, the right
of Sanctuary was confined to the actual touching of the
As the statue was protected by priests or often

enshrined on a very high altar
easily gained. But once the
refugee was safe. Generally he
special protection of the Deity
goddess, like the great Diana of
was the most noted of ancient

such Sanctuary was not
statue was touched, the
became a priest under the
who was often a female
Ephesus, whose Sanctuary

U HE first outdoor Sanctuaries apart from the inner
Temple shrines were in England. There certain woods
were held as sacred places of refuge. You should
particularly note that these spots chosen for special beauty

or safety were not just asylums for
places where many students as well
in peace. Such Sanctuaries were first
who worshipped nature and sought ti
crowned with mistletoe.

offenders, but also
as priests could live
made by the Druids,
heir God in the oak

Thus was laid in those sacred woods the love of a purely
natural beauty later to flower in the genius of Chaucer,
Shakespeare, Keats, and the centuries of poets whom you
are now studying. Remember the same inspiration,
unconfined tq .apy "t rap'y: country, waits here for
those of rou i id &i' eceive:it. ,.' :, i
Will.: i'm mountain Lake Sanctary fawaken here a
similtispiration?.. Who. .can. say,. but y6;.A.ves.
E MPORTANZf .t0, 1ts.hiM .iots. Those flit outdoor
Sanctuaries established a protection for t`eir birds
and wild life, as well as for the human seekers. No
weapons could be used in the Sanctuary, either for defense
or attack, or to procure food. Hence wild life was safe.
It is my belief, that but for these Sanctuaries many of our

present birds and animals would be extinct.

With your


rapidly building towns and disappearing woods, you in
Florida may some day owe a similar debt to your
Even after the sixth century, when Latin nations still
restricted the legal right of Sanctuary tothe church, the
Cathedrals of England extended the outdoor protection
for one mile from each of the four comers of the altar.
Crosses were there inscribed "Sanctuarium," like those
you can still see in Cumberland and Cornwall. Such
Sanctuaries however, were protected by laws guarding
both the countryside and the fugitive. The seeker of
Sanctuary had his case tried. If guilty he must repent
his crime, surrender arms, toll a special bell at church

and wear a black gown with a cross on tl
Any abusing this privilege was evicted.
I used to see the "Peace Stool" where
beside the altar at Beverly Minster in Yol

he left shoulder.

the fugitive sat
rkshire; also the

great knocker at Durham Cathedral which the seeker of
Sanctuary had to sound thrice, when he could be admitted
at any hour'of the day or night.
Your history gives you such an example in Elizabeth,
wife of Edward IV, who persecuted by Richard m,
sought Sanctuary at Westminster with her two children-
the little Princes of the Tower of London, whom you
remember in Shakespeare's tragedy.
James I abolished the Cathedral Sanctuary as a legal
refuge in 1623 owing to its abuses. But note here, the
outdoor Sanctuary persisted as a refuge for wild life,
because the people themselves had made animal security
part of their family tradition.

I N Florida you have a tragic reminder in the Scarlet
(Ruber) Flamingo, of how a whole species of
unprotected birds can be driven from their country by
the hunter and plumage seekers. It is hoped to induce
these beautiful birds to settle once more in their native
This year at the Sanctuary we have over twice as many


wild birds as last year. Besides natives, thousands of
migratory birds are making their winter quarters with us,
and many will doubtless remain and nest once they are
sure of protection. I cannot strongly enough point out
how much we all owe to the birds who pass into and
through this state each year. You could not live at all
in Florida in summer, and scarcely in winter, and you
could not grow citrus or any green produce, but for the
birds who devour countless millions of insects. Florida is

very luckily situated to a
peninsula gives them three 1
First: down the Atlant
Cuba and over Panama,
across the Highlands to the
terminal of the great flight
As the crow flies, the
Atlantic Ocean; 74 miles
miles to Jacksonville; 228
Sanctuary is thus the center
response of the birds prove
The migration habit oft

birds. Thousands
lights or feeding
Many die of thirst
to these birds we a
are helping the bi
You have in tl
wild birds. What

Attract migratory birds. Its
ines of flight, twice yearly.
ic Coast across the Bahamas,
to South America. Second:
Gulf of Mexico. Third: the
track down the Alleghenian

Sanctuary is 67 miles
to the Gulf of Mexic
miles to Key West.
r of Florida migration
s their need of such a

to the
o; 163
. The

en proves a terrible strain for

are killed by hitting telegraph wires and
on roadsides poisoned by motor fuel.
, hunger or chill. In giving Sanctuary
Ire helping Florida more even, than we
rds themselves.
his State some four hundred species of
do you know of them, your helpmates,

C v A

your guests?

NT THE entrance to the Mountain Lake Sanctuary
you read a thought of John Burroughs, the great
naturalist: "I come here to find myself, it is so easy to get
lost in the world." What does this mean? I always note
the boy or girl whom I see pausing there, thinking, not
just hurrying by as into a park. A park nowadays appears

-f 2 8 s*-


to be a planted space in a city through which people hurry
to get somewhere else. Our Sanctuary is not a park. I
have pointed out elsewhere the five tones of a carillon bell,
and that the strike-tone is the keynote of all others. Now
these words of John Burroughs are your strike-tone to
the harmony of the Sanctuary. It is this sense of harmony,
of quiet creative thought, the landscape architect Frederic
Law Olmstead has expressed so wonderfully in the
OLON, one of the Seven Wise Men of Greece, gave
as his rule of life, "Know thyself." You are all aware
at times of an impulse to do something wrong, perhaps to
speak an untruth, then suddenly a voice like Philip Staffe's
bells, warns. You obey it and feel a secure happiness. You
have been true to yourself. You know Shakespeare's
"To thine own self be true,
And it must follow, as the night the day,
Thou canst not then be false to any man."
To find this your true self is life's greatest adventure.
This is the self that seeks Sanctuary. You may not need
bodily refuge from persecution like those elder seekers of
Sanctuary, but you do need spiritual refuge even more
from the insincerities of this day, the starving of nature in
skyscraper life. You need beauty and truth not as vague
illusions in poetry. You need them as living realities,
things more vital to your growth than any meat or, drink.


tells you.
beauty in
owe their
early dan
were cast
stamens ax

"Beauty is truth, truth beauty,"


The beauty of all art owes its first truth
nature. The bells of our carillon, like a]
shape to a flower. You can see the pi
's first inspiration in such an example
as the blossom of the Silver Bell tree.
cers wreathed themselves with flowers
in metals for anklets and bracelets.
id pistils were made to tinkle. Gradually 1

s Keats
to the
1U bells,
at the
, some
the bell

evolved into its present symmetry, instinct with harmony.

-429 *-

A bell is a perfect example of the truth of beauty. One
flaw, one untruth, and both music and shape lose value.
H^ET the true beauty of the Sanctuary restore many

S commonplaces
the frieze above the
pelican. This fine b
truth. Not only is
evolution, but throu
to establish himself
Asia, Africa and th
young from the flesh
love among many

to their right dignity. Stand before
Great North Door, and consider the
ird is so often ridiculed he has lost his
the pelican one of the oldest birds in
igh his own resources he has been able
in such different centers as Europe,
*e Americas. The pelican feeding its
h of its breast is an ancient symbol of
nations, and is still embroidered on

priests' vestments. The pelican is one of the first citizens
of Florida to find his true self again in the beauty of the


"Frozen Music."


yS we do not want a freeze in Florida, so we happily
find the true self of our Tower in its architecture and
purpose together. It is substantial music, a true Singing
Tower. The landscape architect of the Sanctuary, the
sculptor, the architect of the Tower, these men did not
try to reproduce some historic garden, a Byzantine relief,
or some Grecian temple. They saw these things have
inherent greatness only when they express the truth of
their own countries, their traditions, their climate, their
own materials and .epochs. Because our Sanctuary and
Tower have found their first truth in the beauty of
Florida itself, its creators have given you here what all
lasting civilizations have given their people, a tradition to
live up to.
* TUDENTS, you need no longer wait until you can
f"go abroad" as the saying is, to study a great
masterpiece. Many, of other nations will come here to
study yours. Those of you who will be botanists,
architects, musicians, sculptors, iron workers, engineers or
leaders of many professions, have your greatest school


book now open before you if you will but turn its j
Mr. Bok has deserved well of this country, heir t
constructive vision. The builders of beauty have
you a truth to last while Florida shall last. But
yourselves alone who can make its reality abide. It
you to seek Sanctuary.
Make it your refuge of quiet thought tod:

o his
it is
is for


problems of school or home. Come now in youth, come
in manhood and womanhood, come in your noon and
sunset and the starlit calm of old age to seek Sanctuary
here. Remember it now in the days of your youth, so,
like Philip Staffe's bells, like Dick Whittington's chimes,
like Mr. Bok's boyhood carillons, your Sanctuary and
Singing Tower will give you their truth in your decisions,
in that you have been true to them,




UHIS is the age of the air .
It is peculiarly fitting that
we should voice this spirit in our
Carillon, the Orchestra of the Air.





*HIS is the age of the air. Earth and sea have each
Shad their part in man's dominion. Now thought
turns skyward.
Aeroplane and wireless are establishing a world
democracy of the air. It is peculiarly fitting that Lake
Wales, so essentially of the spirit of New America, should
voice this spirit in our Carillon, the Orchestra of the Air.
It is the one instrument which chooses the open air as
its sole auditorium. '
Further remember, when you listen to its music, men
and women the world over are listening in on their
wireless to our Sanctuary Bells. Australia, South Africa,
Canada, England, the Continent of Europe, India, these
will be at one with you when the Tower sings.
Through your Carillon, Lake Wales will be the centre
of a League of Inspiration that will reach further into
the heart of the world than you may now realize.
The recitals which Anton Brees gives on the Sanctuary
Bells may be a test of ourselves as well as of the carillon.
On first hearing it you may have been somewhat confused
with the strangeness of Carillon music. The sound of
many bells is in itself so different from that of the piano
or orchestra. You may even say you cannot follow the
tune easily.
a SOW there is an art in listening to a Carillon, but it
is an art easily acquired. Whenever you hear the
bells, just listen to them as simply as you would to a bird
singing in the Sanctuary. Put aside all pretense to become
suddenly learned about the Carillon or that uncertain
word "cultured."
No one is confused in listening to a mockingbird
because it is different from a saxanhone. Instead you hear




its song for its own sake. You relax. You do not criticise
the bird's song but enjoy it unestranged. Try and do this
with the Carillon. Gradually you will distinguish the
notes, the tones of the bells, and wholeheartedly become
familiar with its music.
That is the secret of listening to all good music. First
to be in tune yourself with the instrument, then to become
so familiar with the music you can even anticipate each
note before it is played.
You will notice that in Anton Brees's recitals he has
chosen some well known pieces. This is indeed a great
opportunity for you not only to hear a fine old folk song
rendered by a great master, but to learn the secret of its
immortality as only a Carillon can give it.
Whenever you hear Anton Brees play such world
known American melodies as, "My Old Kentucky Home,"
or "Way Down Upon The Suwannee River," you will
understand more readily than ever through the Carillon
why such songs are the heart beat of America.
When you know that millions of listeners on the
wireless are hearing with you "Way Down Upon The
Suwannee River," played here in its native state of Florida,
you, will be stirred with the true beauty of not only your
owri folk song, but the beauty of Florida itself that first
inspired it.
Throughout Anton Brees's programs, whether in the
Flemish folk songs, or Ben Jonson's lovely old "Drink To
Me Only With Thine Eyes," as well as in a Beethoven's
"Minuet," you will find a simplicity, the secret of all true
greatness, and one most clearly revealed by the Carillon.
The fantastic brilliance of technique which may hide
faulty thought in piano or string music, is impossible with
the clear definite tones of the bells. That is why a
carillon is the greatest educator in good music.

S GAIN to properly listen to the Sanctuary Bells, do
not crowd around the Tower. That is the least
desirable place. The more distant parts of the Sanctuary


are preferable. But all must decide according to their
own hearing the best distance from the Tower to enjoy
its music. The direction of the wind should be borne in
mind. A good place must, be at some distance from the
Tower and should have a clear view of the Lancet windows
through which the 'music comes. The Southern and
Western slopes of the Sanctuary are recommended. A
beautiful view of the Tower can be had from these and
they offer excellent listening places. I hope the people of
Lake Wales and our neighbors will choose these slopes for
all special recitals so that visitors from a distance, who may

not have seen other parts of the Sanctuary can

do so

1 WOULD remind you further not to bring refresh-
Sments of any sort to the Sanctuary or throw rubbish
about the roads leading to it. Learn to obey all traffic
signals as helpfully as you can. Park your motor car
exactly where you are directed. Never drive fast in the
vicinity of the Sanctuary or at any time sound your motor
horn there. When leaving go forward at once when
shown an opening. Carefully follow the regulations for
traffic and the directions which will be published from
time to time. These will be carefully worked out for you,
and only each one's co-operation is necessary for the
entire community's comfort and enjoyment.

is being
sitting quietly
Remember th,
Each of you is
is one thing

talk or take photographs when the Carillon
played, and if you see people at any time
apart in the Sanctuary, respect their privacy.
e Sanctuary and Singing Tower are yours.
a host of the "City of the Carillon." There



public should have
to the noise made
during recitals. I
by our own Lake
habit of hurrying

to mar



in hearing the Sanctuary Bells.
by the running of motor car
know this noise is not made
Wales people as by those who
from afar and only half list

Lent the
I refer
so much
have the
ning to


while hurrying to get somewhere further.


I would suggest that anyone who hears a motor engine
running at any time during a recital, should "gently, but
firmly" frown on the "Owner Driver." Should this not
have the desired effect exercise your right as a host of the
Carillon, and speak to the discourteous guest. Gradually
audiences will share your pride in a responsive silence

during so great a master's
Meanwhile, show them how t
It is now over two years si
being a guest of your club. I
Tower which would rise in yc
I have seen it grow, stone c
finally before you, one of
structures, and one most w<
despite all its greatness, only
final tribute from the Singing
bronze he has cast a soul. Ar

playing as Anton Brees.
o listen.
since I had the honor of first
told you then of the Singing
our midst. With yourselves
in stone, until it has stood
the world's truly great
worthy of its carillon. But
Anton Brees could ring the
Tower. Into our Carillon's
'ton Brees is too well known

to need any introduction here or wherever a carillon can
e speak for him.
Those who have heard his master touch, know the
deep appreciation he has wrung from us all.
I have said that he has cast a soul into our Carillon,
but can I now add that his music is moulding the soul of
our whole community?
Through the Carillon Anton Brees is helping you to
ring from all creeds, all professions, all your varied
business a single harmony whose key note is the inspiration
of useful beauty.
Gentlemen, the Mountain Lake Sanctuary now takes
its place, its rightful place, with the great Carillon centres
of the world. Through the vast airway nations in the
uttermost parts of the earth will now become one with
you in the brotherhood of the bells and that message of
goodwill which Mr. Bok has given you to give all






where the be
being mored






, their clappers only

through levers connecting


r >t




Bells and


as the


finest carillonneur,


as announced, from December 15th to April

i *-

Y -


WEST WINDOW shows a beautiful marble grille of a

man watering a garden while the East window traces a
boy feeding birds from a seed jar.







unique map,



in an allegory

Florida's past and present.




_,- 54
^*^--w V.0,J

X4 tA


* W
~ 'Rln

E ~. .-:

- ;- 1Ar




At $- ~-t-y -



sh/J 's

i bi-au

marble grille of a


EIis wIindot


ing birds from a seed


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in an allegory

Florida's past and



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repousse, as
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the six days of



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