The Project Gutenberg eBook of The Deeds Carillon and Carillon Park

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Deeds Carillon and Carillon Park

Author: Anonymous

Release date: April 26, 2021 [eBook #65167]

Most recently updated: October 18, 2024

Language: English

Credits: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE DEEDS CARILLON AND CARILLON PARK ***

The DEEDS CARILLON

and

Carillon Park

Throughout her life, Mrs. Edward A. Deeds was a lover of music. By the time she had reached her early teens she was an accomplished musician. From then until her passing in 1949, music remained one of the dominant interests of her life. Her desire to share the beauty of good music with others found expression in many ways and culminated in her decision to erect a Carillon which for generations to come would be a source of enjoyment and relaxation for the people of this community. She saw this dream fulfilled when on Easter Sunday in April, 1942, the Deeds Carillon bells rang out in a program of Easter music. The beautiful shaft with its thirty-two bells became a striking symbol of the interest of Mrs. Deeds in music and in the community of which she was so long a part.

The Deeds Carillon

Carillon Park owes its existence to the generosity of two public-spirited Dayton citizens, Colonel and Mrs. Edward A. Deeds. It is an expression of the interests of two people expanded for the pleasure and advancement of the entire community.

The Park had its inception with the Carillon, the gift of Mrs. Deeds. Devoted to music from her girlhood, and herself an accomplished musician, she had the inspiration for it while listening to the chimes in one of the famous old belfries of Bruges. As the melodious notes fell on her ears she said to herself, “In no other way can simple and inspiring music be spread among the entire populace.” In that hour was born the idea of the Deeds Carillon which rears its majestic height in the midst of Carillon Park.

The idea of combining a group of bells to form a carillon dates back to the Middle Ages. Since bells provided the world’s oldest and most simple form of musical expression there came the evolution from a call to prayer to a musical program. Some of Europe’s most famed and beautiful towers have carillons. The carillon was developed to a greater and more artistic extent in Belgium than in any other continental country, not only in Bruges but also in Antwerp, Ghent, and Mechlin. Around the carillon bells has been woven a tradition of beauty and inspirational service.

Mrs. Edward A. Deeds and Colonel Deeds at the first regularly scheduled carillon program August 23, 1942.

Before embarking on her enterprise Mrs. Deeds viewed many carillons at home and abroad and made a careful study of bells. The initial requirement was to find a site which would provide the best ultimate results from carillon music without echo and the jumbling of tone. Early in her planning Mrs. Deeds considered Deeds Park at the junction of the Miami River and Mad River. This park—a gift of Colonel Deeds to the city of Dayton—would have made an appropriate setting. The idea was reluctantly abandoned because of interfering noises and sound deflection which would occur in the area. Finally Mrs. Deeds decided upon a site in the triangular area located between Patterson Boulevard and Carillon Boulevard almost adjacent to Old River, The National Cash Register Company recreational park.

The beautiful bronze door at the Carillon is more than an entranceway. In the cherished words of Longfellow’s “Christmas Bells” it expresses the spirit in which the Carillon was conceived and dedicated to the service of the people ... “With Peace on Earth, good will to men.”

IT WAS AS IF AN EARTHQUAKE RENT

THE HEARTHSTONES OF A CONTINENT

AND MADE FORLORN

THE HOUSEHOLDS BORN

OF PEACE ON EARTH GOOD WILL TO MEN

AND IN DESPAIR I BOWED MY HEAD

THERE IS NO PEACE ON EARTH I SAID

FOR HATE IS STRONG

AND MOCKS THE SONG

OF PEACE ON EARTH GOOD WILL TO MEN

THEN PEALED THE BELLS MORE LOUD AND DEEP

GOD IS NOT DEAD NOR DOES HE SLEEP

THE WRONG SHALL FAIL

THE RIGHT PREVAIL

WITH PEACE ON EARTH GOOD WILL TO MEN

LONGFELLOW

The sixty-one acres comprised in Carillon Park represent a notable piece of reclamation. For many years it was periodically flooded and became a bushy swamp breeding mosquitoes and germs. It was one of Dayton’s eyesores in addition to being a menace to health. The decision to build the Deeds Carillon led to its transformation. Within a year the one-time “dismal swamp” emerged as an ideal pleasure ground equipped with a parking space for hundreds of motor cars. In this lovely, wooded, and verdant environment the citizens of Dayton and all others who come, relax and enjoy the music of the carillon bells.

Including both large and small examples, there were only six true carillon towers in the United States prior to the construction of the Deeds Carillon. Of these, two were on college grounds, two on private estates, one in a cemetery, while the sixth was the one built by the late Edward K. Bok on his Florida estate. A true carillon must have a minimum of twenty-three bells providing the tones and semitones to encompass the full octaves. Except in rare instances when they were hung in the gabled arches of the old Spanish missions and outside oriental temples, carillon bells are seldom seen. For hundreds of years architects have struggled with the problem of providing structures to support carillons which will elevate them to a height at which they can be adequately heard over the surrounding countryside. The solution had invariably been to erect an enclosed tower in which the bells are hidden from view and covered with grilles which screen the bells from sight and tend to muffle the sound.

The casting of carillon bells is an art handed down from father to son. The Meneely Company which cast the Deeds Carillon bells practiced the art for six generations. Once a bell is cast, no alterations can be made in it. If a true tone is not achieved the work must be done over.

The largest bell in the chandelier of 32 bells in the Deeds Carillon weighs 7,000 pounds, and the smallest 250 pounds. They are cast in bronze and the total weight of all the bells and the chandelier is 32 tons.

Hours of planning and consultation with architects and the bell casters went into the building of the Deeds Carillon.

Starting with the instruction from Mrs. Deeds that the thirty-two bells in the Deeds Carillon must all be exposed to view, the architects, after long study and investigation, were able to carry out her wishes. The Deeds Carillon is the first tower to have all the bells mounted entirely in the open, thus insuring greater carrying power and purest, unrestricted beauty of tone. Such a departure from the old method of construction required a complete rechecking of the science of carillon tower design and bell placement.

Like Colonel Deeds, Mrs. Deeds was a perfectionist. She visioned the ideal structure, and the architects, Reinhard, Hofmeister & Walquist of New York, designers of Rockefeller Center, met every requirement. The landscaping surrounding the tower was in the hands of Olmstead Brothers of Boston, foremost in their field.

An unusual feature of the design is the so-called entasis of the sides of the tower in which they were reduced toward the top as much as eighteen inches, not in a straight line but by means of a curve which bows three inches from top to bottom. The purpose of this is not to make the sides bulge but to correct the optical illusion of pinching in and actually making the sides look straight. This was the device employed by the ancient Greeks for the same purpose in the design of their classic columns.

The stone shafts of the Carillon are built around a steel core.

A mass of scaffolding was a requisite in building the Carillon.

Moving the bells from the freight cars which brought them to Dayton and hanging them in position were operations which called for great skill.

The impressive array of the 32 bells in the Carillon arranged at its base just previous to being placed in position.

The Carillon tower, built of granite, steel, and limestone, soars skyward 151 feet from the base planted on a green and friendly hill. It is a shaft of precise beauty, dramatic in its simplicity, and terminating in noble arches. Suspended from the cross-shaped intersections of the arches, in full sight from all directions and visible for miles around, is the chandelier of bells. At the base of the Carillon is the Console Room. From here an elaborate electrical system plays the bells through the touch of the operator’s fingers at the console.

The actual ringing of the bells requires an unusual mechanism consisting of an electrical solenoid, delivering a blow of proper force for each size of bell. Suitable screens, designed so as not to interfere with the sound, are placed at the bottom of the mechanism so that each bell, when viewed from the ground, presents a uniform appearance, only the clapper being visible. This was the first time that such a type of construction in all its details had been followed, making possible a full, rich beauty of tone.

The console which controls the playing of the Carillon is located in a special room within the structure.

In kinship with the spiritual fervor and idealism built into the Carillon is the impressive bronze door bearing these inspirational words by Longfellow:

It was as if an earthquake rent

The hearthstones of a continent,

And made forlorn the households born

Of peace on earth good will to men.

And in despair I bowed my head

There is no peace on earth I said

For hate is strong and mocks the song

Of peace on earth good will to men.

Then pealed the bells more loud and deep

God is not dead nor does He sleep,

The wrong shall fail, the right prevail

With peace on earth good will to men.

The bells range in size from six feet in diameter with a weight of 7,000 pounds to the smallest one which is eighteen inches in diameter weighing 250 pounds. Of the thirty-two bells in the Carillon, twenty-three are speaking bells covering a range of two full octaves from B flat below middle C. On the speaking bells were inscribed the names of the Deeds family then living, while on the silent bells appear the names of six deceased members.

The Celestron was added several years after the Carillon was built. This is an amplifying system incorporating a number of advanced features and making it possible to play recorded music so that it can be heard over a wide area. The Celestron has no connection with the Carillon bells. Since the addition of the Celestron, most programs are divided between carillon music and recorded music.

This scene in the Carillon parking area has been duplicated many times, as Sunday afternoon programs and others have been presented.

Easter Dawn Services at the Carillon.

The same loving care that was lavished on the planning of the Carillon has found expression in the arrangement of the programs. Mrs. Deeds personally supervised the selection and arrangement of more than 400 musical selections so they could be played on the bells. The music has been transferred to sheets of white Bristol paper bearing the Carillon crest which are filed systematically for reference.

Thirty-five feet above the base of the Carillon tower is a balcony-like structure in bronze which contains a room twelve feet in diameter and six feet high. In this room are installed thirty-two powerful high-fidelity speakers of the most advanced design. On Easter morning, Christmas Eve, and other occasions, programs are broadcast directly to the countryside. Recorded music, performed by the world’s finest bands, choruses, orchestras and soloists, is to be heard with all its beauty for nearly a mile in every direction throughout the wide-open spaces about the Carillon tower. This Celestron is not connected in any way with the chandelier of bells of the Carillon. It is an additional instrument for the pleasure of those who love good music.

The science of bell-making is an old one. Sometimes it is necessary to cast twenty or thirty bells to fill an order for a ten-bell chime. The Deeds Carillon bells were made by The Meneely Bell Company of Troy, New York.

Typical Sunday Afternoon Carillon Park Program

CARILLON

1. America

2. Song of Faith

3. Rock of Ages

4. The Holy City

5. In the Garden

6. When They Ring the Golden Bells

7. Goin’ Home

8. Great God of Nations

9. In a Monastery Garden

10. The Bells of London

11. The Bells of St. Mary’s

12. Ah! Sweet Mystery of Life

13. Pilgrim’s Chorus

14. Land of Hope and Glory

15. Jesu, Joy of Man’s Desiring

16. Rhapsody for Bells

CELESTRON

1. Glorious Things of Thee Are Spoken (Haydn)

World Choristers

2. Spanish Caprice (Rimsky-Korsakoff)

Cincinnati Summer Opera Orchestra

3. Come Where My Love Lies Dreaming (Foster)

Jesse Crawford, Organist

4. Fight On (Sweet and Grant)

Frank Westerfield Band

5. The Hills of Home (Fox)

Nelson Eddy, Baritone

6. King Cotton March (Sousa)

Frank Westerfield Band

7. I’m Falling in Love With Someone (Herbert)

Jane Marcy and Roland Smythe

8. Flapperette (Greer)

Wilson Ames, Organist

9. Just A-Wearyin’ for You (Bond)

Walter Preston, Baritone

10. Waltzing Doll (Poldini)

Daniel Lieberfeld Orchestra

11. The Star-Spangled Banner

CELESTRON

An especially designed amplifying installation for the playing of recorded music.

32 high-fidelity speakers. Uniform frequency range from 50 to 15,000 cycles.

Total operating power—5,500 watts.

Bronze Galeria 12 ft. in width; located 35 ft. above terrace.

Record player in Console Room.

Control panels in Power Room.

The sectional diagram at the left shows the construction and arrangement of the Carillon both above and below ground. The map shows location and parking area.

Number of bells

32

Total weight of bell chandelier

32 tons

Diameter smallest bell

1 ft. 6 in.

Diameter largest bell

6 ft.

Height of tower above terrace

151 ft. 6 in.

Height of tower from bottom of foundation

183 ft. 7 in.

Construction:

Indiana Limestone with Granite Base.

1 Chandelier of bells

2 Galeria for Celestron

3 Carillon Console Room and Celestron Record Player

4 Power Room

5 Basement

A most spectacular step in bell-making comes when the copper and tin are melted and mixed in the oil furnace, brought to just the proper temperature, and then carried in a huge ladle from which the molten alloy is poured into the mold.

Larger bells are kept buried in dirt for days after the casting to retard their cooling. Sometimes weeks go by before the bell can be “shaken out” and the founder gets the final check on the accuracy of his calculations.

The Meneely Bell Company foundry represented a curious mixture of the old and the new. There was the main foundry with its large modern oil melting furnaces in which was blended the age-old mixture of copper and tin which is known in the textbooks as “bell metal”.... Out in the next shop were the blacksmith and his helper, skillfully working iron into the special bell mountings. Immediately behind this was the finishing room where large and small bells were cleaned and buffed, while finished ones were being set into their mountings for final tests before shipment. Upstairs, patterns and cabinets were fashioned from wood; while on a nearby drafting board a chime would take form as it would fit into its final position in the tower.

In making bells, there must be a complete understanding of the technical elements that make a bell ring true. Meneely’s men knew that a pure tone was a definite number of vibrations per second as sensed by the human ear.

The sound of a single tone is pleasant but colorless. The usual tone is made up of a number of different pure tones, blending together, with the dominant one giving the tone its pitch. Practically everything that will vibrate will produce a tone, but only certain combinations will have the musical qualities which distinguish them from unpleasant “noise.”

In this country, the commonest form of chime is that found in clock towers. Principally used to strike the quarters and hours, these bells are usually stationary and seldom number more than four or five; hence no complete airs can be played with them.

From an acoustical standpoint the Deeds Carillon is ideally located. The hills to the south provide a natural sounding board and enhance the tone of the music.

Chimes usually contain a minimum of ten bells, which give enough tones in the diatonic scale to permit the rendering of hundreds of complete hymns, folk songs, etc., in simple harmonies. Chimes are typically an American form of art and are found in our churches in every part of the country. The bells do not move, but the clappers are operated from manual claviers, or by modern electrical methods employing small piano-like keyboards.

This picture shows how the bells are mounted on the chandelier and hang suspended from the top of the Carillon. The larger bells are at the top of the chandelier.

The regular Sunday afternoon concerts at Carillon Park have drawn music lovers in ever-increasing numbers. In the informal atmosphere of a beautiful park on a sunny summer afternoon, there is pleasure and relaxation for all the family. The hour-long program is now divided between numbers played on the bells and recorded music amplified through the Celestron.

The first regularly scheduled Deeds Carillon program was presented on Sunday, August 23, 1942, in the presence of a capacity crowd. The first two programs were played by Mrs. Deeds. Since that inaugural day, programs are given every Sunday afternoon, June through October, and at Easter Sunrise.

Once Carillon Park had been created, Colonel Deeds stepped into the picture for his contribution to the project. His wise counsel and sense of perfection had contributed much to the success of the tower construction. He now set about to gratify his love for the historic with the larger conception of providing a group of exhibits that would be a visual lesson in history. The striking parade of transportation in the Park dating from the picturesque days of the Conestoga wagon and the Concord coach to the Wright airplane is the result. Every exhibit meant painstaking research and discriminating choice.

The Deeds Carillon stands on a three-acre tract purchased by Mrs. Deeds from NCR. The property was, in turn deeded to Educational and Musical Arts, Incorporated. This is an administrative subsidiary of the Dayton Foundation, especially created to carry out the construction and perpetuation plans through a group of Dayton’s civic leaders who were proud and glad to assume the responsibility. The financial requirements for maintenance and operation are met through an endowment fund created by Mrs. Deeds and contributions of Colonel Deeds.

Carillon Park is unique among the gifts for public enjoyment in that it serves a threefold purpose. The Carillon itself, with its eloquent and deep-toned bells, is a spiritual stimulant for Dayton, a source of beauty and inspiration. The Park, a natural beauty spot, is a sanctuary for all people, while the historical exhibits are highly educational.

The Historical Exhibits at Carillon Park

In a desire to perpetuate some of those links with the past which are rapidly passing from the scene, an historical exhibit has been set up in Carillon Park. The caretaker’s house has been built as a replica of an old grist mill and includes a water wheel which turns a millstone, just as in the mills of yesterday.

Most of the other exhibits are concerned with transportation and tell the story of man’s progress from the days of the Conestoga wagon, the Concord coach and the canal, to the airplane. They also include a covered bridge which long served the people of this valley and a grasshopper locomotive, the oldest in existence.

The Concord Coach

The Steam Fire Engine

The Old Covered Bridge

Original Canal Lock

The Old Grist Mill

The Conestoga Wagon

The restored 1905 Wright airplane

The Grasshopper Locomotive

The Pioneer Home

Deeds Barn

The Deeds Carillon is no less impressive by night than by day. Softly lighted, it reaches skyward, symbolic in its strength and simplicity of the spirit of the people to whom it is dedicated.

CARILLON PARK

DAYTON, OHIO

One of a series of Carillon Park booklets.

Price ten cents.

PRINTED IN U.S.A.

Transcriber’s Notes

- Silently corrected a few typos.

- Retained publication information from the printed edition: this eBook is public-domain in the country of publication.

- In the text versions only, text in italics is delimited by _underscores_.

*** END OF THE PROJECT GUTENBERG EBOOK THE DEEDS CARILLON AND CARILLON PARK ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

The DEEDS CARILLON and Carillon Park

The Deeds Carillon

Typical Sunday Afternoon Carillon Park Program

CELESTRON

The Historical Exhibits at Carillon Park

Transcriber’s Notes

THE FULL PROJECT GUTENBERG LICENSE