

Casper Friedrich Artes
A Biography
By Gloria M. Barron, great
grand-daughter of Casper Artes.
This is the story of Casper Friedrich Artes, born in Merken, Saxe
Meiningen, Germany, March 29, 1816. His mother died while
Casper was an infant, and his father was burgomeister of Merken.
Casper's father left the upbringing of his son in the hands of the
boy's grandmother.
There had been many musicians, artists and poets in the Artes
family, among them, Grandmother Artes' own husband, so the pious
old lady knew from bitter experience that "artists" generally were
paupers, unable to provide for themselves or their families.
The strong-willed grandmother decided then, that any tendencies
toward art which might be displayed by young Casper should be
discouraged. She determined that he should study for a
career in the Lutheran Ministry.
The child's inborn talent could not be suppressed. From the
time he could reach the piano keyboard standing on tip-toes,
Casper could not be kept from the instrument. He memorized
every melody he heard, and then came home to re-create the tunes
on the piano. "Oma", Casper's affectionate name for his
grandmother, became concerned when neighbors commented on the
childs unusual proclivity for music. When the boy's father
commented one evening that the lad appeared to be a true prodigy,
that was too much for the old lady. In order to frustrate
Casper's artistic inclinations, Oma had the piano removed to the
attic, thus removing the temptation. Never again was the
sound of music heard in the Artes home, so long as Oma
lived.
The old lady could not turn off the music that surged from within
the boy's soul. At every opportunity, he would slip away and
climb to the dusty attic, where he would fondle the keys and run
his fingers silently over the smooth black and white ivory.
Soon Casper found that by detaching the strings inside he could
"play" the piano without any sounds to give him away . . . only he
could "hear" the music.
When time came for little Casper's first day at school, he
exhibited the usual child's reticence, and Oma had to all but drag
the protesting boy down the cobblestone streets to the
school. As they neared the school the magical sounds of a
piano, floating from the music room, caught the child's ear, and
his protests stopped. This did not escape Oma's attention,
and she became apprehensive, but the boy must be educated. She
hoped that with her guidance the boy might be directed into other
channels.
Casper did well in his studies. He spent every free moment -
recess, lunch time and after school hours, standing hidden outside
the door of the music room, listening and watching as the other
children received the lessons which were forbidden to him.
Casper memorized every sound, every position of the fingers, then,
when the class was over and the room empty, he would slip inside
to practice what he had learned.
He practiced this "self-instruction" for months without detection,
until one day the young music instructor returned and heard Casper
playing. The instructor stood silently behind the little pianist
and listened as the boy ran through the intricate exercises with
exacting perfection.
Turning to leave, Casper's face blanched with fear when he saw the
instructor. "Who taught you to play the piano like that,
Casper?" asked the instructor. "No, no one, Herr Meister."
"No one?! Come now, that was a very difficult, advanced exercise
you were playing. Where did you learn it?" Reluctantly
the boy told the instructor how he had watched from outside and
practiced later when everyone was gone. The instructor was
impressed by the young lad's ardor, and suggested that Casper
enroll for instruction. Casper sadly explained that this
would be impossible, due to his grandmother's stern injunction
against music. Loath to allow the boy's talent to go
undeveloped, the instructor told Casper he would teach him in
secret. And thus, Casper's musical tutelage was begun.
The young music instructor also worked as the church organist,
thus he had access to the mighty organ, and was able to introduce
Casper to the instrument on which the boy was destined to become
one of the world's foremost artists.
The instructor had persuaded the parish priest to ask Casper's
father if the boy could work in the church on weekends, running
errands, helping to do what needed to be done. Oma,
unsuspecting, was delighted to have the boy work in such an
environment, so Casper was able to practice every Saturday and
Sunday on the great organ, without his grandmother knowing about
it. During the summer vacation months, Casper had even more
opportunities to practice, and his genius flourished.
The music instructor became convinced that the boy could become a
great master organist - but he would need more advanced
instruction and constant practice, which was impossible under the
restrictions forced upon him. Soon, the instructor knew,
Casper's grandmother would have to be told of the boy's talent and
his potential destiny.
Oma's enlightenment came in dramatic fashion that winter.
Casper's father came rushing home one winter evening, breathless
with the exciting news that King William Friedrich III was touring
the country, making personel appearances ... and that the king
would be in Merken on Christmas Eve! As Burgomeister, Casper's
father would have the pleasurable duty of greeting the royal
party! The whole family would sit in the pew right behind
the king, during midnight mass.
On the day of the king's arrival, work crews were out at dawn,
sweeping the snow from the streets and walks. Banners and
bunting were hung everywhere. In the church, Casper polished
all of the candlesticks and placed new candles in them, as the
priest unwrapped the new alter cloths and vestments which had been
saved for just such a special occasion. The king was very
pleased with his reception.
As everyone filed into the church for mass, though, a "crisis"
developed. The young organist stopped the Burgomeister
outside the church and told him that his page turner had taken ill
-- could Casper fill in for him? His father agreed to let
Casper help the organist.
From the very first chord heard, as the sound of the great organ
filled the church, everyone was aware that there was something
awesomely different in the sound. There were comments buzzed
about the church, to the effect that the young organist was
certainly out-doing himself, no doubt inspired by the presence of
the king.
The organist, of course, was young Casper. Hesitant and frightened
when the instructor first pressed him into service, the boy lost
all of his fears as soon as the first mighty notes rose from his
touch. He was totally immersed in the music as he
played.
King William was visibly impressed, and after the services, he
asked that the magnificent organist be brought before him.
When the instructor brought Casper down from the loft, the king
could not believe it. "I ask to see the organist, and you
bring me this child!" protests the king.
Despite the assurances of Casper's tutor, neither the king nor
anyone else could believe it was actually the young boy who had
brought forth such masterful sounds from the organ. The king
insisted on being taken to the organ loft, where he commanded
Casper to sit at the organ. "You will play for me again, and
this time I shall watch!"
The boy played and there was no question in anyone's mind that he
was, indeed, the master organist they had heard. The king
grew misty-eyed as he listened to the boy's playing. As the
last note died away there was a long moment of silence. Then
the king spoke, emotionally. "You are indeed Little Mozart,
come back to play for us again!" Royal endorsement was
bestowed upon Casper, and he was given permission to use the title
"Court Organist".
After this event Grandmother Artes could no longer refuse
permission for Casper to enroll in advanced studies.
However, she stipulated that he was to continue his regular
schooling, as well. If he could not live without his organ
music, well and good -- but his career was still to be that of the
ministry. Casper would accepted these conditions, ANYTHING,
just so he could continue his music!
Casper's fame as "Little Mozart" spread far and wide, and he was
called upon to play the organ at church feasts and in concert all
over Germany, but his genius was not restricted to music. He
was a truly phenomenal scholar, and at the age of fifteen he was
accepted at the University of Heidelberg, where his preparations
for the ministry began in earnest.
Casper ranked high in all of his classes. He became a master
in languages, fluent in English, French, Hebrew, Spanish, Arabic,
Italian and Latin. He was a particularly avid scholar in
philosophy. He was a well rounded student, taking part in
all activities. He even acquired the traditional student's
badge of honor -- the accolade scar of the dueling sword.
His true love, however, remained music. He discoursed
passionately on the subject any time he could get his grandmother
to listen. It wasn't until Casper was seventeen and visiting
at his grandmother's death bed, that the old lady finally
relented. She had done all she could to give him a useful,
purposeful life, but he was obviously by nature an artist.
On her death bed, Oma released Casper from his promise to become a
minister, and freed him to make music his life.
Casper was twenty-five when he met and married Anna Catherine
Bierschenck in 1841. In the years that followed Casper
learned what his grandmother meant when she spoke of the hardships
in the life of an artist. Faced with a constantly increasing
family, Casper could no longer subsist on the stipend that the
royal patronage as court organist brought him. To supplement
his income, Casper gave organ lessons to the young people of
Leipzig, and even took a part-time job teaching in the Hebrew
school. Less and less time was available for his own music
studies. Casper and Anna had a total of thirteen children,
six of whom were born prior to 1851, thus his family required more
and more of his time and energy to support them.
During the late 1840's a great wave of militarism was sweeping
across Germany - a wave that was to reach its crest in the
Revolution of 1848-49. Many musicians, like Richard Wagner found
great inspiration in the militancy of the times, and expressed it
in their music. Casper Artes, however, saw that the unrest
threatened the liberty of the German people. He became an
outspoken opponent of the militaristic power of the Kaiser and a
champion of civil liberty. Thus Casper's name was enscribed
as a "socialistic agitator" who must be dealt with. Fearing for
the safety of his family, Casper decided he must leave his
homeland to seek refuge in America.
He and Anna made their escape plans in secret, and through the
help of influential friends, they obtained passage to America on a
sailing vessel. In order not to arouse suspicion, they could not
be seen preparing to leave, and when they did depart it was by
dead of night - leaving all of their cherished possessions behind,
taking only the clothing needed for the trip. All of Casper
s beautiful music, operas left behind, later to be destroyed in
vindictive revenge.
After six stormy weeks at sea, Casper and his family arrived in
New York City. The year was 1851. With his family safe in an
apartment, Casper entered on a round of interviews with various
employment prospects. One day while looking for work he
happened to pass by the Old Trinity Church ... and what happened
was described in a newspaper article, as follows:
"...hearing the organist of Old Trinity at practice, Artes
ventured in, introduced himself, and was invited to try the organ.
He sat down at it, lost himself in the swell of its splendid
volume and purity of tone and played away in a mood of ecstasy,
while the church organist sat in amazed delight, himself lost to
all but the wonder of what he was hearing, ... the sightseers in
the churchyard and passersby on Broadway were drawn into the
church by the majesty of his touch, until, when he had ceased
playing in a low and plaintive diminuendo, it was to discover the
church crowded almost to overflow capacity. The people stood
in awed silence. The church organist was overcome with tears. It
was as if some Pied Piper of Hamelin had newly risen and come that
way to charm the grown children of the metropolis!"
After this story appeared, other reporters came to Artes,
inquiring about his background for "followup" stories about the
"Pied Piper" who had caught the public's fancy. With this
publicity to recommend him, job offers flooded in to Casper and it
became a question of merely choosing where he wanted to practice
his art.
Anna found New York City terrifying, The only time she ventured
out of the apartment was to buy fresh food from the pushcart
vendors that passed each day. One day Anna purchased a
basket of large delicious-looking plums as a treat for the
children. After a couple of bites, the children indicated
something was wrong with the plums, so Anna tried one
herself. There WAS something wrong! She rushed to a
neighbor's apartment and asked what this strange fruit was.
Told it was a tomato, Anna blanched and rushed back to her
children. Tomatoes, as everyone knew, were deadly poisonous!
Anna quickly tossed out the remaining tomatoes, so Casper couldn't
accidentally eat one, then she gathered her children about her in
a circle. Fully convinced they were all going to die, Anna
forced herself to be calm, and sat telling the children stories,
while waiting and watching for the convulsive death-throes she was
sure would appear soon.
When Casper came home that day, he convinced Anna that the
tomatoes were perfectly safe, and calmed her fears, but New York
City remained a fearsome nightmare to Anna. Casper lovingly
reassured his wife that they would find another place to live ...
a place where fields were green, where she could have her own
garden again, and bring up her children in a familiar comfortable
environment.
Casper accepted an offer from a group of men who were founding a
seminary of arts in western Kentucky. Casper packed up his
family and they set out on the long and harrowing trip to the
sleepy town of Henderson, Kentucky. They travelled part of
the way by steam train and the remainder by steamboat, down the
Ohio River.
The seminary blossomed and prospered from the very
beginning. All indications pointed to a great financial as
well as artistic success. Then, at the end of the first
year, the founders of the seminary suddenly disappeared,
absconding with all funds and leaving the staff unpaid and
stranded. The teachers attempted to keep the seminary
operating and pay off the debts left by the founders, but one by
one, the staff dwindled until only Casper Artes was left. It
was his duty to close the seminary permanently.
Another great personal tragedy occurred during this period when
Casper's and Anna's six-year-old Theresa contracted
diphtheria. The two sat up day and night with their
daughter, praying for a miracle. en the doctor made his house call
on the third day of Theresa's illness, he had to give the tragic
news that the child had but hours to live, nothing could save her.
Interviewed years later, the doctor recalled the story in these
words:
" ... When I called the third day and recognized that my good
brother, Death, had signaled his coming in an hour or two, I could
not leave them in their loneliness, and dared not hide the
truth. I told them as gently as I could, sitting there by
the little bed. 'She will be beyond all pain in an hour,' I
said to them. And I can see the professor yet, with a set
face, rise and walk firmly to the next room, seat himself at the
piano and begin to caress the keys with infinite lightness into
old airs some of the familiar to me. Somehow it shocked me that he
could play the piano at such a moment. I fancied he had not
understood me and so I resolutely rose, went in to him, and
putting my hand on his shoulder, said, 'Did you understand me? She
is dying!' 'Yes!' he nodded. 'I know. But these are
the songs that sung her into life and to sleep many a night from
back in the old country until now. I play them to her once
more for her last sleep. Maybe she will hear, maybe she will
know.' And there for an hour we sat in the two rooms until the
music, and the little life, died softly, together."
Casper accepted a position with St. Paul's Episcopal Church in
Henderson, and supplemented his income by giving private
instructions in music and academic tutoring to the young people
who needed more advanced schooling than the public schools could
offer. He was to remain St. Paul's organist for more than a
generation. Church records show that he did not miss a
single service in thirty years.
When the Civil War broke out in America, life became hard for
everyone, but particularly for Casper and Anna, whose family had
increased steadily. Music lessons became a luxury no one
could afford, but Casper continued to instruct the truly promising
young musicians at no charge. Quite often he was paid in
much needed foodstuffs.
Casper and Anna saw five of their children die in infancy.
Perhaps the five little graves in St. Paul's cemetery are part of
the reason Casper remained in Henderson the rest of his life.
He was known as "The Professor" or "The Old Music Master."
The affectionate esteem in which he was held is difficult to
define in terms of present day values and ideals, but there was a
wondrous love affair between Casper Artes and the little town of
Henderson which equals the love affair between, say, Lincoln and
the Union - or Lee and Virginia.
After so illustrious a beginning, and so exciting and dramatic a
life, it seems incongruous and anti-climactic that Casper's life
story shold end in such quiet dignity.
One Sunday, as church goers filed out after services at St.
Paul's, the old master organist finished playing his final hymn,
closed the cover of his organ, ran his fingers lovingly over the
smooth wood, then leaned forward and rested his head on the
instrument. No regrets. No dreams of "what may have
been." Casper Artes had completed his journey, and it was a
successful one.
If Christmas did no more than heat up old memories for those old
enough to have them it mould be a fine season, well worth the
year's preparation. Memory has curious chemical processes. It
turns water into wine, age into youth, pains that were into
pleasures that are and achieves the immortality of the soul by the
resurrection of the long dead into present life if only for the
short atom of a moment. Your first Christmas tree may rise up
again, all alight, glowing as in fairyland, standing right before
the front door of heaven, which you remember, opened thereon.
Through that entrance a really earnest boy might hear, if he tried
hard, the very voices of angels in the lilting notes of the old
church organ sounding above the rumble of bass, the whole melting
into a glory of sight and sound that survives faintly yet as some
rare dream in the morning.
I remember the first Christmas tree in the old church in the
little town where I was born -- in that little Western Kentucky
community where aristocracy was all democratic. The first
Christmas tree I had ever seen except in the cold black and white
of book pictures. I was one of the smallest of those of the Sunday
school who marched with the radiant faces of cherubim upon that
splendid gleaming sight, with the old organist of St. Paul's
filling the arches of the great roof with the beauty of
overwhelming loveliness of sound that rolled up and poured down
again and enveloped us all in wonder and joy.
That organist, the old German music master, was the inspiration,
the beginning and the end of musical art in the little town. His
long sinewy artist fingers had first brought the thrall of
artistry to us. I see him through the haze of years, already grown
shadowy, a figure half romantic, half pathetic, but all appealing
and noble. Beau ideal of simple courtesy, wrapped in dreams,
absent-minded, patient, devoted, solitary in the crowd. He had
emigrated from a little city in soft Saxony following the
Revolution of 1848-49, into which he had been drawn by student
sympathies with Liberty. He had studied at Heidelberg (from which
he bore upon his forehead the accolade scar of the dueling sword)
and was finished in music at Leipsig. He was one of a little group
of Germans and French, seeking freedom, who came brothers together
and founded an ambitious seminary of arts in the rich little town
in the middle of the last century, and soon came to
disaster.
They brought with them the strange, exotic leaven of old world art
culture to a community in which. on the basis of slavery, existed
a peculiar aristocracy that expressed itself mostly through what
may be called the etiquette of manners. All soon passed on except
the fine old music professor, who remained in the soil of his
adoption. From his associates came the knowledge of his early
life. How he had been a prodigy of music in the little duchy and
was called "the Little Mozart." Long afterward came the
revolutions, the upheavals, the throwings-out and flights, and so
the artist of great promise became a Prometheus Bound to our
little rock in the mid-American wilderness, when he should have
walked unbound amidst the art culture of Europe. Thus fate grinds
splendid dreams to dusts powder.
I see him now as I first remember him, already an old man, with
sparse white hair, almost wholly bald on top of his great head.
Many and many a Sunday morning he sat perched on the cushion of
his box seat at the pipe organ in the choir loft of old St.
Paul's. Then inevitably out would come the lacquered snuf-box,
which he invariably offered with a smile in grave familiar jest to
anyone who might be observing him. He had come out of the
snuff-box age, a remainder of it, behind which you might perceive
shadowy figures, moving in an olden society. Our bass-singer,
tall, Indian-like, athletic leader in the new generation, would
once in a while insert the tips of his finger and thumb in
responsive grave courtesy and smilingly withdraw them and proceed
with perfect grace through fluttering motions, apparently with
winged fingers, to flick the aromatic rappee to his nostril. But
he withdrew no tobacco.
It was all Barmecidal and well understood between them. For there
had once been a scandal that stretched from choir gallery to the
communion rail over that. The basso had actually partaken of the
snuff and in the midst of the solemn pause over "The Body and the
Blood" the great resonance of his mighty voice had exploded in a
concussion, half-sneeze, half deep-mouthed bark of a cough, that
shook the very groining of the sanctuary. And it was repeated in
one resounding "har-rash-oo" after another; the solemnity was
dashed with a dismay that threatened to be ridiculous, until he
unfolded his mighty length from his chair, dashed stoopingly out
of the choir door, down the winding stairs and emerged on the
street to fight it out in the open air.
I see the old professor, dressed in his black broadcloth, wearing
his tall silk hat, with his snuff box and handkerchief in one
hand, his umbrella under the other arm, walking with his slow and
uncertain step along the walks of the old town. His eyes are
strained upward staring at nothing in particular, his mind
"pasturing far away in the flowery mead of dreams." There is snuff
upon his shirt front, and like the last figure out of a gallery of
old portraits he stumbles his absentminded way along to the homes
of his pupils. He taught my two sisters the piano. One of them,
prepared by assiduous practice, was able one day to delight him
with an unexpectedly good performance of the task set. He
expressed his pleasure with a courtly bow and smile and
straightaway sat down at the piano to reward her with his own best
playing -- and forgot himself and other pupils, until with sudden
awakening he rose hurriedly, bowed himself out with smiles and
explanations and went his way. Some minutes later the bell rang,
she opened the door and there stood the professor, heated and
apologetic:
My hat!" he said, with a smile of self-depreciation, pointing to
his bare head and then to his hat standing there upon a chair in
the hall; "I left it there, and only now have I perceived it when
walking far up the street."
The fine old professor! For more than a generation he was organist
at St. Paul's, in whose chronicles it is noted that he missed not
one service in thirty years of that time. In those days there was
not much flattering esteem for male practitioners of music. But in
his person art commanded respect from our dullest materialists. He
was enveloped in a glamor somehow, and legend covered him. I have
wondered if that has not been the reward of every good workaday
musician in every self-centered town of the old times. He was
modest and never spoke of himself. But there was the universal
faith in town that he was one of the greatest organists of the
world, lost by some miracle in our obscurity. Certainly the
bishops and big clergymen who came to us for church councils and
visits, listened to his playing in amazed delight and open
wonder.
We who loved music there also spoke to each other in awe of the
great operas he had written and that were yet in manuscript --
unproduced in Germany, because he was too modest to batter at the
doors of Fame never now to be produced, alas! because there was
then no producing of operas in America. Those wonderful operas,
that it was said he arose at midnight sometimes to play over upon
his own piano, immersing himself in their beauties -- playing them
in camera, and in pianissimo and thus revisiting his youth and
conquering the world in the microcosm of his own rapt solitude! I
have often wondered what became of those operas -- whether they
were shadows from legendary space, or what they actually were. I
never knew.
He was a composer to my knowledge; at least an improvisatore at
the organ and the piano. On Sundays I have stood in the choir loft
to hear him "play the congregation out" with swelling paean
pouring out through every pipe from the whole keybank; the music
rolling up into the pointed arches of the ceiling and falling back
in a hood over the moving people. It was all improvisation, during
which he was transfigured, lifted out of himself into some world
apart from us, who marveled at his gifts.
During all the years of my youth his was the seat of all musical
authority. Presiding at piano or organ, he set the seal of art on
concerts. When the Golden Dramatic Company came, as it did twice a
year, for a stay of several weeks, he was its sole and complete
orchestra for entr'actes and for that form of entenainment between
drama and opera well-defined then as melodrama. When I hear these
songs and duets thrummed now upon pianos, I can see him again and
hear the preludes.
And there was the fine old professor, beckoning on all that
wonderful melody with a masterful nod of the head, a lift of the
warning finger, a flash of the inspired eyes. Whenever, as often
happened, the audience broke into generous applause after his
entr'act playing, he would rise and make his acknowledgment in a
bow that ranks in my memory alongside that imperial sweep of
comity with which Anton Seidl half a century later was wont to
bend to the world's audiences and lift them to his own plane,
matching their intelligence and his skill on equal terms with a
splendid benevolence. I was 13 or 14, and impressions then become
memories fixed forever.
Printed in the Louisville Courier-Journal, December 21, 1919.
Link to the scanned article:
https://www.newspapers.com/article/the-courier-journal-the-old-music-master/177188846/
Comments of the Vestry:
Mrs. Atkinson was asked to act as organist during the illness of
Prof. Artes. Mr. Artes went to Evansville on Oct. 17, 1886. He
died there on Nov. 20, and was buried in Fernwood on Nov. 22. The
Vestry placed a wreath of flowers upon his grave, and Mr. Barrett
recorded in the parish register - "Caspar F. Artes, for twenty six
years the faithful and efficient organist of St. Paul's Church - a
chivalrous gentleman - an upright man - an unobtrusive Christian -
a surpassing artist - a constant friend"; all of which was the
substance of the Vestry's minute of sorrow and condolence.
Mr. Barrett, in a memorial sermon on Prof. Artes, said:
"Few men, I think, knew Prof. Artes well. Of course everybody was
familiar with his genial smile, his cordial salutation, his
never-failing politeness, which characterized him as a true
gentleman. But few, I think, realized his unusual intelligence,
his wide reading, and his thorough appreciation of all that
pertains to the spirit of our times and the good of man and our
country...
"To tell the truth, Mr. Artes' true language was music. ... He
knew well the great masters and loved to commune with them. But he
was himself a master among the masters."
He had come to Henderson on Mar. 4, 1852. He was born at Melkers,
Saxe. Meiningen, Germany Mar. 29, 1886.
The Vestry requested the Rector to look in to designs for a
stained glass window in memory of Prof. Artes.
"The Vestry of St. Paul's Church, at a meeting, Nov. 23rd 1886,
passed the following minute and ordered that it be entered upon
the Vestry Record Book; also that it be published in our city
papers, and a copy of it be sent to the family of the late
Professor Caspar F. Artes:
"As Vestrymen of St. Paul's Church we desire to express our
sincere sorrow at the death of our friend and brother, Professor
C. F. Artes, who has for the past twenty-six years been our most
faithful and efficient organist.
"We desire to record our deep appreciation of him as a chivalrous
gentleman, an upright man, an unobtrusive Christian, a surpassing
artist and a constant friend. With all the scenes of our personal
history has he been long and intimately associated. In the Sunday
School, at Confirmation, at the marriage ceremony, at funeral
obsequies, at the Sunday service and the week-day lectures, amidst
Christmas festivities and Lenten solemnities, and Easter joys, he
has been a prominent and an appreciative participant.
"We shall long hold in loving memory his exceptional fidelity and
his genius; and we indulge the hope that we shall meet him again
and join with him in the praises of Eternity.
"To his sorrowing family we extend our sincere sympathy, and
assure them of our good wishes in whatever state it may please God
to call them."
Window photo by
David Motz
Photo of Casper Artes from ancestry.com
Articles originally compiled for the web by David Motz, former
webmaster for St. Paul's Parish
David's St. Paul's Windows page: www.evansvilleago.org/glass
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