tower was designed by John Gordon in a Gothic cathedral style with red bricks. The clock tower construction started in 1862 and was completed in 1874. The tower was demolished by the Sikh community about 70 years later. In its place, a new entrance was constructed with a design more harmonious with the Temple. This entrance on the north side has a clock, houses a museum on its upper floor, and it continues to be called ghanta ghar deori. Ber trees The Golden Temple complex originally was open and had numerous trees around the pool. It is now a walled, two-storey courtyard with four entrances, that preserve three Ber trees (jujube). One of them is to the right of the main ghanta ghar deori entrance with the clock, and it is called the Ber Baba Buddha. It is believed in the Sikh tradition to be the tree where Baba Buddha sat to supervise the construction of the pool and first temple. A second tree is called Laachi Ber, believed to the one under which Guru Arjan rested while the temple was being built. The third one is called Dukh Bhanjani Ber, located on the other side of the sanctum, across the pool. It is believed in the Sikh tradition that this tree was the location where a Sikh was cured of his leprosy after taking a dip in the pool, giving the tree the epithet of "suffering remover". There is a small Gurdwara underneath the tree. The Ath Sath Tirath, or the spot equivalent to 68 pilgrimages, is in the shade underneath the Dukh Bhanjani Ber tree. Sikh devotees, states Charles Townsend, believe that bathing in the pool near this spot delivers the same fruits as a visit to 68 pilgrimage places in India. Sikh history museums The main ghanta ghari deori north entrance has a Sikh history museum on the first floor, according to the Sikh tradition. The display shows various paintings, of gurus and martyrs, many narrating the persecution of Sikhs over their history, as well as historical items such as swords, kartar, comb, chakkars. A new underground museum near the clock tower, but outside the temple courtyard also shows Sikh history. According to Louis E. Fenech, the display does not present the parallel traditions of Sikhism and is partly ahistorical such as a headless body continuing to fight, but a significant artwork and reflects the general trend