The Jewel City

wer of

A magnificent Roman arch-"Jewels" of the Tower- An historical landmark-Inscriptions, scu

cture it is the center on which all the other buildings are balanced. In relation to the theme of the Exposition, it is the triumphal gateway to the commemorat

o sections. Upon it rests the balance of Festival Hall and the Palace of Horticulture, of the courts, the gardens, the Palace of Machinery and the Palace of Fine Arts. It finds

is softened into a form almost ghostly. It becomes ethereal. All its daytime glitter gone, it seems really spiritual. The jewels hung over the upper por

the eye. Up to the cornice above the arch, the mass of the Tower is magnificent in proportion and harmonious in line and color. It almost

em. There is no confinement, no sense of imprisonment from the boundless depths of air outside. Something which the architect could not include in his plans has come in to make constant this increase in the sense of freedom and space. The openings of the arches, being the only free and unconfined passageways through the south facade of the palace

sco through the colonnades like panelled strips of painting; and, looking

he strong white light of a whole battery of giant reflectors hidden on other buildings, the mystic haze that shrouds the Tower. They were a fine idea of the chief of illumination, W. D'A. Ryan, giving just a touch of brilliance to an Exposition otherwise clot

e Pacific shore northward from the Isthmus. The architect has expressed in its upper decorations something of the feeling of Aztec art. The four inscriptions on the south faces of the arches tell how Rodrigo de Bastides discovered Panama in 1501; how Balboa first saw the Pacific Ocean in 1513; how the United States began to dig the Canal in 1904, and opened it in

on the Americas, all done by John Flanagan. Above the cornice, the mounted figures by F. M. L. Tonetti are those of the Spanish cavaliers, with bannered cross. The eagles stand for the Nation that built the Canal. Excellent in spirit are Flanagan's figures of the four types, especially that of the strikingly ascetic Priest. (p. 44.) Besides their symbolism, the statues fu

ant mermaid leading the fleets of the world through the Gateway of All Nations. (p. 53.) On one side Labor, with its machines, draws back from the completed task, and, on the other, the Intelligence that conceived the work and th

on picture on the right represents Achievement. The Mind that conceived the work is throned, the Sciences

west. In the panel to the left, enlightened Europe discovers the new land, with the savage sitting on the ruins of a forgotten civilization, the Azt

of The Gilded One, which the followers of Cortez, in their greed for gold, mistook for a fact instead of a fable. (p. 54.) The Fountain of Youth by Edith Woodman Burroughs finds its justification as a part

of almost all of the orders found in the Exposition. In the main it is Italian Renaissance, which means that the basic characters are Roman and Greek, enriched with borrowings from the Orient and Byzantium

als under the arch, and the golden orange and deep cerulean blue in the vaulted recesses, up to the striking green of columns on the

the cornice, the corner figures on the Tower above, and, finally, the great globe on top, repeat in varie

he openings of the arch, gracefully express the debt the whole palace scheme owes to its landscape engineer. In the origina