The great court is hung with festoons (on the frieze) and decorated with the vine and its grapes (on the architrave).

The bulls' heads with festoons are represented on the frieze as they once were on the altars of old when the festival, "The Feast of the Sacrifice," was celebrated. (Refer to the same subject in The Court of the Four Seasons.)

In stately procession around the sunken garden are seen the Canephori bringing their jars of nectar.

The Canephori in old Greek days were the maidens who formed part of the great processions, such an one as the Panethenaea, carrying on their heads baskets which held the consecrated temple furniture, to be deposited at the end of the long march in the temple.

Here the sculptor has taken the license of representing men with the maidens, and instead of baskets has used vases.

This idea of the festival is strongly accented at night when you are transported to old Greek and Roman days.

Follow after this procession and you will notice that Paul Manship's "Joy of Living," or "Motion," as it is also called, has entered. The joyous girls in perfect abandon are coming to join the happy throng.

They bring their offerings in the shape of great wild-rose festoons, well suited to the "Wild Roses" who carry them.

Near by is Paul Manship's "Music," adding the song, and the music of the lyre.

As a last touch you will find the nations of the Occident and the nations of the Orient marching into this Court of the Universe to take part in the festival in celebration of one of the greatest events of history - the opening of the Panama Ca.n.a.l.

At night comes the illumination, as a climax to the festival, and gradually the lights die down and all is still - just for a few hours only, for day will dawn, for is not the Rising Sun ever with us - and another day of festivity will come, and yet more at this greatest festival that the world has ever known.

The Tower of Jewels

Architect - Thomas Hastings of New York.

Architecture - Italian Renaissance with Byzantine features.

This great Tower of Jewels symbolizes the Panama Ca.n.a.l, the jewel today that is most resplendent.

It is 433 feet high. In cold weather, owing to the contraction of the steel, it is said to be four inches shorter than in warm weather.

The arch is 110 feet high and 60 feet broad.

The tower is in seven lifts, surmounted by the earth with its shimmering jewels. You are reminded that the whole earth is affected by this stupendous piece of engineering (the Panama Ca.n.a.l).

The figures on the pedestals of the arch are by John Flanagan of New York, and they represent:

1. The Adventurer, the type of man of the 16th century who pushed out into the wilderness of the southwest.

2. The Priest, the type of man who came to convert the country in the 16th century.

3. The Philosopher, who by his fine knowledge of the Greek and Latin ma.n.u.scripts was able to disseminate knowledge in the 16th century thruout the new regions.

4. The Warrior, the type of 16th century soldier who came to conquer the country.

On the first tier you meet the Armoured Horseman by Tonetti, the type of colonizer of the 16th century.

Now look at the equestrian statues that stand on either side of the Tower. That on the right is Cortez (by Chas. Niehaus), the conqueror of Mexico - the man who wrested Mexico from Montezuma for the kingdom of Spain.

On the left Pizarro (by Chas. Rumsey), the conqueror of Peru, who gained for Spain the land of the Incas.

The country north of the Panama region was conquered by the Spanish.

That on the south of Panama was also the Spanish land.

It is time now to read the inscriptions on the south side of the tower:

1501

Rodrigo de Bastides, pursuing his course beyond the West Indies, discovers Panama.

1513

Vasco Nunez de Balboa, crossing the Isthmus of Panama, discovers the Pacific Ocean.

1904

The United States, succeeding France, begins operations on the Panama Ca.n.a.l.

1915

The Panama Ca.n.a.l is opened to the commerce of the world.

The United States has put thru the ca.n.a.l, so the American eagle with outstretched wings is seen as a decorative motive on either side of the Tower - with telling suggestions.

The hand of the law is governing the commerce of the Panama Ca.n.a.l, hence you receive that gentle reminder in the Roman insignia, the fasces.

In the old Roman days of the kingdom, as well as in the days of the Roman republic, the lictor marched in front of the head of the State carrying the fasces, those twelve birch rods with the ax, indicating punishment and then death if the laws were not obeyed.

The fasces are seen at the extreme ends of the wings of the tower.

It is interesting to see this same device used in the Liberal Arts Palace and in the Educational Palace - especially in reform exhibits or such exhibitions as the New York Educational Exhibit, where the hand of state is suggested.

The laurel wreath on the tower is another speaking motive.

The vessels push out in all directions from the Panama Ca.n.a.l. You get that suggestion at the corners of the third lift.

Don't lose sight of the beautiful turquoise green columns in the temple forms of the Tower. At night the aquamarines follow out the same beautiful color.

Watch, when the Tower is first illuminated with the blood glow, and you will see that it almost pulsates with life. It should, for is it not the vital part of this great Exposition?

Jewels on the Tower

There are some ten tons of jewels used at the Exposition.