From the Tower of Jewels we turned our attention to those other towers, the four so charming in design and in proportion, Renaissance in feeling, their simplicity seeming all the more graceful on account of the contrast with the other tower's over-ornamentation. "I wonder what the world would have done without the Giralda Tower in Seville? It has inspired many of the most beautiful towers in the world. It helped to inspire McKim, Mead and White when they built the Madison Square Tower, and the Madison Square Tower might be described as a relative of our own Ferry Tower, which is decidedly one of the best pieces of architecture in San Francisco. And it's plain enough that these four towers and the Ferry Tower are related. The top of the four towers, by the way, has a history. It comes from the Choragic Monument of Lysicrates, the little temple in Athens that was built by one of the successful chorus-leaders in the competitive choral dances of the Greeks, who happened to be a man of wealth. Afterward, when a chorus-leader won a prize, which consisted of a tripod, it was shown to the people on that monument." "Some critics," I said, "have complained of the coloring and the pattern on those towers." "They can't justify themselves, however. Though this plaster looks like Travertine, it nevertheless remains plaster, and it lends itself to plastic decoration. The Greeks and the Romans often used plaster, and they did not hesitate to paint it whenever they chose. Kelham's four towers have been criticised on account of their plastic design, which has a good deal of pink in it. But that design provides one of the strongest color notes in the whole Exposition, a delightful note, too. It happens that makers of wallpaper have had the good sense to use a design somewhat similar. But this fact does not make the design any the less attractive or serviceable." Between the houses on the hill we could catch glimpses of the South Gardens between the glass dome of the Horticultural Palace and Festival Hall. The architects rightly felt that in general appearance they had to be French to harmonize with the French architecture on either side. In the distance the Fountain of Energy stood out, like a weird skeleton that did not wholly explain itself. Stirling Calder, the sculptor, must have forgotten that the outline of those little symbolic figures perched on the shoulder of his horseman would not carry their meaning. Now, before our eyes, the Exposition revealed itself as a picture, with all the arts contributing. It suggested the earlier periods of art, when the art-worker was architect, painter and sculptor all in one. II The Approach