"Of course. That's exactly what Calder meant to do. In a way he was right. He wanted to express in sculpture the idea of tremendous force. Now his work is an ideal example of what is expositional. It has a sensational appeal. One objection to it is that it suggests too much energy, too much effort on the part, not only of the subject, but of the sculptor. The artist ought never to seem to try. His work ought to make you feel that it was easy for him to do. But here you feel that the sculptor clenched his teeth and worked with might and main. As a matter of fact, he did this piece when he must have been tired out from managing all the sculpture on the grounds. He made two designs. The first one, which was not used, seemed to me better because it was simpler in the treatment of the base. Even the figures at the base here are over-energized, the human figures I mean. Still, in their sportiveness and in the sportiveness of Roth's animals, they have a certain charm. And with the streams spouting, the work as a whole makes an impression of liveliness. But it's a nervous liveliness, characteristically American, not altogether healthy." The Fountain of Energy and the Tower of Jewels, we decided, both expressed the same kind of imagination. Like the fountain, the tower gave the sense of overstrain. "It's pretty hard to see any architectural relation between those figures up there on the tower and the tower itself. See how the mass tries to dominate Kelham's four Italian towers, but without showing any real superiority." The heraldic shields on the lamp posts near by attracted us both by their color and by the variety and grace of their designs. How many visitors stopped to consider their historic character? They went back to the early history of the Pacific Coast. For this contribution alone Walter D'Arcy Ryan deserved the highest recognition. Only an artist could have worked out this scheme in just this sensitive and appropriate way. We stopped at the vigorous equestrian statue of Cortez by Charles Niehaus at our right, close to the tower. "I always liked Cortez for his nerve. He didn't get much gratitude from his Emperor for conquering Mexico and annexing it to Spain. And what he got in glory and in money probably did not compensate him for his disappointment at the end. When he couldn't reach Charles V in any other way, he jumped up on the royal carriage. Charles didn't recognize him and asked who he was. 'I'm the man,' said Cortez, 'that gave you more provinces than your forebears left you cities.' Naturally Charles was annoyed. We don't like to be reminded of ingratitude, do we, especially by the people who think we ought to be grateful to them? So Cortez quit the court and spent the rest of his life in the country."