To right and left, in front of Festival Hall, and Horticultural Palace, at ends of long pools, French fountain of "The Mermaid," figure, by Arthur Putnam, of San Francisco. To right, large building, Festival Hall, by Robert Farquhar, of Los Angeles; French theatre architecture. Studied from the theatres of the Beaux Arts style of French architecture. Details, French Renaissance developed from the Italian influence. To right, Press Building, designed and built by the Exposition; Harris H. D. Connick, Director of Works. To left, large building, Palace of Horticulture, Bakewell & Brown, architects. To left, Young Women's Christian Association. French light standards, by Walter D'Arcy Ryan and P. E. Denneville. French ornamental vases, filled with flowers, by E. F. Champney. The wall, by Faville, with ornamental Spanish entrances, runs around main courts and palaces, making the walled city. Tiled roofs suggesting mission architecture, associated with early California missions, a style developed from the Spanish. Four smaller towers, two on either side of large tower, by George W. Kelham, of San Francisco; Italian Renaissance. Sand on walks, selected by Jules Guerin for its pink color to harmonize with color scheme. Binds together buildings, its pink harmonizing with pink of walls. Grains of sand in walks translucent. Flag poles, ornamented with gilt star, by Faville. Orange-colored streamers by Guerin. Heraldic designs related to history of Pacific Coast, by Ryan. Thoroughfare running along wall and lined with palms, Avenue of Palms. Equestrian statue, to right of Tower of Jewels, by Charles Niehaus, "Cortez," conquerer of Mexico. Equestrian statue, to left, by Charles Cary Rumsey, "Pizarro," conqueror of Peru. Fine in action and spirit. Tower of Jewels Main tower breaking southern wall, facing South Gardens, the Tower of Jewels, by Thomas Hastings, of Carrere & Hastings, New York. Developed from Italian Renaissance architecture, with Byzantine modifications, and designed to suggest an Aztec tower; 433 feet high; original intention to make it 100 feet higher. Inscriptions on wall at base of tower chosen by Porter Garnett of Berkeley, explain steps that led to building of Panama Canal, celebrated by Exposition. On both sides of inscriptions Roman fasces denoting public authority. From left to right: "1501 Rodrigo de Bastides pursuing his course beyond the West Indies discovers Panama"; "1513 Vasco Nunes de Balboa crosses the Isthmus of Panama and discovers the Pacific Ocean"; "1904 the United States, succeeding France, begins operations on the Panama Canal"; "1915 the Panama Canal is opened to the commerce of the world." Large Composite columns on base. Arched capitals with acanthus, ornamented with the American eagle, the nude figure of child, and ornamental design suggesting California fruits. Colored to resemble Sienna marble. Corinthian columns at either side, eagles at corners of capital, human head above.