The bears terminating the buttresses on the walls represent California, and hold the seal of the State. Such buttresses against a plain wall, with a tiled roof, are common in the Franciscan missions of California. The Palaces of Manufactures and Liberal Arts, on either side of the Tower of Jewels, are alike on the south, and Italian. The Moorish corner domes are omitted here, as the palaces terminate on one side in one of the Italian towers and on the other in the wings of the Tower of Jewels. The central portals are Italian, with tiled roofs and latticed grills, with handsome imitations of bronze work under the arches. The friezes over the arches as well as the figures in the niches are by Mahonri Young, of New York. The frieze represents industries of various kinds, the work of women as well as of men. In the niche on the left is a woman with a spindle, on the right a workman with a sledgehammer. Like Stackpole's figures on the portal of Varied Industries, Young's sculptures are simple and strong. The lion used as the keystone figure of the arch and the lions and elephants alternating as fountain heads in the niches in the wall give an Oriental touch to these palaces. Of their portals none are more beautiful than those leading from the Courts of Flowers and Palms. All four are finely expressive of the noblest architecture of the Italian Renaissance. They glow with the sunshine and color of Italy. Those entering the Palaces of Liberal Arts and Education from the Court of Palms are identical in design, and seem almost perfect in their harmonious lines and warm color. (p. 88.) The other pair, opening from the Palaces of Manufactures and Varied Industries into the Court of Flowers, are cheery portals, made more domestic in feeling by the loggia between the colonnade and the tiled roof. (p. 85, 100.) The three portals of the Palace of Education are of the Spanish Renaissance, and the Moorish towers reappear at the corners. The twisted columns of the entrances are Byzantine. The tympanum above the central portal contains Gustav Gerlach's group "Education." (p. 138.) In the center is the teacher with her pupils, seated under the Tree of Knowledge; on the left, the mother instructs her children; on the right, the young man, his school days past, is working out for himself a problem of science. Thus the group pictures the various stages of education, from its beginning at home to that training in the school of life which ends only at death. The cartouche just above the entrance bears the Book of Knowledge, shedding light in all directions, the curtains of darkness drawn back by the figures at the side. The hour glass below the book counsels the diligent use of time; the crown above symbolizes the reward of knowledge. The banded globe over the portal signifies that education encompasses the world.