Every man jack of the eight pirates on the four portals is apparently bow-legged. There is a vast space between the knees of these buccaneers of Panama, but when you look more closely it is hard to decide whether those pirate knees are really sprung, or whether it is the posture of the figures that suggests the old quip about the pig in the alley. The sculptor has at least given to the figures a curious effect of bandy legs. The feet are set wide apart, the space between and behind the legs is deeply hollowed out, and the rope which hangs from the hands curves in over the feet to add to the illusion. There used to be a saying that cross-eyed people could not be honest. Similarly, perhaps, Newman thought the appearance of bow-legs would increase the villainy of his pirate. Certainly, no such blood-curdling ruffian has been seen out of comic opera. The east wall of the palace group becomes Old Italian, to harmonize with the Roman architecture of the Machinery Palace opposite. The portals suggest those of ancient Italian city walls. In the niches stands Albert Weinert's "Miner," here used because the Palace of Mines forms one half the wall. In the long avenue that runs east and west through the center of the group, the unity of the eight buildings becomes more apparent as we view the noble arches which join them, and note the character of their inner facades. Education and Food Products are alike in the walls and portals fronting on the dividing aisle. The Spanish architecture of the south facade of Education is here carried over to Food Products. Similarly, the avenue between Mines and Varied Industries is the same on both sides, carrying out the Old Italian of the east front, and with The Miner repeated in the portal niches of both palaces. The avenues leading from the Court of the Universe to the Court of Ages and the Court of Seasons have been variously called the Aisles of the Rising and the Setting Sun, or the Venetian and Florentine Aisles. Their four walls are in the style of the Italian Renaissance, and show a diaper design similar to that on the Italian towers of the Courts of Flowers and Palms. In an artistic sense, this group is incomplete without the Palace of Fine Arts on the west and Machinery Hall on the east. (p. 105, 106.) Balancing each other in the general scheme, they form the necessary terminals of the axis of the Exposition plan. This matter of balance has been carefully thought out everywhere, and affords a fine example of the co-operation of the many architects who worked out the vast general design. The Courts of Seasons and Ages are set off against each other; the Courts of Palms and Flowers weigh equally one against the other; the Arches of the Nations not only balance but match; even the Tower of Jewels, which is the center of the whole plan, is offset by the Column of Progress. In the South Gardens, the Palace of Horticulture is balanced against Festival Hall.