In the smaller panel to the left, Labor is crowned and all who served with toil are acclaimed. Its companion picture on the right represents Achievement. The Mind that conceived the work is throned, the Sciences stand at one side, while a figure crouching before the bearer of rewards points to Labor as equally worthy. On the west side of the arch, the central panel portrays the meeting of Atlantic and Pacific, with Labor joining the hands of the nations of east and west. In the panel to the left, enlightened Europe discovers the new land, with the savage sitting on the ruins of a forgotten civilization, the Aztec once more. On the right America, with her workmen ready to pick up their tools and begin, buys the Canal from France, whose labor has been baffled. The two lovely fountains in the wings of the Tower draw their inspiration from the days of the conquistadors. Mrs. Harry Payne Whitney's Fountain of El Dorado is a dramatic representation of the Aztec myth of The Gilded One, which the followers of Cortez, in their greed for gold, mistook for a fact instead of a fable. (p. 54.) The Fountain of Youth by Edith Woodman Burroughs finds its justification as a part of the historical significance of the Tower in the legend of that Fountain of Eternal Youth sought by Ponce de Leon. (p. 53.) The interpretation of these sculptures is set forth in the chapter on Fountains. The Tower of Jewels epitomizes the Exposition's art. The glories of its architecture, color, sculpture, painting, and landscape gardening all find an expression here. In architecture it reflects something of almost all of the orders found in the Exposition. In the main it is Italian Renaissance, which means that the basic characters are Roman and Greek, enriched with borrowings from the Orient and Byzantium. In column and capital, in wall and arch and vaulted ceiling, it represents the architecture of the whole Exposition, and so harmoniously as to form a singular testimony to the unity of the palace scheme. In color, from the dull soft gold of the columns of the colonnades on either wing, through the vivid hues of Dodge's allegorical murals under the arch, and the golden orange and deep cerulean blue in the vaulted recesses, up to the striking green of columns on the upper rounds of the Tower, the structure summarizes all the pigments which the master of color, Guerin, has laid upon the Exposition. In sculpture, the conquistadors in front, the hooded Franciscans and the Spanish warriors who stand around the cornice, the corner figures on the Tower above, and, finally, the great globe on top, repeat in varied form the themes of palace, court, facade, and entrance. It has its own fountains in its own little courts.