"El Dorado" and "Youth."--Within the colonnaded wings of the Tower of Jewels are two fountains which carry' out the symbolism of the days of the Spanish explorers in their themes, the Aztec myth of El Dorado, and the fabled Fountain of Youth, sought by Ponce de Leon. In their way, these are the loveliest fountains on the Exposition grounds, though they differ so from all the rest that comparison is not easy. The naive conception of the Fountain of Youth and the realistic strength of that of El Dorado lead visitors back to them again and again. They are hidden fountains, as their prototypes were hidden. Each terminates one of the two open colonnades with a central niche composition flanked on either hand by a sculptured frieze. Each is the work of a woman sculptor, and both, though very different, are far from the conventional or the commonplace. The Fountain of El Dorado, by Gertrude Vanderbilt Whitney, tells the story of an Aztec myth of a god whose brilliance is so dazzling that the sun is his veil, and who lives in a darkened temple lest his light destroy humanity. (p. 54.) At the center of the recessed wall are doors of the deity's shaded abode, a guardian on either side. In the friezes naked humanity moves ever onward, striving to reach the home of the god. The figures, in full relief, are splendid in their grace and vigor. Here are men and women whom nothing can hold back; here are those who must be pushed along, some who linger for love, others for worldly goods; but all, the strong and the faint, the eager and the tardy, move forward irresistibly to their destiny. In Wait's "The Stories of El Dorado," the following account is given of this aboriginal myth of an expected Indian Messiah, El Hombre Dorado, the Gilded Man, as the Spaniards interpreted the native words,--which played a fateful part in the history of the primitive races of Spanish America: