On the east side, a figure of Greed looks back on the earth, the mass in his hands suggesting the futility of worldly possessions. Next is a group of Faith, wherein a patriarch holds forth to the woman the hope of immortality, with a scarab, ancient symbol of renewed life. Then comes a man of Sorrow, as the woman with him falls into her last Slumber. These are about to be drawn into oblivion by the relentless hand of Destiny. The gap between these groups and the main structure of the fountain typifies the unknown time between the beginning of things and the dawn of history. Each of the four panels in pierced relief surrounding the globe of the Earth tells a single story, with the exception of the first, which tells three. Traveling to the left around the globe, we begin with the figure of Vanity, mirror in hand, in the center of the first panel, as the symbol of worldly motive. Here, too, are primitive man and woman, bearing their burdens, symbolized by their progeny, into the unknown future, ready to meet whatever be the call of earth. The woman suggests the overwhelming instincts of motherhood. Passing into the next panel, we see their children, now grown, finding themselves, with Natural Selection. The man in the center, splendid in physical and intellectual perfection, attracts the women on either hand, while two other men, deserted for this finer type, display anger and despair. One tries to hold the woman by force, the other, unable to comprehend, turns hopelessly away. The succeeding panel symbolizes the Survival of the Fittest. Here physical strength begins to play its part, and the war spirit awakens, with woman as its cause. The chiefs struggle for supremacy, while their women try in vain to separate them. The last panel portrays the Lesson of Life. The elders offer to hotheaded youth the benefit of their experience. The beautiful woman in the center draws to her side the splendid warrior, whose mother on his left gives her affectionate advice. On the right of the panel, a father restrains a wayward and jealous youth who has been rejected by the female. Passing again into the first panel we find a representation of Lust,--a man struggling to embrace a woman, who shrinks from his caresses. Thus the circle is complete; these last two figures, though in the first panel, are separated from those first described by decorations on the upper and lower borders. Framing the panels, while also indicating the separation in time of their stories, stand archaic figures of Hermes, such as the ancients employed to mark distances on the roads. Their outstretched hands hold up the beginnings of life in the form of rude primeval beasts, from whose mouths issue the jets of the fountain. At night this fountain glows deep red, from lamps concealed within the panels, while clouds of rosy steam rising around the globe create an illusion of a world in the making.