The Fountain of Beauty and the Beast was originally intended for the Court of Palms, which was conceived as the Court of Occidental Fairy Tales, just as the Court of Flowers was to have been that of Oriental Fairy Tales. Mrs. Whitney's fountain of the Arabian Nights, a creation of whimsical beauty, was to have stood in the latter court. It was modeled, but was never enlarged; and its place was taken by Beauty and the Beast, the work of Edgar Walter. (p. 100.) This is another harmonious fountain, rightly conceived, so that its sculpture does not overbalance its use in the play of water, and admirably in tune with the flowery grace of the court. Beauty, pouring water from a Greek amphora, sits lightly upon the ugly Beast. Why she wears a smart Paris hat no one has discovered. Four cheery pipers, lively as crickets in the sun, support the upper bowl. Around the lower basin is a frieze in low relief, figuring Hanuman, the King of Monkeys, leading a bear with one hand and prodding a lion with the other. All this is part of the original fairy-tale significance of the court. The fountains are of the glories of the Exposition. There is always charm in the movement of the waters, rest in their music. The appeal is elemental, and therefore, universal. Artificial jets can never equal the play of water in Nature, but when adorned with harmonious sculpture, as here, they become that significant and satisfying imitation which is Art. XI. The Palace of Machinery A vast rectangular hall, saved by Ward's successful architecture from being a huge barn--Modeled on the Roman Baths of Caracalla--Patigian's finely decorative sculptures, symbolizing the mechanical forces and labor--Beauty of the interior--A Cathedral of Dynamics. A mighty hall is the Palace of Machinery. (See p. 105, 106.) Beachey flew in it. The Olympic might rest in its center aisle with clear space at both bow and stern, and room in the side aisles for two ocean greyhounds as large as the Mauretania. Vastness is the note of the architecture which Clarence Ward has employed to give body to this enormous space. It is an architecture of straight lines in all the outer structure, lending itself admirably to the expression of enormous proportions. In general ground plans the palace is a simple rectangular hall. Think, then, of the task the architect had before him to avoid making the palace a huge barn. His work succeeded, as any great work succeeds, because he used simple means.