structural forms, as well as in the minor and decorative forms.

The main Tower of Jewels, by Carrère and Hastings, marking the center of
the whole scheme, has a distinct character of its own. There is no doubt
that it is effective, but while its chief merit lies in its colossal
proportions and its relative position, I feel that it lacks that oneness
of conception that characterizes almost every other architectural unit
in the Exposition. One feels too much the stacking up of story after
story, that effort to fill the requirements of a given great height,
very much as a boy sets up blocks of diminishing size, one on top of the
other, until he can go no further because there are no smaller blocks.
The whole effect of the tower is too static. Of its architectural
motives, almost too many seem devoid of much interest, and like the
column motive, repeated too often. The very effective and decorative
employment of "jewels" tends to loosen up and enliven the structure very
much. On a sunny day the effect is dazzling and joyous. The tower has a
feeling of dignity and grandeur, commensurate with its scale and
setting. However, its great height is not apparent, owing largely to its
breadth of base. The Sather Campanile in Berkeley looks higher, though
it is actually one hundred and thirty-three feet lower. The side towers
at the entrances of the Court of Palms and the Court of Flowers, while
not so imaginative as the main tower, are far more sky-reaching. As
towers go, John Galen Howard's tower at the Buffalo Exposition in 1901
stands unsurpassed in every way as an Exposition tower.

The main Court of Honor, or Court of the Universe, as it is also called,
designed by McKim, Mead and White, impresses by its tremendous
dimensions, which operate somewhat against its proper enjoyment. I
believe that the court is too large - so many things are lost in it, and
it does not convey the quality of shelter that the two lesser courts