the sack of Panama. (p. 44.) These statues are by Allen Newman.

Every man jack of the eight pirates on the four portals is apparently
bow-legged. There is a vast space between the knees of these buccaneers
of Panama, but when you look more closely it is hard to decide whether
those pirate knees are really sprung, or whether it is the posture of
the figures that suggests the old quip about the pig in the alley. The
sculptor has at least given to the figures a curious effect of bandy
legs. The feet are set wide apart, the space between and behind the legs
is deeply hollowed out, and the rope which hangs from the hands curves
in over the feet to add to the illusion. There used to be a saying that
cross-eyed people could not be honest. Similarly, perhaps, Newman
thought the appearance of bow-legs would increase the villainy of his
pirate. Certainly, no such blood-curdling ruffian has been seen out of
comic opera.

The east wall of the palace group becomes Old Italian, to harmonize with
the Roman architecture of the Machinery Palace opposite. The portals
suggest those of ancient Italian city walls. In the niches stands Albert
Weinert's "Miner," here used because the Palace of Mines forms one half
the wall.

In the long avenue that runs east and west through the center of the
group, the unity of the eight buildings becomes more apparent as we view
the noble arches which join them, and note the character of their inner
facades. Education and Food Products are alike in the walls and portals
fronting on the dividing aisle. The Spanish architecture of the south
facade of Education is here carried over to Food Products. Similarly,
the avenue between Mines and Varied Industries is the same on both
sides, carrying out the Old Italian of the east front, and with The