On the side walls of the arch under the Tower, the murals by William de
Leftwich Dodge tell the story of the triumphant achievement which the
Exposition commemorates. On the east, the central panel pictures Neptune
and his attendant mermaid leading the fleets of the world through the
Gateway of All Nations. (p. 53.) On one side Labor, with its machines,
draws back from the completed task, and, on the other, the Intelligence
that conceived the work and the Science that made it possible, move
upward and onward, while a victorious trumpeter announces the triumph.
One figure, with covered face, flees from the appeal of the siren, but
whom he represents, or why he flees, I cannot tell.

In the smaller panel to the left, Labor is crowned and all who served
with toil are acclaimed. Its companion picture on the right represents
Achievement. The Mind that conceived the work is throned, the Sciences
stand at one side, while a figure crouching before the bearer of rewards
points to Labor as equally worthy.

On the west side of the arch, the central panel portrays the meeting of
Atlantic and Pacific, with Labor joining the hands of the nations of
east and west. In the panel to the left, enlightened Europe discovers
the new land, with the savage sitting on the ruins of a forgotten
civilization, the Aztec once more. On the right America, with her
workmen ready to pick up their tools and begin, buys the Canal from
France, whose labor has been baffled.

The two lovely fountains in the wings of the Tower draw their
inspiration from the days of the conquistadors. Mrs. Harry Payne
Whitney's Fountain of El Dorado is a dramatic representation of the
Aztec myth of The Gilded One, which the followers of Cortez, in their
greed for gold, mistook for a fact instead of a fable. (p. 54.) The