Fountain of Youth by Edith Woodman Burroughs finds its justification as
a part of the historical significance of the Tower in the legend of that
Fountain of Eternal Youth sought by Ponce de Leon. (p. 53.) The
interpretation of these sculptures is set forth in the chapter on
Fountains.

The Tower of Jewels epitomizes the Exposition's art. The glories of its
architecture, color, sculpture, painting, and landscape gardening all
find an expression here. In architecture it reflects something of almost
all of the orders found in the Exposition. In the main it is Italian
Renaissance, which means that the basic characters are Roman and Greek,
enriched with borrowings from the Orient and Byzantium. In column and
capital, in wall and arch and vaulted ceiling, it represents the
architecture of the whole Exposition, and so harmoniously as to form a
singular testimony to the unity of the palace scheme.

In color, from the dull soft gold of the columns of the colonnades on
either wing, through the vivid hues of Dodge's allegorical murals under
the arch, and the golden orange and deep cerulean blue in the vaulted
recesses, up to the striking green of columns on the upper rounds of the
Tower, the structure summarizes all the pigments which the master of
color, Guerin, has laid upon the Exposition.

In sculpture, the conquistadors in front, the hooded Franciscans and the
Spanish warriors who stand around the cornice, the corner figures on the
Tower above, and, finally, the great globe on top, repeat in varied form
the themes of palace, court, facade, and entrance. It has its own
fountains in its own little courts.

Then, as a final touch to complete this epitome of Exposition art, the