hotheaded youth the benefit of their experience. The beautiful woman in
the center draws to her side the splendid warrior, whose mother on his
left gives her affectionate advice. On the right of the panel, a father
restrains a wayward and jealous youth who has been rejected by the
female.

Passing again into the first panel we find a representation of Lust,--a
man struggling to embrace a woman, who shrinks from his caresses. Thus
the circle is complete; these last two figures, though in the first
panel, are separated from those first described by decorations on the
upper and lower borders.

Framing the panels, while also indicating the separation in time of
their stories, stand archaic figures of Hermes, such as the ancients
employed to mark distances on the roads. Their outstretched hands hold
up the beginnings of life in the form of rude primeval beasts, from
whose mouths issue the jets of the fountain.

At night this fountain glows deep red, from lamps concealed within the
panels, while clouds of rosy steam rising around the globe create an
illusion of a world in the making.

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.)