The main pedestal of the statue is a globe, representing the earth. This is supported by a series of figures of mermaids and mermen. The Eastern and Western Hemispheres are represented by figures reclining on the globe, the one to the east a cat-headed woman, the one to the west a bullheaded man. The band, decorated with aquatic figures, which encircles the globe, suggests the final completion of a waterway about the earth.
Energy, the Victor, the surmounting group, typifies the indomitable spirit that has achieved the building of the Canal. The nude figure of Energy with arms outstretched rides a horse through the waves, while on his shoulders stand smaller figures of Valor (with a wreath) and Fame (with a sword) heralding the triumph. These small figures are unfortunate they hardly belong, and instinctively one is worried for their equilibrium.
The whole fountain is instinct with energy, and expresses joyous achievement, as was meant. Moreover it is remarkable in its breadth of conception, in imaginative interpretation of the theme. But it lacks that sense of repose which would make it intimately satisfying.
The fountain was designed by A. Stirling Calder.
Palaces Facing the Avenue of Palms
The adoption of the "walled-city" plan for the Exposition meant the grouping of the more imposing architectural effects in the interior courts, the outer facades simply forming parts of a practically continuous wall about the whole. Inspired by Spanish architecture of the Renaissance, the intention was to keep the wall spaces in general quite bare, concentrating the decorative effects in rich "spots" at carefully chosen intervals. Thus the outer facades of the central group of palaces combine a simple general form with a series of richly ornamental portals. The architect who as entrusted with the designing of the wall and all the portals was W. B. Faville of Bliss and Faville.
Certain architectural and sculptural units are repeated throughout the central group. Each building has a low central dome, seldom seen when one is close to any of the main buildings, but adding greatly to the decorative effect from a slight distance. These domes are of Byzantine style, and are colored in harmonizing shades of green and pink. The small repeated corner domes add another Eastern touch, and are especially effective at night. The outer wall is edged all the way around with a simple cornice and a few rows of dull red tiles, distinctly Southern in feeling, and therefore harmonizing with both the Spanish and the Italian Renaissance doorways.
The Winged Victory is the fine decorative figure that crowns the gables of all the palaces of the walled-city. It is broadly modelled, massive and yet refined, and from any viewpoint stands out in beautiful silhouette against the sky. It is by Louis Ulrich.
Palace of Varied Industries
Before turning to the more important south facade, it is well to look at the east wall, with its dignified and colorful portal. This is Roman in style of architecture, to harmonize with the Palace of Machinery opposite. It is similar in general form to the memorial arches and gateways of the Romans, but in the use of architectural motives and in decoration it is of Italian Renaissance style. The niches at each end of the gallery contain figures of The Miner, by Albert Weinert. The facade is ornamented with buttresses at regular intervals, carrying figures of the California Bear holding a scutcheon with the state seal.