The architectural forms used in the design of the tower are in general
classic; but the architect has shown considerable originality in their
arrangement and massing.
The lower portion, embracing the imposing arch and flanking colonnades,
is very dignified and quite satisfying. Standing close to the structure,
on the south side, so that one is conscious chiefly of this lower
portion, there comes the proper sense of nobility-the feeling that one
obtains from a successful triumphal arch. The chief fault of the tower
above is that it lacks the long lifting lines that would give a sense of
aspiration. It seems just a little squat and fat-as if it were too
heavy on top and splayed out at the sides and bottom. It is also
somewhat "showy," with too much hung-on ornament; and the green columns
against red walls are not satisfying-this being one of the very few
failures of the color scheme in the entire group of buildings.
At night the tower takes on a new and unexpected beauty. The outline
softens under the illumination, and the feeling of over-decoration and
broken lines is lost. The whole structure becomes a huge finger of
light, reaching up into the dark heavens-with softer indirect lighting
below, and glowing brilliantly above. Even the hundred thousand pendent
jewels, which at best are but flashy in the day time, add to the
exquisite fairy like effect at night. The illumination here is such,
indeed, that it must be one of the most impressive and lasting memories
to be carried away by the visitor.
The Tower of Jewels was designed by Thomas Hastings, of the firm Carrere
and Hastings of New York.