The bas-relief friezes about the bases of the vestibule columns are also by Haig Patigian. The winged figure, typifying "Machinery," lends itself to decorative uses better than the purely human type, and the artist has worked in various mechanical symbols quite cleverly. The cardinal principle in sculptural decoration of this sort is that the frieze, like the whole column, must carry an impression of support. It will be noticed that no room has been left above the head or below the feet; and the disposition of the wings and arms further adds to the feeling that the figures are a true structural unit rather than mere ornament stuck on. The spandrels over the minor arches in the vestibule, again typifying "Machinery," are equally successful in serving an architectural purpose. Mural sculpture, like mural painting, must never be allowed to "make a hole" in the wall. Notice how fully the figures cover the given space, without any background to draw the eye beyond the surface. These spandrels are also by Haig Patigian. The column reliefs and the spandrels are repeated at the minor doorways of the building. The Genius of Creation, a magnificently conceived group of sculpture, has been placed, rather unfortunately, in front of the main west portal of the Palace of Machinery. It is by Daniel Chester French, who is generally considered the dean of American sculptors. The Genius of Creation is portrayed as a huge winged figure, enthroned over the formless mass of earth, with head bowed and arms outstretched, calling human life into being. At the two sides a man and a woman, fine strong figures both, stand looking forth, the man courageously, the woman a little more timidly. And at the back, as if to signify the mutual dependence of man and woman, the hands seek to touch. A serpent encircles the base of the group, symbolizing wisdom-or as some prefer to interpret it, everlasting life. This serpent is probably not the one that had so much to do with the life of the first couple on earth. The statue expresses, of course, the orthodox idea of creation, and it is interesting to contrast it with the sculpture of the Court of Abundance, which in general gives expression to the doctrine of evolution. The strong, almost severe, motherly figure is finely religious in feeling. The sculptor himself has commented on the religious tone that runs through much of the Exposition sculpture, remarking especially the prevalence of winged angel-figures. The reader is left to decide how far this has resulted from the fact that the winged form is essentially decorative, and how far from reverence.