What was most striking in the Court was its immensity. "Though it comes from Bernini's entrance court to St. Peter's in Rome, it is much bigger. There are those who think it's too big. But it justifies itself by its splendor. The use of the double row of columns is particularly happy. The double columns were greatly favored by the Romans. In St. Peter's Bernini used four in a row. And what could be finer than those two triumphal arches on either side, the Arch of the Rising Sun and the Arch of the Setting Sun, with their double use of symbolism, in suggesting the close relation between California and the Orient, as well as their geographical meaning? They are, of course, importations from Rome, the Arch of Constantine and the Arch of Titus all over again, with a rather daring use of windows with colored lattices to give them lightness and with colossal groups of almost startling proportions used in place of the Roman chariot or quadriga." Originally, the intention had been to use here the name of the Court of Sun and Stars. Then it was changed to the Court of Honor, and finally to its present name, to suggest the international character of the Exposition. Those two groups represented by far the most ambitious work done by the sculpture department. From designs by Calder, they were made by three sculptors, Calder, Roth and Lentelli. They presented problems that must have been both difficult and interesting to work out. First, they had to balance each other. What figure in the Pioneer group could balance the elephant that typified the Orient? Calder had the idea of using the prairie schooner, associated with the coming of the pioneers to California, drawn by great oxen. The Oriental group doubtless shaped itself in picturesque outlines much more quickly than the sturdy, but more homely Americans of the earlier period. The Orientals displayed an Indian prince on the ornamented seat, and the Spirit of the East in the howdah, of his elephant, an Arab shiek on his Arabian horse, a negro slave bearing fruit on his head, an Egyptian on a camel carrying a Mohammedan standard, an Arab falconer with a bird, a Buddhist priest, or Lama, from Thibet, bearing his symbol of authority, a Mohammedan with his crescent, a second negro slave and a Mongolian on horseback.