The Nations of the West were grouped around that prairie wagon, drawn by two oxen. In the center stood the Mother of Tomorrow a typical American girl, roughly dressed, but with character as well as beauty in her face and figure. On top of the wagon knelt the symbolic figure of "Enterprise," with a white boy on one side and a colored boy on the other, "Heroes of Tomorrow." On the other side of the wagon stood typical figures, the French-Canadian trapper, the Alaska woman, bearing totem poles on her back, the American of Latin descent on his horse, bearing a standard, a German, an Italian, an American of English descent, a squaw with a papoose, and an Indian chief on his pony. The wagon was modelled on top of the arch. It was too large and bulky to be easily raised to that great height. The architect was impressed by the boldness of the designs and to the spirit that had been put into them. "It's very seldom in the history of art that sculptors have had a chance to do decorative work on so big a scale. It must have been a hard job, getting the figures up there in pieces and putting them together. Some of the workers came near being blown off. Some of them lost their nerve and quit. I wonder, by the way, if that angel on top of the prairie wagon would be there if Saint Gaudens hadn't put an angel in his Sherman statue, and if he hadn't made an angel float over the negro soldiers in his Robert Gould Shaw monument in Boston. He liked that kind of symbolism. He must have got it from the mediaeval sculptors who worked under the inspiration of the Catholic Church." Varying notes we found around the American group. Cleopatra's needle, used for ornamentation, suggested Egypt and the Nile. That crenellated parapet once belonged to military architecture: between those pieces that stood up, the merlons, in the embrasure, the Greek and Roman archers shot their arrows at the enemy and darted back behind the merlons for protection. In spite of its being purely ornamental it told its story just the same, and it expressed the spirit that still persisted in mankind. Nowadays it was even used on churches. But religion and war had always been associated. Besides, in an International Exposition it was to be expected that the art should be international. How many people, when they looked at Cleopatra's needle, knew how closely it was related to the newspapers and historical records of today? The Egyptians used to write on these monuments news and opinions of public affairs. The Romans had a similar custom in connection with their columns. On the column of Trajan they not only wrote of their victories, but they pictured victorious scenes in stone.