The graceful figures atop the two fountain columns in the oval sunken garden are the Rising and the Setting Sun, by Adolph A. Weinmann. (p. 69.) In the east the Sun, in the strength of morning, the masculine spirit of "going forth," has spread his wings for flight; in the west, the luminary, now essentially feminine, as the brooding spirit of evening, is just alighting. The sculptural adornment of the shafts is detailed in the chapter on Fountains. The titanic Elements slumber on the balustrade, one on either hand of the stairways leading down on north and south into the sunken area. (p. 64.) On one side, on the north, the Elemental Power holds in check the Dragon of Fire. The whole figure expresses the primitive terror of Fire, a fear that still lives in the beasts. On the other side lies Water, the roaring Ocean, kelp in his hair, Neptune's trident in his hand, by him one of his fabled monsters. On the south, eagles of the Air hover close to the winged figure of the woman, who holds up the evening star and breathes gently down upon her people. Icarus, who was the first airman, appears upon her wings. Opposite, rests Earth, unconscious that her sons struggle with her. These remarkably expressive figures are the work of Robert Aitken. The youthful groups by Paul Manship upon the extremities of the balustrade, on either hand of the eastern and western stairways, represent Music and Poetry, Music by the dance, Poetry by the written scroll. The sculpture is archaic in type,--an imitation of Greek imitations of still earlier models. The colossal groups on the Arches of the Nations symbolize the meeting of the peoples of the East and West, brought together by the Panama Canal, and here uniting to celebrate its completion. In the group of the Nations of the East the elephant bears the Indian prince, and within the howdah, the Spirit of the East, mystic and hidden. (p. 63.) On the right is the Buddhist lama from Tibet, representative of that third of the human race which finds hope of Nirvana in countless repetitions of the sacred formula, "Om Mani Padme Hum." Next is the Mohammedan, with the crescent of Islam; then a negro slave, and then a Mongolian warrior, the ancient inhabitant of the sandy waste, a type of those Tartar hordes which swept Asia under Tamerlane and Genghis Khan. On the left of the Indian elephant are an Arab falconer, an Egyptian mounted on a camel and bearing a Moslem standard, then a negro slave bearing a basket of fruit on his head, and a sheik from the deserts of Arabia, all representing the Mohammedans of the nearer East. Thus are figured types of the great Oriental races, the Hindoo, the Tartar, which includes the Turk and the northern Chinese; the Chinese stock of the south, the Arab, and the Egyptian. Only the Persian is omitted, and possibly the Japanese, unless that, too, is Mongol.