elsewhere. Some of this art is merely decorative, fulfilling purposes of
harmony or completeness in the general mass. The winged figures by Leo
Lentelli on the columns before the Arches of the Nations are simply
ornaments, relieving, with their shafts, what would otherwise be too
sheer a wall in the structure. They may be angels or they may be genii.
Decorative, also, are the sculptured medallions between these columns,
and the Pegasi on the spandrels of the arch, the medallions done by
Calder, the Pegasi by Roth.

The caryatids in pairs of male and female surmounting the balustrade of
the sunken garden are merely lamp bearers. The spouting monsters in the
fountain pools are but ornamental, and so are the figures in relief
under the basins. Those at the base of the shafts are described in
detail in the chapter on Fountains. In the decoration of the entablature
of the colonnade, the skull of the ox repeated between the garlands
recalls the vicissitudes of the pioneers in their long march across the
continent.

The Court of the Universe, this huge Piazza of the Nations, is thus
all-inclusive. Within its vast oval is room for every theme. From it
lead the ways to all the Exposition. In spirit it is as cosmopolitan
as the Forum under the Caesars. Its art revives for us

"The glory that was Greece,
The grandeur that was Rome."

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Inscriptions in Court of the Universe