Atop the Arch of the Orient is the superb tableau representing the types of men that form the Orientals.  From left to right — the Arab Sheik, the Negro Servitor, the Egyptian Warrior, the Arab Falconer, the Indian Prince and Spirit of the East, the Lama, the Mohammedan Warrior, the Negro Servitor, the Mongolian Warrior.  On they come to join the Nations of the West in the great Court of the Universe.  This group is as fine as any group ever seen at an exposition.  It rises in its impressive pyramidal height to a climax in the Spirit of the East — a fitting pivot on which to turn the types.

The Alaskan

Frederick Roth, Sculptor

Frederick Roth has fashioned one of the most expressive figures of the Exposition sculpture, but so far above the eye is she and so overshadowed by her companions, that we do not see her in her true light.  It is the Alaskan Indian of the Nations of the Occident.  She is moving on with her totem poles and blankets.  You feel her tug and strain, for her load is growing heavier with each step, and she has yet a long way to go.  The modeling of the figure, the foot, the rigid arm and hand, all tell of sustained effort that is truly life-like in expression.

The Lama

Frederick Roth, Sculptor

The priest of Thibet, the Lama, passes on his onward march before you.  You do not wonder what race claims him.  He is of Mongolian blood.  He stolidly passes by, looking neither to the right nor to the left.  He is used to being obeyed.  His rod of authority tells you that what he says is law.  Indifference and arrogance are on his face.  His very posture, the very way in which his robe hangs from his shoulders, the position of his nerveless fingers that hold the rod, speak of centuries of indifference to everything except what he thinks.

The Genius of Creation

Daniel Chester French, Sculptor

The Spirit of Creation is a bisexual being, and yet you feel the spirit and not the flesh.  Its idealism is of the highest order, being largely produced by the hood drawn far over the face, throwing such deep shadow that personality is lost sight of and only creative force is left.  High on a mighty boulder it sits with arms raised.  The word has just been spoken and man and woman have come forth — their feet on the serpent, the symbol of wisdom and eternity.  At the rear of the group their hands meet as if in mutual dependence, while above appear the Alpha and Omega - “I am the beginning and the end.”

The Rising Sun

Adolph Alexander Weinman, Sculptor

This fresh, strong young Sun is about to start on his journey — dawn is soon to break upon the world.  With muscles stretched, the wind blowing through his hair, the heavenly joy of the first move expressed upon his face, the vigor of young life pulsating through his body, he will start the chest forward and move those outstretched wings.  Let us preserve this glorious figure for our western city.  It would so admirably suggest the new light that has been shed upon San Francisco by the Exposition of nineteen hundred and fifteen, as well as the new light occasioned by the opening of the Panama Canal.