Albert Laessle’s small animal groupings are unique in their realistic yet lively portrayal. The artist’s studio was close to the Philadelphia Zoo, which gave him easy access to animal models.

Solid lines, dashed lines, sharp angles, with hints of volume and complicated perspective make up the two murals that artist Al Held called “Order/Disorder” and “Ascension/Descension.”

The second largest Tiffany mosaic in the world, this mural is composed of hundreds of thousands of glass tesserae in more than 260 color tones, weighing in excess of four tons.

Flanking the two main post office entrances on the 9th Street side are four granite reliefs by Edmond Amateis, titled “Mail Delivery: North, South, East, West.”

Hand-in-hand in a grouping of three, William Dickey’s thirty-foot-tall stick figures appear to stride across Philadelphia’s South Street Pedestrian Bridge.

A tribute to Crispus Attucks, the first American to die in the cause of national independence, the 13 “whispering” bells represent the original 13 colonies.

Considered the world’s largest mobile, Alexander “Sandy” Calder’s White Cascade revolves slowly in the vast atrium of the Federal Reserve Bank.

A 12-ton sculpture at the Federal Reserve Bank building that thrusts from the ground at an implausible, gravity-defying angle.

Intrigued by the interaction of the cowboy and his horse, Frederic Remington found inspiration in the roughriders of the American West.

At night, from a distance, the bridge’s towers and curving suspension cables emerge with a blue phosphorescent glow.