In the Heritage Court on the Palmer College of Chiropractic campus (at 1000 Brady Street in Davenport) are four large bronze busts. Sculptures of D.D. Palmer, his son B.J. Palmer, and his grandson David Palmer are placed symmetrically on a curved brick and stone wall with the incised words "The Foundation of Chiropractic." These men collectively presided over the Palmer College of Chiropractic for its first 81 years, beginning with its founding in 1897.

Slightly to the north is a bust of Mabel Heath Palmer, who is recognized as the "First Lady of Chiropractic" and was B.J.'s wife and David's mother.

Created by three different artists over a period of nearly 70 years, the sculptures are stylistically distinct. They are unified, however, by their consistency in height. Each bust is approximately five feet tall. Positioned on the two walls, they each reach a total height of about 12 feet. They also work together because of the consistent use of materials and conformity to a sculptural form from antiquity - the bust. During the Roman Empire, important families celebrated their achievements and honored their deceased relatives by displaying these sculpted portraits prominently and publicly.

It's easy to start taking outdoor Christmas lights for granted about now. They have been draped over trees and strung along porch railings and under the eaves for weeks - even longer in the shopping centers.

Though often used with little real thought, they have symbolic connotations. It is intriguing to think of them as a modern equivalent of the Yule log that warmed our distant ancestors during the winter solstice. Or the guiding star over Bethlehem on the first Christmas.

Pause for a moment and consider how remarkable it is that these tiny electric lights can transform a bleak winter night into a delicately laced wonderland. How leafless trees can become magical, and simple homes can become places of wonderment. How they brighten more than the longest nights of the year. How fond memories grow from these fragile strings of lights.

Nature Spiral is a circular arrangement of limestone boulders situated near the Mississippi River in the Illiniwek Forest Preserve, near Hampton, Illinois (just north of East Moline). Ideally suited for a park named after the regional Native American tribes, the artwork blends in with its natural environment and is reminiscent of Native American and Neolithic earthworks. The spiral can be reached by Illinois Route 84, or the Great River Trail for hikers and bicyclists.

The site was chosen in 1995 by a community-wide partnership led by Quad City Arts and River Action. Public meetings were arranged for the community to express ideas for an artwork that improved awareness of, appreciation of, and access to the Mississippi River. In all, nearly 50 historic preservationists, river activists, and members of the community contributed to the project led by area artist Kunhild Blacklock, who designed the work and supervised its installation.

Completed in 1997, Nature Spiral is primarily made of 65 boulders, with outlined images of native birds, fish, insects, animals, and plants cut into the surface of many of the stones. Among the flora and fauna is a bald eagle, channel catfish, mayfly, deer, silver maple, cattail, and waterlily. Approximately 800 feet in circumference, the spiral also includes planted trees and wildflowers. A nearby informational sign provides a map of the spiral and a key to the iconic images on the rocks.

Hill Arches is a bronze sculpture created in 1974 by one of the most prominent sculptors of the 20th Century, Henry Moore (1898-1986). Moore's monumental works are often based on human forms, but as its title suggests, this piece is meant to be seen in a relationship with its environment.

It is located on a small island in the reflecting pond directly in front of the Deere & Company world-headquarters building in Moline, off John Deere Road a little more than three miles east of Interstate 74.

Viewed from the island, the sculpture is massive. Weighing more than 8,800 pounds, it is 18 feet in length and 12 feet high. But when viewed from a distance, its open spaces give it an unfolding, rising quality. Though large, it appears to float just above the lawn, its base hidden by the grass. This is a fitting paradox for a sculpture that works both with the modern architectural style of the world headquarters and with its surrounding landscape.