The bowed heads and necks of the servile figures support a shell-molded collar that contains the light bulb socket of the lamp. This collar supports the lower of two hemispherical grates that combine to form a globe cage around a white “calcite” glass shade with exterior iridescent “Aurene” coloring of predominant orange-gold tone with blue-green color shifts when not illuminated. The hemispherical grates are comprised of foliate C-scrolls with prominent leaf and berry clusters. A central open frieze between the two hemispheres allows a dramatic band of light to flow from the implied equator, shining around and through six cast medallions. These six applied ornaments alternately depict heraldic shields and dramatic tragedy masks, all adorned with foliate Italianate C-scrolls. The three heraldic shields are fitted with screws that allow the two halves of the globe cage to be securely joined.

On top of this orb is a vertical frieze of repeating shells with a lid in the design of a three-spoked wheel with a superimposed equilateral triangle. This flat round grate is hinged to allow access to the light bulb socket, and is surmounted by a 4 3/4" finial in the form of an armless male figure that dissolves into a square and tapering column at the waste. The obverse side of one lamp’s hinged grate is stamped Oscar B Bach, and each grate bears the stamped mark OB2 on its obverse side.

The three male figures that form the lamp base are known as atlantes or telamones, and in this instance are meant to suggest Atlas and his charge of bearing the world on his shoulders. Many atlantes have erect postures and duplicate classical pilasters or columns in both function and tone. These nude figures, however, stand with heads bowed much like the atlantes from the Temple of Bacchus in Athens. Their tone is not one of classical grandeur, but one of solemnity and duty. This strength is emphasized by the rarified modeling of mass and muscle in the figures, suggesting the brute austerity of early Futurism and Objectivism. The half-man, half-column finial is another ornamental version of the atlantean, this time interpreted in a delicate posture.