eagles: one at the entrance to Arlington National Cemetery in Arlington, Virginia, another on the Arlington Memorial Bridge, connecting Arlington with Washington, D.C., the third on the Federal Office Building in New York, the fourth, a Spanish–American War Memorial in Rochester, New York. The fifth was at Ardennes Memorial located in Neuville-en-Condroz in Belgium. They also produced somewhat smaller eagles for the gates of the Embassy of the United States in Paris. Jennewein's sculpture, which never strayed too far from the classical ideals that he had come to so admire while in Rome, became increasingly modernized and his style comfortably fits into the Greco Deco category. Jennewein's work received some attention when his Noyes Armillary Sphere disappeared during a riot in Washington, D.C., in the turbulent 1960s. It has not yet been recovered. He also executed a number of medals during his career. In 1933, Jennewein sculpted Glory and Fame, the seventh issue in the long running Society of Medalists series. He also designed the inaugural medal for President Harry S. Truman in 1949. Jennewein died on February 22, 1978, at his home in Larchmont, New York. Controversy In 2002, two of Jennewein's semi-nude figures in the Robert F. Kennedy Department of Justice Building in Washington, D.C., were hidden behind a curtain. This has been linked to the exposed breast on the female figure, Spirit of Justice (the male counterpart is Majesty of Law). In 2005 the curtain was removed Jennewein exhibited his sculptures three times in the Great German Art Exhibitions (Große Deutsche Kunstausstellung) in Munich, in 1937, 1938 and 1939. These exhibitions, held in the House of German Art (Haus der Kunst) were overt Nazi propaganda events. Obligatory for all participating artists was the membership of the Reich Chamber of Culture (Reichskulturkammer), which could only be attained by submitting an Aryan certificate. Jennewein visited the Great German Art Exhibition in 1937 and came back very enthusiastic. In a letter d.d. 8 December 1937 to the American Architect Charles Borie, Jennewein writes: “I have just returned from a great trip, and I am still talking about the things I saw in Germany….I also feel that at last I have found out the answer to: 'What is wrong with American Art’. In 1938 he was selected in Munich to a group of 25 preferred artist who were allowed to display yearly more than 5 artworks at the Great German Art