This was the beginning of Nichelson’s anti-war series, no doubt a response to the Vietnam War, and is a significant and attractive work because it marks his departure from using buildings as the reliquary form.  He progressed to using various objects as the reliquary, and it is not a work of assemblage, but a work of hand-crafted parts reflecting his growing skill at carving and construction.  The fit, finish, and interior detail show his increasingly meticulous efforts.  It also has electric lighting, although not his first attempt, but from this point on all reliquaries had electric lighting.