View allAll Photos Tagged higherlearning
Seeing that it's back to school week, it seems appropriate to post an image of some pilots who've got a degree in "Higher Learning" with their Harvard monoplanes!
The Harvard was created over 60+ years ago to train pilots
for light bombing, gunnery, night formations and aerobatics.
Still well maintained, these 4 incredible pilots put the planes through their manoeuvres at the recent 2017 Canadian International Air Show!
The Hall of Languages building on the campus of the prestigious Syracuse University, built 1871-73' is the first building to occupy the campus of Syracuse University.
The building was registered on the National Registry of Historic Places in 1973.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
One of the many hallowed halls of learning on the campus of the prestigious Syracuse University.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
Standing in support against domestic violence, the Hall of Languages building on the campus of the prestigious Syracuse University glows purple during the month of October.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
And rarely checked out?
Hello there. Relevant comments welcome but please do NOT post any link(s). All my images are my own original work, under my copyright, with all rights reserved. You need my permission to use any image for ANY purpose.
Copyright infringement is theft.
© Cynthia E. Wood
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en.wikipedia.org/wiki/Hart_House_(University_of_Toronto)
Hart House is a student activity centre at the University of Toronto. Established in 1919, it is one of the earliest North American student centres, being the location of student debates and conferences since its construction. Hart House was initiated and financed by Vincent Massey, an alumnus and benefactor of the university, and was named in honour of his grandfather, Hart Massey.[1] The Collegiate Gothic-revival complex was the work of architect Henry Sproatt, who worked alongside decorator Alexander Scott Carter, and engineer Ernest Rolph, and subsequently designed the campanile at its southwestern corner, Soldiers' Tower. In 1957, the house hosted future U.S. President John F. Kennedy.[2]
History
Exterior of Hart House taken during the summertime.
Hart House, University of Toronto, taken in July 1924, from the M.O. Hammond fonds held at the Archives of Ontario.
As an undergraduate, Vincent Massey read history and English at University College in the University of Toronto, and then completed graduate studies in history at Balliol College, Oxford. Upon his return to Canada, he sought to bring a unifying, communitarian spirit to the highly independent colleges of the University of Toronto, inspired by the social and recreational life that he observed at Oxford's colleges. Massey, who in 1908 had become a trustee of his family estate, offered to establish a structure devoted to extracurricular activities at the university, an idea that was embraced by the university's governors. The land on which the building exists was close to the McCaul's pond, which was buried along with Taddle Creek in 1886.
Taken in Ottawa, Canada's Capital, the Parliamentary Library is a marvel in architecture. You can read more about this Gothic design Here
The mind-bending interior of the Atlanta Marriott Marquis hotel, made even more mind-bending with a fisheye lens. (Photo by Ken Scar)
Lyman C. Smith, opened in 1902, is one of the many splendid architectures that make up the learning halls of the prestigious Syracuse University.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
Here is one of my shots I grabbed last night at the University of Washington before heading back to find a $30 parking ticket on my car. :) I thought only students had to have a parking pass. :) The sky was really cool last night and I imagine someone out there got some amazing sunset shots. Well into blue hour the clouds got a red cast to them. This image was sharpened only with no other processing at all. For those of you in Seattle who are wondering, the cherry blossoms are at peak right now and look very nice. The weather is going to be perfect today for a trip to the campus. Just learn from my mistakes and pay for parking and watch out for the angry clouds of mosquitoes.
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The Spring Waterfalls workshop in the Gorge is right around the corner!
To really see it, just click it. :)
Please do not use my images on blogs, personal or professional websites, or any other digital media without my explicit permission. Thank you.
Groundbreaking for Miami-Dade College's Wolfson Building 1 occurred in 1971, and the building was completed in 1973. The campus itself first opened in 1970, with classes initially held in downtown storefronts while its permanent facility was being constructed.
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 1. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 1 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Groundbreaking for Miami-Dade College's Wolfson Building 1 occurred in 1971, and the building was completed in 1973. The campus itself first opened in 1970, with classes initially held in downtown storefronts while its permanent facility was being constructed.
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 1. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 1 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Within Miami Dade College's Wolfson Campus, Building 2 is known as the Classroom Building and is primarily used for academic and support functions. It does not have a unique name like some other campus buildings but is a fundamental part of the original campus design.
Key features and function
Classrooms and labs: The building houses a variety of standard classrooms and specialized laboratory facilities for different academic programs.
Media services: The media services department is located in room 2302 of Building 2.
Based on Miami Dade College's campus numbering system, building 2 (Building 2000) at the Wolfson Campus has two floors.
The campus map and room numbering key show that:
The first digit of a room number indicates the building number.
The second digit of a room number indicates the floor on which the room is located.
Since room numbers in Building 2, such as Room 2106, start with '21', the first digit indicates it is in Building 2, and the second digit indicates it is on the first floor. Other room listings confirm the existence of second-floor rooms in Building 2.
Academic and administrative support: While not a central student services building, it provides space for many of the day-to-day administrative and academic support offices.
Breezeway: A distinctive architectural feature of the Tropical Brutalist design is the breezy, open-air walkway (breezeway) that runs through Building 2, connecting different parts of the campus.
This multi-purpose academic building is key to the campus's function and provides a large portion of the instructional space for students
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 2. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 2 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
www.google.com/search?q=2254+edwards+drive+fort+myers+fl&...
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
© All Rights Reserved - you may not use this image in any form without my prior permission.
This is the Temple of Literature in Ha Noi. As I think back, it was perhaps one of the most impressive places I saw in Vietnam. It was built in the 1000's and dedicated to Confucius and to higher learning. I continue to be astonished at the wisdom of Confucius and was so impressed that this structure with the mature foliage remains today as a place school children visit to seek enlightenment. If you look real hard, you can see the little ones at the end of the path.
Groundbreaking for Miami-Dade College's Wolfson Building 1 occurred in 1971, and the building was completed in 1973. The campus itself first opened in 1970, with classes initially held in downtown storefronts while its permanent facility was being constructed.
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 1. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 1 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
© All Rights Reserved - you may not use this image in any form without my prior permission.
I made this self portrait for my exhibition coming up on May 23rd but it didn't make the cut so I decided to post it here :)
This portrait ties in to my connection/disconnection to my Jewish identity. Identity is never stagnant: it is always changing. One cannot ask "who am I" one has to ask "who am I right now?"
I don't often go into a roll of film utterly unsure of what I will get, but here we are. And you know, I love these results; if you want that traditional Infrared look, then you certainly are getting it here. But the best part is that I achieved it using only a deep red filter, not a true IR filter! The images present deep, rich contrast and excellent sharpness, with reasonable control of visible grain.
You can read the full review online:
www.alexluyckx.com/blog/2024/07/02/film-review-blog-no-10...
Nikon FE2 - AI Nikkor 24mm 1:2.8 (B+W 092) - FPP BW Infrared @ ASA-200
Zone Imaging 510-Pyro (1+100) 7:00 @ 20C
Meter: Reveni Labs LM-1.5
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Groundbreaking for Miami-Dade College's Wolfson Building 1 occurred in 1971, and the building was completed in 1973. The campus itself first opened in 1970, with classes initially held in downtown storefronts while its permanent facility was being constructed.
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 1. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 1 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Groundbreaking for Miami-Dade College's Wolfson Building 1 occurred in 1971, and the building was completed in 1973. The campus itself first opened in 1970, with classes initially held in downtown storefronts while its permanent facility was being constructed.
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 1. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 1 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Clemson University Tiger Band drum major Trey Lockett conducts the band during a rehearsal on their practice field on the Clemson campus, Nov. 15, 2017. (Photo by Ken Scar)
Like peanut butter and honey, Pan F+ and Microphen are a classic combination! Bright smooth tones with good contrast (without being overbearing), while the images are sharp, they are razor sharp giving them a real look!
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/08/27/ccrfrb-revie...
Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Pan F+ @ ASA-50
Ilford Microphen (1+1) 6:00 @ 20C
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
More than 7,200 partipants including seven Bataan Death March survivors watch as a member of the U.S. Army Special Operations Command “Black Daggers” Parachute Team drops onto the parade field during the opening ceremony for the 28th annual Bataan Memorial Death March at White Sands Missile Range, N.M., March 19, 2017. (U.S. Army Reserve photo by Staff Sgt. Ken Scar)
View Photo on Black -> Flickriver
The next chapter in my portfolio is an extensive collection of sepia monotone photos taken throughout South Africa, the continuation of taking photographs anywhere and everywhere I find the opportunity to do so.
Tydarius Cobb, 9, reads a book with Clemson University student Deavin Rencher, a sophomore studying special education and member of the Call Me MISTER program, at Uptown Barbers in Central, S.C., as part of the Razor Readers program. Razor Readers brings Clemson undergrads to local barbershops to mentor and teach underpriveledged children the importance of reading. Logs are kept of their progress and if they read five books they get a free haircut. (Photo by Ken Scar)
Like peanut butter and honey, Pan F+ and Microphen are a classic combination! Bright smooth tones with good contrast (without being overbearing), while the images are sharp, they are razor sharp giving them a real look!
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/08/27/ccrfrb-revie...
Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Pan F+ @ ASA-50
Ilford Microphen (1+1) 6:00 @ 20C
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
Andrew Dickson White Library
Andrew Dickson White, Cornell University’s co-founder and first president, built a great library. Although seldom identified today as one of the foremost collectors of the 19th century, his achievements have left a remarkable legacy. Unlike other famous book collectors of his time—J. Pierpont Morgan, Henry Edwards Huntington, John Jacob Astor, and James Lenox—he did not establish a separate institution to house his personal collections of books and manuscripts. Instead, White donated his entire collection of 30,000 books to the Cornell University Library—at a time when the Library possessed a collection of just 90,000 volumes. White’s great generosity reveals his utilitarian approach to collecting and, in his words, a “strong belief in the didactic value of books.” As an educator and historian he believed that one could not have a great university without a great library, and he wanted his books to be read and used by Cornell’s faculty and students.
White’s collections of materials on architecture, witchcraft, the Reformation, the French Revolution, Abolitionism and the Civil War were among the finest in the world during his lifetime. Originally shelved in the large, three-story room within Uris Library that bears his name, White’s collections are no longer kept together in one place. Many of his books were moved to the stacks in Olin Library when it opened in 1961. In recent years, most of White’s books have been transferred to the Division of Rare & Manuscript Collections for their continued protection and preservation. Today, the Andrew Dickson White Library holds a portion of the humanities and social science collections found in the combined Olin and Uris Libraries.
It is perhaps more fitting and accurate to say that Andrew Dickson White built two great libraries. The first was his large and significant personal book collection. The second was the Cornell University Library. White hired Willard Fiske to be Cornell’s first University Librarian, and he worked closely with him to develop innovative and progressive policies for their library. White purchased its first books, and played an active role throughout his life in developing the library’s collections.
Even in his student days, White had considered the merits of the most prestigious European libraries, imagining what it would be like to build an important new research library. White conceived and developed his vision for an upstate New York university during a miserable first year at college. White’s visions of a beautiful university were honed during his first year at a college whose architecture he called “sordid,” and later at Yale, where he urged classmates to “adorn and beautify the place.” While his classmates occupied themselves with shenanigans, the sixteen-year-old consoled himself in the library, where he found a book on the colleges of Oxford and Cambridge. As a University of Michigan professor in the late 1850s, he planted elms and evergreens with the help of his students and was appointed superintendent of grounds. Two decades later he would preside over an institution that embodied the vision of his youth. The faculty included professors of modern history and literature, as well as classics and mathematics. They were free of control by religious sects and political parties. And learning was accomplished not by rote memorization and recitation, but through analysis, discussion, and experience. The Victorian beauty of the A. D. White Reading Room in Uris Library would probably have satisfied White’s exacting standards.
A trace of this inspiration can be found in the stained-glass windows that line the room. They portray the crests of several Oxford and Cambridge colleges. In the north windows, for instance, the blue escutcheon contains the motto for Oxford University, “Dominus Illuminatio Mea.” Translated from Psalm 27, it means, “The Lord is my Light.” Visitors from a new generation find the room’s ambiance comes from another source, calling it the “Harry Potter” library.
When White offered his personal library to the university, he set two conditions. He asked that the university provide a suitable space to house his collection—he stipulated a fire-proof room—and he requested that proper provision be made for the ongoing maintenance of his collections. That “suitable space” is the Andrew Dickson White Library. White played an active role in helping the building’s architect, William Henry Miller, design and ornament this space.
The maintenance and cataloging of the collection became the responsibility of George Lincoln Burr, a member of the Cornell class of 1871. Burr was White’s secretary and personal librarian as well as the first curator of the White Historical Library. Originally hired by White when he was a Cornell sophomore, Burr worked closely with White to develop and care for his library. We can safely posit that after 1879, the White collection must be seen as a collaborative effort between the two scholars. Each traveled to Europe on extended book-buying tours. Burr, also a renowned professor in the Cornell History department, is given special credit for building and enriching the Library’s collections on the Reformation and witchcraft.
Burr’s portrait by Cornell art professor Christian Midjo is prominently displayed on the north wall of the room, and a small drawing by R. H. Bainton on the first tier shows Burr as Cornell historian Carl Becker once described him: an “indefatigable scholar and bibliophile . . . browsing and brooding in the stacks.”
The Andrew Dickson White Library is filled with art work, furniture, and artifacts from White’s academic and diplomatic careers. He served as U.S. minister to Germany while still president of Cornell, and later also served as minister to Russia. Several pictures and photographs in the room depict Russian scenes. The artwork and the case of plaster casts of European coins and medallions were all collected by Mr. White.
Originally, this space had skylights and an open archway into the adjacent Dean Room (where the Burr portrait now hangs). Those features were lost to renovations, but the original three tiers of wrought-iron stacks still offer an open and dramatic display of their books. Upon first seeing these shelves filled with White’s books in September of 1891, George Lincoln Burr wrote that it “gave one such an idea of a multitude of books. You see and feel them all. They quite overawe one.” Setting the objective for the collection, he promised to make the White Library, in his words, “the great living, growing historical workshop of the University.