Lorado Taft's Alma Mater statue. A gift to the university by Class of 1929, the bronze statue depicts Alma Mater as "a benign and majestic woman in scholastic robes, who rises from her throne and advances a step with outstretched arms, a gesture of generously greeting her children." Flanking her are representations of the university's motto, Labor and Learning. Today, it is doubtful that anyone would quibble with the Alma Mater's placement at the corner of Wright and Green streets, where it welcomes the public and members of the university community. However, when the grouping was moved in 1962 to its present location - from its 33-year "temporary" location behind the Foellinger Auditorium - the move created a local stir. In her book, UI art history professor Muriel "Mickey" Scheinman notes that the statue was moved "amid student protests over its 'shocking' new location ... The Daily Illini found the placement to be in the 'worst possible taste; it makes the Alma Mater a debased, commercial advertisement for the University.' " What a difference a few decades make. The Life of Lincoln It's easy to miss the campus' 10 terra cotta panels depicting "The Life of Lincoln." Even though the panels are located in a prominent location on the Quad - at either side of the main entrance on Lincoln Hall's exterior walls - they're positioned so high that few even notice them, much less are able to make out the visual stories they convey. In her book, Scheinman wrote that a campus committee of architecture and art professors found no complaints with the panels when they were created in 1911, but members objected to the panels' hard-to-view location. Responding to their complaints, William D. Gates, president and general manager of the terra cotta company that designed the pieces, wrote in a letter to UI president Edmund Janes James: "You have a mighty fine faculty socially and educationally but they are too much for me as critics. ... Unfortunately Michael Angelo [sic], who might have been able to do this work[,] is not now accessible and indeed it occurs that it's possible that if he had been compelled to submit to the Art Commission before placing his work, Italy might not today have some of her art treasures. ... This is the work your Architect wanted, but your Professors will have to live with it." And so they have. Illinois Farmers' Hall of Fame and the Editors' Hall of Fame. Without question, some of the more obscure collections of campus art would have to be the Illinois Farmers' Hall of Fame and the Editors' Hall of Fame. The former is a collection of portraits, assembled between 1909 and 1917. Originally, they which hung together on the fourth floor of Mumford Hall; they are now scattered throughout the agriculture library in Mumford. The Hall of Fame was created "to give historical permanence and value to the labors of these great leaders, but by examples and instance to stimulate endeavors on the part of the younger men in order that this development so gloriously begun may proceed to its highest achievement." In 1930, the Editor's Hall of Fame - eight bronze busts of such journalists as Joseph Meharry Medill and Associated Press founder Melville Elijah Stone - was dedicated in a ceremony in the Auditorium [now Foellinger Auditorium]. The busts - and a ninth one that was added the following year - were displayed in the lobby of the Auditorium until 1940, when they were moved to Gregory Hall. Anna Margarethe Lange plaque One of the more touching examples of memorial art on campus is a bronze plaque depicting Anna Margarethe Lange, wife of former UI president Edmund Janes James. The president commissioned the plaque - which hangs in the foyer of the Foellinger Auditorium - in 1917, three years after her death. Although it was created specifically to honor his wife, James noted that it also was intended to recognize "that women who have no official connection with the University, except through the fact that their husbands are members of the staff, may form a very real source of strength and power in the accomplishment of those ends for which the University exists." Scheinman indicated that Mrs. James also was remembered as "a grandmother to all faculty babies" and as "an earnest advocate of women's suffrage." The Four Hemispheres: Polar, Celestial, Eastern, Western Above the main staircases in the UI Library are four large, Art Deco oil-on-canvas murals, "The Four Hemispheres: Polar, Celestial, Eastern, Western" commissioned in 1926 by New York painter Barry Faulkner. A small detail in the "Celestial Hemisphere" - the depiction of ancient Greco-Egyptian astronomer Ptolemy looking through a telescope - proved cause for alarm among certain faculty members, who were not amused by Faulkner's use of artistic license. In her book, Scheinman indicated that "within two weeks of the mural's installation, alert academicians dispatched an urgent message advising that 'It is clear that the figure labeled Ptolemy, who is represented as using a spy glass, or telescope, appears likely to bring the institution into a certain kind of ridicule.' " Another concerned faculty member opined, "They might almost as well have Caesar crossing the Alps in an aeroplane." In response to the criticism, the artist noted that "so many things were known to the Greeks and then lost," that he was "pretty certain that if those clever Alexandrines didn't have lenses they at least looked through tubes so as to isolate the portions of the heavens they wished to observe." He signed off on the criticism by adding, "Anyhow, what is an anachronism between friends?" Growing in Illinois One of the more contemporary additions to the UI's art collection is "Growing in Illinois," a massive, welded Cor-ten steel sculpture situated on the east side of the Veterinary Medicine Basic Sciences Building. The artist, Richard Hunt, described it as being "evocative of animal forms," but maintained that it does not represent a particular animal. Not so, according to some Vet Med employees. Scheinman, in her book, relates an anecdote in which a photographer was taking a picture of the sculpture and was intercepted by a lab technician. The technician got the photographer's attention by shouting, "No! No! Shoot it from here! Then you can see it's a dog!"