outlook on life for which we have no better name than culture. In a word, the third great function of a museum is inspiration.
It must be recognized clearly that these three functions—investigation, instruction and inspiration—are quite distinct from one another. Their point of contact lies in the fact that all are carried out by institutions in which material objects are assembled; and that there is any contact at all depends partly on the convenience of utilizing the same objects for different purposes, and partly on the economy of employing one staff of curators (or one curator) instead of three. But the distinctness of the functions will be realized by taking the standpoint of the several visitors; for they constitute separate and mutually intolerant groups: the specialist disdainful of the amateur and ignoring the public, the amateur and college student with an absurd reverence for those specialists whom they have not yet found out, and the public gaping at the spectacled enthusiast with a mildly contemptuous pity. The same individual may come into each of these classes, but, so far as any one branch of knowledge is concerned, he does so at different periods: first, as a member of the public, he receives the inspiration; then, after learning something in the field or in the classroom, he comes to the museum for further instruction; finally, he advances to the ranks of the researchers and finds in our cabinets material for investigation.
From what has been said it follows that, in considering how a museum may best fulfil these main functions, or, in other words, best serve these three classes of visitors, we shall do well to treat them distinctly.
Beginning with the function of investigation, we see that a museum serves investigators by collecting and preserving fresh material for research, or by accumulating standard historical specimens, such as those which in systematic biology are known as types.
An enquiry into the methods of collection scarcely falls within the scheme of this survey; but I should like to express my conviction that, in general, the best results are obtained when a definite purpose is clearly kept in view. If expeditions are sent out, they should be specially equipped and informed towards the acquisition of particular specimens. If purchases are made, they should be, not of miscellaneous collections, but of pre-selected objects. The curator should know what his museum wants, and should bend his energies to obtaining those things and those alone. He should resist the temptation of cheap bargains. But when temptation comes as a present, and the donor is a patron who may not be offended—what then? Well, then the curator without a settled plan must open his mouth and shut his eyes, take what the millionaire sends him, and pray for a speedy release. But donors generally mean well, and even a millionaire may have com-
