ii LONDON, PARIS, AND VIENNA MUSEUMS 43 



style, and there are endless rows of specimens of all kinds 

 neatly mounted in a uniform manner. There are no store- 

 rooms, no laboratories, no workrooms, connected with the 

 building. These are all in other more or less distant parts 

 of the establishment, separated from it in most cases by the 

 whole breadth of the garden. Of course this can only be 

 looked upon as a temporary condition of affairs. Fortunately 

 there is still room on the site of the old museum behind the 

 new building, and if this is utilised by erecting upon it a 

 commodious set of workrooms, laboratories, rooms for reserve 

 collections, and administrative offices directly in connection 

 with each other and with the main building, which might 

 then be emptied of a considerable portion of its contents, an 

 extremely good working museum may be evolved. But if 

 this space, as I believe was the original design, is used for the 

 further extension of the already disproportionately large public 

 galleries, the opportunity will be lost. 



The new museums at Vienna, the one for natural history, 

 the other for art, placed one on each side of a handsome public 

 garden in one of the most important quarters of the city, 

 exactly alike in size and architectural features, are elegant 

 buildings, and present many excellent features of construction. 

 The natural history museum, which was alone finished when I 

 visited Vienna three years ago, is a quadrilateral structure 

 with a central court, and consists of three stories and a base- 

 ment. Each story is divided into a number of moderately-sized 

 rooms, opening one into another, so that by passing along in 

 the same direction i the visitor can make an inspection in 

 systematic order of all the collections arranged in each story, 

 returning to the point from whence he started ; or, if need be, 

 breaking off at the middle, where a passage of communication 

 runs across the central court. An admirable feature in the 

 design of this museum is, that the public galleries of each 

 story, lighted by windows from the outside of the building, 

 have on their inner side other rooms communicating with 

 them, and lighted from the court within, which are devoted 

 to the private studies of the curators and to the reserve 

 collections belonging to the same series as the exhibited 

 collections in the public galleries, with which they are in 



