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 240 photographer up to lay him down again. I shall next adduce several instances within my own knowledge in which cheap photography would have been of material benefit to individual frequenters of the Museum; sufficient, it seems to me, to justify the conclusion that a public need exists, to supply which might be profitable even in a pecuniary sense. Lastly, I shall look beyond the needs of any individual library, or any particular class of customers, and endeavour to point out ways in which a national photographic institution, preferably, I think, placed in connection with the British Museum, might subserve public objects of paramount importance.

I have said that, to be adopted to any purpose by a public institution, photography must become a portion of the organism of the institution itself. That is, the institution must be the photographer's employer, not his customer. If otherwise, all sorts of needful but troublesome official formalities must exist, which combine with the obstacle of expense to reduce photographic enterprise to a minimum. If a complicated piece of official machinery has to be set in motion every time a photograph is wanted, whether by a public department or a private individual, the want is not likely to be often acknowledged, much less when a moderate outlay will soon bring both to the end of their tether. Abolish the relations of tradesman and customer, pay the photographer once for all by an adequate salary, provide apparatus and chemicals with sufficient liberality, and you at once cut off whatever has