Arrangement and Communication

  • Kenneth Hudson


The public, as a homogeneous unit, does not exist; and it is a waste of time to look for it or to attempt to cater for its needs. For museums, as for libraries, concerts and airlines, there are many publics, each made up of individuals with roughly similar interests, abilities, backgrounds and temperaments. To meet the precise needs of every member of every group is clearly impossible, and if its task is seen in this way, no museum can possibly succeed. What is more reasonable is to try to identify a very few important reasons for visiting a museum and to do one’s best to make the arrangement of the museum satisfy these reasons.


Social History Museum Visitor National Gallery Historic House Audience Reaction 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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  1. 7.
    The experiment is described by R. van Luttervelt, Dutch Museums (1960) p. 62.Google Scholar
  2. 10.
    There are some interesting and surprisingly early thoughts about this in Laurence Vail Coleman, The Museum in America, vol. 1 (1939) p. 38.Google Scholar
  3. 11.
    A. E. Parr, ‘Problems of Museum Architecture’, Curator, vol. 4 no. 4 (1961) p. 307.Google Scholar
  4. 12.
    David B. Little, ‘The Misguided Mission: a Disenchanted View of Art Museums Today’, Curator, vol. 10 no. 3 (1967) pp. 221–2.CrossRefGoogle Scholar
  5. 18.
    Paul Marshall Rea, The Museum and the Community (1932) pp. 61–2.Google Scholar
  6. 15.
    Dillon Ripley, The Sacred Grove (1969) pp. 107–8.Google Scholar
  7. 18.
    Charles J. Cornish, Sir William Henry Flower: a Personal Memoir (1904) p. 75.Google Scholar
  8. 27.
    Niels von Holst, Creators, Collectors and Connoisseurs (1967) p. 294.Google Scholar

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© Kenneth Hudson 1975

Authors and Affiliations

  • Kenneth Hudson

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