This conception, of which the present Museum is the expression, was matured in the brain of the founder before a brick of the building was laid, or a dollar provided for the support of such an institution. It existed for him as his picture does for the artist before it lives upon the canvas. One must have been the intimate companion of his thoughts to know how and to what degree it possessed his imagination, to his delight always, yet sometimes to his sorrow also, for he had it and he had it not. The thought alone was his; the means of execution were far beyond his reach. His plan was, however, known to many of his friends, and especially he had explained it to Mr. Francis C. Gray, whose intellectual sympathy made him a delightful listener to the presentation of any enlightened purpose. In 1858 Mr. Gray died, leaving in his will the sum of fifty thousand dollars for the establishment of a Museum of Comparative Zoology, with the condition that this sum should be used neither for the erection of buildings nor for salaries, but for the purely scientific needs of such an institution. Though this bequest was not connected in set terms with the collections already existing in Cambridge, its purpose was well understood; and Mr. Gray's nephew, Mr. William Gray, acting upon the intention of his uncle as residuary legatee, gave it into the hands of the President and Fellows of Harvard University. In passing over this trust, the following condition, among others, was made, namely: "That neither the collections nor any building which may contain the same shall ever be designated by any other name than the Museum of Comparative Zoology at Harvard." This is worth noting, because the title was chosen and insisted upon by Agassiz himself in opposition to many who would have had it called after him. To such honor as might be found in connecting his own name with a public undertaking of any kind he was absolutely indifferent. It was characteristic of him to wish, on the contrary, that the name should be as impersonal and as comprehensive as the uses and aims of the institution itself. Yet he could not wholly escape the distinction he deprecated. The popular imagination, identifying him with his work, has re-christened the institution; and, spite of its legal title, its familiar designation is almost invariably the "Agassiz Museum."