Standing with classical poise on Thames Street in the North Otago town of Oamaru, the former Oamaru Athenaeum and Mechanic’s Institute which opened in 1882, houses the North Otago Museum. Designed by architect Thomas Forrester whose work has given so much character to Oamaru’s white stone architecture, the building stands as a monument to this early cultural institution. Mechanic’s Institutes and Athenaeums were established in the nineteenth century as voluntary educational organisations. Athenaeums were essentially subscription libraries, something between a public and a private organisation. Historian David Verran writes ‘by the time of their export to New Zealand in the middle of the nineteenth century, the norm was more to provide a modest library of fiction and some non-fiction, a reading room for newspapers and magazines, and a venue for popular lectures and classes, book readings, selections from plays and light drama and music.’ Significant local identities were associated with the Athenaeum – librarian of four decades H.H. Richmond, historian W.H.S Roberts and K.C. McDonald, as well as poet and businessman George Meek. Architects Thomas Forrester (curator and treasurer of the Institute) and his son architect John Meggett Forrester were on the committee. By the 1950s it was evident that the growth in population, and therefore library usage meant that new premises would be required. The centennial of Oamaru was celebrated in 1963 and the Library decided that new premises would be their centennial project. It was not until 1974 however that work began on the new library which was officially opened in September 1975. The Pioneer Gallery (to become the North Otago Museum) moved into the ground floor of the Athenaeum, and the Council took over responsibility for the museum. Built in Neo-Classical style on a prominent corner site on Oamaru’s main street, the Athenaeum and Mechanic’s Institute had many international and national precedents. The Classical style is representative of learning and culture appropriate to the functions of learning institutions, and in the New Zealand context reproduced the ‘reassuring forms and symbols of European civilisation in order to lend its cultural life an air of legitimacy and tradition.’ The building’s ‘strict elevation of detached Ionic and Corinthian columns supporting the triangular pediment provided a deliberate link with Classical Antiquity, identifying the building as the centre of the town’s fledgling cultural activities.’ In 2012 the North Otago Museum continues to tell the local stories and care for the collection, and is, as the Otago Daily Times described it the ‘cultural heart’ of Oamaru, a function it has fulfilled since 1883.