The “superstar” museum earned this status by considering every important detail during its founding and the initial stages of conversion from royal palace to museum (Gombault, 2002) . As the purpose of the building changed, each room catered to new functions with new requirements. Although the function of the Louvre is different from the building's original intention, the building still appears dignified and important enough to display priceless artifacts and paintings (Steffensen-Bruce, 1998). This consideration was applied in the design of the Met. The Met looked to the South Kensington Museum (Victoria and Albert) and the “ideal model” due to its vast collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to South Kensington, because it had no building or collection to begin with (Heckscher, 1995). When designing museums, architects strove to create monuments that “prepare and educate the visitor's mind (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Properly acquiring, preserving, and displaying materials allows a museum to fulfill this duty (Steffensen-Bruce, 1998). For example, lighting is a factor that influences how the artwork is seen and can be properly appreciated. In determining the appropriate lighting for the Louvre, the Comte d'Angiviller firmly believed that natural lighting from above was the most effective solution (McClellan, 1994, p. 72). The same determination influenced the decision to add skylights at the Met. During the initial phase, architects Vaux and Mold added skylights on the upper floor and windows on the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unobstructed light” for display