有關淡水博物館的展示陳列馬偕描述如下：「幾個山地生番部落的東西在這裡也有陳列；其中有一件十呎高的偶像（和我以前所見的偶像完全不同），另外還有其他整套的器物收藏，可以再現生番生活面貌。這些東西有的非常怪異、有的令人悲哀、有的讓人害怕或是厭惡，因為暗示著野蠻的暴力和殘酷。此外，還有四件呈現福爾摩莎四種不同生活面貌的實體比例人像模型，從不同方向凝視著屋內全景。其中一個角落是道教的道士，身穿正式的紅色長道袍，一手拿著搖鈴召喚附身在人身上的惡魔，一手拿著鞭驅除惡魔。另一個角落是佛教的光頭和尚，穿著暗褐色的袍服，一手握著神聖的佛經，一手數著佛珠。和尚的對面是面貌兇惡的山地獵頭者，他的前額與下頷有刺青，身邊放著矛，肩上斜背著弓箭，腰間配有長刀，左手握著不幸受害者的髮辮。第四個角落是一個番婦，穿著原始的服飾，正在用織布機工作，就像在她們深山的家裡一樣。」（Mackay 1896:288-289）
MacKay also describs how the collections were displayed in his Tamsui Museum:
The various savage tribes in the mountains are well represented. There is on idol ten feet high, different from any other I ever saw, and a complete collection of relics representing every aspect of savage life. Some things are quaint enough, others suggestive of sad thoughts, others gruesome and repulsive, because indicative of ferocity and savage cruelty. Keeping watch and ward over the whole scene are four life-size figures representing four sides of life in Formosa. In one corner is a Tauist priest, arrayed in his official long red robe, with a bell in one hand to arouse the devils possessing any man, and a whip in the other to drive them out. In the next corner s a bare-pated Buddhist priest, robed in drab, one hand holding his sacred scroll, the other counting his string of beads. Opposite to him is a fierce-looking head-hunter from the mountains, his forehead and chin tattooed, his spear at his side, bows and arrows strapped across his shoulders, a long knife at his girdle, and his left hand clutching the cue of some unfortunate victim. In the fourth corner is a savage woman, rudely attired, and working with her “spinning-jenny,” as they may be seen in their mountain home.（Mackay 1896:288-289）