By ERIC PFANNER

PARIS — When the Israel Museum in Jerusalem, home to the Dead Sea Scrolls, reopened last year after an extensive renovation, it attracted a million visitors in the first 12 months. When the museum opened an enhanced Web site with newly digitized versions of the scrolls in September, it drew a million virtual visitors in three and a half days.

The scrolls, scanned with ultrahigh-resolution imaging technology, have been viewed on the Web from 210 countries — including some, like Afghanistan, Iran, Iraq and Syria, that provide few real-world visitors to the Israel Museum.

“This is taking the material to an amazing range of audiences,” said James S. Snyder, the museum’s director. “There’s no way we would have had the technical capability to do this on our own.”

The digitization of the scrolls was done by Google under a new initiative aimed at demonstrating that the Internet giant’s understanding of culture extends beyond the corporate kind. The Google Cultural Institute plans to make artifacts like the scrolls — from museums, archives, universities and other collections around the world — accessible to any Internet user.

“We’re building services and tools that help people get culture online, help people preserve it online, promote it online and eventually even create it online,” said Steve Crossan, director of the institute, which is based in Paris.

The plans for the Cultural Institute grew out of the Dead Sea Scrolls initiative and another pilot project for Google in Israel, in which it helped bring the photos and documents of the Yad Vashem Holocaust memorial onto the Web.

Previous Google cultural programs have also been incorporated into the center, including the Google Art Project, a digital repository of pictures from museums like the National Gallery in London, the Gemäldegalerie in Berlin and the Uffizi Gallery in Florence.

Now the institute is building up its activities in Paris, where it will be one of the anchors of a sprawling new Google headquarters for Southern and Eastern Europe, the Middle East and Africa, which is set to open next year.

So far, the institute is mostly just a team of engineers working on projects like the ones in Israel. Among the first projects are partnerships with the Palace of Versailles, to help it develop galleries devoted to the history of the chateau, and with the Nelson Mandela Foundation in South Africa. Other plans will be announced soon, Mr. Crossan said.

In addition to working with individual museums and archives, Mr. Crossan said, the engineers intend to develop a standard set of tools that any institution could use to digitize its collection. That way, even small, private archives or collections could be placed online in formats that would make them easily accessible to broad audiences.

When the new building opens, the institute will get a physical presence, including a gallerylike area featuring exhibits on how to present culture in an increasingly digital world.

Google plans to invite cultural figures for talks before live audiences, which will be filmed and posted on YouTube, the company’s video sharing site.

“We’ll discuss all kinds of things — subjects that are of relevance to Google, but really just subjects that are of relevance to the cultural world and the world of technology more generally,” Mr. Crossan said, in his first interview since plans for the institute were disclosed. “It’s one of the ways we actually wanted to connect with the cultural world.”

“We’re engineers; we’re technologists,” added Mr. Crossan, who does, however, have a history degree from Oxford. “We hope we bring competence in storing large amounts of data and serving it and creating a good experience for users, but we’re not professional curators or historians or artists ourselves, so we need to connect with that world.”

Indeed, Google has sometimes struggled to persuade cultural leaders to accept its plans. The company has been sued by authors and publishers on both sides of the Atlantic over its book-digitization project. In 2009, President Nicolas Sarkozy pledged hundreds of millions of euros toward a separate digitization program, saying he would not permit France to be “stripped of our heritage to the benefit of a big company, no matter how friendly, big or American it is.”

When Google recently signed an agreement with the biggest French publisher, Hachette Livre, to scan and sell digital books, Culture Minister Frédéric Mitterrand issued a news release reiterating the importance of authors’ rights, which both Hachette and Google insist will be protected under their accord.

The activities of the Cultural Institute differ from some other Google initiatives in that there are few outward signs of the company’s involvement. While Google provided the technology to digitize the Dead Sea Scrolls and is host to the pages on its servers, for example, the only reference to the company is a small note that the site is “powered by Google.”

Mr. Crossan said Google did not want to “come across as the bad guy.”

“Sometimes we have, in the past, not quite taken the time we needed in terms of communicating what we wanted to do,” he acknowledged. “I think those lessons have been very well learned in the DNA of the company.”

Mr. Crossan said Google was providing its services to the cultural institutions at no cost, with no immediate expectation of a financial return. Why would Google, a publicly traded, profit-motivated company, take such a step? Philanthropy and public relations are not the only goals, Mr. Crossan acknowledged.

“There’s certainly an investment logic to this,” he said. “Having good content on the Web, in open standards, is good for the Web, is good for the users. If you invest in what’s good for the Web and the users, that will bear fruit.”

Is it appropriate for museums and other nonprofit cultural institutions to work so closely with a money-making machine like Google?

Corporate sponsorship of the arts is nothing new, of course. Elizabeth Merritt, founding director of the Center for the Future of Museums at the American Association of Museums, called Google’s support “just an evolution in the scale and scope of the traditional relationship between museums and sponsors.”

“Museums should make savvy use of these kinds of relationships,” she added.

Michael Lieber, chief information officer at Yad Vashem, said one of the center’s goals — to disseminate information about the Holocaust as widely as possible — aligned neatly with Google’s self-proclaimed mission to “organize the world’s information and make it universally accessible and useful.”

Like the Israel Museum, Yad Vashem saw an immediate increase in traffic when its enhanced site opened early this year. The number of unique visitors went from 60,000 a year to 60,000 a month, Mr. Lieber said.

“People need to remember that Yad Vashem’s mission statement is not about technology,” he said. “Maybe in a world where there was money for everything, you wouldn’t need money from people like Google. But we don’t live in that kind of world.”