1D) IN BRIGHTEST AFRICA 
quently by anatomical casts made in the field. The 
final result was a model not only of the species but of 
the actual animal whose skin we were going to use. 
All this took a lot of time, study, and money, and it 
was quite a different thing from stuffing a skin with 
rags and straw. For a temporary effect the skin 
could be mounted on the clay model, but an animal 
so mounted would deteriorate. For permanent 
work it was necessary to devise some light, durable 
substance, which would not be affected by moisture, 
to take the place of the clay of the manikin. After a 
lot of experimentation I came to the conclusion that 
a papier-maché manikin reénforced by wire cloth 
and coated with shellac would be tough, strong, 
durable, and impervious to moisture. It isn’t possi- 
ble to model papier-maché with the hands as one 
moulds clay, so the problem resolved itself into mak- 
ing a plaster mould of the clay model and then using 
that to build the papier-maché manikin. When a 
man wishes to make a bronze in a mould he can pour 
the melted metal into the mould and when it has 
cooled remove the mould. But you can’t pour 
papier-maché reénforced with wire cloth and if you 
put it into a plaster-of-paris mould it will stick. The 
solution of this difficulty struck me suddenly one day 
when I was riding into town to go to the museum. 
“T’ve got it!’ I exclaimed, to the amusement of 
my friends and the rest of the car full of people. As 
soon as I could get to my shop I tried it and it worked. 
It was to take the plaster moulds of the clay model 
and coat the inside of them with glue. On this glue 
