ROOSEVELT AFRICAN HALL 261 
In addition to the forty groups, twenty-four bas- 
relief panels in bronze (six by eleven feet each) are 
planned as a frieze just above the floor groups and 
along the balcony to form a series around the entire 
lower floor, becoming a part of the architectural 
decoration of the hall. The sculpture of each panel 
will tell the story of some native tribe and its relations 
to the animal life of Africa. 
For instance, one panel will show a Dorobo fam- 
ily, the man skinning a dead antelope brought in 
from the forest to his hut, where are his wife and 
babies and two hunting dogs, their only domestic 
animals. A further interest in animal life will be 
revealed in the presence of the dead antelope as it is 
a source of food and clothing, for these people live 
entirely by hunting. Another panel may show a 
group in Somaliland with camels, sheep, goats, 
cattle, and ponies at a water hole, domestic beasts 
furnishing the interest in animal life. Still another 
panel completing the Somali story will represent a 
group of Midgans in some characteristic hunting 
scene. While each of these panels should be a care- 
ful and scientifically accurate study of the people 
and their customs, accurate in detail as to clothing, 
ornaments, and weapons, the theme running through 
the whole series should be the relationship of the 
people to animal life. 
If an exhibition hall is to approach the ideal, its 
plan must be that of a master mind, while in actuality 
it is the product of the correlation of many minds 
and hands. In all the museums of the world to-day 
