-*> The Survivors 



Nowadays, however, more than this must be done the 

 best must be insisted on. Instead of the " stuffer," the 

 artist must come upon the scene. Using the methods of 

 the sculptor, he can artistically fashion a form that will be 

 true to life, and clothe this form with the hide or skin. 

 Happily by these means we now find such works of art 

 exhibited in ever increasing numbers, not only in museums 

 abroad, but also in the public collections of our own country. 

 But as yet this new department of artistic activity is not 

 o-enerallv as well understood as it should be. It is still far 



O ^ 



too little valued. 



What labour has to be devoted to the artistically correct 

 setting up of even one single large mammal in a museum 

 for instance, a giraffe ! First the animal must be hunted 

 down in the wilderness, and its hide carefully prepared. 

 Then, if it has been brought home in good condition, there 

 follows a second laborious preparation, and finally the setting 

 up. The difficult building up of the framework, and the 

 work upon the giant beast till all is complete, require the 

 labour of nearly a year. The very first conditions for the 

 success of the whole are great patience, knowledge, and an 

 ideal that is both artistic and true to nature. 



Our illustrations show, in its various stages, the progress 

 of the setting up of one of the giraffes I collected in Africa. 

 It is easy to understand that besides artistic and scientific 

 ability for the correct moulding of the form, various complex 

 manipulations are required before the giant beast again 

 stands before us as if " reawakened to life." 



1 have further tried to show by illustrations of another 

 giraffe, and of a series of antelopes, down to the tiny dwarf 



