i\2 NI-:\V V(»RK ZOOI.OCICAL SOCIHTV. 



In some collections that I am well ac(|uaiiite(l with, one mij^hl sup- 

 pose that it is not coiisi(lere<l clesirahle to have the animals seen. The 

 ca^es are of dark wood inside, — of course without windows other than 

 those in front; the bars are one-inch iron, and are (or were) painted 

 white. The bars are about four inches ajjart, and every few feet are .stayed 

 bv a much heavier bar, so that from a i)oint of view a little to one side 

 the effect of perspective is to close up the bars and exclude all view ! 

 I'rom straight in front, the j^loom of the interior is rendered yet more 

 impenetrable by the large, light-colored bars, and even the expert mu.st 

 in dull weather accept the testimony of the label board as the only clue 

 to the identity of the species incarcerated in this veritable dungeon. 



Two other blunders of construction are commonly exemplified. First, 

 the floor of the cage is .sometimes raised nearly four feet in height. 

 Second, a solid bulwark of wood or iron is placed along the front of the 

 cage, at the bottom of the bars. This is usually six inches high, and 

 quite enough to hide half of a sleeping leopard, or nearly a third of a 

 sleeping lion or tiger; and, whatever the animal, its feet, when standing, 

 are lost to view. What a loss this is to the artist I need not indicate. 



In one matter, at least, the interests of students of all kinds and the 

 interests of the public are identical, viz.: the cages should be constructed 

 to exhibit the animal well. I believe in brilliantly lighted cages, with 

 top light in some cases, light colored or white walls, and black bars, 

 without any raised bulwark along the bottom. And I think the floor of 

 the cage should Ije raised about two feet only. 



The bars should be of the strongest steel, and as small and wide apart 

 as is consistent with safety. It seems to me that during the daytime it 

 might be well to use a comparatively light cage-front for a height of about 

 four feet, and at night a heavy grating might be lowered behind, for 

 safety during the absence of the keepers. 



These remarks, of course, apply chiefly to the cages for the large 

 carnivores. 



Concerning privileges for artists, I would ask that they .should have 

 simply what is accorded to the biologists as a matter of course, viz. : — 

 (1), a comfortable studio set apart for their use, with appliances for 

 properly arranging the light, etc. ; (2), conveniences for surrounding 

 themselves with their own work, and for referring to the published or 

 otherwise reproduced works of others ; {'^), a special cage or cages in the 

 studio, in which from time to time typical animals might be kept for 

 study ; (4), absolute protection from annoyance by the general public ; 

 (•")), free access at all times to this studio as far as is consistent with the 

 I)roper management of the gardens. 



I could .speak at length on each of these heads if desired, but will for 

 the present content niy.self by citing the case of the Jardin des Plantes, 

 in Paris. The administration there is suppose<l to be exceptionally liberal 

 to artists, but the only privilege given them is, of entering early in the 



