HAMLYN'S MENAGERIE MAGAZINE. 
either of conception or workmanship — about him. 
He is very flat-chested, and his form is faithfully 
represented in the accompanying illustration; with- 
out an illustration he would be indescribable. The 
head is very small, and grotesquely carved, with 
a large boar's tusk projecting from the jaw. The 
trunk and limbs, however, are the parts of inter- 
est; they consist of an entire human skin stretched 
on a sort of flat wooden framework, and partly 
stuffed with dried grasses. The skin is a light 
brown, leathery looking stuff, with here and there 
a small crack. The legs are clothed with loose 
blue trousers, which appear to be of dungaree, or 
a similar material, and the complete deity came 
from the Friendly Islands some time since. Just 
at his feet lie, in an open packing box, certain 
mummified heads, some bearing unmistakable 
marks of hard knocks, all having been, no doubt, 
among the most cherished possessions of the gen- 
tlemen who had separated them from the shoulders 
upon which they originally grew. 
Of heads and skulls we see many, and among 
them the skull of an undoubted cannibal — a thing- 
of very peculiar conformation. And so we go on 
from room to room, where the sunlight peeps in 
with difficulty, and paints with light and shadow 
the memorials of savage art, warfare and worship, 
as well as many exjuisite specimens of porcelain 
and metal work from Japan and Florence. We 
see the garment of cowtails which Ketchwayo 
wore when taken prisoner, and we see a testimony 
to the guile of the wily Maori in an axe made of 
iron only, but painted and got up to exactly re- 
semble greenstone. The reason of the disguise 
becomes apparent when it is explained that for the 
genuine greenstone article of this pattern a collec- 
tor will gladly pay a hundred pounds, while the 
metal imitation is worth its weight as old iron, 
and no more. We see two pairs of magnificent 
china vases five or six feet high, the like of which 
It would be difficult to find offered for sale any- 
where. Another pair, which had stood here for 
thirty years, were bought only a week or two 
back by a visitor of title with a cheque lor three 
figures — a bargain which the buyer jumped at. 
We arc shown old Satsuma ware of wondrous 
delicacj and richness, commanding something 
more than its weight in sovereigns in the market. 
We sec grand old repousce work in very high 
relief. We linger over a singular old Japanese 
medicine cabinet, the outside ol which is covered 
with hundreds ol" little silver charms, against as 
many varieties of disease — each charm a quaintly- 
wrought oval or SCarabaeus. We examine two 
immense Japanese vases of copper, each six feet 
high, and ol the most elaborate workmanship, the 
design revealing here and there, in a surprising 
manner, elementary forms and principles usually 
Supposed to be wholly and originally Greek. There 
are stone weapons, bronze weapons, steel wea- 
pons, and wooden weapons of every outlandish 
sort, and musical instruments such as one sees 
represented on Egyptian sculptures. There are 
many things bought at the sale of the effects of 
the late king of Oude, an enthusiastic old gentle- 
man whose allowance from the British Govern- 
ment was a lac of rupees a month, and who man- 
aged to spend it all, and more than all, on curiosi- 
ties and works of art, so that his funeral was 
followed by a sale on behalf of his creditors. 
Among the old king's treasures in this place are 
seven small figures, of a dancing bear, a buck 
antelope, a gladiator, a satyr riding a furious 
bull, another riding a camel, an armed man on a 
rhinoceros, and a monkey mounted on a goat, 
respectively. Each of these little figures is built 
up of innumerable smaller figures of beasts, birds, 
and fishes, fighting and preying upon each other, 
not one speck of the whole surface belonging to 
the main representation, while, nevertheless, the 
whole produces the figure complete with its every 
joint, muscle, sinew, and feature. And so we pass, 
by innumerable sacred masks, pashas' tails and 
alligators' skulls, toward the other and main de- 
partment of this remarkable warehouse — that 
devoted to natural history. 
We cross Britten's Court, where we observe 
a van with a small crowd of boys collected about 
it. A crane is swung out from a high floor, and 
from the end of the dependent chain hangs a 
wooden case or cage, violently agitated bv the 
movements of the active inhabitant. He is a 
black panther, the most savage sort of beast with 
which Mr. Jamrach has to deal, and, as this one 
feels himself gradually rising through the air, 
his surprise and alarm manifest themselves in an 
outburst strongly reminding the spectator of Mark 
Twain's blown-up cat "a-snorting, and a-clawing, 
and a-reaching- for things like all possessed." He 
arrives at his appointed floor at last, however, and, 
as the cage is swung- in, the blazing eyes and 
gleaming teeth turn from our side toward the 
attendant who receives him. 
The wide doors on the ground floor are swung 
open, and we enter a large apartment fitted with 
strong iron-barred cages on all sides. This is the 
lowest of three floors, similarly fitted, in which is 
carried on a trade in living creatures which is 
known from one end of the earth to the other. 
Jamrach \s is the market for wild animals from all 
the world over, and whatever a menagerie-kceper 
or a zoological collection may want, from an ele- 
phant to an Angora cat, can be had in response 
to an order sent here. Whatever animal a man 
may have to sell, here he max sell it, providing 
that it be in good and healthy condition. Mr. 
Jamrach has lived a lifetime among - his beasts, 
and has had his troubles and adventures with 
them. 
To be continued. 
