In Brightest Africa

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Carl Ethan Akeley. In Brightest Africa

In Brightest Africa

Table of Contents

FOREWORD

LIST OF LINE DRAWINGS

IN BRIGHTEST AFRICA

CHAPTER I A NEW ART BEGUN

CHAPTER II ELEPHANT FRIENDS AND FOES

CHAPTER III MY ACQUAINTANCE WITH LIONS

CHAPTER IV HUNTING THE AFRICAN BUFFALO

CHAPTER V LEOPARDS AND RHINOS

CHAPTER VI ALONG THE TRAIL

CHAPTER VII BILL

CHAPTER VIII SAFARI HUNTERS

CHAPTER IX INVENTIONS AND WARFARE

CHAPTER X A TAXIDERMIST AS A SCULPTOR

CHAPTER XI HUNTING GORILLAS IN CENTRAL AFRICA

Footnote

CHAPTER XII ADVENTURES ON MT. MIKENO

CHAPTER XIII THE LONE MALE OF KARISIMBI

CHAPTER XIV IS THE GORILLA ALMOST A MAN?

Footnote

CHAPTER XV ROOSEVELT AFRICAN HALL—A RECORD FOR THE FUTURE

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Carl Ethan Akeley

Published by Good Press, 2021

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Wheeler, who had encouraged me to go to Milwaukee, also was the cause of my leaving. One year, while he was director, he went to Europe, and while abroad had a talk with Sir William Flower of the British Museum, in which Flower intimated that he would like me to go there. So I planned to quit Milwaukee and to go to London. However, I didn't immediately get any farther than Chicago. I stopped there and happened to go into the Field Museum of Natural History. It was then housed in the old art gallery of the Columbian Exposition. Professor Daniel G. Eliot was its curator of zoölogy. He offered me some taxidermy contracts on the spot and I accepted. While I was doing them he suggested that I go with him on an expedition to Africa. We started in 1896.

When we got back from that trip I continued at the Field Museum as chief of the Department of Taxidermy. Before leaving Milwaukee I had been working on an idea of four deer groups, to be called the "Four Seasons," to show the animals in natural surroundings of spring, summer, autumn, and winter. I collected a good deal of the necessary material and put a lot of work on the project in my own shop, and finally reached a point where it became necessary for me to know whether the museum was going to want the groups or not. I approached the curator of zoölogy. He said that he would recommend the purchase of one of the four. Later I saw the president of the museum. After some discussion he asked why it was that the museum couldn't have the four groups. I gave him every assurance that it could. I spent four years on these four groups. It wouldn't take so long now but at that time we had not only to make the groups but also to perfect the methods of doing it at the same time. Four years is a long time to take on four deer groups, but the number of things in taxidermy we worked out in doing those groups made it a very full four years' work. In fact, the method finally used for mounting those deer groups is the method still in use.

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