Travelling Menageries and our Colonial Past

The travelling menagerie, which refers to the practice of showcasing exotic animals in traveling shows and circuses, can be understood in the context of imperialism and its association with Great Britain during the 19th and early 20th centuries. The menageries were closely tied to the imperial ambitions of Britain and other European powers during this period. Here are some key points to consider:

Zamah ‘King of Wild Animal Trainers’ Gale and Polden postcard, undated
  1. Imperialism and Exploration: During the height of imperialism, European powers sought to expand their influence and control over vast territories across the globe. Explorers and colonialists ventured into newly acquired territories, discovering and capturing exotic animals they encountered. These animals were brought back to Europe and showcased in travelling menageries as symbols of the empire’s conquests and the exotic lands under their dominion.
  2. Colonial Trade and Exploitation: The establishment of British colonies around the world created networks of trade and exploitation. The capture and transportation of exotic animals were part of this colonial enterprise. These animals were often taken from their natural habitats, sometimes under cruel conditions, and transported long distances to be displayed in Europe. This practice exemplified the exploitation of natural resources and living creatures that was prevalent during the era of imperialism.
  3. Representation of Dominance: The exhibition of exotic animals in travelling menageries served as a display of the British Empire’s dominance and power over foreign lands and peoples. The menageries presented a visual spectacle for the British public, reinforcing the idea of Britain’s superiority over the territories it had colonized.
  4. Cultural Othering and Racism: The showcasing of exotic animals also contributed to the “othering” of non-European cultures. It perpetuated a sense of Western superiority over the “exotic” and “primitive” cultures from which the animals came. This same mindset was applied to indigenous peoples in the colonies, as they were often portrayed as inferior and in need of European guidance and control.
  5. Public Entertainment and Education: Travelling menageries were not only about imperialism and power; they also served as popular forms of entertainment for the British public. People flocked to see these exotic creatures, as many had never encountered such animals before. These exhibitions fed into a growing fascination with the exotic and unknown, contributing to the development of Victorian-era curiosity and interest in the natural world.
  6. Ethical Concerns and Conservation: As attitudes toward animal welfare and conservation evolved over time, the ethics of keeping animals in captivity and displaying them for human entertainment were increasingly questioned. Modern sensibilities recognize the harm caused to both animals and their ecosystems by the practice of capturing and displaying them in menageries.

In conclusion, the travelling menagerie can be seen as a manifestation of British imperialism during the 19th and early 20th centuries. It was a practice closely tied to the exploration, exploitation, and display of the empire’s conquests, showcasing the exotic and wild aspects of lands under British control. Today, the historical context of the travelling menagerie serves as a reminder of the complexities and consequences of imperialist endeavors and the changing attitudes toward animal welfare and conservation.

Have you seen my dead elephant?

Wessex Archaelogy are to look for a dead elephant near Kingswood, Bristol. Here’s The Observer link to the report.

https://www.theguardian.com/science/2023/jul/02/archaeologists-hunt-for-burial-site-of-famous-19th-century-elephant-in-gloucestershire

I have doubts they will find much other than bones. Bones with lots of ‘hacks’ on them. At £400 a time the late Victorian menagerist, EH Bostock (or in this case his brother in law Frank Bostock (Little Frank*)), would have extracted as much of the meat from the bones to feed to the other beasts in the menagerie.

However, if they do find anything of the elephant, then the forensics would be interesting. The pit would, of course be large and easy to spot methinks!

Psst! There’s an elephant buried on the banks of The Clyde River. Don’t tell anyone.

There’s one buried at Smithfields market too!

*Not to be confused with E H’s brother Frank (Big Frank)

hattip to Heather for these reliable facts.

Where to bury a dead elephant?

Image copyright GeorgeWombwell.com 2023, All rights reserved.

There is an emergence of interest in the burial sites of large beasts that died across the country. Most are reported in local newspapers of the time and invariably the beasts passed away as part of a travelling menagerie. Recently, one such animal, an elephant, was reported to have deceased and been buried in a local graveyard in Kingswood, Bristol (1891).

There may be various reasons for burying elephants where they die, but one reason may have its roots in Indian tradition.

The practice of burying an elephant where it dies is rooted in the cultural and religious traditions of India. Elephants hold a special place in Indian culture, where they are revered as sacred and often associated with various Hindu deities such as Ganesha, the elephant-headed god of wisdom and prosperity.

When an elephant dies, especially in regions where they are considered significant, there is a belief that it should be accorded a respectful farewell and burial. The burial rituals vary depending on the local customs and traditions, but the underlying sentiment remains the same—to honor the majestic creature and ensure its passage to the afterlife.

In some instances, the burial of an elephant may involve a communal effort, with local communities and authorities coming together to perform the rituals. The burial site is often chosen carefully, taking into consideration factors such as proximity to water sources and the elephant’s natural habitat. The process typically involves digging a large pit or trench, deep enough to accommodate the massive body of the elephant.

The burial itself can be a complex and time-consuming process, given the size and weight of an elephant. The local community may use ropes, pulleys, and machinery to carefully lower the elephant’s body into the burial pit. The grave is then covered with soil, forming a mound or raised platform to mark the resting place of the elephant.

The practice of burying elephants holds significance beyond the physical act of burial. It is believed to demonstrate reverence for the animal and symbolize a respectful farewell, ensuring that the elephant’s spirit finds peace in the afterlife. Additionally, burying the elephant near its natural habitat is seen as a way to maintain the ecological balance and pay homage to the creature’s role in the ecosystem.

It is worth noting that the burial of elephants is not a widespread practice throughout India. It is more commonly observed in regions with a long-standing history of human-elephant coexistence, where elephants are revered and considered an integral part of the local culture and mythology.

While burying an elephant is a culturally significant practice, it is also important to consider the environmental impact and practical considerations associated with such burials. Authorities and local communities need to strike a balance between preserving cultural traditions and adhering to environmental regulations to ensure the conservation of the ecosystem.

In recent years, there has been an increased emphasis on wildlife conservation and the implementation of more sustainable practices. As a result, alternative methods such as natural decomposition or cremation may be considered as viable options to address the ecological concerns associated with large-scale burials.

Overall, the practice of burying elephants where they die reflects the deep cultural and spiritual connection between the Indian people and these majestic creatures. It serves as a testament to the rich tapestry of traditions and beliefs that shape India’s diverse cultural landscape.

CHATGPT, the Artificial Intelligent chatbot , praises George!

Here is answer to our question: Do you know George Wombwell?

“Yes, I am familiar with George Wombwell. He was an English menagerie owner and showman who lived from 1777 to 1850. He is particularly famous for his traveling menagerie, which he took around the country exhibiting exotic animals such as elephants, lions, tigers, and bears. His menagerie became one of the most famous in the world and he is considered one of the pioneers of modern zoos. He was also known for his philanthropy, and was a supporter of the Royal Society for the Prevention of Cruelty to Animals.”

Nothing about dog fights in that answer. So what was response when the question was : Did George arrange lion fights?

“There is no evidence to suggest that George Wombwell arranged dog fights. In fact, Wombwell was known for his love of animals and was opposed to any kind of cruelty towards them. He was a proponent of treating animals with kindness and respect, and he took great care to ensure that the animals in his menagerie were well looked after. Wombwell’s legacy is that of a pioneering showman who helped to popularize the idea of exhibiting exotic animals to the public, and of a philanthropist who cared deeply about the welfare of animals.”

Maybe we cannot trust a chatbot, but clearly the underlying data suggest otherwise! It’s nice to know that consensus agrees with this websites persuasive , but well researched arguments.

Recent additions to the archive

An rare monochrome photograph and a monochrome postcard have been added to the archive.

Aquired from the archive of Charles H Dean, it shows the interior of a B&W Menagerie, that was visiting Newcastle upon Tyne

Date unknown, but the menagerie is utilising electric lights. Verso states the menageire was sold at Newcastle.

One of the crowd pullers at the Blackpool Menagerie. Circa 1910

The photographic angle of the second image is interesting: Who’s looking at who!

Warwick Museum’s Hidden Painting of ‘Wallace the Lion’

About 18 months ago, I was contacted by one Prunella, a lady from Canada, advising me she had seen a painting of Wallace the Lion at a museum in Warwick, England.

This was her explanation at the time:

‘My mother’s maiden name was Ethel GRACE Wombwell – my 3X great grandfather John (1774 – 1845) was a son of John Wombwell and Sarah Rogers.

In reference to the lion fights…. There is a very small museum in Warwick that has a painting of a lion (either Nero or Wallace) and a poster about the fight… If this is your correct email, I will attempt to send the pictures of these that I took last year. My brother lives near Warwick and I have asked him to send me the name of the museum.’

Prunella recently replied to an email from me with the following information:

‘The place in Warwick is St John’s House Museum, CV34 4NF’.

Since it has been two years since I was first alerted to its existence, I checked out the current details, for anyone wishing to visit the museum.

The Museum is currently closed for a re-location within Warwick, but are still open to deal with shop sales and family history research enquiries.

Exciting developments are afoot to re-locate the museum in 2022 to Pageant House, Jury Street, Warwick.

However, on further research I was informed that the painting is no longer at the museum, irrespective of which building, but in their Hawkes Point storage facility.

Luckily, further detective work revealed that the painting, attributed to Rolf, is documented on splendid ArtUK website.

https://d3d00swyhr67nd.cloudfront.net/w944h944/collection/WAR/WARMS/WAR_WARMS_39-001.jpg

Unfortunately, due to copyright it is not possible to show it here. However, our intrepid Canadian contact, did the honours and produced these two fine photographs.

It is though, an accomplished portrait of a fictional lion, face on. Looks quite sweet! Not the ideal representation a a ‘killer’ lion. Maybe that is poetic justice given the 200 year old lie that Wallace…well, read my Volume One for the real story of the lion fight!


British Empire Exhibition 1924 -1925 Postcards

Four new monochrome views from the British Empire Exhibition in Wembley. All postcards, unused. The last one, HRH Prince of Wales representation in ‘Butter’ is fascinating. I assume the enclosure was temperature controlled! The following article states ‘in 1924, the Canadians used a large refrigerated case in their Pavilion to display a life-sized sculpture in butter’. Link produced by Brent Council, provides information on the exhibition and other ‘Butter’ sculptures.

I wonder if HRH sat for the artist?

Some Additions to the Collection

A few more photogrphic post cards have been added this year so far. The first selection represent some aspect of Travelling Menageries and Circuses.

The Alphonso family were well known aerialists. A notable speciality act was having three cyclists balancing above the lion’s den on narrow cycleways. whilst below the trainer would put the lions through several tricks. The date is probably 1904 when they were at Madison Square Gardens in New York.

A rather puzzling Carte de Visite by W L Shrubsole, date unknown. Bsed at 5 Davey Place and at Victoria staion in Norwich. William Lewis Shrubsole, 82 Chapelfield Road, Norwich and was known to be photographing between 1890 – 1910. Little is known of his landscape art.

Is though, this an image of the elusive ‘Mrs Wombwell (Ann Morgan)? Norwich has connections to the Menageire, via the wife of E H Bostock, who was from Norwich.

A scarce postcard representing the Tower Circus ring at Blackpool in England. A full description of Frank Matcham’s interiors can be found on the NFA website.

A popular colour postcard of the lion cages at Blackpool Circus and Zoo. Date unknown, poor quality reproduction.

Nottingham Goose Fair 1929

Recent addition to the collection is this 1929 programme for the annual Nottingham Goose Fair, still taking place in the centre of the city. It includes the layout of the fair and it strikes me that B&W are still the biggest attaction, with their pitch taking up a considerable section of the square. This was one of the last fairs that B&W attended before their demise in the early thirties.