fostered an independent spirit in us that surprised more conservative Londoners.
We went out a good deal--to visit friends, to plays, to the Royal Academy, and of course to the British Museum, which was so close to our brother's house that it could be seen from the drawing room windows on the first floor. I was always keen to lean over the cases containing the museum's fossil collection, fogging the glass with my breath till the guards frowned. I even donated a fine complete specimen of a dapedium, a fossil fish I was particularly fond of. In thanks, Charles Konig, the Keeper of the Natural History Department, waived the museum's entrance fee for the month I was visiting. On the label the collector was called simply Philpot, neatly sidestepping the question of my sex.
One spring during our stay in London, we began to hear excellent reports of William Bullock's Museum in the newly built Egyptian Hall on Piccadilly. His expanding collection contained art, antiquities, artefacts from all over the world, and a natural history collection. My brother took all of us there one day. The exterior was in the Egyptian style, with huge windows and doors with slanted sides, like the entrance to a tomb, fluted columns topped with papyrus scrolls, and statues of Isis and Osiris looking out over Piccadilly from their perches on the cornice above the door. The building's facade was painted a startling yellow, with MUSEUM trumpeted from a large sign. I thought it overly dramatic in amongst the otherwise sober brick buildings; but then, that was the point.
Perhaps it was just that, having become used to the simple whitewashed houses of Lyme, I found such novelty jarring. The collection in the Egyptian Hall was even more startling. Displayed in the oval entrance hall were a variety of curious pieces from all over the world. There were African masks and feathered totems from Pacific islands; tiny warrior figures in clay and decorated with beads; stone weapons and fur-lined cloaks from northern climates; a long, thin boat called a kayak, that could hold just one person, with carved paddles decorated with designs burnt into the wood. An Egyptian mummy was displayed in an open sarcophagus painted with gold leaf.
The next room was much larger and housed a collection of unconvincing paintings 'by the Old Masters', we were told, though they looked to me to be copies done by indifferent Royal Academy students. More interesting were the cases of stuffed and mounted birds, from the plain English blue tit to the exotic red-footed booby brought back by Captain Cook from the Maldives. Margaret, Louise and I were content to study them, as from living in Lyme we had all become more aware of birds than we had been in London.
Bored with birds, however, little Johnny had gone on with his mother to the Pantherion, the museum's biggest room. He was gone but a moment before he came running back. 'Auntie Margaret, come, you must see the enormous elephant!' He grabbed his aunt's hand and pulled her into the next room. The rest of us followed, bemused.
Indeed, the elephant was enormous. I had never seen one before, nor a hippopotamus, an ostrich, a zebra, a hyena or a camel. All were stuffed and grouped under a domed skylight in the centre of the room, in a grassy enclosure dotted with palm trees, depicting their habitat. We stood and stared, for these were rare sights indeed.
Being young and not appreciating rarity, Johnny did not look for long, but raced around the room. He ran up as I was inspecting a boa constrictor that had been wound around a palm tree above my head. 'It's your crocodilly, Auntie Elizabeth! Come and see it!' He tugged my arm and gestured at an exhibit at the far end of the room. My nephew knew about the Lyme beast which he, like others, persisted in calling a crocodile. For his birthday I had done two watercolours of it for him, one of the fossil itself, the other of how I imagined the creature to have looked when it was alive. I went with Johnny now, curious to see a real crocodile and compare it to what Mary had found.
Johnny was not wrong, however: it was indeed 'my' crocodile. I gaped at the display. Mary's creature lay on a gravel beach next to a pool of water with reeds poking out along the edges. When Mary first uncovered it, it had been flattened, its bones jumbled, but she had felt that she should leave it as she found it, rather than try to reconstruct it. Apparently William Bullock felt no such constraint, having prised the whole body away from the slabs that held it, rearranged the bones so the paddles had clear forms, stacked the vertebrae in a straight line, and even added what were probably plaster of Paris ribs added where some had gone missing. Worse, they'd put a waistcoat around its chest, with the paddles sticking out of the arm holes, and perched an oversize monocle by one of its prominent eyes. Near its snout was spread a tempting array of animals a crocodile might feed on: rabbits, frogs, fish. At least they had not managed to prise open the mouth and stuff prey into its craw.
The
label
read:
STONE CROCODILE
Found by Henry Hoste Henley
In the wilds of Dorsetshire
I had always assumed the specimen was still in one of the many rooms at Colway Manor, mounted on a wall or set on a table. To see it in an exhibition in London, laid out in a dramatic tableau so alien to what I knew of it, and claimed by Lord Henley as his own discovery, was a shock that froze me.
It was Louise who spoke for me when the rest of the family joined Johnny and me. 'That is an abomination,' she said.
'Why did Lord Henley buy it if he was just going to pass it on to this--circus?' I looked around and shuddered.
'I expect he made a pretty profit,' my brother said.
'How could he do that to Mary's specimen? Look, Louise, they've straightened out its tail she worked so hard to
