Exotic animals: The travelling Menagerie Pianet

The exhibition of live animals in Europe dates back to the Middle Ages, a tradition that grew steadily more popular over the centuries. In particular, the late eighteenth and nineteenth centuries saw a true rise in both permanent and travelling menageries. This was a result of globalization and the colonization of overseas territories. The general public's curiosity about nature, science, and the wider world increased significantly, leading to great interest in fauna, flora, and their histories.

One of the most iconic and oldest stationary zoos is the Ménagerie du Jardin des Plantes in Paris, founded in 1794. A bit later, in 1843, the Antwerp Zoo opened its doors. These were prestigious projects and symbols of national pride and prosperity. They embodied the idea of civilization and human superiority over animals. Showcasing exotic animals expressed control as well as power and wealth. At the same time, these institutions served as centres for scientific research. Because these zoos were not accessible to everyone, travelling menageries played an important role in spreading knowledge about zoology and exotic creatures. Although they often focused on sensationalism, they also had educational and scientific functions.

Today, the French Menagerie Pianet is less known than, for example, those of contemporaries François Bidel or Nouma-Hawa. Yet it was one of the oldest and largest travelling menageries in Europe. For three generations, the Pianet family travelled through Germany, France, Switzerland, and Italy, and also made stops in Belgium. Menagerie Pianet was founded in 1834 by Claude Emilien Pianet, a former soldier and itinerant dentist. His son, Joseph Esther, took over in the 1860s until his death around 1873. Joseph's wife then assumed leadership and later passed it on to her sons, Emile and Jules. Emile was a renowned animal tamer, while Jules handled the administrative and scientific aspects behind the scenes.

What began as a modest enterprise soon grew into one of the largest European menageries. By the end of the nineteenth century, Menagerie Pianet had a collection of more than 150 exotic animals, including an Asian elephant, buffalo from Mexico, kangaroos from Australia, leopards from Brazil, lions from the Sahara, and llamas from Peru. The shows ranged from dangerous big-cat acts to impressive performances with bears, kangaroos, and snakes.

Menagerie Pianet also inspired the art world. Artists, photographers, and students used the exotic animals as models. In 1899, for example, students from the École des Arts Industriels in Geneva were able to practice their drawing skills by closely observing and immortalizing the menagerie's animals. More established painters and photographers were also drawn to the animals, and the arrival of the menagerie gave them the opportunity to observe the creatures in detail.

Additionally, the menagerie attracted the attention of scientists from various disciplines such as biology, parasitology, veterinary medicine, and animal psychology. By collaborating with the owners, scientific institutions gained more insight into animal behaviour. For instance, the Pianet brothers documented the reproduction and development of their kangaroos and lions and shared this knowledge within scientific circles, such as natural history societies.

The spectacular travelling shows attracted visitors not only for entertainment but also served an important educational function at a time when fascination with nature and its workings was growing. Before or after performances, visitors could view the animals in their cages and learn about their habits and natural habitats. Programme booklets and menagerie staff provided explanations, and schoolchildren were often admitted free of charge. Menagerie Pianet's programme was carefully curated to both astonish and educate.

The appeal of Menagerie Pianet also lay in the animals' roles as fascinating study objects. The Pianets learned through hands-on experience about their animals' diets, reproduction, and development. For instance, lion cubs were sometimes taken from their mothers and nursed by a dog. Moreover, the animals did not always receive appropriate nutrition. Although their methods often relied on trial and error and did not meet modern animal welfare standards, they contributed to a growing understanding of animal behaviour and biology.

A particularly noteworthy story is that of Miss Fanny, an Asian elephant who became the star of the menagerie. Miss Fanny entertained audiences with her tricks, such as carrying objects and collaborating with a little monkey who brought her food. She became the menagerie's mascot and appeared on posters and advertisements. Her unexpected death from blood poisoning in 1892 caused a wave of mourning among both the public and the Pianet family. After her death, Miss Fanny's body was sold to the Museum of Natural History in Bordeaux, where she still occupies a prominent place in the entrance hall today.

Menagerie directors tried various means to promote and spotlight their attractions. Pianet, for example, marketed what they called 'lion's milk'. This marketing stunt heightened the sensation surrounding their exotic collection. Animal tamer Nouma-Hawa drew attention by visiting a newspaper editorial office in the company of a lion cub. And sometimes visitors were admitted into a cage with wild animals for special acts, such as playing a card game. This always took place under the supervision of a knowledgeable animal tamer.

Although Emile Pianet was often described as a skilled animal tamer who treated the animals with gentleness and patience, this sensationalism did not come without controversy. When Menagerie Pianet stopped in Bern in 1874, the police prohibited feeding live animals to the pythons. This led to feeding problems for the snakes, which caused an uproar among the public. Transporting the animals was also not without risks. An elephant named Jenny suffered a head injury during a train trip. The Pianet brothers demanded 160 francs in compensation from the Compagnie d'Orléans, which ultimately had to appear before commercial court.

Humans thus had a significant impact on the living conditions and care of these animals. From a contemporary perspective, the exhibition of animals as curiosities raises questions about animal welfare and ethics. Lion cubs could be petted by curious children at will. The animals' cages were often too small and restricted their natural behaviours. Rhinos could sometimes barely turn around in their enclosures, and marine animals occasionally ended up in aquariums with unsuitable water.

The interaction between humans and animals was often based on power and control, reducing animals to mere spectacle. The exoticism of the menageries also reinforced colonial stereotypes, romanticizing animals and cultures from distant lands and reducing them to clichés. Despite the Pianets' efforts to care for their animals, conditions were far from ideal. Transport, intensive shows, and a lack of legal protection for exotic animals made their lives difficult.

At the beginning of the twentieth century, the importance of travelling menageries declined. Due to competition from permanent zoos, changing ideas about animal welfare, and dwindling audiences, Menagerie Pianet closed its doors in 1903. The animals were sold, and their fate often became unknown. Yet Menagerie Pianet remains a fascinating chapter in the history of the fairground, natural history knowledge exchange, and the complex relationship between humans and animals. It shows how exotic animals evoked wonder and curiosity and served as an important source for artistic and scientific knowledge. The story also sheds light on the ethical dilemmas and the unbalanced power dynamics between humans and animals. While we enjoy the rich stories and images these menageries have left us, their history also invites us to think critically about our current treatment of animals and how we can approach them in a more respectful and responsible manner.