ABSTRACT
This chapter discusses the period's fascination with zoogeography, a cartographic genre popular in the mid-century among scientists desiring to chart the distribution of animals throughout the globe. It addresses Victorian Britain's preoccupation with its displays of animal hides and mounted trophies. In the Victorian period, with the broadening interest in studying and organizing natural history specimens as well as with the increasing opportunities and means of travel, animals and birds were no longer either simply ornaments or symbols of difference but often became the cartographer's sole focus or subject; they were the raison d'tre of cartography. Hopkins's cartographic imagination is simply not tied to imperialist notions of mastery. As a result he created maps that display a vibrant interface among animals, humans, and the details of a landscape. His cartography is neither still nor lifeless but proffers, instead, an animistic reading of nature and the world.
