Among the most‐cited jibes directed at Manet’s Olympia in 1865 was a comment by the little𠄉known critic, Amédée Cantaloube, in a short‐lived periodical, Le Grand Journal, that dubbed the reclining nude ‘a kind of gorilla’. Through a close reading of the layered associations with this primate, only named in 1847, this essay locates the painting’s subject within contemporary excitement over the possible capture of a living specimen by adventurer Paul Du Chaillu, and scientific as well as popular debates over the links between humans and higher mammals. Using a piecemeal way of reading the body consistent with the methods of comparative anatomists, critics saw the disjointed body of Olympia as not only that of a prostitute but also sub’human. Cantaloube’s extreme language also reflected repressed fears of interspecies coupling and the linked possibility of miscegenation, particularly topical in light of the end of the Civil War in April 1865.