These models are then sawn longitudinally in halves, and each half hollowed out to receive, and to be either tied, or wired on to, the rods-1, 2, 3 and 4 of Plate IV. By this it will be seen that the model is made up precisely as in that, the only addition being the substitution of carved limb-bones in place of tow previously used to bind over the rods. Clay or other substances is worked over these "wooden bones," and the finishing processes are the same as the last.

The skeleton must be carefully mounted and articulated, as described in Chapter XII. Be careful to get the ultimate phalanges of each limb out of the skin, and by careful management we shall also be enabled to get the bony core from the claw, and thus reap the advantage of having two specimens instead of one only.

Large fishes—such as sharks; or reptiles, such as very large alligators and crocodiles—may be mounted by slight modifications of any of the foregoing processes.

Often hardened wax, linseed oil and plaster, plaster composition, modelling wax, cobbler's wax, shellac, or what not, is used to represent the muscles and "flabby" parts. Wax is also used to paint over the mucous membrane, where shown or exposed. All this will be found fully explained in Chapter XII, thus exploding all the rubbish talked, and written, about "secret" or "patent" compositions, which, when put on soft, will ultimately dry as hard as marble. These wonderful "secrets" may be summed up under three heads—Clay, Plaster, and Wax!

CHAPTER VIII.

SKINNING, PRESERVING, AND MOUNTING FISH, AND CASTING FISHES IN PLASTER, etc.

FISH being, perhaps, the most difficult things in the range of taxidermical science to set up in a satisfactory manner, I would impress upon the amateur to take particular note of their peculiarities of shape and colour, and to practise upon any easily-obtained and tough-skinned fish, such as the perch, which is, indeed, one of the best of all subjects for the purpose.

However, as I have now before me a pike of over 11 lb, I will take it to illustrate this lesson.

Provide yourself first with skinning knives (see Figs. 11-13) and a tool previously figured, which I call the undercutting knife or scraper (see Fig. 29). It is best made by an artisan, but may be roughly fashioned by beating out a square piece of steel (a worn-out, narrow, flat or square file will furnish this), while hot, to a flat surface at one end, turning it at right angles for about an inch, and filing each side of this return, as also the point (the latter previously rounded) to a cutting edge, and afterwards giving it the requisite hardness by "tempering" it in oil. Many tools used by the gun stockers are to be bought ready made, which will fulfil all the requirements of this tool, but it is so easily made that I consider anyone with the least mechanical ability should be able to make one. The object of this tool is to run in under bones and to cut and drag out pieces of flesh through small openings.

Measurements being taken and a board provided on which to trace the outline, select the best side of the fish—by which I mean the side most free from bruises or "gaff" marks. Cover this with thin paper (cap paper) or muslin, which readily adheres by the natural mucus peculiar to fish. This process, it will be seen, keeps the scales fast in their seats during the operation of skinning, and gives also a "set," as it were, to the skin. The fins and tail must not, however, be allowed to dry until the fish is finished. To avoid this and the consequent splitting of these members, keep them constantly damped by wet cloths or tow wrapped around them.

Lay the worst side uppermost, and then cut the skin from head to tail in a straight line. A mark called the subdorsal or lateral line is an excellent guide for this. With a strong pair of scissors,—or rather shears, cut through the scapular arch (the large bone beneath the gills—see Fig. 34, A). Slip the knife under the edges of the cut skin, and lift the skin the whole of the way up at about an inch in on both sides of the cut. Having carefully separated this from the flesh, take the broad knife in your hand, and, holding the skin lightly in the middle, with a scraping motion of the knife on the skin free it from the flesh. If the knife is held in a proper manner, slanting inward towards you, this will be done very easily. Take care, however, when approaching the fins not to cut outward too much, or you will rip them out of the skin. Fig. 34 shows the point where we have arrived, B being the loosened skin and C the flesh denuded of that skin.

Fig. 34—Diagram of pike, showing skin removed on one side from lower half of body.

Skin out the remaining part up to the back, holding the knife in the same manner; the fish is now half way skinned, and holding only by the fins. Slip the scissors carefully underneath the bones of each fin and cut them away from the inside. Do not be afraid of leaving a little flesh attached, as this can be easily cut away from the inter-spinous bones afterwards, it being better to have too much flesh attached to them than to find you have cut the skin through on the other side. It is a matter of little importance as to which fin you cut away first; but let me assume that you begin at the under anal fin, and, having cut this away carefully, you now find that it is still held at a little distance above it by. the orifice of the vent. A great deal of care is required here to cut the attachment away so as not to pierce through to the outside; a piece of wool comes in very handily to push in, to stop the flow of blood, etc.

Now turn your attention to the only fin on a pike's back, the second or lower dorsal one, which cut away in the same careful manner as before. Working down toward the tail, get the broad knife as much underneath as you can, and then push the fingers underneath until they meet, and thus gradually free the flesh from the skin almost up to the extreme end of the caudal fin (or tail). Insert the point of the large shears underneath, and cut the bone and flesh completely through at a distance of about 1 in. from the last joint of the vertebrae at the tail; this leaves a little flesh attached to be subsequently cleared out.

Leaving this, go now to the head of the fish, and, holding down the skin of the back, which is now flat on the table, run the fingers of the right hand, especially the thumb, right down the whole length of the fish to the tail, in order to loosen all from the underneath to the front of the fish, when the whole will be free up to the two ventral fins, which you may cut away, as it were, with your finger nails, leaving the attached flesh to be trimmed away afterwards. The only part which now holds to the skin is that near the head, as also the under one of the pectoral fins; this latter must be carefully cut away, as the skin is very thin about here, and is rather awkward to get at.

Now let the fingers of both hands come into requisition, and let them meet under the head. Regaining the large knife, with it sever the bone of the head cutting toward you. If this is properly performed, the cutting edge of the knife will touch the gills; be careful in this, that your knife does not slip and go too far into the underneath skin. Various internal organs will now appear, holding fast to the skin; these must be cut through with the knife, and the effect should be that the whole of the body comes out in a piece. [Footnote: The beginner may, however, for greater facility of handling, cut the body of a large fish into sections, and remove them piece by piece as he progresses.] For larger fish, say one of 20 lb. or more, I recommend splitting the flesh longitudinally or vertically, and getting out each section separately.

The skin now being free from the body, scrape away all the small pieces of flesh that are still adhering inside the skin, down the centre, and around the fins and tail. Those fin-bones (inter-spinous bones) which protrude inside may be cut fairly short with the scissors, and the flesh nicely scraped off from each side. What flesh is left on the tail must be carefully cut away with the aid of the knife, scissors, and shears, care being taken also to free the bone to the very end, and yet not to disturb the scales underneath. A considerable amount of scraping, coaxing, and undercutting will have to be done here.

Having well freed the fins of flesh, turn your attention to the head: make a cut along the side of the under jaw, then cut away the gills at their top and bottom attachments and pull them out, if you do not wish them ultimately to show. When this is done you will become aware that there is still remaining a piece of the vertebra leading up into the head; take the large knife and chop it to the underneath; it will then lift up, exposing what little brain the fish has. Cut this piece off before it enters the palate; and then, by clearing away a little flesh, you come to the eye, which take hold of with your finger and pull out. You will now see several small cavities filled with flesh running up to the sides of the face, cheeks, etc.

The scraper or undercutting knife will now come into use, and small pieces of flesh must be laboriously cleared out. After this tool has well loosened and partly cut away the intervening flesh, the fingers may be advantageously used to work with, by being pushed in at the orbits of the eyes, to pull out the loose pieces of flesh. (Note that, in doing this, it is as well to be careful not to cut your fingers with the edges of the small bones of the head, nor with the palatal or lingual teeth.)

The operator must not forget during work to keep the fins well damped, otherwise they rapidly dry and split, as I have before observed.

Running between and from the pectoral fins a thick, fleshy process continues right up underneath the jaw. As the included flesh is contained in a remarkably thin silvery skin, extraordinary care is necessary in freeing this from the flesh, so the knife, the scraper, and the fingers will all have to come into play. It is held at the extreme end under the jaw by a thin bone, which, though skinned to its under part, must not be cut away, but left slightly attached.

A little sand at this stage is useful to rub the fingers in, to prevent them slipping, when pulling out small pieces of flesh. The pectoral fins are, of all, the most awkwardly situated to skin out, coming, as they do, at the bottom of the pectoral process, and they must be left with their bones attached, and the flesh be scraped away from between the two fins, and underneath each one, until nothing remains. Carefully attend to the latter part of these instructions, or the final result will be anything but creditable.

Some flesh now lies between two skins along the sides of the fish's gums, between the tongue and the teeth; a hole must be cut inside at the back part of the head below the eye, the crooked scraper inserted, and all the flesh dragged out bit by bit. Remember, this is merely a thin membrane, and the slightest awkwardness ruptures it; in large fish, however, the finger may be introduced with advantage, to pull out pieces of flesh. Many taxidermists cut the whole of this away, and replace it with plaster; but if the fish's mouth is to be left open it never looks so well as if done by this method.

Cut under the tongue from the outside, and scrape out the flesh, fill up with putty, and sew up neatly.

To stuff the fish, procure a thick piece of wire somewhat longer than the body, bending one end, to form a large oval-shaped loop, to be afterwards pushed up as a bearer into the head. At some little distance from this (which will be determined by the size of the fish), form a smaller loop, to which, by twisting, attach a short piece of wire a size smaller than the main bearer. At some distance from this—near the tail—form another small loop, to which attach in the same manner another piece of wire. Cut off the end of the main wire, so that when pointed and pushed through it will fall just outside the bone of the tail. It will no doubt be obvious to the reader that this forms an artificial backbone.

The large oval or pear-shaped loop at the one end is intended to be pushed in to support the head, and, in the present method, also to help the formation of the model. The loops and attached wires are to support the body, and also to bolt it to the back of the case when finished. The pointed end is to push into and support the tail.

I should have previously mentioned that this wire backbone should be made before the fish is skinned, as you then have a correct guide to position of bearing wire, and, more important still, a guide to the extreme length of the fish.

Round this wire, wrap paper, glued, or tied with string, until it is a little less than the body of the fish previously taken out; when this is done, cover over with tow well tied on with hemp, until it has arrived at almost the shape and size of the body—being, in fact, the shape of the fish without head or tail—lay this down and thoroughly anoint all parts of the fish. Stuff out the now hollow sides of the face, gums, and the underneath of the throat with putty, of which push some thick pads underneath the root of the tail and all about the fins; next lay a thin skin of putty over the whole of the skin on the inside.

Wet plaster is commonly used for this, but I prefer putty, as not being quite so heavy, and as affording also a more agreeable agent to work with. Another objection to plaster, used in quantities, is that the heat it evolves in drying has a tendency to make the scales rise.

The next thing to be done is to insert the body. Pushing the sharpened end of the tail wire through the bone of the tail, bring it up on the inside. Now drill a little hole with a straight awl through the bone of the scapular arch, and with a strong needle and thread join that part together. The next hole should be drilled through the uppermost gill-cover, through which pass the needle; then commence, travelling downward, to sew the skin together, taking care to go inward a sufficient distance from the cut edges with the needle and thread, and yet not allowing the edges of the skin to overlap.

This requires patience, and a little coaxing together of the edges of the skin. As you go on, see where your fish appears out of shape on the upper side, which is a pretty good guide but not always so—for the under, or show side. If the defect is serious, insert a little more putty, followed by a judicious application of tow, which will push the putty to the under side where you most require it.

It is sometimes expedient, after having sewn half-way down, to begin to sew up from the tail end, so as to meet the other stitches. A fine "skin" needle must be used.

After it is entirely stitched up there will still be little places which will require deepening and filling up. A little tow, pushed in any interstices which maybe left between the stitches, will soon rectify this, and also help to shorten the fish, which, in a first attempt, is almost sure to be made too long. This is important, as a well-fed pike should be of some considerable depth, and not a lanky monster like a snake. A little gentle tapping with the handle of the stuffer on the upper surface is sometimes advisable. Get the back almost straight, and, having brought it nearly to your measurements, you may lift the fish by the two wires, but in a very careful manner, to examine the show side, and there note any little defect. Of course, you must constantly alter your position.

Carefully lift the fish off the board, still keeping the sewn side uppermost, and measure the distance between the two upright wires, and make corresponding holes in the board, which push down on the top of the fish, bringing the wires through, and bending their ends down upon the board, so that the specimen may be temporarily rivetted thereto. Place your hand carefully underneath the head of the fish, and turn the board over. You have now the fish right side uppermost. About the head some little extra stuffing will doubtless be required, and, as the putty will have got a little out of place in the process, it must be replaced, and the head and neck made up nice and square; also look to the tail, and put that in proper shape.

Gently press the skin all over with the hands, deftly patting it with a small piece of smooth flat board to reduce any lumps, and to get the putty to work evenly over the surface. Get some short wires and set the head, with the mouth open as much as you require. One wire may be pushed through the nostril, another may go under the tongue, and a third parallel to it beneath the under-jaw. Arrange the teeth, some of which you will find loose, and, with "needle points," fix into position the gill-covers, which tie over with a little wrapping cotton to keep them from springing up out of place. Next look to the fins, under which put some pieces of peat, covered by stiff card-board, and nicely display them, pinning them down and binding the wrapping cotton over them.

As a last operation, go over the whole of the outside skin with the carbolic formula, No. 15. When this dries, which it will do in the course of an hour or so, varnish the whole upper surface with best clear "paper" varnish, which will have the effect of keeping the skin and scales in position. Let the fish be now put by in a moderately warm situation to thoroughly dry, which will, in the case of a large specimen, take about a month. The skin is then like leather, with no colour in it at all, and must, of course, be subsequently coloured up according to nature, the eyes put in, and mounted in a case with appropriate water-weed; notes on all of which will be found in Chapters XII, XIII, and XIV.

Sawdust or bran may be used for stuffing the fish, which, with the addition of putty and tow to certain parts, will shape it up very fairly. Some taxidermists use tow alone, but this I do not think advisable.

Small fish, up to 2 lb, may, after skinning, have a bent wire inserted as before, and be filled entirely with plaster of Paris, which must be mixed in readiness, and poured in the skin to fill out every part. The cut edges of the skin are now brought together, and the whole fish turned over to show its proper side and rapidly patted into shape, before the plaster has time to set.

Beautiful models of the thicker-skinned fishes maybe made by this method, but rapidity of execution is a sine qua non.

As the student progresses he will find that it will not be necessary in all cases to cut through the scapular arch of the under side to clear out the head. As a proof, I may mention that I have just finished an 18 lb. fish, the head of which was skinned out by this process.

Small pieces of cabinet cork (about one-eighth inch thick) will be found very useful for spreading the fins of small fishes. [Footnote: Notes on repairing fins will be found in Chapter XII.]

In the event of the scales rising from the use of wet plaster or any other cause, "wrapping" cotton, i.e, "darning" cotton, or shoemakers' hemp, must be bound over them to keep them in place.

Since the foregoing was written I have considerably modified and improved on my former method. Having tried wet "pipe" or modelling clay, with which to stuff the skin, I found that although at first the working and general shape were excellent, yet that, after a few days, the skin shrank and puckered in so abominable a fashion as to render all the labour bestowed upon it of no avail. This was most unfortunately tried upon a twenty pound pike, and so utterly misshapen did it become as to necessitate the relaxing of the specimen—the removal of the clay—and the ultimate shaping up again, by the dry plaster process. [Footnote: Several correspondents have written as to the relaxing of fish skins. This is a very easy process, nothing more being done to the skin than plunging it in water until sufficiently softened.]

This substitution of dry plaster of Paris (price about 4s. per cwt.) for sand is one of the very best things ever tried. Having skinned your fish in the manner before directed, crowd the head with peat and the face, and parts of the skin inside, and around the fins and tail, with putty. Lay the fish-skin, cut uppermost as before, and ladle in dry plaster, beginning at the tail end; as this fills in, sew up, being careful to shorten the skin, making it deep, and not long and narrow at that part; being particular also to well ram in with a short stick the plaster to fill all out, and to remove ugly creases or depressions. When about a third of the fish is done, fasten your stitches and go on filling in at the head; as you work toward the middle, lift head or tail very gently to peep underneath at the progress you are making.

As the stuffing progresses, deepen the body toward the middle, being careful at the same time to well ram in the plaster. Finally sew up.

Now take another board, a little more than the length and breadth of the specimen, lay it upon the top of the skin and tie it to the board on which the fish is resting; by this means you will be enabled to reverse the fish without cracking the skin or destroying the "set" of it. Untie your boards and the object is before you right side uppermost. It will now be seen if your modelling is true or not; in the latter case, note where all imperfections occur, reverse the fish once more, and ram more dry plaster in between the stitches, or if the latter be sewn up too tightly, cut them where needed, sewing up again when all is satisfactorily accomplished.

The specimen being once again right side uppermost, will appear somewhat flat along the centre, this arises from the plaster accommodating itself to the flat surface of the board. You must now, therefore, pass a wet cloth several times over the surface of the skin, and proceed to pat it in a light and dexterous manner into a more rounded shape with your hand, or by the aid of a piece of board shaped in the manner of a small flat bat.

The head will require a great deal of attention; it is now flat and, perhaps, drops down upon the board, causing the upper gill cover to open more widely than it should; to obviate this, prop the nose from the underneath by a piece of peat, or by a wedge-shaped piece of wood; the tail may be twisted or thrown up by the same means if required. The mouth may be kept open as much as desired by pointed wires, one driven through the "nostrils" of the upper jaw, the other wire resting against the teeth inside the lower jaw. The fins being kept damp during the preceding operations, must now be "braced out" by the process heretofore described, and the fish washed, varnished, and dried in the usual manner.

Nothing, you will observe, has been said as to the oval-shaped piece of board previously used inside the pike mounted by the first process. This is wanted when the fish is thoroughly set and dried; when this takes place, cut the stitches and carefully shake out the plaster. If a large fish, replace this by tow, moderately packed; on this lay an irregularly oval-shaped piece of three-quarter inch board, edges rounded and cut to the shape, and almost the length of the fish.

No wires are needed at the head and the tail (one end of the board running into the head), but only those required to support the specimen in its case. When this board is properly in position inside the fish, nail the edges of the skin on it with tacks of a suitable length. Nothing is now needed to complete the fish but the fixing of the eyes and the colouring of the skin. The eyes are hollow, and fixed by wax (see Chapter XII).

In cases where it is undesirable or inconvenient to mount a fish as a whole, the head only may be treated as a taxidermic object. In this case cut off the head behind the scapular arch, leaving sufficient of the skin of the "neck" for nailing on the block. The head being skinned and preserved, as above directed, is then nailed by the skin of the neck on to a similar block to that shown in Fig. 27. The mouth is set open when required, and the gullet and underneath the tongue filled up and modelled with either clay, cement, or wax, the tongue remodelled or substituted by a copy in wax or cement, the composition and application of which is fully explained in Chapter XII.

Notes of the colour of the various parts of your specimen should have been taken previously; in some cases, it is a good plan to make a water-colour drawing of the whole or certain parts of your subject when fresh.

FISH CASTING .—Casting fishes by the plaster of Paris method deserves description, as by this means you are enabled to get correct copies of the shapes and peculiarities of any specimen, from the smallest to the largest. Procure some plaster of Paris of a finer quality—known as "S.F."—than that you have been using previously in modelling mammals, or to fill out the skins of fishes; also some tempered clay—described in Chapter VII.—and some strips of board calculated to the depth, width, and length of the fish you wish to "cast." The specimen having had all the mucus washed from its most perfect side, is laid upon one or two sheets of brown paper or common card-board ("straw-board") covering the work-table. [Footnote: I see that Rowland Ward advises the fish being washed with dilute vitriol (sulphuric acid and water) to remove this mucus.] Decide now as to the attitude you wish it to finally assume, and taking some of the tempered clay, cut it into thin slices, build it on, as it were, until only the upper half of the fish is exposed, build under the fins—including the caudal one—and spread them out as you wish; the clay will usually stick to their under surfaces, and hold them in position. Should they "run back," stick fine pins in them here and there, being sure, however, to cut of the heads of the latter close to the upper surface of the fins.

It is often advisable to lay thin card-board or strong paper under the fins, if the clay is so soft as to come up over the edges. Having now nicely built in the fish—the upper surface of the clay being carefully smoothed over with a knife-blade and a stiff brush ("Artist's hog-hair, No. 8") dipped in water, surround the clay with pieces of board, set up on edge, so as to form a wooden wall around all; the height of this wall should exceed the greatest depth or thickness of the fish by some inches. Tie these four walls—planed on their inside surface—around with strong string, finally nailing outside all with long "French" nails, driven into the table as a support against pressure from within. Look all over carefully, and if any open spaces appear between the clay tablet and the boards, fill in with more clay.

The fish being now ready for casting, take a bowl, which half fill with clean water, into this "dust in" the fine plaster of Paris, in small quantities at a time, stirring each portion until all is ultimately mixed smoothly and without lumps; when enough is mixed—and the knowledge of quantity only comes with experience—pour it quickly, yet gently, over the whole surface of the fish; jarring the table with your fist causes the plaster to settle down more evenly, without leaving "blowholes." The plaster should now be an inch or more in thickness over the highest portion of the fish, in order to give sufficient strength for the "return" cast. Should this not be so, mix some more plaster and strengthen the cast, endeavouring to get a flat surface on the top.

After ten minutes, take away the nails and boards, thus allowing more air to get to the mass of plaster. In half an hour—should the plaster be of good quality—the mould may be raised, turned over, and the fish will tumble out, or may be pulled carefully out without the least trouble. Remove the clay, and on looking into the mould it will, if properly made, show every scale and every line, be free from "blow-holes" or blemishes of casting, besides having a fairly even and square surface surrounding the cavity from whence the fish has been extracted.

This first mould can be cast into again by plaster of Paris, and will, in the case of most fishes, turn out a satisfactory reproduction of the original. Some fishes there are, however, so curiously shaped as to make the first or "female" mould so "undercut" as to render it impossible to get a return cast. In this case, nothing avails but the destruction of the first to release the copy. There are several ways of doing this; one of the most simple is sawing with many cuts the edges of the first, or, as it now becomes, the "waste" mould as near to the cavity as you dare, before casting into it; having done which, and allowed several hours, or a day even, to elapse, you proceed to break it away, piece by piece, by gentle blows with a hammer, leaving the enclosed fish to make its appearance little by little. When this plan is adopted, the last cast or copy must be run double the thickness to that you wish to destroy, otherwise you may break the copy instead of the "waste" mould. Another way is to make the first mould very thin, or to put thin successive coats of plaster over the fish, with brown paper between each coat, and subsequently breaking them away, layer by layer, after the fish is extracted and the mould is filled in by plaster.

In casting into the first mould for the "copy" or perfect cast, it will, of course, be necessary to lay it concavity uppermost, and to surround it with a wall of board like the last, brushing over the concavity, and indeed the whole of the tablet surrounding it, with soft soap and water, or oil, or thin pipe-clay and water; or, if the mould has been baked dry, soaking it in water alone will be sufficient to prevent the copy sticking. Recollect that the flatter the tablet—surrounding the cavity left by the fish—is made, the better will be that of the model.

Supposing that your cast, or model fish, has been turned out in good condition, you will see that there are still certain inequalities of the tablet, and certain roughnesses around the fins, mouth, etc.; these latter must be "relieved" and undercut by the aid of the "undercutting" and "relieving" tools (see Figs. 29 and 30), the tablet must be pared flat by a long broad flat chisel called a "firmer," and the edges also nicely squared.

Your fish is now in high relief on a flat background, but, though having correct form, it still lacks colour. How to colour plaster satisfactorily is a puzzle which has perplexed more persons than taxidermists. Speaking for myself, I say that, having coloured the cast, when wet and when dry, with water-colours, used paper varnish when dry, with water-colours and varnished and painted, and painted and varnished the cast in oils, having used "mediums," tempera painting, "secco"—yet I am not satisfied; there appears a want of softness and brilliancy; probably the electro-type or wax process I am now trying may give the desired effect.

So disgusted was I at the seeming impossibility of getting "tone" on plaster, that I determined to try paper for the last cast or model; to this end I took lessons at a theatre in the art of "making (paper) faces," with the result that I now employ paper whenever practicable, and find it answer, from a 2 lb. perch to a 2 cwt. skate. Two or three most valuable results accrue from the substitution of paper for plaster. First, extreme lightness combined with strength; and secondly, of course, excellence of detail and facility of colouring in either water or oil. For remarks upon the artistic mounting of fishes, see Chapters XII, XIII, and XIV.

There are, I find, two excellent articles on fish-casting in "Science Gossip for 1878," to which I must refer my readers for further details. They agree to differ, however, in one important particular. One writer says that plaster-work is as "cleanly as any cooking operation, and there is no reason why ladies should not engage in it"! The other writer speaks of it as "filthy," and, really, I feel inclined to back his opinion; for having now used some tons of plaster, ranging in quantities from a few pounds to 3 cwt. at a time, I must say that, of all the diabolical messes for getting into the hair or on the boots, and about a house or workshop, plaster is the worst. "Matter in the wrong place," ma foi! you can't keep it in the right.

I see that Mr. Taylor, amongst other suggestions, advises the use of half glue and treacle (see Chapter XII.) to cast the first mould for groups of small fishes. If these glue-moulds were backed with plaster "piece-moulds," they might be useful for larger "undercut" specimens.

Plaster moulds and casts, it must be remembered, are, when dried, about a quarter of their weight when wet, and the same bulk of dried (not dry) plaster is not half the weight of dried clay.

A very scientific way of getting the correct shape of a fish for mounting by taxidermy is to take a cast of the specimen and to then adjust the skin, stuffed by the dry-plaster process, into the cavity of the mould, suffering all to dry therein.

Fishes are now and then mounted in halves, should one side be very badly mangled; the effect is not very good, however, and should not be resorted to but in extreme cases.

Large fishes, such as sharks, rays, and sturgeons of great size and weight, must be cast by the "piece-mould" process—described in Chapter XII. The mounting of such as these, by processes of taxidermy, differs from all previously described in this chapter. When of excessive size and weight, they may be "set up" with wood and iron (see Chapter VII.), or if smaller—say, up to 5 cwt.—may be managed by being cut underneath along the stomach, from head to tail, and mounted by two short iron rods being screwed into a beam of wood, or bar of iron fitted into the body, now filled out with hay, straw, or, better still, clean shavings, supplemented by tow here and there.

When all is sewn up, and the mouth—if open—modelled by any of the methods described in Chapter XII, the short iron rods protruding from each end of the fish must be let into metal sockets (iron gas pipes will often do) screwed into iron feet, supporting all clear from the floor of the museum or room they are to be exhibited in.

============================================

CHAPTER IX.

SKINNING, PRESERVING, AND MOUNTING REPTILES.

THE chief requirement in preserving reptiles is a fine and delicate hand, in order to deal successfully with these mostly thin-skinned objects. I will now take one of the easiest reptiles as our first study, viz, the common snake.

Formerly, by the old method of skinning, the bodies of all snakes were removed through an incision made along the skin of the stomach. This was a mistake, for the smaller snakes may be skinned through the mouth, in this wise: Open the jaws of the snake to their fullest extent, taking care, if a venomous one, not to scratch the fingers with the fangs, which, in the adder or viper, lie folded backward along the roof of the mouth. If the fangs are not required to be shown, the safest plan will be to cut them away with a pointed pair of scissors.

Holding the snake by the back of the neck with the left hand, push the pointed knife or scissors into the mouth towards the back of the head, feeling at the same time with the point of the knife for the first joint of the cervical vertebrae, having found which proceed to dislocate it with the point of the knife, gently feeling your way, and cutting downward toward the right hand, the thumb of which presses against the snake's head at the under jaw. Feel round with the point of the knife or scissors up toward the outer skin, gradually working the flesh away. Cut away the under jaw, inside the skin, from its attachment to the flesh, pushing the point of your scissors or knife at the same time as far as you can get it down inside the skin.

This all requires time and patience, lest you push the point of the knife or scissors through the skin, and also as you will not at the first trial succeed in detaching the head from the body.

The knife or scissors must then be run a little way down the back, to detach the skin. The neck being now entirely free, lay the knife down, and endeavour to push the broken or cut part of the neck up through the mouth; seize the end with your right-hand fingers and gradually slide the skin down with your left hand, turning it inside out until the vent is reached, which carefully cut away; beyond this the skin, instead of coming off easily, holds most tenaciously to the flesh, and the knife again comes into play to free it all around.

Near the extreme tip of the tail it will be almost impossible to get the flesh out, you must therefore skin as far as you can, and then make a small incision underneath, lay back the skin on each side, and cut the flesh away. This operation will bring the outside of that part inside. Return, it, and neatly sew up the cut from the inside, trim away all flesh from the skull bone, take out the eyes, put a stitch in the vent, and anoint the whole of the skin with the preservative.

To return the skin, push a small round stick down and pull the skin back on it; when nearing the tail, the stick may be removed and the fingers used to gradually work this end through, or tie a small piece of wool to form a knot on the end of a piece of doubled thread, and push it through by a long fine needle from the inside to the out, at the same time allowing the needle to come through, by doubling up the skin. You may reach the needle with your fingers, or by long pliers, or even shake it down by its own weight, then by pulling gently you return the skin effectually.

To stuff the snake insert a funnel in the mouth, and fill the skin through this with fine dry sand, or dry plaster of Paris, taking great care to shake the sand well down, and fill in every part in a regular and natural manner. On nearing the head, push a piece of wool in the mouth to prevent the sand from running back, and then adjust the snake to the position you require, leaving the head to be modelled last with clay, putty, or plaster, then remove the wool and make up the throat and inside of the mouth. The natural tongue should be left in, and displayed with fine entomological pins pushed in the hollow underneath, and, if shown open-mouthed, the fangs must be dropped, and the head raised, as in the attitude of striking.

Large snakes, such as rock snakes or boas, must be cut on the old system, viz, under the belly and skinned out, working up and down, as the muscles have so firm an attachment that the slipping-out process cannot be resorted to, but each inch will have to be laboriously cut away from the skin.

Sawdust, mixed with a little sand, will be found very useful for stuffing the larger snakes, as the weight of so large a quantity of sand, or plaster, is too great to successfully manipulate.

A few hints as to snakes and snake bites may not be out of place here. To distinguish the only venomous snake found in the British Isles is an easy matter, if you have the opportunity of examination. In the first place, the viper appears to have a more spade-like and flatter head than the common snake, and has a black cross from near the neck running up to the centre of the head, where it terminates in a black, oval-shaped spot. But the greatest distinction, perhaps, is that a decided pattern runs down the centre of the back, appearing as a chain of obtusely-shaped diamond markings, joined together, and somewhat confused in places.

Again, it has in the upper jaw two fangs or poison teeth, which in rest lie folded back; on pulling them down with a needle, or by the crooked awl, they appear as fleshy lobes, out of the apex of which is thrust a little glittering point like a small fish bone. This small bone or fang is hollow, and through it the poison is ejected by a process too complex to describe in the pages of this work.

The slow-worm, common snake, and the one other rarer species found in Britain, have merely the ordinary holding teeth, and are all perfectly harmless. Should anyone be so unfortunate as to be bitten or scratched by a viper's fang, a speedy application of liquor ammoniae fort (strong ammonia) to the wound, with the further application of a ligature above the bitten part will be found of benefit, and perhaps avert serious consequences until surgical aid is obtained. Ipecacuanha has been recommended, powdered and applied as a poultice, with an internal administration at the time also, of the same drug, but that requires medical knowledge as to the extent and frequency of the doses.

To skin frogs, they must be plunged for an hour or so into the hardening solution, No. 15, and then skinned out from the mouth. This requires a finer hand and greater patience even than skinning a snake, as they must be carefully cut all around the mouth, and the body drawn out to the tips of the toes. They may then be filled with sand or plaster. Various comic scenes may be made by skilfully grouping frogs, but if required to stand on their hind legs, etc, they will have to be wired, by pushing fine wires or stout "needle points" through a small piece of board into the sole of the foot, to run a little distance up the legs. A drop or two of strong glue, or shellac, may then be placed under each foot, which should be tied down until the glue sets hard.

Tortoises and turtles may be skinned out, by having the skin of the legs, tail, and head, cut away all round from their attachments to the under shell or plastron. The joints of the limbs should then be cut away from the inside, and the tortoise or turtle laid on its back, in which position the separated limbs hang down, remaining only attached by their top skin (now underneath), to the upper part of the shell or carapace. This exposes the whole of the remaining skin and flesh, which must be cut and scraped out with knives, or with the under-cutting tool. The limbs are then skinned out, preserved and stuffed, and their proper bottom edges, when in position, pushed back and attached by needle points to the plastron.

Lizards, "horned toads," and chameleons may be cut underneath and filled out with sand or plaster.

In all cases where sand is used it may, after the animal is thoroughly dry, be shaken out if desired; but if the reptile is not very large, it is better to leave it in.

Dry plaster will, in nearly all cases, be found the best medium for filling out the skins of reptiles; with this I have succeeded in giving characteristic and life-like attitudes to moderately-sized alligators, etc.

Very large saurians may be mounted by either of the methods referred to in the closing sentences of the last two chapters.

CHAPTER X.

DRESSING AND SOFTENING SKINS OR FURS AS LEATHER.

THE art of tanning is, as I before observed (vide Chapter I.), of the highest antiquity, as systems which are now in vogue must have been known—if even in a modified form—to the ancients. We may roughly divide the operation of tanning into two distinct classes: One which deals with skins without the preservation of the fur, and which turns the skin so operated upon into the material known as leather; and the other in which we seek to preserve the fur or hair in its normal position, at the same time dressing or rendering soft the actual skin itself. [Footnote: Some time during 1874, Mr. Joseph Tussaud read a paper before the Society of Arts, in which he described an ingenious method of removing the fur of any animal to an artificial "backing" of india-rubber or flannel, whilst the original skin was utilised as leather.]

The first process—the making of leather—does not lie within the scope of this work; suffice it to say, that the hair or fur is first removed by lime, etc, and that after the skin is scraped it is treated variously with oak bark, valonia, sumach, divi-divi, etc.; it is a long and tedious process, and certainly does not lie within the province of a taxidermist to attempt; and though it is possible for a tanner to preserve the fur with the skin, yet the attempt is undesirable, by reason of the false or unnatural colour it permanently gives the fur—totally destroying the character of a light one, and heightening or lowering, as the case may be, the tint of a dark fur. [Footnote: Technical works on Tanning are "Tanning, Currying, and Leather-dressing," by F. Dussance: "The Arts of Tanning, Currying, and Leather-dressing," from the French of J. de Fontenelle and F. Malepeyre.]

To obviate all these difficulties and disagreeable effects, a totally distinct method of dressing skins has been devised, which is called "white leather dressing." Before I describe this, however, it may be as well to say that no liquid, powder, or combination of liquids or powders, is known into which a skin can be plunged, and—without the aid of manual labour—come out as leather. I mention this to correct a popular error, many people supposing that labour has no part in the preparation of "white leather." To those who are not prepared to work hard, and very hard indeed, I say, Do not waste your time in reading this chapter.

The usual and time-honoured method of dressing skins, say a rabbit's skin, is—directly it is removed from the animal—to nail it on a board, and rub it in with alum four parts, and common salt one part, or plunge it in a warm solution of the same for a day or so, taking it out, nailing it on a board, letting it dry, rubbing it down with pumice stone, and plunging it again and again, and repeating the drying and pumice-stoning process until the skin becomes pliable. This is rather an uncertain process, for if well steeped the hair or fur is constantly damp, or dripping even, in humid weather, and if alum alone is used, though killing much of the dampness, it renders a fine thin skin of a parchment-like texture.

However, as anything is better than a damp skin, I have used a mixture of four parts of burnt alum to one part of saltpetre (see Formula No. 9) for small skins, finally rubbing down and dressing the skin with lard, into which a little essence of musk has been stirred, and kneading the skin with the hands in bran to remove the superflous grease.

This, and all other such processes where alum is used, must, however, give way to the following, which I have used for certain skins for years, and for which I was originally indebted to a correspondent in the English Mechanic; his formula was: "Mix bran and soft water sufficient to cover the skins, let this stand four hours covered, before being used, then immerse the skins, keeping them well covered for twenty-four hours (less in India), then take out, wash clean, and carefully scrape off all the flesh. To one gallon of water (hot) add one pound of alum and a quarter of a pound of salt. When dissolved and the mixture is cool enough to bear the hand, immerse the skins for twenty-four hours, take out and dry in the shade, and well rub with the hand.

Stir the liquor, and again immerse for twenty-four hours; dry, and hand-rub as before, and then put the skins for twenty-four hours into warm oatmeal and water, stirring occasionally. Dry in the shade, and when the skin is nearly dry, hand-rub till quite dry."

The only thing I have found necessary to guard against in this is, that the skins must be perfectly fresh before being put in the bran and water, otherwise it will be necessary to rub them in with the salt and alum first. Another improvement is, to tear up the fibre with a little instrument I have invented, or rather adapted (see Fig. 35), which is simply a "hog scraper," ground up sharp all round, and then filed up into short rounded teeth where shown; this will be found of incalculable service in tearing off the hard upper skin or dried flesh and blood, which locks up as it were the true skin, and which must be got at before the pelt will become at all flexible.

Fig. 35—Scraper with which to dress skins.

Often a thorough wetting of the skin will considerably facilitate this operation. Constant scraping and hard hand-rubbing, similar to a washerwoman's "rubbing" of clothes, is necessary. In the cases of some skins which are obstinate, thick, or have been simply sun-dried, as are many tigers' and leopards' skins sent from India, it will be found necessary to fix them over a sloping board or on the edge of a table, and to use a spokeshave, or currier's thinning knife, to thin them down—perhaps an eighth of an inch all over—then tear the fibre up with the scraper, grease them with lard, to which has been added essence of musk, and punch them for several hours or several days with a "dolly" in a tub half full of bran or hard-wood sawdust; finally covering them with plaster of Paris, or powdered whiting, to absorb the grease; scraping off the old plaster or whiting, and adding fresh from time to time, until the skin is freed of fat and perfectly pliant. [Footnote: Professional workmen often knead the lard into skins by the medium of their feet and hands—not too clean an operation!]

To afterwards clean the fur, dress it down with a "scratch-card" (to be procured of any ironmonger)—steel wire woven on cloth in such a manner that short ends protrude like a wire brush.

Very fat skins, such as dogs' skins, may, if perfectly fresh, be nailed out and gone over with a saturated solution of borax, or a solution of one part borax to one-eighth part saltpetre, and left to dry in the shade for three months, after which they may be scraped, and their natural fat will, after all superfluity has been removed with plaster, etc, be found to have sufficiently imbued the under or proper skin to render the final greasing unnecessary.

The two foregoing processes seem to have been modified with some success by Mr. R. Backhouse, of Stockton-on-Tees, whose process is spoken of in the Field of June 3rd, 1882, as follows:

"The skin, which should be removed from the animal as soon as possible after it has been killed, is stretched and tacked on to a board, the flesh side being outwards. This is at once covered with lard carefully spread over the entire surface, no portion being allowed to escape. As the moisture dries out of the skin, the lard enters the pores and supplies its place, and in about a week's time (the lard being carefully renewed when requisite) the skin will have altered its character, in consequence of being penetrated by the grease. It is then removed and washed thoroughly in warm water and soap until the external grease is removed. During the drying it is necessary to pull and stretch the skin in all directions, so that its texture opens, and it becomes white, owing to the admission of air into the pores; this stretching is accompanied, or rather preceded, by careful scraping or currying with a sharp knife or razor, to remove the fleshy matters and render the skin thinner. With the larger number of skins the process is successful; but some few go bad, apparently from not absorbing the lard with sufficient rapidity."..

Possibly the species of mammals treated may have something to do with this, the skins of carnivorous animals bearing exposure better than those of the rodentia—hares, rabbits, squirrels, etc, and insectivora—bats, shrew-mice, and moles—indeed, the latter animals must be skinned almost as soon as they are dead, or the skin turns "green" and goes bad in a very short time. No doubt the vegetable and insect food consumed by these cause fermentation after death, with the resultant putrefaction of the bowels and the thin coverings of the latter.

I would here point out, however, that small skins—cats', rabbits', etc.—will be perfectly preserved if stretched out whilst fresh, cured with the chloride of lime preservative (No. 4), and then finally treated with lard and essence of musk, and finished off by either of the preceding methods to render them clean and supple. A correspondent who had treated some cats' skins by this method writes to say he has "succeeded in curing some cats' skins in an admirable manner" by following these instructions.

A very convenient mixture of borax and another natural salt has been brought out by Mr. Robottom, of Birmingham (see Chapter I). I have given his preparation a long and patient investigation, and can recommend it for small skins, while its convenient form, cleanliness, and low price, place it within the reach of all amateurs.

Equal parts of salt, alum, and Glauber's salts, mixed with half a part of saltpetre, the whole rubbed in several times a day, has been recommended, but I have not tried it.

A mixture of sulphur and arsenic with soft soap is sometimes used to dress skins with, and if left on for about a year certainly renders them very pliant, after the removal of the grease.

The North American Indians, I believe, smoke their deer skins, etc. and after working them, use brains to dress them with.

The skins of mammals in the flesh may, if bloody, be washed, should the blood be new, or combed with the scratch card (see ante) if it has dried on the hair or fur. In old skins washing is effective when the animal is relaxed. Freshly skinned deer and bulls' heads should always be washed and combed, and wrung out before having the preservative applied.

Mammals' fur is also considerably improved in tone by being well brushed with stiff horse or carriage brushes, and afterwards wiped down with turpentine, followed by benzoline.

When a skin is properly cleaned and finished, it may be lined with red or black cloth, or baize, and a "pounced" border of cloth attached. The tools for "pouncing" are to be bought at most saddlers' or ironmongers'.

I have been asked many times what to do, if camping out abroad, supposing you shot a tiger or a bear, and wished to preserve the skin as a "flat." Simply lay it on the ground and slit the skin underneath, in a straight line through the under lip to the tip of the tail, then make four cross cuts from the median line along the inside of the limbs down to the toes, and skin out the body by stripping it in a careful manner, not allowing any pieces to be cut away, in case you might change your mind and wish it mounted as a specimen.

Take out the skull, clean and preserve it, and though skinning out the toes completely, be careful to retain the claws in their seats. When the body is removed, "flesh" the skin, which means scraping and cutting away all superfluous flesh and fat, then lay it out flat and rub it well in with the burnt alum and saltpetre (Formula No. 9). In dressing thick skins, it will be advisable to make a paste of the alum and saltpetre by mixing it with a little water, and repeatedly rub this mixture into those parts where the skin is thickest, such as around the lips, eyes, ears, etc, taking care that not a wrinkle in any part escapes a thorough dressing, otherwise it will assuredly "sweat," and the hair come off in such places.

The skin may now be rolled or folded together for travelling, but the next day, when settled in camp, it must be dressed again—twice will be quite sufficient for any but the thickest or most greasy skins; after that it must be exposed day by day to the sun and air, taking care meanwhile to guard it against all possible enemies. Treated in this manner, it has no "nature" in it, but is "as stiff as a board;" before this happens, however, it will be advisable to roll it, unless you have plenty of space at disposal on the floor of a travelling waggon, etc, in which case it may be folded to fit. A folded skin is, however, worse to treat, subsequently, than a rolled one.

Valuable skins should be, when practicable, sprinkled with insect powder, turpentine, or pepper, and sewn up in sacking until they can be tanned, or made into soft leather, by any one of the processes previously described. If time is no object the skin may, after the first rubbing-in of the preservative, be stretched by the old-fashioned method of "pegging out," or by the more efficient professional "frame," made of four bars of wood, to which the specimen is "laced," or sometimes made of bars of wood and stout sacking, adjustable by means of wood screws, which open the bars and stretch the attached skin in a proper manner to the required size.

When alum, etc, cannot be obtained, recourse must be had to common salt, which is generally procurable in any part of the world; a strong —almost a saturated—solution with water must be made of this in a tub, and the skin placed in it. If possible, change the liquor after a few days and add fresh; head the tub up tightly and the skin will keep many years. I received the skin of a polar bear, sent from the Arctic Regions to Leicester for the Town Museum, simply flayed and pickled in this manner, and after a lapse of two years it was examined, and found to be perfectly sweet and firm—quite fit for mounting when opportunity served.

Of course, these salted subjects are terrible nuisances either to mount or to treat as flat skins, having to go through many processes to rid them of the salt which pervades them. The first process is thorough washing and steeping in water, constantly changed; after that experience alone determines the treatment to be pursued. If alum were mixed with rough salt in the proportion of two parts of the former to one of the latter, the solution would become more astringent in its operation. A pickle made of oatmeal, saltpetre, and boiling vinegar has been recommended, but I have not yet tried it.

I think I have now put the would-be tanner and currier in a fair way to do some of the dirtiest work imaginable, and if after a fair trial he does not cry, "Hold, enough!" and hand all future leather-dressing over to the professionals, I shall indeed think him "hard to kill."

In conclusion, I can only reiterate to those who wish to do skins well by any of the foregoing methods, that nothing can be done without hard work.

CHAPTER XI

RELAXING AND CLEANING SKINS—"MAKING-UP" FROM PIECES.

RELAXING SKINS.—In many instances, especially when collecting abroad, it may be found incompatible with the time and storage space at the disposal of the collector to set up birds and animals in their natural positions. To obviate these difficulties we make a skin as previously described, and by this means pack many in the space which would otherwise be occupied by one. The time comes, however, when we wish to "set up" the skins procured by ourselves, or by others, and for this purpose we "relax" them.

"Relaxing" is performed in various ways, but probably the oldest plan is that of simply unstuffing the skin, laying it down on a board, wrapping the feet and legs round with wet cloths or tow, and applying the same to the insides of the butts of the wings, allowing the skin to remain from one to four or five days in this position, according to its size; then, when the legs, feet, and wings are sufficiently damped, warm water is poured into the orifices of the skin, and suffered to run out at the eyes and beak. It is then ready for stuffing in the ordinary way.

Another "rough and ready" method is simply pouring hot water through the bird's skin; this relaxes just sufficiently to bend the head, which many workmen of slovenly habits consider quite sufficient!

The next most ancient method is relaxing by the plaster box, which is a rough box, with a lid made to fit over all tightly, and having the whole of its inside lined with a coating of plaster of Paris mixed with water, and laid on two or three inches thick. 'When a bird is to be "relaxed," the inside of the box is saturated with water, which the plaster readily absorbs up to a certain point. Then the surplus water is poured off, the skin or skins are placed within the box, the lid is fastened down, and the whole placed in the cellar for so long a time as is required to thoroughly soften the included skins.

This plan, though fairly efficient for the smaller skins, must give place to that which I have ever adopted, and which is almost as effective for a large as for a small skin. It is this: Procure a box of suitable size, which, for greater efficiency, may be lined with zinc. Into this put several quarts of clean silver sand well damped with water, but not up to the point of actual wetness. Wrap each skin separately in a clean rag or in a piece of unprinted paper ("cap paper" will do for the smaller birds), pull back the sand to one end of the box, leaving a thin layer, however, all over the remaining part of the bottom, on which place the skins, covering them up as you go on with the sand from the other end. When covered with the proper depth of sand, lay a damp cloth over the top, and put the box away in the cellar or in the shade.

In from three days to a week, according to the size of the skins, they will be found more thoroughly relaxed by this than by any other method, and will be kept—by their covering paper or linen rag—from having their feathers soiled or disturbed by the sand.

In the first edition, I decried the practice of plunging birds' skins into water in the manner pursued by Waterton and his followers, but I had not at that time found anyone to please me in the subsequent manipulation of skins after being taken out of water. I have now, however, changed my views on the subject, and will proceed to describe a plan, which, though entailing some little trouble, is yet so simple, and so complete in its effects, as almost to supersede the previous methods, when the operator has attained any degree of proficiency in this.

The skin to be operated upon is, if small, simply placed in a pan or bucket partly filled with water, and weighted own in such a manner that it shall always be beneath the surface. If the taxidermist is in a fair way of business, he will find a wooden tank, about 36 in. by 24 in. by 12 in. deep (inside measurement), sufficiently large for his needs. This tank should be "tongued" and dressed with red lead, or lined with zinc, to render it waterproof. Of course, the professional will not find it large enough for anything but medium-sized skins; for the larger ones, and for mammals, he will require other and larger tanks. A petroleum cask (procurable from any oilman for a few shillings), cut unequally in two parts, will be found of service when one large skin only is soaked at a time.

When the skin is in the water, a board may be placed upon it, weighted so as not to flatten against the bottom of the vessel, or it may be kept in position under the water by pressing thin slips of wood over from side to side. The skin being well saturated—which, according to the size of the bird, will take place in from twelve to twenty-four hours—must have the stuffing removed from it, and then be allowed to soak for so long a time as experience will dictate. [Footnote: This should not be attempted before the skin is properly soaked, otherwise the cotton wool, or whatever it maybe stuffed with, will "stick" and frequently pull the head, etc. off with it.] As a rule, however, when the wings and tail will spread out with gentle handling, the bird is fit to mount.

Sometimes the legs, if thick, and even the wings and tail, if large, will require a longer time to soak than is conducive to the well-being of the remainder of the skin; in this case, nothing remains but to skilfully pull off the wings, legs, and tail, and let them soak a few hours longer. [Footnote: This would seem to an amateur very rough treatment, but often it is the only method to pursue especially if the skin be "tender," although in them latter case vinegar is recommended to be added to the water in which it is steeped.]

Supposing, however, that the skin is properly relaxed without recourse to this, it must then be hung up by a wire secured through the nostrils, in order to drain the water out of it. After hanging a few hours (or many, if large) it is, when all the water has drained away from it, but while yet damp, carefully wiped down in every part with benzoline, applied liberally, but from head to tail, the way of the feathers; this is important. The skin may now be placed in a long shallow box, called the dry plaster box, and all the feathers well covered above and below with common dry plaster of Paris, and the skin allowed to be buried in it for three or four hours, then the damp caked plaster may be shaken off and fresh dry plaster added, allowing it to remain for several more hours.

This should be repeated until the feathers are fairly dry—which, if the bird be large, will take from twelve to twenty-four hours. The feathers of the skin must now be beaten with a bundle of stiff feathers, or the wing of a goose, or other large bird, until nearly dry, then dry plaster added from time to time, and the skin twirled about in the open air if possible. Very soon the feathers will cease to remain clogged with plaster, and will come out ready for mounting, nicely dried, fresh, and so beautifully clean as to surprise any person ignorant of the process.

Carefully managed, this is one of the most valuable aids to artistic taxidermy, as by its means birds' skins are rendered as limp and supple, and much tougher, than if just removed from the body. In proof of my assertion, I may mention that I have caused skins from ten to fifteen years old, and ranging in size from a cassowary to a humming bird, to be prepared by this method, all of which subsequently mounted up in a first-rate manner. [Footnote: A humming bird, after relaxing by water, is, when drained sufficiently, best treated by plunging in benzoline and then carefully dried in plaster. A night in water, and half-an-hour's treatment with benzoline and plaster, is sufficient for these small creatures.]

The points to observe are—first, perfect relaxing; secondly, wiping down thoroughly with benzoline; thirdly, drying the feathers of the skin well, by dusting in plaster and beating and agitating them in a current of air. Should the skin be greasy, covered with fat, or imperfectly freed of flesh (as many of the foreign birds' skins are), it will be necessary to scrape and trim when the specimen comes out of the plaster, before it is finally cleaned. In any case, it is always advisable to turn the skin of the head inside out, stretch the face, scrape the neck, and stuff the head in the ordinary manner before returning the skin.

The great advantage in the water process is, that a "Past master" in the method can mount a skin in as artistic and natural a manner as if done from the flesh. Usually, specimens done from the "skin" are at once recognisable by their uneasy and "wooden" appearance, but I defy anyone to pick out the skins in the Leicester Museum—unless by their neater appearance—from those anciently mounted from the flesh.

Skins of mammals, if cured by the formula (No. 9) given in Chapter IV, need only to be plunged in water for a night or so to relax them, wrung out, thinned down where required, and mounted straight away; a wet skin being an advantage when modelling mammals, wet cloths even being necessary to cover over certain parts, should the mounting occupy more than a day or so. This, if the skin is properly cured, does not injure the fur or any part in the slightest degree, while, at the same time, it thoroughly relaxes.

As newly relaxed skins (especially those of birds) dry rapidly it will be advisable to have everything ready, and shape them up as quickly as possible.

The colours of the bills and feet of most birds recover their pristine hues whilst being relaxed—a matter of great importance as assisting the naturalist to the subsequent natural rendering of those parts.

CLEANING BIRDS' SKINS, etc.—Formerly, it appears, the orthodox method of cleaning birds' skins was by the application of water and plaster of Paris. When it was wished to remove blood, or other stains, from a white or a light-coloured bird, this was effected by means of a soft piece of wadding saturated with warm water, and then rapidly and lightly applied to the stained part, followed by plaster of Paris dusted on the way of the "grain," and allowed to remain on the specimen until perfectly dry, when it easily came off in cake-like pieces, leaving the feathers thoroughly cleansed of all impurities. If the wadding became overcharged with blood, it was, of course, changed from time to time before the plaster was thrown on.

Though this method does very well for blood stains of a recent date, it will not remove grease or the stains from old skins. This was always a weak point with the taxidermists of yore, who used, with very meagre results, turpentine and plaster of Paris to clean their skins. This went on for many years, and, though an unsatisfactory state of things, had to be endured, as nothing better was known.

Some few years ago "benzine collas" was introduced, and the taxidermists were not long in finding out its valuable properties for feather cleaning. "Benzoline" (Benzol, or Benzine C6H6), then came into more general use, and was, of course, found to have all the properties of the so-called "benzine collas." This discovery, we may say, completely revolutionised the art of feather cleaning. It served equally as well as the other preparation, and its superior cheapness placed it within the reach of everybody. The cleansing property of benzoline is still somewhat a secret out of the profession, and is really worth, as a matter of business, all the money which is sometimes asked for divulging it to an amateur.

When, therefore, you have a bird which is greased, or stained with greasy dirt, etc, wipe it down the way of the feathers with a piece of wool saturated with common (or French) benzoline, using from time to time fresh wool as the other becomes soiled. When the feathers are well damped, cover the newly-cleaned part with dry plaster of Paris, allowing the bird to remain from one to two or three hours, at the expiration of which time take it out, dusting the waste plaster off with a soft bundle of feathers, Do not be alarmed if the bird looks somewhat miserable at the outset, but be sure that, if the plaster is dusted on the way of the feathers, all will come out right.

Blood, whether fresh or old, is best removed by warm water as just described, and the feathers then carefully wiped down with benzoline, before putting, on the plaster; this obviates the roughness often observable in water-cleaned birds. [Footnote: The American publication, "Science," points out that the addition of salt to the water cleanses blood from feathers, by preventing the solution of the blood-globules, and diffusion to the colouring matter, or red haemoglobin. I have found this "wrinkle" of great benefit in cleansing white-plumaged birds.] Sometimes, in very old skins, successive applications of water, turpentine, benzoline, and plaster, carefully managed, will work wonders.

I have mentioned the fact that birds may be plunged into turpentine to rid them of insects. After this process they do not readily dry in, proper form, remaining greasy and streaked with, dirt—in fact, in a generally deplorable condition (as I know to my cost, teste, the Leicester Museum collection, ignorantly treated in this manner before my advent). Birds treated with turpentine must be well washed down afterwards with benzoline and then dried in plaster of Paris, as before described. In cleansing old specimens, do not forget to dust them, or to beat them thoroughly with feathers, before applying the benzoline, etc.

In a fresh specimen it would be a person's own fault if he should fail to clean a bird, even were it dipped in blood and grease. Patience and several cleanings are all that are necessary.

Dark plumaged birds—which may have light or white parts—will require care in cleaning, in order that their darker feathers may not be dulled by contact with the white plaster. Should this happen, however, in spite of all pains, it will be found that beating with feathers, and a light touching over with wadding, on which a very little benzoline has been poured, will brighten them up wonderfully. Ostrich and other feathers may be effectually cleaned by any of the foregoing methods, and, by management, re-curled with a blunt knife and the fingers.

"MAKING UP" From Pieces.—I have before mentioned that birds are sometimes made up feather by feather, and also when pulled to pieces for "relaxing." The first is simply pretty pastime, which any person possessed of patience, some little ability, and a stock of feathers, paste, and paper, may indulge in as a recreation.

The latter, however, is a different matter, and is practised in cases where a bird's skin is accidentally torn in several parts, or drops to pieces when "relaxed" through imperfect curing, or by old age. When this happens, the amateur need not feel as if the world would be the next thing to tumble to pieces, but simply get to work thus: Make a body of tow, with neck attached, as described; next, pull the legs off (if they have not previously fallen off), wire them, and attach them firmly to the body by clenching their free ends; bend these legs into the position you wish the specimen ultimately to assume and attach the wires at the feet to a block or perch. A T, formed of two pieces of wood, the bottom end attached to a block, is, perhaps, the best support, as you can get all round to adjust everything, even to the tail.

Your progress up to this point is simply a headless neck attached to a tow body, supported by natural legs fixed to a perch. I assume that your fragments are sufficiently relaxed, and the feathers cleaned and nearly dried. All the fat must, of course, have been scraped off the inside of each piece of skin. Arrange these pieces in the order they should come upon the model, to get the "fit," as a dressmaker would arrange the patterns of a dress upon a lady. Notice where your model is too small or misshapen, and bind on pieces of tow; or paste and bind on wadding, excepting near the wings, where wires would fail to pierce wool or wadding.

When properly-shaped, give the whole of the model a good dressing with flour paste (see No. 31), into which a little carbolic acid has been stirred. Paste the inside of each piece of skin with this, and commence to finally rearrange them. As a rule, the under and breast pieces are fixed first, then the wings are wired and firmly clenched on the body; adjust the wings into proper position, bringing the breast feathers over at the shoulders; next, put on the wing coverts, the back, the tail (firmly wired), and the upper and under tail coverts; lastly, the head and neck pieces, shaping the made neck into position, etc, as you proceed. [Footnote: Note that even in close-winged birds, which a pieced specimen such as this one described must be of necessity, it is always advisable to wire the wings as for flight, running them on these wires close to the body, and giving them by this means the necessary curvature; entirely different, and much more natural, than if simply bolted on by straight wires running through the shoulders into the body.]

Sometimes it is necessary to slip a piece of wadding underneath to swell out a certain set of feathers; in this case, lift up the surrounding parts with a crooked awl or with the feather-pliers, and carefully insert the wadding in such a manner that the paste shall not clog the other feathers in juxtaposition.

When finished to your satisfaction, lightly sponge off any excess of paste with warm water; wipe down with benzoline, and dust plaster thickly over all the specimen; this assists the drying and cleans it. In an hour or so dust off the plaster with a bunch of feathers, and bind the skin with "wrapping cotton" in the usual manner. Set it in a warm place, or in a current of air, for a week or so, to dry, and, lastly, put in the eyes and finish off. The foregoing, though apparently a Caesarian operation, is not difficult to a practised hand. I may, perhaps, here mention, in order to encourage my readers, that I myself once successfully mounted a large snowy owl from thirteen pieces of skin, and that had there been twenty-three it would have come out just as well.

In "relaxing" it is often better, especially in such specimens as Birds of Paradise, to pull off the legs and wings; by this means the skin is more easily stretched, and always, in the hands of a master, makes up more satisfactorily than by any other means.

CHAPTER XII Colouring Bills And Feet Of Birds, Bare Skin Of Mammals, Fishes, Etc.—Restoring Shrunken Parts By A Wax Process—Drying And Colouring Ferns Grasses, Seaweeds, Etc.—"Piece Moulds," And Modelling Fruit In Plaster—Preserving Spiders—Making Skeletons Of Animals, Skeleton Leaves Etc.—Polishing Horns, Shells, Etc.—Egg Collecting And Preserving—Additional Formulae, Etc.

COLOURING BILLS AND FEET OF BIRDS.—Birds which, when alive, have either legs, bills, or faces of various bright colours, lose these tints when dead, and after lapse of time, the colouring matter in some cases totally disappears, and nothing can restore the loss of pigment but artificial treatment of the faded parts. To do this satisfactorily is not one of the easiest matters in the world, inasmuch as two things are to be strictly guarded against. One—thick painting, which hides all the characteristics of the scutellae, or plates of the legs and toes, or fills up the minute papillae of the face; the other—imparting a too shining or varnished appearance to the parts coloured. So little colour is required for this purpose that I have found the oil-colour tubes used by artists to be the handiest and cheapest. The colour, when squeezed out, is to be thinned with turpentine only, until it readily flows off the brush on to the beak or legs of the specimen; if properly done it is very transparent, and of just sufficient quality to give the necessary brightness without undesirable shininess.

The colours that are most useful are chrome yellow, yellow ochre, Prussian blue, permanent blue, light red, burnt umber, flake white, and vermilion. With these every shade of grey, blue, green, red, or pink can be obtained; they are all cheap, but if a quantity of vermilion is desired, it is cheapest bought as a powder at the oilman's, and mixed as required. When colour tubes are not procurable, the same colours are to be obtained at the oilman's in powder, or ready mixed, which latter must be thinned with one part transparent paper varnish to two parts turpentine (turps), the varnish being added or decreased as dry or mixed colours are used.

"Brunswick black," a cheap and durable brown, if laid on thinly, i.e. thinned with turps, is sometimes used for colouring the noses of mammals. It must be recollected, however, that greys predominate in some noses over browns, and that the surface is seldom of one tint, hence "Brunswick black" is seldom used by artists, who prefer to make tints from some of the colours mentioned.

Faces of parrots must be whitened with dry "flake white" applied with a piece of cotton wool.

The bills of toucans, and similar birds, require some nice colouring to blend the various tints one within the other. If the reader requires a more scientific method of doing this, I must refer him to "Waterton's Wanderings in South America," in which work he will find an account of the manner in which that eccentric naturalist cut out the insides of his toucans' bills, paring them down to the outer layer, through which the subsequent artificially-introduced colour was revealed.

It would, no doubt, be possible to introduce colour into combs and wattles, and also into the bills of some species of birds by subcutaneous injections of various dyes when the specimen was fresh, but as all taxidermists are not skilled anatomists, and have not too much time to spare in doing what is—at best—but an unsatisfactory and unpractical method, I may relieve their anxiety by saying at once that the difficulty attendant on shrinkage of the integument may be avoided by using wax, with which to thinly paint the large bills of some birds, and the legs of all, restoring also the fleshy appearance of wattles, etc.

Let us take one or two representative birds—first, an eagle, to work upon, Premising that your bird is finished and dry, and that you have previously accurately copied into your note-book the colours of the soft parts, you will begin by brushing over the parts to be coloured with a very little turpentine. Next, heat in a pipkin, or "patty-pan," some beeswax, into which a little common resin has been powdered, just sufficient to harden the wax under the point of brittleness; apply this with camel-hair brushes of different sizes to the eyelids (the eye being in and fixed), the superciliary ridge, the cere, the gape, and all over the bill, and legs, and feet, regulating the thickness of the wax thus—very thin over the bill and eyelids, a little thicker upon the cere, ridge, and gape, and quite thick upon the legs and feet; so much so, indeed, in places on the latter, as to necessitate carving up with tools to reproduce the underlying shrunken scutes, etc. This, of course, is a delicate operation, involving practice and artistic perception of form.

Remove all superfluous wax by paring with curved awls of various sizes, and rubbing down with rag wetted in turpentine. Some parts of the legs may be treated with hot irons (large wires, old awls, knives, etc.). When the wax is sufficiently cold, which it will be in a quarter of an hour after finishing, commence colouring, by using the colours direct from the tubes, with as little admixture of "turps" as possible. [Footnote: Winsor and Newton, Rowney, or Roberson, are some of the best makers of these.] Note the different tints—quite three shades of yellow upon the cere, four or five upon the bill itself, and perhaps half-a-dozen upon the legs and feet, and carefully put them on. Properly finished, your eagle will—if correctly shaped—be quite life-like; all the soft parts now look full and fleshy, having lost that hard appearance inseparable from direct painting on the shrivelled integument without the intervention of wax.

The wattles and combs of gallinaceous birds, after being washed with preservative (Formula No. 15), or, when practicable, skinned out and filled, together with analogous processes on the vultures, and also the pouches of pelicans, etc, may be treated in like manner, the wax being thinly or thickly painted as required.

The inside of the mouths of mammals, their tongues, eyelids, and noses, should be treated in a similar manner.

The skin of fishes also, which, when dry, shrinks away above the eye and around the mouth and lips, should have these parts replaced by wax before colouring, in the manner practised on the new specimens in the Leicester Museum. So little, however, is the want of this understood, that, of the thousands of stuffed fishes exhibited in the Fisheries Exhibition, I looked in vain for one with unshrivelled lips or orbital ridges. For the credit of artistic taxidermy, let us hope I overlooked some, finished as they should be.

The fins of fishes may be repaired with thin tissue paper, or, if finless by accident—"ware cat!"—may be replaced by wax. White wax may be coloured in some instances before using. Paraffin wax does in some situations, but is not a very tractable medium. Dry colours may sometimes be rubbed into the wax with advantage. The colouring of a fish's skin, which, when set up and dried, is colourless, as noted, is a nice operation involving some artistic ability; the same remarks apply as those upon the colouring of the bills and feet of birds (see ante), but with this difference, that although the colour should be thinly applied as directed, yet in this instance the appearance of wetness has to be represented. In ordinary taxidermic work this is managed by adding clear "paper" varnish, or "Roberson's medium," to the colours, thinned by turpentine, floating the tints on the skin of the specimen, and nicely blending them, in order to obviate unnatural streaks or bands of colour.

Speaking of the duck-billed platypus, the Rev. J. G. Wood, in "Homes without Hands," has some pertinent remarks upon the manner in which nearly all taxidermists allow the cuticle to dry and shrivel, to the ultimate distortion of the surrounding parts:

"The wonderful duck-like mandibles into which the head is prolonged are sadly misrepresented in the stuffed specimens which we generally see, and are black, flat, stiff, and shrivelled, as if cut from shoe leather. The dark colour is unavoidable, at all events in the present state of taxidermy. Bare skin invariably becomes blackish-brown by lapse of time, no matter what the previous colour may have been, so that the delicate tints of an English maiden's cheek and the sable hue of the blackest negro would in a few years assume the same dingy colour, and become quite undistinguishable from each other.

But there is no excuse now-a-days for allowing the bare skin to become shrivelled. The colours we cannot preserve, the form we can and ought to reproduce. No one would conceive, after inspecting a dried specimen, how round, full, and pouting were once those black and wrinkled mandibles, and how delicately they had been coloured while the animal retained life. Their natural hue is rather curious, the outer surface of the upper mandible being very dark grey, spotted profusely with black, and its lower surface pale flesh-colour. In the lower mandible the inner surface is flesh-coloured, and the outer surface pinky white, sometimes nearly pure white."

All this could easily be avoided by the taxidermist first skinning the beak and lips to their farthest extent, and then filling them with clay or composition, and afterwards waxing and colouring the parts in question.

Small birds having black feet or bills, which permanently retain their colour, need only to have them slightly brushed with oil, before casing up, to give them proper freshness.

HOLLOW EYES.—I have for a great number of years discarded the conventional glass eyes—glass buttons I have heard them irreverently termed!—for all fishes, reptiles, birds, and mammals, excepting the smallest, using, in their stead, hollow half-globes rather more oval than round; these are hand-painted on the inside with either water or oil-colours, and when dry are varnished, filled in with wadding and putty, or modelling-wax, not clay, and fixed in the orbits with wax, see ante. These, properly coloured, and, in the instance of fishes, gilded inside, are wonderful representations of the natural eye, and when properly inserted, the cornea in mammals reproduced by wax, and the eyelids properly managed, give a most life-like and natural appearance to any specimen. [Footnote: Glass eyes have of late been much improved in shape and colour by the Germans, and also by some English eyemakers, who have had the sense to listen to the suggestions of artistic taxidermists. I have by me now a really beautiful pair of glass lynx eyes, veined and streaked, and "cornered" in porcelain, in almost as perfect a manner as could be managed by hand-painting.]

"PIECE MOULDS" AND MODELLING TONGUES, MUSCLES, etc, IN COMPOSITION. As I stated at the end of Chapter VII, "composition" has for its base one of three things—clay, plaster, or wax. The uses of the first I have fully explained—glue-water and plaster will stiffen or toughen it. There is also "terra-cotta" clay, which, if moulded into shape, can be "fired," and is lighter, and retains its shape without cracking. Its service to the taxidermist is limited to the reproduction of certain bones and some few natural objects, such as fungi, etc.

Plaster casts of almost anything may be made by "piece-casting," which is casting arranged to take moulds from anything "undercut" or complicated; such, let us say, as a lion's head with open jaws, or the human face, surrounded by a wreath of leaves and flowers, as in the antique sculptures. Assuming you had such a model as this to cast from, you would commence by oiling or soaping the whole in the ordinary manner. The plaster being prepared, is poured on the neck or chin, being prevented from spreading to other parts by clay placed across as a barrier. The first section, being cast, is trimmed, and its edges cut diagonally toward the chin, in such a manner that the next piece ultimately unlocks from it, without being wedged by undercasting.

So you may proceed, trimming each piece, cutting its edges to prevent locking, and casting bit by bit until you reach the hair and forehead, with wreath. Here the pieces will be numerous, and your ingenuity will be exercised to keep out of trouble from getting some piece or another to lock the others. The face will often mould into three or four pieces; but it is on the forehead, chin, and throat—and, if a lion's head, in the open mouth—where the multiplicity of parts may perplex.

These small pieces are, when taken from off the model, very difficult to put together again without a core; hence, when the mould is complete, each little piece must have a shallow hole cut on its top, be replaced on the model, and a "jacket-mould" cut into two or more pieces by string (as described at chapter VII) made over the whole. This jacket keeps all together for the ultimate casting by the pegs in its surface made by the holes of the pieces underneath.

The ultimate cast is made by plaster being poured into a hole left at one end of the mould for that purpose. Should this ultimate casting be wanted hollow, it will be necessary to shake the plaster, when poured in, around the mould in the manner described for making wax fruit.

Small undercut articles may be cast from, by making a mould of best glue—"gelatine glue"—which readily stretches enough to "clear" undercuts and come off the model. To get a model from this glue mould, cover the original model you wish to cast from with as thick a covering of clay as you wish your gelatine mould to be when run; upon this pour plaster to form a "jacket," letting its top and bottom rest on the top and bottom of the original model. When the clay is removed, and the "jacket" fitted on again, it will, of course, only touch at top and bottom, leaving an interspace all over the remainder of the model. A hole being now cut in the "jacket," the glue [Footnote: Made by steeping for a night, and allowing it to absorb all the water it will, throwing away the surplus, and boiling the remainder in the usual manner in a glue-kettle. Pour on when hot, not boiling.] is poured in over the original oiled model, and fills up the interspace left by the removal of the clay. When cold, it, of course, forms a mould into which plaster can be run, in the usual manner, to form the ultimate model.

Piece-casting of large subjects, where the various parts are cast and then fitted together afterwards, is best understood by learning a little from some Italian modeller, or looking over the seams (representing the "piece-casting" joints) in some one or other of Brucciani's reproductions, which may be seen in almost any art gallery or museum.

One great advantage of this system is, that by its means large models, if built up in ordinary field clay, or by any other means, may be cast from in plaster or in metal by the intervention of piece moulds, failing which it would be impossible to do so. The resultant model, if in plaster, is not cast solid, but is hollowed out in the casting—to prevent weight—by "cores" being inserted in the moulds. "Casting sand" is, however, necessary when casting in metal, together with all sorts of technical appliances and knowledge beyond the scope of the taxidermist, and although I have found it necessary to cast in metal for some purposes, it is so seldom needed that I do not purpose describing what any friendly brass founder will tell the amateur in a few minutes. The casting by amateurs at an ordinary fire is limited to three metals—lead, tin, and zinc—or a mixture of two.

How large models in clay, etc, can be made is described by Mr. Waterhouse Hawkins, F.G.S, etc, in his paper on the reproductions he made of the extinct animals exhibited at the Crystal Palace, Sydenham:

"By careful study of their works I qualified myself to make preliminary drawings, with careful measurements of the fossil bones in our Museum of the College of Surgeons, British Museum and Geological Society. Thus prepared, I made my sketch-models to scale, either a sixth or twelfth of the natural size, designing such attitudes as my long acquaintance with the recent and living forms of the animal kingdom enabled me to adapt to the extinct species I was endeavouring to restore.

"I caused the clay model to be built of the natural size by measurements from the sketch model, and when it approximated to the form, I, with my own hand in all instances, secured the anatomical details and the characteristics of its nature.

"Some of these models contained thirty tons of clay, which had to be supported on four legs, as their natural history characteristics would not allow of my having recourse to any of the expedients for support allowed to sculptors in an ordinary case. I could have no trees, nor rocks, nor foliage to support these great bodies, which, to be natural, must be built fairly on their four legs. In the instance of the iguanodon, it is not less than building a house upon four columns, as the quantities of material of which the standing iguanodon is composed, consist of 4 iron columns, 9 ft. long by 7 in. diameter, 600 bricks, 650 5 in. half-round drain-tiles, 900 plain tiles, 38 casks of cement, 90 casks of broken stone; making a total of 640 bushels of artificial stone. These, with 100 ft. of iron hooping and 20 ft. of cube inch bar constitute the bones, sinews, and muscles of this large model, the largest of which there is any record of a casting being made."

Other uses of plaster are also described in Chapters VI. and VII. One of the uses of plaster in modelling is, however, to reproduce flesh, etc. For this purpose mix plaster of Paris (best S.F.) with boiled oil until it forms a smooth, thick putty, which, though at first capable of much finger-and-thumb manipulation, dries as hard as stone, and is fairly light and impervious to damp. Plaster will also make a putty if mixed with glue-water.

The composition used by the picture-frame makers is also a first-rate medium, being susceptible to the softening influences of hot water when newly made, but ultimately dries as hard as the preceding. It is made variously, but perhaps the best is made thus:

Cement for Modelling.

Three parts best glue.

One part linseed oil.

One part powdered resin.

Whiting.

Tallow candle.

Melt the glue with water until it is moderately thin. Boil up the resin and oil together (be careful of fire). Mix up this with the glue by thorough stirring and boiling together, turn it all out into a bucket (unless you are boiling it in one), and add half a tallow candle. Stir in enough powdered whiting to make a thick putty. Pour some out on a plate, and let it get cold; you will then be able to determine whether the mixture requires more or less glue, whiting or oil. It should dry tough, but not too brittle, and should, when cut into strips and warmed by hot water or steam, be tough and yet pliable. Properly made, this cement is invaluable to the taxidermist, as it works well by the hand or by tools, drying slowly until it sets. It can be worked over real or modelled bones to show sinews or muscles as previously mentioned. The tongues of mammals or fishes may be cast either in plaster, glue, or wax, and subsequently modelled in this cement, plaster, or wax, as required.