If the worker intends to mount only birds and small mammals, he will need but a very small portion of the tools and materials enumerated above. But fie! Where is the taxidermist worthy of the name who will admit that his resources are limited, or that he is not able and ready to "set up" any animal that may be brought to him, no matter how big or how bad it is.

Perish the thought that he is not able to cope with dog, deer, or even elephant.

We now start on the supposition that you have acquired all the tools and materials you are likely to need, and that our subsequent work is not going to halt or hang fire on account of the lack of this or that article.

CHAPTER XIII.

PRELIMINARY WORK IN MOUNTING MAMMALS.

RELAXING DRY SKINS.--Nearly all mammal skins that go from one country to another are sent in a dry state, and it is a rare exception to obtain a foreign skin in any other condition. It therefore behooves the mammal taxidermist to become a thorough expert in softening dry skins of all kinds and sizes, and bringing them into mountable condition.

To relax a dry skin, rip it open, remove the filling material, and immerse it in a weak but _clean_ salt-and-alum bath (see Chapter IV.) until it becomes soft, be the time required three days or three weeks. If you are in a great hurry, soak the skin at first for a brief period in clear water, and if it is milk-warm, so much the better. Sometimes a skin is so old and hard and refractory that the bath of salt and alum seems to make no impression upon it, in which case try clear water. In a few hours it will yield and collapse, and then it must be put into the bath, or the water will soon macerate it, and cause the hair to slip off. You can leave the skin in the salt-and-alum bath as long as you choose without endangering it in any way.

The inside of every dry skin usually has over it a hard, inelastic coating which, when once gotten rid of by shaving or sc.r.a.ping, leaves the skin underneath measurably soft and elastic, according to its kind. If the skin is a small one, or no larger than that of a wolf, the best way to get it in working order is to lay it flat upon the table, and go at it vigorously with the skin-sc.r.a.per (see Fig. 24). In this there must be no half-way measures, no modesty, no shirking. Bear on hard, dig away at the same spot with all your energy, first in one direction, then crosswise, then diagonally. Sc.r.a.pe as if you were sc.r.a.ping on a wager, and presently the skin will become so thinned down it will become quite soft, and even elastic. This is hard work, it starts the perspiration and keeps it going, but it will conquer the hardest skin that ever was made.

To make a skin sufficiently elastic to mount, it must be turned wrong-side out and sc.r.a.ped all over thoroughly with a skin-sc.r.a.per, from nose to tip of tail, and phalanges. Small skins yield far more readily and kindly than the larger ones. The skins that are hardest, h.o.r.n.i.e.s.t, and most refractory are those of the capybara, all of the _Suidae_ (hogs), and tropical deer. I have mounted skins of these that when first softened were precisely like horn,--and at best with such subjects the resulting specimens are only "pa.s.sable."

Sometimes when the sc.r.a.per can make no impression, it becomes necessary to laboriously pare down the inside of an entire skin with the knife before sc.r.a.ping it. This is tedious, but effective, for a sharp knife leaves no room for argument.

[Ill.u.s.tration: FIG. 24.--Skin-Sc.r.a.pers, about one-fourth actual size.]

All skins larger than a gray wolf, whether they be fresh or dry, need to be stretched on a beam, and pared down with a sharp draw-shave that has adjustable handles. This useful instrument can be bought at any large hardware store for $1.25. Keep it thoroughly sharp. The beam should be about seven feet in length, and six by three inches in size, and laid flat.

One end of it is to be bolted firmly down to your bench by two movable iron bolts, and the half which projects beyond the edge of the table must have both of its upper edges rounded off so that it will represent half a cylinder with the convexity uppermost. The table itself must be fastened securely in place. Throw the skin over the rounded end of this beam, drive a stout "scratch-awl" through it, just beyond the reach of your arms, stretch and flatten the skin upon the beam, and with the draw-shave carefully shave down the entire skin until it is thin enough.

Be very careful at first, until your hands acquire skill, or you will cut through the skin, which, in the case of an animal like a hair seal means an unsightly, permanent defect. Do not be afraid of paring a skin too thin so long as you stop at the roots of the hair.

Of course you can not pare down the skin of the head and feet with the draw-shave, and these must be treated with the knife and sc.r.a.per. The skin of the head of every mammal must be pared down and sc.r.a.ped particularly thin all over, especially the eyelids, lips, and nostrils, so that when these parts are backed up with clay you can model them into exquisitely fine form and expression. If you slight the skin of the head, good-by to all expression; you will merely be able to "stuff" it, and that is all. If its features look coa.r.s.e, uncouth, and wooden, it will probably be because the thickness and inelasticity of the skin defies your art.

Of course the joints of the feet must be got into working order. The leg bones and skull require to be thoroughly sc.r.a.ped and cleaned, and the skin itself worked up as nearly as possible to the condition of a fresh subject.

CARVING WOODEN SKULLS AND LEG BONES.--It is absolutely essential that every mammal to be mounted should have a skull, and all save the smallest should have leg bones also. If the skull and leg bones that belong in a skin are missing, I invariably carve others of the same size out of soft pine to replace the lost members. These bones are imperatively necessary to give shape and length to the various joints and angles of the limbs, to shape the head, to give a foundation for the attachment of wires, and to build upon generally. Very often the skull of an animal is of such value to science that it must be kept out of the skin at all hazards, and exhibited separately. Then it must be duplicated in wood.

Every mammal taxidermist _must_ learn how to carve wooden bones, and the quicker he becomes expert at it, the better. Very few tools are required, and these are as follows: A small hatchet, a pair of 8-inch calipers, a pair of 8-inch dividers, gouges of three sizes, 1/4, 1/2, and 3/4 inch; chisels of about four sizes between 3/8 and 1 inch, a draw-shave, a spoke-shave, a good sharp pocket-knife, and the usual supply of boring tools.

[Ill.u.s.tration: PLATE V. PARING DOWN A LARGE MAMMAL SKIN.]

To carve a wooden skull, proceed as follows: If you have not the genuine skull to use as a pattern, you must procure one from an animal of the same species, and ascertain its size in comparison with what the wooden skull must be, _e.g._, whether it be larger or smaller. Then procure a piece of soft pine timber, free from knots, and thick enough to turn out a skull of the proper size. If this can not be found in one piece, glue together several pieces of pine until they form a block of the proper size. On the top of this block place your genuine skull, and trace its outline on the wood, making your outline larger or smaller, as it may need to be, and bilaterally symmetrical. Now take your hatchet and hew the two sides of the block down exactly to this outline. This represents the "ground plan" of the skull.

To get the side elevation, sketch out on the side of this block a side-view outline of the skull, and then hew down to that. With your dividers, locate exactly the inner edge of the orbits, and then mark out with a pencil the entire circle of each orbit. With a gouge carve out the hollows neatly, and then with your flat chisels attack the cranium, round off its angles, and so work over the entire skull.

Measure frequently with the calipers to see that the dimensions are correct. There is no need to go into any of the details of the back part, or basi-occipital portion of the skull, nor with any other details except those that lie on the surface. It is important to shape the orbits, zygomatic arch, the frontal bones, the muzzle and lower jaw, quite accurately, for these bones bear scarcely any flesh. In making skulls for apes and monkeys the greatest care is necessary to produce the facial angle, orbits, and muzzle, so sharply characteristic of the various families.

When a wooden skull is used, the mouth should always be closed, unless it is very necessary to have it open. While it is possible to take moulds from a real skull, and cast a full set of teeth in plaster or lead, or to set real teeth, or painted wooden imitations, into a wooden skull, the result is generally unsatisfactory to a critical eye. When teeth are cast and painted, the paint always changes color with age, causing the teeth to look "made up." If you can not have a real skull with genuine teeth in it, for whatever mammal you are mounting, no one has any right to require that it be mounted with open mouth, unless the head is to go on a rug instead of a scientific specimen.

Observe the following precautions in making a skull:

1. Be sure that it has the proper facial angle.

2. Be sure that it is in no way too large. Better have it too small than too large.

3. Be sure that there are no sharp corners upon it anywhere, lest they come out next to the skin in mounting, and cause trouble.

When a skull is finished, bore a hole (or two in some cases) through it from the occiput to the centre of the nose or mouth, for the pa.s.sage of the neck irons or wires that are to support the head.

The principles involved in carving skulls apply equally to carving leg bones, except in this work there is much to be done with the draw-shave and spoke-shave. Of course they require to be wired together at the joints, with two wires at each joint, so that the s.p.a.ce between them may be channelled out with a gouge to receive the leg iron.

SEWING UP HOLES IN SKINS.--After thoroughly cleaning a skin, take a glover's three-cornered needle of the proper size, and a waxed thread from a ball of strong linen thread, or "gilling twine," and sew up all the holes that are to be found in the skin. It requires some little ingenuity sometimes to know just how to trim the edges of a hole so that it can be sewed up without puckering the skin, but a little experimenting will soon reveal the way.

If you have to sew up a cut which has no hair to cover it, sew tightly with a curve-pointed needle, starting the st.i.tches on the inside well back from the edge, and sewing only three-quarters of the way through the skin. Draw the edges tightly together. When the sewing is finished, place a flat bar of iron or wood underneath the seam, and hammer it with a hammer all the way along. This will flatten the ridge formed by the sewing, and will render the seam almost invisible.

In order to do fine work, a taxidermist must be quite expert in the use of the needle and thread. In sewing up skins there are two points to be aimed at, viz.:

1. To sew strongly.

2. To sew so neatly that the seam will be as nearly invisible as possible.

For general work one must also have common round needles, and No. 30 thread for very fine sewing, as, for instance, torn eye corners or lips, and holes in the face where the skin is very thin and there is little hair, or none at all; three-cornered glover's needles, Nos. 00, 1, 2, 3; and three sizes of strong linen sewing twine. In the beginning of your work acquire the habit of being particular about the size of the needle and thread you use upon a skin, and never let them be larger than necessary. When special strength is needed, double the thread and wax it with beeswax to prevent its rotting. Always sew with the ball st.i.tch, _e.g._, from the inside of the skin to the outside, every st.i.tch. It is often convenient to use a curved needle, and this can be made by heating a glover's needle to a red heat in the flame of a spirit lamp and curving it while hot.

HOW TO MAKE LONG NEEDLES.--In making manikins, and also for other purposes, it is necessary to have a set of needles varying in length from six to eighteen inches, or even longer. You can buy needles up to ten inches in length from anyone who keeps upholsterers' supplies, but the longer ones you must make for yourself. To do this, take a piece of No. 12 or 13 steel wire and grind one end to a point. For the eye, heat the other end red hot, flatten it with the hammer, then heat it again, lay it on a bar of lead, and with a brad-awl and hammer punch an eye in it while hot.

NECK IRONS IN MOUNTING MAMMALS.--Never allow a neck iron to come through the top of the skull, through the forehead, or through the face anywhere.

The neck iron, which must support the entire weight of the head and neck, should pa.s.s through the back of the skull and into the nasal cavity. Let the iron extend some inches beyond the end of the nose until the neck is made, and the head placed in position, for not until then can you tell what length the neck iron should be. When the head is well-nigh finished, take a small hack-saw and saw off the neck iron close up to the nasal cavity, so far from the end of the nose that by no possible chance can the animal shrink so much in drying that the end of the iron will protrude through one of the nostrils and into view.

CHAPTER XIV.

PRINCIPLES OF UNIVERSAL APPLICATION IN MOUNTING THE HIGHER VERTEBRATES.

GENERAL REMARKS.--We may a.s.sume that anyone who is ambitious to excel in taxidermic work desires to do so by the high character of his productions, and the recommendation they silently give him. I am well convinced that any one who takes the trouble to read this book will welcome the following principles that apply very generally in mounting the higher vertebrates, and are, at all events, intended to increase the average of general excellence and permanency in mounted specimens.

A place in the front rank of taxidermists is not to be easily won. It can only be accomplished by the studious methods of the sculptor, the experience and observation of the field naturalist, and a combination of these with technical and mechanical skill in the laboratory. The painter paints but one side of his animal, and he is not hampered by bulk or measurements. The sculptor blithely builds up his clay model, with neither skin, bones, nor hair to vex his soul. The taxidermist must not only equal the form of the sculptor's clay model, but he must also make it to fit a certain skin with exact.i.tude.

The ideal taxidermist must be a combination of modeller and anatomist, naturalist, carpenter, blacksmith, and painter. He must have the eye of an artist, the back of a hod-carrier, the touch of a wood-chopper one day, and of an engraver the next.

With increased skill on the part of the workers has come increased appreciation on the part of museum officials, and higher salaries. Let me say to aspiring beginners, there is plenty of room at the top, and money and glory to spare for those who get there. But there is no royal road to fortune in this business. Success means years of earnest work and study.

With the understanding, therefore, that we are aiming at perfection, and that "a little knowledge is a dangerous thing," we will endeavor to call attention to a few principles which underlie all good work in taxidermy. At the same time I will try to point out a few of the most common faults generally observable in mounted specimens.

PERMANENCY.--This is the foundation on which every specimen must be built in order to be first cla.s.s. A preserved and mounted animal that has not enough solidity and stability to stand the test of time is unworthy of a place in any museum or private residence, for its existence is sure to terminate speedily in disappointment, disgust, and loss. During the last eight years the National Museum and American Museum of Natural History have thrown away and otherwise gotten rid of enough stuffed specimens to stock a small museum, and all because of poor and unstable taxidermic work only twenty years ago.

A taxidermist who knows his business can mount a specimen to last ten years or ten hundred, just as he chooses. If you, like a certain taxidermist I once knew, believe in "quant.i.ty not quality," then you, like him, can use small and weak supporting irons ("they work so much easier than heavy ones!"), half clean your skins and skulls, ram a skin full of excelsior, straw, paper, and rubbish from your dirt-box, sew it up with long st.i.tches and cheap twine, cram its eyes and nostrils with nasty putty, and insert the cheapest eyes obtainable. Then, while the specimen may look pa.s.sably well during its first six months, by the end of two years its sides will be a succession of hills and hollows, its seams will be ripped and gaping wide open, its nose will be shrivelled up and shapeless, its ears will look like dry autumn leaves; it will lean over helplessly to one side, and will also have settled down upon its feet until they are shapeless deformities.

This is no fancy picture, for it fairly represents the condition of many a buffalo, deer, and moose that I have been called upon to either dismount, remount, or destroy. A dishonest taxidermist may slight the interior work of a specimen and have it escape detection for six months, or even a year, but time soon tells the story. Dishonest or careless work, like murder, will out. In a bird, it expresses itself in a look of roughness, and a general falling away from grace at all points.