Practical Taxidermy Part 21

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, brus.h.i.+ng 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 subst.i.tution 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 quant.i.ties 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, pus.h.i.+ng 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 st.i.tch 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 att.i.tude 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 quant.i.ty 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 pus.h.i.+ng 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 sh.e.l.lac, 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 sh.e.l.l 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 sh.e.l.l or carapace. This exposes the whole of the remaining skin and flesh, which must be cut and sc.r.a.ped 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 att.i.tudes 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 cla.s.ses: 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 sc.r.a.ped 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 sc.r.a.pe 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 sc.r.a.per," 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--Sc.r.a.per with which to dress skins.

Often a thorough wetting of the skin will considerably facilitate this operation. Constant sc.r.a.ping 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 sc.r.a.per, 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; sc.r.a.ping 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.