Practical Taxidermy Part 23

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 a.s.sume 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 a.s.sume that your fragments are sufficiently relaxed, and the feathers cleaned and nearly dried. All the fat must, of course, have been sc.r.a.ped 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 a.s.sists 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 Gra.s.ses, Seaweeds, Etc.--"Piece Moulds," And Modelling Fruit In Plaster--Preserving Spiders--Making Skeletons Of Animals, Skeleton Leaves Etc.--Polishing Horns, Sh.e.l.ls, 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 quant.i.ty 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 a.n.a.logous 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 a.s.sume 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 gla.s.s eyes--gla.s.s b.u.t.tons 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: Gla.s.s 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 gla.s.s 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. a.s.suming 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, tr.i.m.m.i.n.g 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 inters.p.a.ce 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 inters.p.a.ce 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 bra.s.s 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 att.i.tudes 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 quant.i.ties 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 const.i.tute 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.