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diff --git a/29691.txt b/29691.txt new file mode 100644 index 0000000..f5827ca --- /dev/null +++ b/29691.txt @@ -0,0 +1,2745 @@ +The Project Gutenberg EBook of Taxidermy, by Leon Luther Pray + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Taxidermy + +Author: Leon Luther Pray + +Release Date: August 15, 2009 [EBook #29691] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK TAXIDERMY *** + + + + +Produced by Susan Skinner and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + + + +TAXIDERMY + +BY + +LEON L. PRAY + + +_Illustrated_ + +[Illustration: OUTING HANDBOOKS] + +Number 47 + +[Illustration] + + +NEW YORK +OUTING PUBLISHING COMPANY +MCMXVI + + * * * * * + +COPYRIGHT, 1913, BY +OUTING PUBLISHING COMPANY + +All rights reserved + + * * * * * + + + + +CONTENTS + + +CHAPTER PAGE + + I. TOOLS AND MATERIALS 9 + + II. PREPARING AND MOUNTING A BIRD 19 + +III. SKINNING, PREPARING, AND MOUNTING A SMALL MAMMAL 45 + + IV. PREPARING AND MOUNTING GAME FISHES AND SMALL REPTILES 65 + + V. PREPARING AND MOUNTING A VIRGINIA DEER HEAD 87 + + VI. PREPARING AND MOUNTING A COYOTE 107 + + + + +TOOLS AND MATERIALS + + + + +TAXIDERMY + + + + +CHAPTER I + +TOOLS AND MATERIALS + + +The art of taxidermy, with its many methods of application, has +furnished subject-matter for numerous books, most of these treating the +subject in exhaustive style, being written primarily for students who +desire to take up the work as a profession. It is the present author's +purpose to set forth herein a series of practical methods suited to the +needs of the sportsman-amateur who desires personally to preserve +trophies and specimens taken on days spent afield with gun or rod. + +The lover of field and gun may spend many fascinating hours at his +bench, preparing, setting up, and finishing specimens of his own taking. +Besides, the pursuit of this art will afford an amount of remuneration +to the amateur who takes it up in a commercial way, doing work for +others who have neither the time nor inclination for preparing their +own specimens. + +The chief requisites for the beginner in taxidermy are joy in working +out detail and a moderate amount of patience. + +As suitable tools are the primary consideration in contemplating any +work in taxidermy, a simple list follows. In this list no heavier work +than the mounting of a Virginia deer head is dealt with. This outfit +will be found practical for general light use: + +A pocket-knife, one or two small scalpels, a kitchen paring-knife, an +oil stone and can of oil, a hand drill, a fine fur-comb, one bone +scraper, one small skin-scraper, one pair tinners' shears, one pair five +and one-half inch diagonal wire cutters, one pair (same length) Bernard +combination wire cutter and pliers, one pair small scissors, two or +three assorted flat files, one hollow handle tool holder with tools and +little saw, one good hand-saw, one hack-saw, one upholsterer's +regulator, one pair fine tweezers (such as jewelers use), one claw +hammer, an assortment of round and furriers' needles, one or two darning +needles, a sack needle, and an assortment of artists' small bristle and +sable brushes (both round and flat). + +Make your own stuffing rods, out of any size iron wire, by hammering +flat one end of a suitable length, filing teeth into the flat face thus +made, and then bending a loop handle on the other end. This type of rod +is easily curved or straightened to suit every need. + +Those not wishing to buy at once the complete outfit named above will +find that they can do good small work to start on with the aid of a +pocket-knife, a pair of scissors, a pair of Bernard combination wire +cutter and pliers, needles and thread, cord, a pair of tweezers, a +hammer and saw, and small drill set. + +Suitable materials follow the tools in order. + +Arsenic is needed for the preservation of all specimens against moths. +This is most effective when used in solution, which is made as follows: +First dampen the arsenic powder with alcohol to saturate it quickly, +when water is added. Place the arsenic in a large metal pail and to +one-half pound of the powder add two gallons of water. Boil hard and +steady over a good fire until the arsenic is completely dissolved. Place +the solution thus made in an earthenware jar with closed cover, plainly +marked "Poison," and keep out of reach of children. Allow solution to +cool before applying to skins. Do not use the pail that the solution was +made in for anything else. + +When using arsenic-water grease your hands with a little tallow, rubbing +well under and around finger-nails and wiping the hands partially dry so +that none of the grease will soil fur or feathers. This precaution will +keep the arsenic from entering your skin. + +Wash the hands with soap powder and a nail brush after work. + +Apply arsenic-water with a brush, or a cotton-and-wire swab, to all +inner surfaces of specimen skins. + +Carbolic acid (best to procure U. S. P. pure crystals if possible) is +needed for use in dilute form for relaxing dried skins. This prevents +decay and does not injure the specimen skin. A few drops of the +dissolved crystal to a quart of water is sufficient. Keep carefully +labeled and in a safe place. + +Following is a list of the materials needed for general light work: + +A quantity of fine excelsior, fine tow and cotton batting, a quantity of +various sizes of galvanized soft steel wire, an assortment of colored, +enameled artificial eyes (procure a taxidermist's supply-house catalog +and from this order your special tools and sizes and colors of eyes +needed), a jar of liquid cement, dry glue (for melting up for +papier-mache), dry paper pulp, plaster of paris, Venetian turpentine, +boiled linseed oil, boracic acid, some refined beeswax, a little +balsam-fir, white varnish, turpentine, alcohol, benzine and a student's +palette of tube oil colors (such as vermilion, rose madder, burnt +sienna, yellow ochre, cadmium yellow middle, zinc white, cobalt blue, +French ultramarine Blue, and Viridian). + +Plastic compositions of papier-mache are essential, especially in mammal +and game-head work, for properly finishing the details of ears, face, +and feet of specimens after the body has been filled. These are applied +partly as a last detail before mounting and partly after the figure is +set up. + +Compo. No. I is practical for all-around use. Take one-third hot melted +glue and two-thirds flour paste (thick and thoroughly cooked). To this +add a little boracic acid, a little arsenic powder, a very little of +Venetian turpentine, a quantity of gray building-paper pulp (soak paper +and squeeze and beat up even and then squeeze water out). To furnish a +body to this mass, stir in dry white lead until middling thick. Beat the +whole well together. + +When carried so far this compo. is a powerful adhesive medium and may be +employed to stick tanned deer scalps to mannikins, and ear skin of same +to the lead cartilages. + +Compo. No. II is No. I with fine plaster of paris added until of the +consistency of modeling clay or a trifle stiffer. This makes it ready +for filling ear butts, eye sockets, noses, and feet for modeling into +permanent shape. Sets by drying. + +Compo. No. III is for monkey faces, vulture heads, lizards, turtles, +etc. This composition dries very slowly and must be touched up now and +then while drying, to preserve the details without warping. When dry it +is like stone and holds the skin firmly. Take gray paper-pulp, hot +melted glue (quantity according to amount of compo. needed), a little +boracic acid (to prevent decay of glue), boiled linseed oil (fifty per +cent. less than glue), a little arsenic powder (to prevent dermestes +from eating into work), and to this mass add whiting until desired +stiffness for modeling under skin is obtained. Beat and rub to an even +smoothness and stop adding whiting at point where compo. is thick but +still very sticky. Rub some of the compo. into inner surface of skin to +be finished with it or skin will not take hold of mannikin or compo. to +stay. + +After modeling is finished under the skin apply linseed oil on outside +and repeat this application several times during the period of drying. +Watch and remodel details if any distortion attends the drying process. + +Fine fleshy wrinkles and skin details can be worked out with this compo. +It will hold a thin raw skin where it is put, but is not practical under +fur or feathers. + +Compo. No. IV may be used with wire netting or rough board as a base for +making earth bases, imitation rock stands, etc. Take one-third hot +melted glue, two-thirds flour paste, a quantity of paper pulp, a small +amount of boiled linseed oil, a very little of Venetian turpentine, +boracic acid, and arsenic. Thicken to modeling consistency with plaster +of paris, coloring by adding some dry raw umber or lamp black and burnt +umber. + +Surface the bases made of this compo. by pressing sand, gravel, or +forest mold into the face and when dry shake off the loose material. +Touch up with tube colors, as desired, and when this is dry apply a very +thin varnish and turpentine finish to bring out a natural damp look. + +A foreword as to care of mountable specimens in the field may save a +great amount of cleaning of mussed skins in the shop. + +All shot or bullet holes should be immediately plugged with cotton when +specimens are taken. Take a little cotton along in your hunting coat for +this purpose. + +In birds plug also the mouth, nostrils, and vent to prevent escape of +juices into plumage. A small sharpened twig will serve to place the +plugs. Slip the bird head first into a paper cone for carrying. + +Mussed or blood-stained specimens should not necessarily be discarded. +Look them over first. Many such specimens may be cleaned very easily and +come out in the finish as nearly perfect as others that appeared much +better at the start. + +[Illustration] + + + + +PREPARING AND MOUNTING A BIRD + + + + +CHAPTER II + +PREPARING AND MOUNTING A BIRD + + +With tools and materials assembled and table in readiness, we come to +the real work and, in the order of things, will address the preparing +and mounting of a fresh bird specimen. To many people of long experience +in the art of taxidermy this task never ceases to be a delightful +operation, one of the pleasantest of many interesting bits of work that +may result from a day spent afield. + +Figuratively, the specimen lies before us, upon the bench. Make it any +native bird your fancy desires. The following notes will be found to +cover the ground: + +A pencil and a sheet of wrapping paper will first be brought into +service. With these make outlines of the specimen, top and side views, +laying the bird upon the paper and drawing the pencil around it while +looking straight down upon it. + +After the skinning, outline the body, top, and side views, upon same +sheet, with position of shoulder joint, hip joint, knee, and tail +marked in black spots. + +This system of wrapping paper sketches will be found of great value in +all work, from mounting a bird to setting up a deer head. + +[Illustration: Fig. 1.] + +To begin skinning, lay the bird upon a newspaper, head to left of you, +on the bench. Have cornmeal handy. Part the belly and breast feathers up +middle. With a scalpel make an incision (see Fig. 1) from within one +inch of front end of breast bone back to a quarter-inch forward of the +vent in large birds, and to the vent in small ones. Use care not to cut +through abdominal wall, which is usually very thin and may easily be +confused as a part of the skin, being closely bound to it. The two are +easily separated, however. + +The primary incision made, lift an edge of the skin with finger and +thumb nail and carefully tear skin free from body, using scalpel when +necessary to help. + +When thigh of a leg is exposed, take hold of leg outside of skin and +push knee forward so it is uncovered inside of skin. Sever knee joint +with scalpel or scissors, using care not to cut through skin on outside +of joint. Repeat on other leg. Apply cornmeal or fine sawdust if blood +or juice starts. + +Next set bird on end, tail up. Bend tail over backward and cut through +vent lining, tail muscles, and vertebrae forward of the large quills. +Use care not to cut skin around tail, as at knee. + +With bird still held on end, start peeling skin down over back and +sides. Use scalpel if skin adheres tightly. + +When pelvis is uncovered, if a small bird, take rump between two +forefingers and thumb of left hand; if a large bird, hang up on a wire +hook and cord, and skin down to shoulders. + +Press wings forward strongly to loosen joint muscles. Cut through one +shoulder joint and then other, going carefully as at knee and tail, so +as not to cut skin on opposite side. + +Plug with cotton or dry with meal wherever necessary to stop flowing +blood. + +Next peel the neck skin down over head to bill, pulling out ear linings +when met with and using care to work close to skull when cutting eyelids +free. + +When this is done, cut off base of skull. With this the skin is free +from the body and inside out. + +If the specimen is of a species with neck skin too small to peel over +the head, turn head and neck back right side out when neck is only +partly skinned down. Make an incision from middle of back of head down +nearly half length of neck, alongside where nape is bare of feathers. +Through this incision turn and clean the head. + +With the skin removed, turn attention to details of cleaning away leg, +wing, and tail muscles, removing eyes, brain, and jaw muscles from skull +and scraping out whatever fat is in the skin. + +To clean leg bones, skin out the thick, meaty shins, using thumb nail +and scalpel to aid where necessary, down to heel joint or upper end of +tarsus. Just above this joint sever the tendons, front and back, and +peel leg muscles off. + +In owls skin on down the tarsus to as near foot, or toes, as possible +and clean out tarsus muscles. + +In large birds, next split ball of foot, insert point of a steel spindle +under base of tarsus tendons beside hind toe and draw these cords out. +This will sometimes require a strong pull. + +Always do this after the leg above has been cleaned. In small birds it +is not necessary to split ball of foot nor to remove these tendons. + +Next remove the wing muscles. Peel skin down to elbow. Cut tendons free +just above elbow and strip muscles off. To clean forearm in a small +bird, use the thumb nail to shove skin forward toward wrist, on front of +wing, without breaking union of large, secondary flight feathers with +wing bone. + +With scalpel cut and lift out elbow ends of forearm muscles, strip them +out down to as near wrist as possible and cut off. + +In a large bird, split skin of forearm and hand along under side after +carefully separating feathers over bare strips of skin. Peel skin back +both ways and remove flesh neatly. Scrape out whatever flesh is in +evidence on hand bones in same way. In a bird with no fat adhering to +the skin, the skull and tail only remain to be cleaned in order to +complete the skinning operation. + +To clean skull, remove eyes with a scalpel, scrape brains out through +cut-off skull base, and trim away jaw muscles and a portion of roof of +mouth. + +To clean tail, peel it out carefully and scrape and cut away fat and +meat adhering to bone and base of quills. + +If you have a specimen with fat adhering to the skin in more or less +loose patches, as in hawks and owls, simply scrape or peel the fat off +with a knife and thumb and finger. + +If a fat duck skin is to be prepared the inside layer of skin over the +fat tracts must be sheared off carefully with scissors and the fat then +removed with a skin scraper or dull knife blade, care being exercised +not to tear the outer skin or to pull through feathers with the grease. + +To clean and degrease a bird skin which requires such treatment to +prepare for mounting, wash it first in lukewarm ammonia water with mild +soap. Squeeze from this washing and put through a bath of half-and-half +alcohol and spirits of turpentine. Squeeze from this thoroughly and run +through benzine. Compress and relax the skin repeatedly while immersed +in both these baths. When squeezed from the benzine, dry the plumage by +first burying the skin for some minutes in dry plaster of paris. + +When nearly all the moisture is drawn out dust skin in the plaster until +natural fluffiness is restored. Do this last out of doors, where the +skin may be beaten well when thoroughly dry, to free it of plaster dust. +Lay skin, right side out, over the left hand and beat with the right, +giving an occasional shaking, the better to loosen plaster dust. + +[Illustration: Fig. 2.] + +An A1 duster may be made from the brush of an ox tail. Nail this on a +short piece of broomstick and square ends of hair with scissors. This +duster is used instead of beating the plumage with the hand and does the +work much quicker and better. When the dusting is done turn the skin +inside out again (see Fig. 2) and brush arsenic-water into all inner +surfaces, then turn skin right side out and brush a little of the +solution upon the feet, under side of wings, and inside the bill. + +When poisoning the head, with skin inside out, one step in preparation +for mounting is to be taken. After the arsenic-water is applied to skull +and scalp, fill eye sockets with chopped tow or fine excelsior, put a +light layer of cotton smoothly around the skull, forward edge close down +to bill. Turn skin carefully back over skull and finish poisoning skin. + +It is best, if possible to do without risk of decay, to fold the freshly +prepared skin in a clean paper, wrap in damp cloth, and lay over one +night in a cool place, before mounting. This allows arsenic-water to +penetrate through into base of plumage, thus becoming more effective +against moths than if skin were immediately filled with absorbent +material which would tend to draw out the freshly applied solution. + +With the skin preparation completed, construction of an artificial body +is the next step. In all bird work, upholstery excelsior or "wood wool" +will be found most satisfactory for body making and neck, wing, and leg +wrapping. This may be found at almost any upholstery shop, as is also +tow, a fine grade of which is needed in making bird necks, as chopped, +soft filling, etc. + +A good grade of long-fiber cotton is needed for wrapping skulls and +wing and leg bones in small birds, etc. + +Various sizes of strong thread, both black and white, and some small, +strong, ball twine will be needed for wrapping and sewing. + +When making the artificial body, lay the outline sketches before you and +copy Nature's lines throughout the work of assembling the specimen. + +To make a firm core for the body, take a thick wisp of excelsior twice +the length of the natural body and small or large according to specimen. +Hold this tightly in the left hand, wrapping it very hard with thread or +cord. Wrap the squeezed excelsior where it protrudes from between thumb +and forefinger of left hand, drawing cord tight at each round, paying +out the wisp until all is wrapped hard (see Fig. 3). + +[Illustration: Fig. 3.] + +Now double this "stick" of excelsior in the middle and bind it together +tightly. This forms a solid core the length of the body. + +The body is finished around this base by firmly binding upon it wisps or +handfuls of loose excelsior until the shape of the natural body is +approximated. To be correct this form should appear oval from side view +and pear-shaped from end view (see Fig. 4). + +[Illustration: Fig. 4.] + +All body wrapping must be firm so that wires set in it will not be loose +and cause the specimen to wobble. + +Next cut the neck, wing, and leg wires. Cut neck wire three times +natural length, wing wires twice natural length, and leg wires three +times natural length. In the neck use a size wire that will support the +head firmly and still be easy to manipulate. + +If the wings are to be closed, use light wire in them. If to be spread, +use strong wire to support with no wobbling. In the legs use as large +wire as will go easily through the tarsus and not rip the skin open, to +insure rigidity in the finished specimen. Use galvanized soft steel +wires if possible. If ordinary black iron wire is used it should be +waxed before placing. For the tail cut one wire of a length to go half +way through the body and leave enough protruding to allow of handily +setting tail into position. + +Cut six or eight medium wires, twice length of thickness of body, for +wing pinning and feather wrapping, if either or both of these are found +necessary. Make cornered points on wires. Sharpen neck- and wing-wires +at both ends, leg, tail, and pinning-wires at one end. + +[Illustration: Fig. 5.] + +To set neck-wire in body, thrust it in a little above center of larger +end of body, run it diagonally through and out at middle back (see Fig. +5). Push two-thirds its length out of back, loop one-third back along +its own length and push it back through body so that both ends protrude, +shorter end beneath other in front. Bend the short end squarely and +force it into front of body to anchor neck-wire firmly in place. Consult +note sketch and wrap a soft neck of natural size upon the wire (see Fig. +6). Leave head end of neck a little bit long to set into brain cavity +for solid anchorage. For neck material use cotton in small birds, tow in +medium size, and fine excelsior in large birds. Only excelsior will need +tying down with thread or cord. + +[Illustration: Fig. 6.] + +To make cords in nape of neck, which support the mane, thread a large +sewing needle with heavy thread for small birds, a darning needle with +string for larger. Double the cord and knot its end heavily. Run the +needle through ridge of body just back of shoulders, carry cord to a +little below where skull will set to and run cord through neck from back +to front so it will protrude between jaws when they are set (see Fig. +7). + +[Illustration: Fig. 7.] + +Let long end of cord hang free so that it may be passed through the +mouth when skull is set on neck-wire. With this done, lay aside the +body. + +[Illustration: Fig. 8.] + +The next step is wiring the wings and legs and substituting muscles of +same. To place a wing-wire draw the wing inside out. Take wing bone in +left hand. Place point of wire under small tendon that draws across back +of elbow joint, push through and up to wrist. Turn wing right side out +and by parting feathers on under side of wrist, locate two points of +bone at joint which have a cord or tendon drawn across between them. +Work the wire through under this. + +The simplest way to anchor tip of wing-wire is to push it outside skin +just forward of wrist, turn a short right angle bend near its tip with +pliers and carrying it forward, push the point through a hollow pan +which will be found in the hand bones (see Fig. 8). + +After a wing-wire is set, wrap cotton, tow, or excelsior about the upper +arm-bone to approximate shape and size of flesh removed. Wrap slightly +with thread or cord and tie. + +In a small bird in which the forearm was skinned out from the inside, +slip in a film of cotton or tow to replace flesh of same. In a large +bird in which the wing was opened along forearm and hand, lay in a soft +filling after skin is in place on artificial body and sewn up. Sew wing +incision carefully, beginning at body and keeping feathers out of +stitch. + +To place the leg-wires, start sharpened end into ball of foot, push wire +upward through back of leg to hock or heel joint. Take leg in left hand, +keeping heel straight, and push wire through at back of joint. A little +turning of the wire will aid in passing through leg easily. + +Now turn leg inside out and push wire to just beyond end of shin bone +(see Fig. 9). Slip wire rapidly back and forth in leg to make it run +easily. There should be no kinks in wires. + +[Illustration: Fig. 9.] + +Hold wire down to back of bone and wrap on cotton, tow, or excelsior, +according to size of bird, to replace flesh. Tie this material loosely +with a few turns of thread or cord. See that wing and leg wrapping is +smooth and nicely tapering from elbow and heel. + +It now remains to place the body, set wings and legs and tail, sew up +the breast incision, and, if a large bird, the wings. + +In preparing to place the body, take a turn of end of nape cord about +tip of neck-wire and twist a wisp of cotton about them both to prevent +wire catching in neck skin when passing through. Hold up the bird-skin +by the head, shake it out loose and rattle neck-wire up through the +neck. Run wire out of mouth, remove cotton and release free end of nape +cord. Draw wire back to base of skull, leaving nape cord hanging from +mouth. Now push wire through brain cavity, between eye sockets and +forward out of roof of mouth inside until neck is seated in brain +cavity. Tip of wire may have to be curved to accomplish this, in +curve-billed birds. + +When head is set take excelsior body in right hand, hold it with head +up, and with left hand pull shoulder skin into place. Now lay the bird +down, take a wing-wire and start it through the body at side of back, +one-half to one and one-half inches, according to size of bird, to rear +of actual position of shoulder joint. + +Pull wire through on opposite side of breast. When head of wing-bone is +drawn down to same distance as above, from body, bend wire sharply +forward to lay upon body, thus setting shoulder joint so that it is +flexible. Now turn over end of wire left protruding from side of breast +and clinch it into body squarely. When wings are set shake skin down +over body and set legs. + +Having previously marked the hip joint with a spot of ink, run a +leg-wire through at this point, quartering it out on opposite side where +thigh will set. Pull wire through to a considerable length without +drawing other end up into the foot. + +Loop sharp end squarely, with long enough point to go clear through body +again, push it back through, clinching tip down on other side. Now pull +the knee to its proper distance from hip joint, thus leaving bare wire +for thigh bone. Bend thigh into place flat against side of body, with +knee at side of breast. + +When legs are set shake and carefully pull skin of rump into place. Take +tail-wire and push it through center of tail, under the bone, using care +that it does not disturb tail quills. Push sharp end of wire into body +above center and forward of end of body. + +Consult notes for actual set of tail. See that wire supports tail +without looseness. (For general details of wiring, see Fig. 10.) Fill +butt of tail and thighs with a little chopped tow. + +[Illustration: Fig. 10.] + +Now lay the bird upon its back. Turn the legs out at the sides a little, +leaving knees against body. Draw edges of skin together along incision +and sew up with medium stitches, neither short and labored or long and +slouchy. Begin at rump end of incision. + +In a bird in which the neck was opened to accommodate skinning the head, +sew up this incision carefully, beginning at body end and sewing toward +head. + +When a large bird, in which the wings were opened for cleaning, is to be +mounted with closed wings, very little sewing need be done, but if the +wings are to be raised or spread the incision should be neatly stitched +its entire length. + +Also in a large bird, in which the tendons were drawn through ball of +foot, the fatty tissue of the ball should be replaced with chopped tow +and the short incision sewn up. Beeswax will keep thread from fraying. + +With the sewing all done, bend the legs into semi-position, fold the +wings, if to be closed, and turn them sharply up over the back so that +their under side is outward and elbows meet over center of back. Shake +out the plumage a little by grasping the feet. Drill the perch and mount +the bird upon it. Position the legs, body, and head, and set the tail +as per Nature, to suit the position. + +Adjust the plumage a little with tweezers. Compress the wings loosely to +the sides. If there is an unnatural hollowness between the shoulders, +lift the mane and at one side of it where the skin is bare, make a short +longitudinal incision. Through this place a little soft filling over and +between the shoulders to fill out hollowness. It is not necessary to sew +up this incision in a long feathered specimen. + +Now settle down to the fascinating task of adjusting the feather tracts, +nicely manipulating the plumage, in places feather by feather, until +characteristic markings of the species are brought out in their normal +position as though the bird had just ruffled and then allowed the +feathers to settle back softly. Jewelers' tweezers are the finest thing +to be had for this work. + +Return to the head. Pull the nape cord taut and tie it to neck-wire in +roof of mouth. Cut off the wire within the mouth so that the mandibles +close naturally. Tie the bill shut with cord or thread. It is necessary +in many specimens to thread the cord through the nostrils to accomplish +this. + +To set the eyes, wipe a drop of liquid glue into the cotton of the eye +sockets and inside the lids, using a bit of wire for the purpose. Set +the eyes with regard to expression to suit the position, picking the +lids over their edges with needle and tweezers. + +Pin, or tie with thread, the toes to grasp the perch. + +Cut two pieces of thin cardboard for the tail. Curve them slightly. +Place one over and one under the long quills just clear of the coverts +and pin them through in two or three places to hold the quills even +until dry. + +In mounting a specimen with spread wings, card the flight feathers full +length with curved strips, same as tail, then run a long sharpened wire +into the body under each wing and lay a loose bunch of cotton over it, +under the quills, to raise them and hold in proper position until dry. + +To wrap the body feathers for keeping place until dry, stick two or +three long pins in back and breast, along center of both. These hold the +light wrapping of thread from slipping out of place as it goes on. Lay +the thread around the specimen lightly. If the wings do not set right +without other aid than the wire already in them, pin them with sharpened +wires, one through the double bone just forward of the wrist and one +through close forward of the elbow, running wires firmly into the body. +(For general details see Fig. 11.) + +[Illustration: Fig. 11.] + +To soak up a dried bird skin for preparation to mount, the simplest and +quickest means is immersion in a weak solution of carbolic acid in +water, leaving for a day or two until tissues are soft. + +When the skin is relaxed so that wings and legs may be manipulated +without breaking, squeeze water from it and follow same method given for +cleaning a fresh skin. With this treatment a good dry skin will come out +as soft and workable as a fresh one. Arsenic and grease burnt skins are +hard to get much out of. + +To make up dry bird skins for keeping to mount at a future time, follow +regular method of thorough skinning and cleaning. Apply dry arsenic +powder to inner surfaces. Wrap skull, wing, and leg bones lightly with +cotton or tow. Turn skin right side out and push a neck and light body +filling of fiber that will allow ventilation, into place. Arrange the +plumage and hang the skin up by a thread or cord sewn through neck at +base of skull. + +To make a cabinet skin for study purposes, roll a neat body and neck of +material to suit size of bird, place it inside the skin, stitch incision +together, plug eye sockets with cotton, tie the elbows together on the +body with a loop sewn through the back, tie bill shut, adjust feathers +neatly and lay the specimen in a hollowed bed made of a piece of wire +netting bent to size. See that wings cover back neatly. Lay head of +short necked bird out straight, neck somewhat shorter than natural, and +of long necked specimen along right side, looped to body with cord sewn +through neck and side. Cross the feet and tie with a tag bearing +complete data as to locality, date, sex, etc., with collector's name. To +determine sex of a bird specimen, open the abdomen under thigh. Testes +of male will be found under fore end of pelvis and are white, in young +bird, very small. + +Now when the period of drying is past, return to the mounted bird for +finishing touches. With scissors cut the thread feather wrappings. Pull +out pins in back and breast and cut off wing pinning-wires flush under +the plumage. If the specimen was primarily mounted on a rough temporary +perch, remove to the finished permanent stand and color legs and fleshy, +exposed parts of face skin to natural hues with tube oil colors and a +soft brush. Thin the color for this purpose with a little turpentine and +a very little touch of varnish. + +In all work in taxidermy, practice develops deftness and a personal +system of handling the details that cannot be brought about except by +sympathetic attention to the art. The work is not difficult when the +details are addressed with quiet thought and very little main strength. + +[Illustration] + + + + +SKINNING, PREPARING, AND MOUNTING A SMALL MAMMAL + + + + +CHAPTER III + +SKINNING, PREPARING, AND MOUNTING A SMALL MAMMAL + + +We will choose a gray squirrel as our subject in this chapter, as this +little rodent has a tough skin that is easily manipulated. A cottontail +rabbit might be more easy to procure, but is not so satisfactory for the +purpose of initiative steps in this work, as his skin is extremely +delicate and requires especially careful handling in preparation and +mounting. + +Now, in beginning work upon the small mammal specimen, make outline +studies of it in same way the bird specimen was handled, _i. e._, both +before and after skinning. When the preliminary surface sketches are +completed, replace the wrapping paper used for the purpose, with +newspaper, cornmeal at hand, and proceed with the skinning. + +Have scalpel or skinning-knife well sharpened. Lay head of specimen +toward right. Part fur over center of breast bone, insert point of knife +just under skin, forcing backward, and with as near one clean stroke as +possible open the skin neatly along center of abdomen. Do not cut the +abdominal wall. Carry belly incision to close to the vent. In male +specimen run the incision to one side of the testes. + +Next insert point of knife in fore center of pad or feet and paws and +with a gentle push carry these incisions upon back of wrists and inside +of ankles to where swell of large muscles is felt. In mammals the size +of woodchuck or raccoon, split toes on under side. + +If a mammal skin is to be kept for some time, dried or in brine, split +the tail full length along under side. If tail skin slips easily and the +specimen is to be mounted at once, pull the tail out, splitting only the +very tip to allow arsenic solution to be run through. In many species +the tail must be split and peeled out with a knife because of tough +binding. (For general diagram of incisions, see Fig. 12.) + +[Illustration: Fig. 12.] + +The next step in handily skinning a mammal is to peel out the feet +through their incisions, severing toes at base and leaving them complete +in the skin. Peel the leg skins back over ankles and wrists (see Fig. +13). + +[Illustration: Fig. 13.] + +If tail was split, peel it down next, beginning at tip. Now return to +the abdominal incision and neatly peel the skin from the body, in many +instances using only the thumb nail for loosening it. + +When the thighs are encountered, bend hind legs back and sever hip +joints from pelvis (see Fig. 13), cutting carefully through the large +muscles so that the skin on opposite side of them may not be punctured. + +When the hind legs are cut free, peel around back of pelvis, loosening +skin to base of tail. Set the specimen upon its head end and, with thumb +and finger nails of left hand, grasp skin about the base of tail while +with right hand strip tail out with force. + +Next peel the body down to shoulders. Hang large specimen up by cord +tied about loins, the more handily to finish the skinning. + +Sever the forelegs at shoulder joint (see Fig. 14), using care not to +cut through skin. + +[Illustration: Fig. 14.] + +Peel skin down over neck to ears. Cut ears free from head, working with +knife close to skull. Peel to eyes. In cutting the eyelids free, work +close to eyeballs so that lids are not injured. Peel to mouth and cut +close to jaw bones in severing lips and nose from skull (see Fig. 15). + +With the skin removed from the body, next peel out the legs. + +Split inside of lips free with sharp knife, very carefully, so as not to +break edge of them. + +[Illustration: Fig. 15.] + +With scissors shear out all mouth and nose meat, being careful not to +cut off the whisker pockets, which are usually very prominent when the +side nose muscles are partly sheared off. + +Skin out the backs of the ears clear to edges by pressing a finger tip +inside the ear and peeling over this with finger nail or other dull +instrument. With scissors shear off meat of butt of ear and whatever +meat and fat adheres to rest of skin. + +In sketches of skinned body mark points of shoulder joint and hip joint +and note width of pelvis at hip joints. + +Remove the skull from the carcass and clean it by cutting and scraping +away all meat, pulling out the eyeballs, and scooping out the brain. +For the purpose of mounting, the base of the skull may be cut off to +facilitate cleaning, but for study (cabinet) skins the skull must be +kept intact and always accompany by number the skin it was removed from. + +Trim all meat from the leg bones and poison these and the skull when +finishing preparation of the skin. + +Add a few drops of carbolic acid, well stirred in to the arsenic water +used upon skins of small mammals for mounting. This aids in preventing +decay and slipping of the epidermis. + +Apply the poison solution thoroughly with a brush, to all inner surfaces +of the skin and to the toes. If tail was split only at the tip, run a +few drops of arsenic water through it. + +Turn the poisoned skin right side out, lay it flat, side pressed to +side, roll up, place in paper, and cover with a damp cloth. Lay in this +way over one night, giving the arsenic solution a chance to penetrate +through to roots of hair before mounting. If a specimen is bloody or +mussed the blood may be cleaned off before skinning by wetting the spots +with alcohol and rubbing the blood and juices out with cornmeal. + +The first step in mounting is properly to wire the skull and leg bones. +(For details of this see Fig. 16.) + +[Illustration: Fig. 16.] + +For the body-wire select a size larger than for the legs, cutting it +twice as long as head, neck, and body. For legs choose a size wire that +will firmly support the specimen in position without wobbling. If the +mammal is to sit erect, the hind leg-wires must be considerably larger +than otherwise and foreleg-wires may be much lighter. (Making the pelvis +loop may be easily followed in diagram in Fig. 17.) + +[Illustration: Fig. 17.] + +The first body-wire loop is bent to set into the brain cavity. Then the +foreleg loop is made some little distance back of actual shoulder point +(in fox-squirrel about an inch and a half or two inches). Get distance +from skull to hip joint from body sketch and follow this sketch for +dimensions in bending wire pelvis into shape. The tail loop is last to +be made. + +As Fig. 16 shows, the leg-wires are wrapped tightly upon the back of the +bones with thread or light cord, leaving shorter end of wire passing +from sole of foot. At shoulder joint turn wire back sharply and at hip +ball turn wire in at right angles. In palms and soles of feet turn wire +down at right angles. + +When the bone wiring is completed take up again the body sketches. Bring +out a quantity of fine excelsior for replacing the leg muscles and skull +meat and for filling the body after assembling the wired parts within +the skin. + +In wrapping on the artificial leg muscles begin at the feet. Follow the +outline sketches and with thread and small cord wrap small, properly +proportioned masses, squeezed firm in the hand or finger tips, upon the +bones, copying Nature's outline and form accurately. + +Wrap the foreleg to the shoulders. Complete the hind leg to the knee and +above this point wrap on only the muscles on top of the thigh bone, +leaving back of thigh to be filled with loose material when the skin is +adjusted. + +The tail may be made of cotton, wrapped tightly and smoothly upon the +wire, wisp by wisp. Begin at tip and work down, spinning the wire with +right hand to produce uniformity of shape. If mammal is larger than a +squirrel the tail may be made of tow, pulled smooth, laid lengthwise of +the wire, and wrapped smoothly down with thread. For size, length, and +shape of tail, refer to the sketches. + +The head muscles may be replaced in much the same manner as leg muscles. +(See Fig. 18 for wrapping complete.) The specimen is now ready to +assemble. + +[Illustration: Fig. 18.] + +To accomplish this in systematic order, insert the head into place and +next the forelegs. Consult sketch and bend a right angle in +foreleg-wire back of shoulder at such a point that shoulder will set in +proper relation to head. One at a time, using the pliers, twist these +foreleg-wire ends, after setting them through shoulder loop, tightly +back along the body-wire. Next insert the hind legs into the skin. Slip +their wires through hip loops, carry them forward, and tightly twist +them around body-wire as in forelegs. + +If the tail skin was unopened except at tip the wrapped tail should be +put in when the head is placed in the skin. If tail skin was opened full +length, the artificial tail may be placed after all the legs are +adjusted. Run tail-wire base forward through its pelvis-wire loop and +twist it around body-wire. (For general assembling of specimen see Fig. +19.) + +[Illustration: Fig. 19.] + +Before filling the body, sew up the tail, using short stitches and a +round needle, if it is possible to push it through skin easily. Begin +sewing at tip and work toward body. Finish all sewing with a simple knot +drawn tight under tip of finger. + +Next, with a stuffing rod of appropriate size, place the neck filling, +stuffing against palm of left hand hollowed outside the skin at point of +filling so that the forming may be felt accurately. + +Then comes the filling for shoulder blades over forelegs and with it the +chest filling. In handling the excelsior, pull out wisps of it from the +mass and rub them between the palms so that the fiber is broken up and +softened. Fine excelsior ("wood wool") is the material par excellence +for stuffing the bodies of small mammals from size of small chipmunks +up. Mice require a softer material, and short chopped, fine tow answers +requirements in them. The leg bones of mice may be wrapped with long +fiber cotton batting or fine tow. + +When the shoulders and chest have been filled firm full, but not to the +point of looking stuffed, turn to the hind legs and pelvis. Fill in the +back thigh muscles neatly; then cover top of wire pelvis, pushing +material well down to base of tail. Fill rump sufficiently to overcome +a pinched or too high set look. The position must be considered in +properly filling the back, sides, and abdomen. If a bunched up position +is to be worked out, bend the wire back bone into semipose and place the +legs in approximately their final position. After this, fill the body to +suit the position, always forming with the stuffing rod working against +the left hand. See that all filling is firm but not packed in to the +point of distorting the skin. Consult sketches and aim to preserve the +little animal's natural form. (For general filling details see Fig. 20) + +[Illustration: Fig. 20.] + +When the filling is all placed, sew the abdominal incision neatly up, +beginning at rear end always and going forward. Wax the thread. In a +hunched together position, middling long stitches may be used. In a +straighter pose shorter stitches should be used. + +Now, when the body is sewn up cover the specimen with paper and a damp +cloth to prevent drying while a small batch of compo. No. II is prepared +for finishing feet and head. Returning to the specimen with this, +slightly moisten the wrapping on the bones of the feet and apply a bit +of the compo. at front and in the sole of each foot. This cements the +toes to the foot and fills the pads. + +After this is done sew each foot up neatly, beginning at toes and +working toward body. If toes were large and required splitting and +removing of toe cords, replace the cords with bits of small rope or soft +twine and sew toes up neatly with short stitches. It is best to use a +round needle and black thread, well waxed for this work. + +The specimen is now ready to place upon its base, perch, or stand. With +the approximate position shaped, mark the perch for wire holes by +holding specimen over it and indicating places where wires come, by +scratch or pencil mark. When holes are drilled and the specimen wired +into place, take a strong fur needle set into a handle and by working +and compressing with the fingers and jab-lifting with the needle, +finish shaping and positioning. + +Hold in hollow of flanks by sewing through here with long needle and +strong cord, heavily knotted for the first hold. Finish this sewing with +a knot drawn down into the fur under the thumb. Arrange the fur over all +stitches by picking it free with tweezers. + +With the body finished, take up filling and finishing the head with the +compo. First work compo. into the ears and pinch them out thin and into +their natural shape, then cover the entire face under the skin with +compo. Fill eye sockets and set eyes as second step. Lastly fill the +nose and lips and model them firmly upon the jaws. In all mammals cover +the teeth well with the lips. Even in a muskrat the teeth do not +ordinarily show at all. Also avoid getting the lips, nose, and whisker +base too full. Set the tail into easy normal position, pin toes to grasp +the perch or set well upon the ground and inspect the body to see that +no hollow or bumps remain in the filling where there should be perfect +smoothness. Remove such of these as persist with the handle-held fur +needle and then set the specimen in a well ventilated place to dry. + +The principal point in preparing thin or stretchy small mammal skins +for mounting is to leave the membrane of skin-muscles on the body skin. +This holds a flabby skin in shape and lends strength to a frail one. In +spite of this the legs of most wild rabbits must be handled very +gingerly, as they have no lining membrane like the body. For finishing +mouth, nose, and eyelids of mounted mammals, melt a little refined +beeswax in a metal vessel. While the wax is hot (don't allow it to +smoke), stir in a little tube oil color (black or brown for most +mammals; color to nature for birds with highly tinted eyelids). Mix the +wax and color thoroughly with a flat bristle brush. Afterward the brush +may be easily cleaned of the wax by breaking it up with alcohol, when it +has cooled. + +Next draw some wisps of fine, long-fiber cotton through the melted wax +and lay them quickly flat upon oiled paper to cool. For lips of mammals +cut narrow strips of the wax. Heat an upholstering spindle and with it +repeatedly heated, melt the wax and cotton into crease of closed lips. +Melt thin, flat pieces of the wax into depth of nostrils and very narrow +strips in eyelids. + +When all the wax is placed, model it into shape with a smooth, +wedge-ended bit of pine wood. To clean out wax that ran into the hair +by melting, apply alcohol with a bit of cloth, scratch the waxy hair +loose with finger nail and rub the crumbled wax out with the bit of +alcohol dampened cloth. This leaves lips, eyelids, and nostrils neatly +finished. Apply thin varnish to nose, edge of eyelids, and bare parts of +lips that show. For mounting a mammal with open mouth, follow same note +given in making a whole head for rug. + +To make a small mammal cabinet skin, remove the skin as for mounting +except that legs are severed at elbow and knee and soles of feet are +split only to allow of poisoning. + +Poison with dry arsenic. Wire tail same as in mounting. Wrap leg bones +with cotton, tow, or excelsior according to size of specimen. Turn the +skin back over a core of one of these materials, wrapped upon a splinter +or stick, to size of natural body, but somewhat flatter. Sew up +abdominal incision neatly. Catch the lips together with two or three +stitches. Lay specimen, belly down, upon a soft-wood board. Pin fore +paws alongside of the face and hind feet alongside of tail. + +When this is done press specimen until it is slightly flattened and set +aside to dry. With each specimen preserve the perfect skull when +possible, date on which taken, locality, any note of interest observed +at the time (and add collector's name). + +In using dry arsenic, apply with a small brush, using no grease on the +hands. + + + + +PREPARING AND MOUNTING GAME FISHES AND SMALL REPTILES + + + + +CHAPTER IV + +PREPARING AND MOUNTING GAME FISHES AND SMALL REPTILES + + +For the purpose of mounting, fishes and reptiles must be fresh, and the +fresher the better. In beginning this chapter it may be well to state a +simple way to keep fish for a short period before skinning and mounting, +as sportsmen afield will not always be able immediately to prepare +specimens taken. + +First, while the fish is perfectly fresh, remove the viscera. If the +fish is to be mounted upon a panel for wall decoration, make the +incision along middle of poorest looking side, full length from gill to +tail fin. + +If the specimen is to stand upon a pedestal of polished wood, with +supporting rods from the belly, make the incision along center of belly +full length. To prevent decay, stir three or four drops of forty per +cent solution of formalin into a quart of water. + +Squeeze a cloth from this, leaving it pretty moist, and wrap the fish in +it, giving the wet cloth close contact with the skin. Do not apply +formalin inside any skin to be used for mounting. Never eat the flesh of +a fish thus kept. + +Before skinning the fish, make careful outlines over him, both side and +top views. When skin is removed make outlines of skinned carcass. + +Handle a fish very carefully when skinning and cleaning, moving the +specimen about or bending as little as possible during the entire +operation. Lay the head to your left. Open the skin with scissors and +make one long clean cut. + +Lift edges of the skin and peel from flesh with a sharp knife or +scalpel. Cut off base of fins, when encountered, with scissors or bone +snips. Trim out most of skull with knife and bone snips, removing eyes +from inside. Be sure to scrape all flesh from cheek inside of gill +cover. + +Remove flesh and fat from inside of skin with scraper, working from tail +toward head. Scrape out with point of small knife blade the flesh that +runs out thin over tail-fin bones. + +This completes the skinning operation. The cleaned skin may be poisoned +to advantage with either dry or solution arsenic, brushed in well. + +If the specimen is opened on the side for panel mounting and we wish to +follow a very simple method in mounting, one that is quite as practical +as it is simple, we must take a different step than outline sketches +before skinning. This is to make a complete body and head cast of the +best side in plaster of paris. This does not include the fins. To make +the cast neatly, lay the fish, best side up, in a slight hollow in a box +of clean, damp sand. Pack the sand up under the fish body smoothly so +that more than half of him rises in cameo style from the smooth surface. + +Make up enough plaster to do the cast at once. To mix plaster properly, +sprinkle it into the dish of water until a little will begin to stand +out dry above the surface. Then with a spoon sunk deep in it, gently +stir to evenness. It is then ready to pour. Before doing this, jar the +pan upon the table a time or two to cause any possible bubbles to rise. + +Pour evenly over the fish, or better still, dip it on with the spoon. +The plaster should be thick enough to barely flow for making a proper +cast. + +The pectoral fins are simply laid flat to the side in making the cast. + +Allow the cast to set hard before lifting it and removing the fish. +Trim off the overlapping edge so that no undercut remains. + +The cleaned and poisoned skin should lay in damp cloth over one night +and is then laid in accurate place back in the cast. Pour it nearly full +of medium thick plaster of paris, carefully mixed free of bubbles. + +Settle a board, cut to approximate body outline but much smaller, into +the unset plaster and press the flap edges of the skin back together +over the board, molding edge of back and belly to round back away from +trimmed edge of mold. This must be all done with accuracy before the +plaster sets, but you will find it gives enough time. Do not work in a +strung-up, nervous way. + +When the plaster is set hard, remove fish from mold, hold it upon palm +of left hand and tack edges of skin to back-board. (For general details +of this method see Fig. 21). + +[Illustration: Fig. 21.] + +Screw the specimen to a piece of board and adjust fins, carding them +over little blocks and holding the cards with sharp toilet pins until +drying is completed. + +See that the jaws set right. They should have gone into the mold in +proper relation to each other. Dig out the plaster in eye socket on show +side and set eye in a little fresh plaster. + +A simple method of making a modelled mannikin for fish follows: + +Have the freshly skinned body or sketches of same at hand. Cut a +soft-wood board core, making it some smaller than outline of carcass. + +[Illustration: Fig. 22.] + +Anchor into this two rigid supporting wires or rods as shown in Fig. 22. +Upon this board core wrap strongly and smoothly with thread or small +cord a quantity of manila fiber to same shape of body but one-half to +three-quarters inch smaller than the body. Over this apply plaster of +paris and manila fiber (dipping the fiber and laying it on) to +approximate size of natural body. When this is set hard, pare it +smoothly into outlines of natural shape and gouge out slight grooves for +fin bases to set into. (See Fig. 23.). + +[Illustration: Fig. 23.] + +Mannikins of this type should be dried out as quickly as possible and +shellaced before applying the skin. Apply the fish skin with a paste of +compo. No. I. Card the fins as in Fig. 24. + +Fill the face through mouth and eyes with plaster of paris with a +little chopped manila fiber worked into it. Use a slight amount of glue +in the water to prevent rapid setting of the plaster. Hold face in place +until set, with light wrapping of soft cord, using care that it does not +crease soft parts. + +[Illustration: Fig. 24.] + +Special fish eyes may be procured at any dealers in taxidermists' +supplies. As the last detail of mounting, set the eyes. In all kinds of +specimens use a size of eyes that pass through the lids easily without +the need of stretching to admit them. A panel-fish needs but one eye as +a rule. + +When the specimen is dry apply a coat of thin shellac as a filler to +the surface to paint upon. This filler should be very thin and leave +only a suggestion of gloss. + +Use oil colors and apply as little pigment as may be used for the +effect. Kerosene oil is an ideal thinning medium for tube oil colors. +Have very little paint upon the brush when applying the tints to a fish +or reptile skin. + +A suggestion of natural hues and markings will be found more +satisfactory than painting them on heavily. In a day or two when the +paint is dry apply a very thin coat of alcohol-cut picture varnish. +Turps-cut varnish is liable to loosen the paint, thus necessitating +entire re-finishing. Fasten a panel fish to the setting that is to frame +him, with two screws at least, countersinking their heads in the panel +back. + +The fish piece may be hung as a picture, with screw eyes and cord or it +may be hung with one or two sheet metal slots countersunk into the panel +back. This will allow the piece to be applied flat to any wall that will +hold screws. + +Large fishes mounted with rods for pedestal setting should have rods +threaded at both ends for nuts. Upper ends that support core board +should be bent as shown in Fig. 25. This figure also shows complete +method of setting both rod and wire supports in body core and permanent +stand. + +[Illustration: Fig. 25.] + + +PREPARING AND MOUNTING A SMALL HARD SHELLED TURTLE + +For the purpose of skinning a hard shelled turtle (soft shelled species +are best unattempted) the belly plate is sawed open as shown in Fig. 26. +A piece of hacksaw blade may be shaped and set into a firm handle with +cross pegs of metal, for this purpose, or the small saw found in a +hollow handle tool kit may serve. Four corner holes must be bored by +which to start the sawing, which, for ease in accomplishing, may be thus +done upon straight lines. + +[Illustration: Fig. 26.] + +Through the sawed opening remove the viscera. With scissors and bone +snips, free the legs at their joints with the back shell, cut the neck +and tail vertebrae free and pull all these members inside out through +the opened shell. Skin the head to well down behind the eye sockets, +uncovering most of the jaw muscles and stopping where the skin and skull +are joined directly on the crown. + +Cut the neck off. Clean out jaw meat, tongue, and brain. Turn head right +side out and with a stiff wire hook pull out the eyeballs. + +Skin legs clear to toes and remove flesh cleanly from bones. + +Skin tail out carefully. In many species this has to be split on under +side to remove bone. Dry the shell out with a bit of rag. + +Poison well with arsenic water and let stand over one night, covered +with a damp cloth. + +A simple method of mounting turtles, that will be found satisfactory for +decorative work, is clearly shown in Figs. 27 and 28. + +[Illustration: Fig. 27.] + +A light tow neck is wrapped upon the neck-wire, which is cut about twice +the length of the head and neck-skin, and has a small loop bent into it +near its outer end, to set into the brain cavity and a loop by front and +one by back end of belly opening to hold leg-wires. The front end is +run out through the nose. Legs are wired as in a mammal with wires bound +firmly to bones with thread or cord. Bones are then covered with a light +wrapping of tow, placed lightly and smoothly. This serves only as a core +to the filling. Tail is wrapped upon wire to natural size. + +[Illustration: Fig. 28.] + +Legs are now pushed back into place, wires of them and tail are passed +through loops in body-wire and twisted around it once or twice, and then +leg-wires are led to drilled holes in edge of shell and clinched in them +as shown in Fig. 27. + +Now tie or pin the mouth shut. Legs and head and neck are next filled +with sawdust, tamped in with a blunt piece of rod or wire or piece of +wood shaped for the purpose. Fill in the front legs and head first and +stuff some tow behind them to hold the sawdust in place when the +specimen is reversed to fill hind legs. After these are filled, stuff +the shell full of tow. + +Position the turtle and wire upon a piece of board for a temporary base. + +Finish shaping with a whittled modeling tool. Stuff the skin in front of +hind legs into proper concavity with wads of tow or cotton and leave +these until the specimen is dried. + +Stuff the eye sockets with chopped tow. Wipe inside the eyelids a little +liquid glue and carefully set the eyes, using care to preserve natural +fullness of the ball under lids. + +In drying, the tip of the nose will shrink away. When the specimen is +dry and the nose-wire is cut off, a wax tip may be modeled on, nostrils +being punched into it with a bit of wire. + +To set the wax nose, with a sharp knife trim away the shrunken tip, +place a bit of wax upon the socket, and melt it into firm contact with a +heated wire. Shape the artificial nose with a small wooden modeling +tool. Replace faded colors of turtles with thin tints of tube colors. + +An ideal method of mounting turtles is to finish head, neck, legs, and +tail in compo. No. II. + +Use the leg bones and wrap them thinly with tow. Wrap a small, hard, tow +neck upon the wire and a thin tow core upon the tail-wire. Cover these +cores, to natural size of muscles, with papier mache. + +Cover the skull where meat was scraped from jaws. Push the neck, tail +and legs into place and wire to shell as in Fig. 27. Stuff shell with +tow to hold papier mache filling of limbs in place until dry. + +Turtles mounted in this way should be positioned upon a board, modeled +with a tool into anatomical lines of neck, legs, etc., and allowed to +remain wired upon the board until the compo. begins to harden. + +When this is well under way, take the turtle from the board and finish +drying, wrong side up in a well ventilated place. Remove the tow from +inside the shell to allow of quicker evaporation. Turtles mounted with +sawdust dry very quickly and usually very slowly when finished in papier +mache. + + +PREPARING AND MOUNTING A SMALL LIZARD + + (Apply the wrapped body principle, given herewith, to mounting + small snakes, using a wire through center.) + +A horned toad is a good example for us to work out in this department. +Skin the specimen as you would a small mammal, except that body incision +runs from jaw to tip of tail and skull is left attached to face-skin. +Keep the skinned carcass in alcohol for reference in making the hard +wrapped excelsior body. Mount as you would a bird specimen, except that +all leg-wires are set solid same as the two legs of the bird are. + +The lizard's leg bones are wired exactly as in a bird and are wrapped +with tow or cotton to replace muscles. Wire neck and tail and put the +specimen together as shown in Fig. 29. + +[Illustration: Fig. 29.] + +Position the specimen and wire upon a temporary base. Set eyes same as +in turtles. When dry finish in same manner as a turtle. + +In large lizards a light covering of compo. No. II may be employed over +a hard wrapped core, but is not so satisfactory as dry mounting as the +skins of lizards are water-proof and consequently do not allow of +moisture evaporating. With care in application the first mentioned +method may be employed upon nearly all lizard specimens with most +satisfactory results. + +Alligators may be mounted with wrapped legs and tail and stuffed body, +like the small mammal method with the exception of the head. + +Be sure to remove all the jaw meat, tongue, and eye socket fat from the +skulls of lizard specimens. Replace tongue and other tissues with +colored wax and cotton when mouth is opened. + + +PREPARING AND MOUNTING A SMALL CRUSTACEAN + +A crawfish or "land crab" will serve as a typical medium for describing +the method of preparing specimens of this nature. + +When possible, take notes of the living colors. + +Crustaceans may be killed most handily with chloroform. Place the +specimen in a large mouthed bottle or other vessel that may be closed +tightly. Pour a little chloroform upon a wad of cotton and drop it into +the vessel with the specimen and close up tightly. + +When beginning work, lay the specimen upon its back and with a sharp +scalpel loosen the large thorax plate around its edge and remove it +carefully with head and antennae left attached intact. + +Separate tail entire from body meat. Split it along fleshy under side +and remove muscles from it with the scalpel. + +The legs will come apart and must be kept in natural order. If the claws +are large and meaty, cut a round hole in under side of thick part and +scrape meat out. Apply arsenic-water to all inner surfaces. + +Cut wires of suitable size for all the legs. Have them enough longer +than the legs so that a sharpened end will protrude to run through and +clinch in the body core. Push wires in full length of legs. (Fig. 30. +shows the details of making the body core of fine excelsior.) Make the +core of a size to fit a little loosely into shell of body and tail. + +[Illustration: Fig. 30.] + +Set legs upon core as shown in Fig. 31. When the legs are properly +anchored, cover the core with enough of compo. No. I. so it will fit +snugly into thorax and tail shells. Place these upon the core now and +press them accurately into position. + +[Illustration: Fig. 31.] + +Whatever compo. squeezes out may be removed with a bit of damp cloth or +sponge. Position legs and tail approximately and wire upon the base. Set +the legs in their permanent position, spread or close the tail fan as +desired, arrange the antennae, and set the specimen in a well ventilated +spot to dry. Tint with oil colors, thinned with kerosene as they are +used, laying the tints on with soft brushes. + +Sanded or graveled board bases may be made for birds, turtles, etc., by +applying a coat of heavy shellac to top and sides of pieces, cut to +required sizes and shapes, and before the shellac has a chance to dry, +throwing sand or fine gravel on forcibly or laying the boards in the +sand and piling sand over the moist tops, letting them lay a few moments +before removing and shaking off the loose sand. Allow such bases to dry +thoroughly before using. + + + + +PREPARING AND MOUNTING A VIRGINIA DEER HEAD + + + + +CHAPTER V + +PREPARING AND MOUNTING A VIRGINIA DEER HEAD + + +Well mounted trophies of the chase are a source of delight to the +fortunate sportsman who possesses them. + +Antlered game heads that are mounted true to life in form and expression +may go far to beautify many dining rooms, dens, and hallways, enhancing +the artistic tone of the rooms in which they are well placed. + +As in all taxidermy work, outline sketches direct from the fresh +specimen, top and side views, both before and after skinning, are of +great value in mounting deer heads. + +As in other specimens, deer scalps for mounting should be as fresh as +possible. If a scalp is to be kept for some little time before mounting +it should be well salted. + +Roll the scalp up and lay over night to drain. Next day scrape off the +first salt and rub in another thorough salting. Keep the skin rolled up +to prevent drying hard until mounting or sent to the tanner. + +An ideal deer scalp includes the neck skin entire to swell of shoulders +and brisket. The incisions to be made for removing a deer scalp are +shown in Fig. 32. A good sharp knife will be required for peeling the +skin from the neck. + +[Illustration: Fig. 32.] + +Cut very carefully up under rim of horn bases when removing skin from +around them, using care not to haggle edge of skin. Use same care in +skinning out the face, splitting lips and eyelids and skinning out the +ears as in small mammal specimen. Remove the ear cartilages entire, +after skinning their backs, beginning at the thick top edge and +proceeding very carefully, looking out not to tear open the edges. + +Scalps may be mounted raw or tanned. The ideal way is to use a tanned, +thin pared scalp, mounting it with papier mache upon a modeled mannikin. +The raw skin method is perhaps easiest of application, but in all ways +is not as satisfactory as the tanned skin method. + +For mounting a deer scalp raw, if salted, soak out the salt by squeezing +through two or three baths of cold, weak carbolic water. Dry the scalp +thoroughly in fine sawdust, rubbing it into the hair and repeatedly +shaking until all moisture is removed. + +With a small, hardwood paring "beam," shown in Fig. 33, clamped to edge +of table, and a sharp paring knife, remove all flesh from inner surface +of skin and peel out nose cartilage. Leave nearly an inch of nostril +lining around the openings. + +[Illustration: Fig. 33.] + +Pare all flesh from lips, leaving a half or three-quarters inch of the +lining all around them. Split white eyelid lining free to edge and leave +a quarter inch of it all around the openings. When skinning out the +ears keep the cartilages for models. + +Poison all inner surfaces of the cleaned skin with arsenic water brushed +in well. Fold face, wrong side out, back upon neck. Fold neck skin flesh +to flesh over face, roll the scalp up, hair side out, and lay aside in +cool place over one night before mounting. The mannikin should be +prepared in time so that the skin will not have to lay wet for more than +a day before mounting. + +It is well to prepare mannikin before skin is poisoned so that skin may +be used for fitting unless accurate outline studies are at hand. With +these the fitting is not necessary. + +For raw-mounting the head, clean skull by boiling in a deep pail until +meat comes off easily. A little washing soda in the water will help +clean the bone. With a saw, cut through under side of brain cavity, +lengthwise on each side of axis bone. Cut the loosened piece out with a +chisel and remove brain. + +Set the skull upon neck-board of suitable length (refer to studies) +mounted with screws upon a cut out neck base-board of inch thick wood, +as shown in Fig. 34. Fasten skull to top of neck board with nails driven +through holes drilled through the bone. If turned head is desired, make +opening in under side of brain cavity wider and nail skull at any +desired angle upon top of neck board. Screw upon back of neck base-board +a one by three inch piece with free end dropping a few inches below +bottom of base-board so that head may be handily set in a vise. This +will allow you to get all around it and the vise will hold it at any +angle, making sewing, etc., easier. + +[Illustration: Fig. 34.] + +Upon skull, for jaw muscles, and upon neck board wrap excelsior, packing +it hard as you go along, to required natural size. A raw skin will +settle better in drying if neck is slightly smaller than natural size. + +To aid in wrapping close and firm to edge of neck base-board, drive a +row of small, broad headed nails half into the edge, two or three +inches apart all around and loop the winding-cord over these as the +wrapping proceeds. Drive these nails down when wrapping is completed. +(See Fig. 35 for finished wrapped excelsior head, ready for the skin.) + +[Illustration: Fig. 35.] + +Drop the dry ear cartilages into warm water. In this they will quickly +regain their natural shape. Using them as models make a pair of +duplicates of them of thin sheet lead which may be procured from a +plumber or hardware dealer. Split into the base of the cartilage so it +may be spread as nearly flat as possible and lay on the lead, drawing +around its outline with a nail point. Cut out the lead ears with a pair +of metal-shears. Hammer into natural concave shape with a bit of heavy +wood rounded into a ball at one end for the purpose. (For details of ear +making see Fig. 36). + +[Illustration: Fig. 36.] + +With the skin and mannikin in readiness make up a batch of plaster of +paris in thin glue water, only enough glue stirred in so that it can +barely be felt when the fingers are rubbed together in the water. This +should retard the plaster setting for from four to six hours and give +ample time for finishing the deer's face. This compo. will set +immediately if used in a skin that has been treated with formaldehyde, +sulphuric acid, or alum, as the glue becomes tanned and impotent by +them. + +Make this compo. thick and stiff and mix into it some chopped manila +fiber. For finishing one deer face and ear-butts about a quart and a +half of the compo. should be made. This should cover the face thinly, +fill the ear-butts, set the eyes, and fill nose and mouth details out. + +In beginning the setting of the scalp into place, cover the lead ears +thinly with the compo. and slip them into the ear skins. The lead will +have to be partly folded together to accomplish this and spread again +when inside. If edges of ears have been torn open in skinning, sew them +up neatly from the outside, using a small round needle and small thread +before the lead is placed. + +With the cartilages set, fill the ear butts with compo., squeezing it +out upon the lead a little way that it may brace the ears when set +finally. + +Set the mannikin in the vise for convenience. Cover skull with a thin +layer of compo. where bone is exposed and slip the face skin into place. +Hold the scalp up now by tying a heavy cord under the jaw and behind the +horns. Draw the neck skin into place and tie it up with a piece of cord +about the neck near base. Now, for better convenience in sewing, remove +the head from the vise, set front of neck base on the floor and lean the +antlers against a chair seat, back of neck up. Draw corners of antler +cuts together back of the horns. + +Begin at one horn and sew to joint of the Y cut. Sew from the other horn +and then continue down the neck to the base, using medium stitches and +drawing tight. This method of sewing a game head is the only exception, +in taxidermy, to sewing toward the head. For a raw scalp use a sail +needle and waxed ends. For a tanned scalp, a large fur needle and strong +linen. + +With the sewing completed, turn to nailing the scalp to the back-board. +Turn the free edge of skin down over back of board and nail firmly with +short broad headed nails so that when the surplus is trimmed off a +turned over edge of skin two or three inches wide will remain, held +snugly by nails set two inches apart. Count upon finishing a raw head +all up at one go when using the plaster compo. This is the only compo. +which can be recommended to hold raw, haired skins down, as the material +must set before the skin begins to dry and pull. + +Before turning to finishing the face, unscrew the holding piece from +back of neck-board and nail up the part of skin's edge that it covered. +Replace the piece and set head in vise facing you. Pinch and mold the +ear skin tightly upon the compo. covered lead and model the ear-butts +into shape firmly against the head. + +Run a strong-threaded fur needle, with large knot at end of thread, +through middle of upper edge of each lead ear. Draw ears up to desired +position and wrap thread around a convenient part of antlers to hold +until compo. sets. Next loop a cord under each ear at base of cartilage +and tie over antlers to hold lower end of cartilage from sagging until +set. When ears are finished, press face skin into compo. upon skull and +massage it down to hold firmly. + +Fill eyelids thinly inside flap of lining, place a little compo. in +hollow of sockets, and set eyes. + +[Illustration: Fig. 37.] + +Deer are usually quite fleshy just over the eyes. Place this filling +before eyes are set. Also press a little compo. into the hollows of the +suborbital glands and with the fingers work these fleshy eye details out +roughly and finish with a modeling tool, pressing the slits of +suborbital glands in deeply with a thick-edged instrument. See that the +face skin is worked down firmly and smoothly clear to the nose. + +Fill nose and upper lip and model them into natural shape. Lastly, fill +chin and lower lip. Tuck lower lip up well under upper and model lips +and chin into proper relation to each other. + +If any compo. has gotten into the hair wipe it out with a damp sponge. +Leave head in the vise until compo. is set and then hang in a well +ventilated place to dry. Do not hang near stove or radiator. + +When thoroughly dried out, brush dust out of hair and finish the +eyelids, nostrils, etc., with wax and cotton, burned in, same as given +for finishing a small mammal. + +If placing the head upon a shield, use at least four strong screws of a +length to go nearly through the two boards. + +For mounting a deer scalp tanned, the preparation is very different. +Scalps may be had tanned at a number of reputable fur houses throughout +the country at a small cost. To get best results, send scalps and +rug-skins in to the tanner with ears skinned out and eyelids and lips +split and nose cartilage pared out. Tanned scalps, if kept from moths, +may be preserved unmounted for a long time. + +When required for mounting, a tanned scalp need only be relaxed with +water brushed or sponged into the flesh side and, when soft, poisoned +with arsenic-water and folded together, flesh to flesh, over one night. + +The process of mounting a tanned scalp differs from the raw in that it +is set up on a wire and plaster shell, more carefully shaped than the +excelsior form. The entire scalp is stuck down to the shell with compo. +No. I rubbed well into the skin and upon the shell. The face and ears +are set and finished with compo. No. II, which, as before stated, is No. +I thickened to the consistency of modeling clay with plaster of paris. +This method gives much finer and more permanent results. + +For details of plaster and wire mannikin, see Fig. 37. This type of +shell is made as follows: Set the cleaned skull upon neck-board and +back-board same as for wrapping excelsior neck. + +Half-inch mesh chicken wire will do, if no free mesh wire can be +procured, for building the frame. The wire neck is best placed in +halves. The shaping will require considerable cutting and neat +manipulation with pincers and hammer and tying with bits of wire. Use +staple tacks to fasten wire to edge of back-board. The wire shell should +be smaller than natural neck to allow for coat of plaster and fiber. For +this make up not more than half a wash basin at a time, mixing the +plaster with plain water in the ordinary way. Make the batches middling +thick, enough so that it will not drizzle from the wire. + +Pick a quantity of fiber into small handfuls. To apply, dip a film of +the manila fiber into the plaster, drag it out over edge of dish to +remove surplus plaster, and apply to wire shell. Work fast enough to +keep ahead of plaster setting. Wipe each application out smooth as you +go. Apply a thin coat, very smooth, all over the skull and model on the +jaw muscles with the plaster and fiber. + +When plaster is set, surface the shell and remove all inequalities by +paring with an ordinary small butcher-knife. Allow to thoroughly dry and +apply a good coat of medium thin shellac. Have this type of mannikin +completed, dried, and shellaced before moistening and preparing the +tanned skin. + +To prepare mammal skins in the field, for transportation and keeping, +remove skins carefully, same as for immediate mounting. Salt thoroughly, +rubbing in well, and roll up to drain over night. Next day shake out the +first salt, which will be found saturated with juices, rub fresh salt in +all over, and roll up over another night. In this condition small skins +may be sealed in glass jars or friction top tins and kept damp thus for +some time. + +To make a preserving "pickle" for keeping skins wet, boil salt in water +until heaviest brine possible to make is produced. Add a tablespoonful +of carbolic acid to the gallon while hot. Stir well. Let the solution +cool thoroughly before submerging skins in it. + +Skins should always be put through the double dry salting before going +into "pickle." Keep in covered earthen jars. + +For making up into rugs, send animal skins to a good tanner, first +skinning out the ears and paring out lips and nose. + +To make an open-mouthed rug head, use the natural skull when possible. +Set the jaws open solidly with plaster of paris and at the same time lay +a plaster core between lower jaw for the artificial tongue. Set the +skull upon a cut-out base-board as shown in Fig. 38. + +[Illustration: Fig. 38.] + +Drive nails half in all around back and side edges of this base-board +and wrap on filling of excelsior for jaws and flare of neck. Drive the +nails down tight after wrapping is completed. + +Mount the head before stretching the skin. Relax the head with water and +poison same as deer scalp. + +Use plaster and glue-water compo. as in raw deer scalp. If a snarling +expression is desired, model the wrinkles on the muzzle with an edged +wooden tool. Tuck the lip lining well under the filling, so they will +hold in place when the plaster is set. Finish details of face same as in +other mounting. + +Finish the tongue and gums by melting colored wax and cotton upon core +and bone with hot iron, modeling and carving to shape when cool. After +the head is mounted and set, stretch the skin. Moisten the flesh side to +soften it up well. + +Nail down the rear end upon floor to its widest spread, with hind legs +pointing back on a slight slant. Draw the skin forward and spread +forelegs and front end to widest extent and nail down in accurate line +with hind part. Now work from side to side, nailing skin out to its +widest extent and in symmetrical lines. Always stretch a rug-skin hair +side down. A slight wash of arsenic-water may be applied after the skin +is stretched and while yet moist, care being used not to mess the hair +with the solution. + +When dry, the skin is ready to line. Lay the felt lining upon the floor +and the skin upon it and cut around the skin, allowing three or four +inches for pinked edge. + +With a pinking iron cut scalloped edge and enough of a narrow strip to +gather fully all around just inside the outer edge. Lay skin on lining +and mark its edge with tailor's chalk. Sew the gathered edge just inside +this chalk mark so that the stitch will be covered by the skin. + +[Illustration: Fig. 39.] + +Quilt skin upon the lining with a good layer of cotton wadding between. +Be sure and not draw down a bunch of hair under each loop. Tie the +knots neatly on under side. + +Fig. 39 shows incisions to make in removing a pelt for a symmetrical +rug. Rug skins are best dried with no preservative whatever. In drying +skins, stretch them symmetrically and dry in the shade. + +[Illustration] + + + + +PREPARING AND MOUNTING A COYOTE + + + + +CHAPTER VI + +PREPARING AND MOUNTING A COYOTE + + +This method may be applied to specimens from the size of a red fox or a +bobcat up to a timber wolf. Remove the skin and prepare it in same way +as that of a small mammal for mounting. When the carcass is bared in +skinning, measure the girth of the neck at middle and at base; of the +chest just behind the forelegs; the abdomen at its middle; the upper-arm +at middle; the forearm just below elbow; the thigh at middle; the shank +just below swell of thigh muscles back of knee, and the tail near its +base. (See Fig. 40 for measurements.) + +Lay the carcass upon a large piece of wrapping paper and take an outline +of it complete, both before and after skinning. + +Use same incisions and remove skin identically as in small specimen. +Upon the outline sketch of peeled complete carcass set down the girth +measurements in their proper places as taken with the tape. As in +smaller specimens, these outline sketches will be found of great value +as an aid to preserving natural lines in mounting. + +[Illustration: Fig. 40.] + +Wire the leg bones same as in a small mammal, using soft iron rod of +sufficient size to support the specimen firmly. In our coyote a +quarter-inch rod will be required. In a bobcat a three-sixteenths-inch +rod will be large enough to support sturdily. + +Bend the leg rods to fit the joints in position desired. Cut the rods of +a length so that six or eight inches will protrude from the feet and +eight or ten inches will remain free above to anchor to the body core. +Bind the rods to the leg-bones with strong, light cord, doing the +firmest wrapping near the joints. + +Working over the body outline, cut a one-inch-thick board core that will +set well within the outline. (See Fig. 41.) + +[Illustration: Fig. 41.] + +Cut a neck-rod of same size as for legs, having it twice as long as neck +and head. Near one end of the neck-rod bend a jog to hold well when set +with plaster of paris and chopped fiber into the brain cavity of the +cleaned skull. + +Wrap the leg muscles upon the bones same as in a small specimen, except +pull the excelsior rather smooth for the purpose instead of rolling it +in the palms. Make the Achilles tendon in same way and leave back of +thigh off to be stuffed. + +When the plaster to hold neck-rod in head is set, anchor the skull by +the rod to the core-board in proper relation to the body. To do this, +run the rod through a hole drilled through the board, clinch rod down +forward and back with a hammer on anvil or vise, and fasten with +staples, or drill a small hole through core-board each side of rod and +tie the rod down with a strong loop of wire twisted down with the +pliers. + +Wrap the skull muscles on with excelsior rolled in palms of hands. Wrap +a tail of pulled excelsior laid straight along a wire much smaller than +is used in legs. + +[Illustration: Fig. 42.] + +Drill the center-board for legs and tail as shown in Fig. 42, which +shows general assembling details. When the legs, head, and tail are +finished, push the head and body-core into place in the skin, shove in +the legs and tail, and wire the legs and tail fast in the center-board +same as head was fastened. + +The remainder of the mounting is accomplished in exactly the same way as +the filling and finishing of a small mammal specimen, _i. e._, by +stuffing the neck, body, and back of thighs and finishing the face and +feet with a batch of papier-mache compo. No. 2. If the mouth is to be +open, follow directions given for finishing an entire rug-head. + +[Illustration: Fig. 43.] + +To hold in the hollow of the flanks, cut several short, strong pieces of +wire, sharpen them to cutting points, push them through the skin along +line of hollow in front of hip, drive them firmly into the core-board, +and then, with cutting pliers clinch their ends down to hold the skin in +and cut off surplus wire, picking the fur out well to cover them. (See +Fig. 43.) + +[Illustration: Fig. 44.] + +To support the compo.-filled ears until set and dry, drive a sharpened +wire into the head, through hollow of ear. Point the wire in direction +ear is to lay or stand and between ear and wire lay a loose, flat wad of +cotton or tow. With a furrier's needle and thread take a narrow loop +through center of ear near tip and tie lightly around wire to hold +until dry. When dry remove the thread with scissors and the wires by a +slight twist with pliers. + +Mammals of the sizes named may be mounted so skillfully by this method +that they cannot be told from mannikin specimens. + +Specimens of this size need not be entirely mounted at one sitting. +Prepare the skin, wire and wrap the legs and head, and make the +center-board in one day, assemble the specimen and place the body +filling the next day, and make the feet, mount the specimen, and finish +the head the third day. + +A little carbolic acid in the arsenic-water will help keep the skin from +slipping the hair. Also keep unfinished parts wrapped in damp cloths +wrung from carbolic acid water. + +[Illustration: THE END] + + * * * * * + +[Transcriber's Note: The following corrections have been made to the text. + +Page 10: "uphosterer's" to "upholsterer's"--"one upholsterer's regulator". +Page 12: "speical" to "special"--"your special tools". +Page 21: "betwen" to "between"--"rump between two". +Page 32: "rightangle" to "right angle"--"short right angle bend". +Page 37: "eyesockets" to "eye sockets"--"cotton of the eye sockets". +Page 99: "transportaion" to "transportation"--"for transportation and". +Page 100: "thoroughy" to "thoroughly"--"cool thoroughly before".] + + +OUTING PUBLISHING COMPANY--NEW YORK + +[Illustration: OUTING HANDBOOKS] + +_The textbooks for outdoor work and play_ + +Each book deals with a separate subject and deals with it thoroughly. If +you want to know anything about Airedales an OUTING HANDBOOK gives you +all you want. If it's Apple Growing, another OUTING HANDBOOK meets your +need. The Fisherman, the Camper, the Poultry-raiser, the Automobilist, +the Horseman, all varieties of out-door enthusiasts, will find separate +volumes for their separate interests. There is no waste space. + +The series is based on the plan of one subject to a book and each book +complete. The authors are experts. Each book has been specially prepared +for this series and all are published in uniform style, flexible cloth +binding. + +Two hundred titles are projected. The series covers all phases of +outdoor life, from bee-keeping to big-game shooting. Among the books now +ready or in preparation are those described on the following pages. + +If you wish for any information on any outdoor subject not treated in +one of the following books write Outing Publishing Co., 141-145 West +36th St., New York. + + PRICE SEVENTY CENTS PER VOL. NET, + POSTAGE 5c. EXTRA + THE NUMBERS MAKE ORDERING EASY. + +1. EXERCISE AND HEALTH, by Dr. Woods Hutchinson. Dr. Hutchinson takes +the common-sense view that the greatest problem in exercise for most of +us is to get enough of the right kind. The greatest error in exercise is +not to take enough, and the greatest danger in athletics is in giving +them up. He writes in a direct matter-of-fact manner with an avoidance +of medical terms, and a strong emphasis on the rational, all-around +manner of living that is best calculated to bring a man to a ripe old +age with little illness or consciousness of bodily weakness. + +2. CAMP COOKERY, by Horace Kephart. "The less a man carries in his pack +the more he must carry in his head," says Mr. Kephart. This book tells +what a man should carry in both pack and head. Every step is traced--the +selection of provisions and utensils, with the kind and quantity of +each, the preparation of game, the building of fires, the cooking of +every conceivable kind of food that the camp outfit or woods, fields or +streams may provide--even to the making of desserts. Every recipe is the +result of hard practice and long experience. + +3. BACKWOODS SURGERY AND MEDICINE, by Charles S. Moody, M. D. A handy +book for the prudent lover of the woods who doesn't expect to be ill but +believes in being on the safe side. Common-sense methods for the +treatment of the ordinary wounds and accidents are described--setting a +broken limb, reducing a dislocation, caring for burns, cuts, etc. +Practical remedies for camp diseases are recommended, as well as the +ordinary indications of the most probable ailments. Includes a list of +the necessary medical and surgical supplies. + +4. APPLE GROWING, by M. C. Burritt. The various problems confronting the +apple grower, from the preparation of the soil and the planting of the +trees to the marketing of the fruit, are discussed in detail by the +author. + +5. THE AIREDALE, by Williams Haynes. The book opens with a short chapter +on the origin and development of the Airedale, as a distinctive breed. +The author then takes up the problems of type as bearing on the +selection of the dog, breeding, training and use. The book is designed +for the non-professional dog fancier, who wishes common sense advice +which does not involve elaborate preparations or expenditure. Chapters +are included on the care of the dog in the kennel and simple remedies +for ordinary diseases. + +6. THE AUTOMOBILE--Its Selection, Care and Use, by Robert Sloss. This is +a plain, practical discussion of the things that every man needs to know +if he is to buy the right car and get the most out of it. The various +details of operation and care are given in simple, intelligent terms. +From it the car owner can easily learn the mechanism of his motor and +the art of locating motor trouble, as well as how to use his car for the +greatest pleasure. + +7. FISHING KITS AND EQUIPMENT, by Samuel G. Camp. A complete guide to +the angler buying a new outfit. Every detail of the fishing kit of the +freshwater angler is described, from rodtip to creel, and clothing. +Special emphasis is laid on outfitting for fly fishing, but full +instruction is also given to the man who wants to catch pickerel, pike, +muskellunge, lake-trout, bass and other freshwater game fishes. The +approved method of selecting and testing the various rods, lines, +leaders, etc., is described. + +8. THE FINE ART OF FISHING, by Samuel G. Camp. Combine the pleasure of +catching fish with the gratification of following the sport in the most +approved manner. The suggestions offered are helpful to beginner and +expert anglers. The range of fish and fishing conditions covered is wide +and includes such subjects as "Casting Fine and Far Off," "Strip-Casting +for Bass," "Fishing for Mountain Trout" and "Autumn Fishing for Lake +Trout." The book is pervaded with a spirit of love for the streamside +and the out-doors generally which the genuine angler will appreciate. A +companion book to "Fishing Kits and Equipment." + +9. THE HORSE--Its Breeding, Care and Use, by David Buffum. Mr. Buffum +takes up the common, every-day problems of the ordinary horse-users, +such as feeding, shoeing, simple home remedies, breaking and the cure +for various equine vices. An important chapter is that tracing the +influx of Arabian blood into the English and American horses and its +value and limitations. A distinctly sensible book for the sensible man +who wishes to know how he can improve his horses and his horsemanship at +the same time. + +10. THE MOTOR BOAT--Its Selection, Care and Use, by H. W. Slauson. The +intending purchaser is advised as to the type of motor boat best suited +to his particular needs and how to keep it in running condition after +purchased. + +11. OUTDOOR SIGNALLING, by Elbert Wells. Mr. Wells has perfected a +method of signalling by means of wigwag, light, smoke, or whistle which +is as simple as it is effective. The fundamental principle can be +learned in ten minutes and its application is far easier than that of +any other code now in use. + +12. TRACKS AND TRACKING, by Josef Brunner. After twenty years of patient +study and practical experience, Mr. Brunner can, from his intimate +knowledge, speak with authority on this subject. "Tracks and Tracking" +shows how to follow intelligently even the most intricate animal or bird +tracks; how to interpret tracks of wild game and decipher the many +tell-tale signs of the chase that would otherwise pass unnoticed; to +tell from the footprints the name, sex, speed, direction, whether and +how wounded, and many other things about wild animals and birds. + +13. WING AND TRAP-SHOOTING, by Charles Askins. Contains a full +discussion of the various methods, such as snap-shooting, swing and +half-swing, discusses the flight of birds with reference to the gunner's +problem of lead and range and makes special application of the various +points to the different birds commonly shot in this country. A chapter +is included on trap shooting and the book closes with a forceful and +common-sense presentation of the etiquette of the field. + +14. PROFITABLE BREEDS OF POULTRY, by Arthur S. Wheeler. Mr. Wheeler +discusses from personal experience the best-known general purpose +breeds. Advice is given from the standpoint of the man who desires +results in eggs and stock rather than in specimens for exhibition. In +addition to a careful analysis of stock--good and bad--and some +conclusions regarding housing and management, the author writes in +detail regarding Plymouth Rocks, Wyandottes, Orpingtons, Rhode Island +Reds, etc. + +15. RIFLES AND RIFLE SHOOTING, by Charles Askins. A practical manual +describing various makes and mechanisms, in addition to discussing in +detail the range and limitations in the use of the rifle. Treats on the +every style and make of rifle as well as their use. Every type of rifle +is discussed so that the book is complete in every detail. + +16. SPORTING FIREARMS, by Horace Kephart. This book is the result of +painstaking tests and experiments. Practically nothing is taken for +granted. Part I deals with the rifle, and Part II with the shotgun. The +man seeking guidance in the selection and use of small firearms, as well +as the advanced student of the subject, will receive an unusual amount +of assistance from this work. + +17. THE YACHTSMAN'S HANDBOOK, by Herbert L. Stone. The author and +compiler of this work is the editor of "Yachting." He treats in simple +language of the many problems confronting the amateur sailor and motor +boatman. Handling ground tackle, handling lines, taking soundings, the +use of the lead line, care and use of sails, yachting etiquette, are all +given careful attention. Some light is thrown upon the operation of the +gasoline motor, and suggestions are made for the avoidance of engine +troubles. + +18. SCOTTISH AND IRISH TERRIERS, by Williams Haynes. This is a companion +book to "The Airedale," and deals with the history and development of +both breeds. For the owner of the dog, valuable information is given as +to the use of the terriers, their treatment in health, their treatment +when sick, the principles of dog breeding, and dog shows and rules. + +19. NAVIGATION FOR THE AMATEUR, by Capt. E. T. Morton. A short treatise +on the simpler methods of finding position at sea by the observation of +the sun's altitude and the use of the sextant and chronometer. It is +arranged especially for yachtsmen and amateurs who wish to know the +simpler formulae for the necessary navigation involved in taking a boat +anywhere off shore. Illustrated. + +20. OUTDOOR PHOTOGRAPHY, by Julian A. Dimock. A solution of all the +problems in camera work out-of-doors. The various subjects dealt with +are: The Camera--Lens and Plates--Light and Exposure--Development--Prints +and Printing, etc. + +21. PACKING AND PORTAGING, by Dillon Wallace. Mr. Wallace has brought +together in one volume all the valuable information on the different +ways of making and carrying the different kinds of packs. The ground +covered ranges from man-packing to horse-packing, from the use of the +tump line to throwing the diamond hitch. + +22. THE BULL TERRIER, by Williams Haynes. This is a companion book to +"The Airedale" and "Scottish and Irish Terriers" by the same author. Its +greatest usefulness is as a guide to the dog owner who wishes to be his +own kennel manager. A full account of the development of the breed is +given with a description of best types and standards. Recommendations +for the care of the dog in health or sickness are included. + +23. THE FOX TERRIER, by Williams Haynes. As in his other books on the +terrier, Mr. Haynes takes up the origin and history of the breed, its +types and standards, and the more exclusive representatives down to the +present time. Training the Fox Terrier--His Care and Kenneling in +Sickness and Health--and the Various Uses to Which He Can Be Put--are +among the phases handled. + +24. SUBURBAN GARDENS, by Grace Tabor. Illustrated with diagrams. The +author regards the house and grounds as a complete unit and shows how +the best results may be obtained by carrying the reader in detail +through the various phases of designing the garden, with the levels and +contours necessary, laying out the walks and paths, planning and placing +the arbors, summer houses, seats, etc., and selecting and placing trees, +shrubs, vines and flowers. Ideal plans for plots of various sizes are +appended, as well as suggestions for correcting mistakes that have been +made through "starting wrong." + +25. FISHING WITH FLOATING FLIES, by Samuel G. Camp. This is an art that +is comparatively new in this country although English anglers have used +the dry fly for generations. Mr. Camp has given the matter special study +and is one of the few American anglers who really understands the matter +from the selection of the outfit to the landing of the fish. + +26. THE GASOLINE MOTOR, by Harold Whiting Slauson. Deals with the +practical problems of motor operation. The standpoint is that of the man +who wishes to know how and why gasoline generates power and something +about the various types. Describes in detail the different parts of +motors and the faults to which they are liable. Also gives full +directions as to repair and upkeep. + +27. ICE BOATING, by H. L. Stone. Illustrated with diagrams. Here have +been brought together all the available information on the organization +and history of ice-boating, the building of the various types of ice +yachts, from the small 15 footer to the 600-foot racer, together with +detailed plans and specifications. Full information is also given to +meet the needs of those who wish to be able to build and sail their own +boats but are handicapped by the lack of proper knowledge as to just the +points described in this volume. + +28. MODERN GOLF, by Harold H. Hilton. Mr. Hilton is the only man who has +ever held the amateur championship of Great Britain and the United +States in the same year. This book gives the reader sound advice, not so +much on the mere swinging of the clubs as in the actual playing of the +game, with all the factors that enter into it. He discusses the use of +wooden clubs, the choice of clubs, the art of approaching, and kindred +subjects. + +29. INTENSIVE FARMING, by L. C. Corbett. A discussion of the meaning, +method and value of intensive methods in agriculture. This book is +designed for the convenience of practical farmers who find themselves +under the necessity of making a living out of high-priced land. + +30. PRACTICAL DOG BREEDING, by Williams Haynes. This is a companion +volume to PRACTICAL DOG KEEPING, described below. It goes at length into +the fundamental questions of breeding, such as selection of types on +both sides, the perpetuation of desirable, and the elimination of +undesirable qualities, the value of prepotency in building up a desired +breed, etc. + +31. PRACTICAL DOG KEEPING, by Williams Haynes. Mr. Haynes is well known +to the readers of the OUTING HANDBOOKS as the author of books on the +terriers. His new book is somewhat more ambitious in that it carries him +into the general field of selection of breeds, the buying and selling of +dogs, the care of dogs in kennels, handling in bench shows and field +trials, and at considerable length into such subjects as food and +feeding, exercise and grooming, disease, etc. + +32. THE VEGETABLE GARDEN, by R. L. Watts. This book is designed for the +small grower with a limited plot of ground. The reader is told what +types of vegetables to select, the manner of planting and cultivation, +and the returns that may be expected. + +33. AMATEUR RODMAKING, by Perry D. Frazer. Illustrated. A practical +manual for all those who want to make their own rod and fittings. It +contains a review of fishing rod history, a discussion of materials, a +list of the tools needed, description of the method to be followed in +making all kinds of rods, including fly-casting, bait-fishing, salmon, +etc., with full instructions for winding, varnishing, etc. + +34. PISTOL AND REVOLVER SHOOTING, by A. L. A. Himmelwright. A new and +revised edition of a work that has already achieved prominence as an +accepted authority on the use of the hand gun. Full instructions are +given in the use of both revolver and target pistol, including shooting +position, grip, position of arm, etc. The book is thoroughly illustrated +with diagrams and photographs and includes the rules of the United +States Revolver Association and a list of the records made both here and +abroad. + +35. PIGEON RAISING, by Alice MacLeod. This is a book for both fancier +and market breeder. Full descriptions are given of the construction of +houses, the care of the birds, preparation for market, and shipment, of +the various breeds with their markings and characteristics. + +36. FISHING TACKLE, by Perry D. Frazer. Illustrated. It tells all the +fisherman needs to know about making and overhauling his tackle during +the closed season and gives full instructions for tournament casting and +fly-casting. + +37. AUTOMOBILE OPERATION, by A. L. Brennan, Jr. Illustrated. Tells the +plain truth about the little things that every motorist wants to know +about his own car. Do you want to cure ignition troubles? Overhaul and +adjust your carbureter? Keep your transmission in order? Get the maximum +wear out of your tires? Do any other of the hundred and one things that +are necessary for the greatest use and enjoyment of your car? Then you +will find this book useful. + +38. THE FOX HOUND, by Roger D. Williams. Author of "Horse and Hound." +Illustrated. The author is the foremost authority on fox hunting and +foxhounds in America. For years he has kept the foxhound studbook, and +is the final source of information on all disputed points relating to +this breed. His book discusses types, methods of training, kenneling, +diseases and all the other practical points relating to the use and care +of the hound, etc. + +39. SALT WATER GAME FISHING, by Charles F. Holder. Mr. Holder covers the +whole field of his subject devoting a chapter each to such fish as the +tuna, the tarpon, amberjack, the sail fish, the yellow-tail, the king +fish, the barracuda, the sea bass and the small game fishes of Florida, +Porto Rico, the Pacific Coast, Hawaii, and the Philippines. The habits +and habitats of the fish are described, together with the methods and +tackle for taking them. Illustrated. + +40. WINTER CAMPING, by Warwick S. Carpenter. A book that meets the +increasing interest in outdoor life in the cold weather. Mr. Carpenter +discusses such subjects as shelter equipment, clothing, food, +snowshoeing, skiing, and winter hunting, wild life in winter woods, care +of frost bite, etc. Illustrated. + +41. *WOODCRAFT FOR WOMEN, by Mrs. Kathrene Gedney Pinkerton. The author +has spent several years in the Canadian woods and is thoroughly familiar +with the subject from both the masculine and feminine point of view. She +gives sound tips on clothing, camping outfit, food supplies, and +methods, by which the woman may adjust herself to the outdoor +environment. + +42. *SMALL BOAT BUILDING, by H. W. Patterson. Illustrated with diagrams +and plans. A working manual for the man who wants to be his own designer +and builder. Detail descriptions and drawings are given showing the +various stages in the building, and chapters are included on proper +materials and details. + +43. READING THE WEATHER, by T. Morris Longstreth. The author gives in +detail the various recognized signs for different kinds of weather based +primarily on the material worked out by the Government Weather Bureau, +gives rules by which the character and duration of storms may be +estimated, and gives instructions for sensible use of the barometer. He +also gives useful information as to various weather averages for +different parts of the country, at different times of the year, and +furnishes sound advice for the camper, sportsman, and others who wish to +know what they may expect in the weather line. + +44. BOXING, by D. C. Hutchison. Practical instruction for men who wish +to learn the first steps in the manly art. Mr. Hutchison writes from +long personal experience as an amateur boxer and as a trainer of other +amateurs. His instructions are accompanied with full diagrams showing +the approved blows and guards. He also gives full directions for +training for condition without danger of going stale from overtraining. +It is essentially a book for the amateur. + +45. TENNIS TACTICS, by Raymond D. Little. Out of his store of experience +as a successful tennis player, Mr. Little has written this practical +guide for those who wish to know how real tennis is played. He tells the +reader when and how to take the net, discusses the relative merits of +the back-court and volleying game and how their proper balance may be +achieved; analyzes and appraises the twist service, shows the +fundamental necessities of successful doubles play. + +46. HOW TO PLAY TENNIS, by James Burns. This book gives simple, direct +instruction from the professional standpoint on the fundamentals of the +game. It tells the reader how to hold his racket, how to swing it for +the various strokes, how to stand and how to cover the court. These +points are illustrated with photographs and diagrams. The author also +illustrates the course of the ball in the progress of play and points +out the positions of greatest safety and greatest danger. + +47. TAXIDERMY, by Leon L. Pray. Illustrated with diagrams. Being a +practical taxidermist, the author at once goes into the question of +selection of tools and materials for the various stages of skinning, +stuffing and mounting. The subjects whose handling is described are, for +the most part, the every-day ones, such as ordinary birds, small +mammals, etc., although adequate instructions are included for mounting +big game specimens, as well as the preliminary care of skins in hot +climates. Full diagrams accompany the text. + +48. THE CANOE--ITS SELECTION, CARE AND USE, by Robert E. Pinkerton. +Illustrated with photographs. With proper use the canoe is one of the +safest crafts that floats. Mr. Pinkerton tells how that state of safety +may be obtained. He gives full instructions for the selection of the +right canoe for each particular purpose or set of conditions. Then he +tells how it should be used in order to secure the maximum of safety, +comfort and usefulness. His own lesson was learned among the Indians of +Canada, where paddling is a high art, and the use of the canoe almost as +much a matter of course as the wearing of moccasins. + +49. HORSE PACKING, by Charles J. Post. Illustrated with diagrams. This +is a complete description of the hitches, knots, and apparatus used in +making and carrying loads of various kinds on horseback. Its basis is +the methods followed in the West and in the American Army. The diagrams +are full and detailed, giving the various hitches and knots at each of +the important stages so that even the novice can follow and use them. It +is the only book ever published on this subject of which this could be +said. Full description is given of the ideal pack animal, as well as a +catalogue of the diseases and injuries to which such animals are +subject. + +50. *LEARNING TO SWIM, by L. de B. Handley. Illustrated. Constructed +especially for the beginner who has no knowledge of the first steps. +Explains the formation of the strokes, how to acquire confidence in the +water and gives full details as to the various methods, including those +used by experts and racing swimmers. + +51. *SMALL BOAT NAVIGATION, by Lieut. Com. F. W. Sterling, U. S. N. +Retired. Illustrated with diagrams. A complete description of the +instruments and methods necessary in navigating small boats in pilot +waters, on soundings, and off shore. Describes the taking of sights for +position, the running of courses, taking soundings, using the chart, +plotting compass courses, etc. Several chapters are given over to the +seamanship side of navigation, explaining the handling of small boats +under various conditions. + +52. *TOURING AFOOT, by Dr. C. P. Fordyce. Illustrated. This book is +designed to meet the growing interest in walking trips and covers the +whole field of outfit and method for trips of varying length. Various +standard camping devices are described and outfits are prescribed for +all conditions. It is based on the assumption that the reader will want +to carry on his own back everything that he requires for the trip. + +53. THE MARINE MOTOR, by Lieut. Com. F. W. Sterling, U. S. N. (Ret.). +Illustrated with diagrams. This book is the product of a wide experience +on the engineering staff of the United States Navy. It gives careful +descriptions of the various parts of the marine motor, their relation to +the whole and their method of operation; it also describes the commoner +troubles and suggests remedies. The principal types of engines are +described in detail with diagrams. The object is primarily to give the +novice a good working knowledge of his engine, its operation and care. + +54. *THE BEGINNER'S BEE BOOK, by Frank C. Pellett. Illustrated. This +book is designed primarily for the small scale bee farmer. It discusses +the different varieties of bees and their adaptability to different +conditions, the construction of hives, care and feeding at various times +of the year, handling of bees, and the types of locations and feed most +suitable for bee culture. + +55. *THE POINTER, by Williams Haynes. Contains chapters on the history +and development of the breed, selection of dog, breeding, kenneling, and +training. Also contains information on common sense remedies for +ordinary diseases. + +56. *THE SETTER, by Williams Haynes. The author takes up the origin and +history of the breed, its development, breeding, kenneling, and +training. He also discusses the various diseases to which they are +subject and treatment therefor. + +57. *PRACTICAL BAIT CASTING, by Larry St. John. Illustrated. This book +deals with tackle and methods used in catching black bass. It is based +upon a wide and varied experience in the middle West, where more bass +fishing is done than in any other part of the country. + +ALL OUTDOORS. A monthly magazine of the outdoors that is made for +outdoor men and women. Short, meaty, to-the-point articles tell the +"how" of living and playing in the open--whether hunting, fishing, +canoeing, camping, ice boating, skiing, swimming, shooting at the traps, +or any other outdoor sport. The adventure stories and fiction are the +kind that anyone with red blood likes to read. In addition to the great +number of articles and stories in ALL OUTDOORS is a feature that alone +makes the magazine worth its price--pictures. The best of outdoor +pictures are used to illustrate it. And each picture has a long caption +of concise information. ALL OUTDOORS is a magazine that not only +radiates the spirit of the woods and fields, streams and rivers, but it +tells you how to enjoy all these to the fullest. 15 cents a copy. $1.00 +a year. + +YACHTING. An illustrated monthly magazine devoted to the interest of the +man who loves the water--sailing and motor boating. It is written and +edited by practical men who have done the things about which they write, +if it be a cruise to Labrador, sailing an ocean race or telling how to +put a gasoline engine together. Under and through all other features of +YACHTING is the call of the water--the bracing, irresistible appeal that +has drawn men off shore since the first cockle-shell was set afloat. +Once you have heard and answered it you will know why a sailor once is a +sailor always--and you will know also why YACHTING should interest you. +The most beautiful yachtsman's magazine. 15 cents a copy. $1.75 a year. + +OUTING. For more than thirty years the OUTING magazine has been the +great outdoor publication of America. Its contributors are national +experts in their respective fields. Its articles are recognized as the +last word on the subject they treat. Its range is comprehensive, +covering the entire outdoor realm from gardening to aviation. In every +subject that it touches, whether it be fishing, hunting, golfing, +college sports, the country home, sailing, automobiling, dogs or horses, +its aim is accuracy plus interest. Every number combines the solid value +of sober fact with the alluring thrill of mystery and adventure that +still beckons us to the out-of-doors. $3.00 a year, 25c. a copy. + + + + + +End of the Project Gutenberg EBook of Taxidermy, by Leon Luther Pray + +*** END OF THIS PROJECT GUTENBERG EBOOK TAXIDERMY *** + +***** This file should be named 29691.txt or 29691.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/9/6/9/29691/ + +Produced by Susan Skinner and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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