diff options
Diffstat (limited to 'old/52850-0.txt')
| -rw-r--r-- | old/52850-0.txt | 2661 |
1 files changed, 0 insertions, 2661 deletions
diff --git a/old/52850-0.txt b/old/52850-0.txt deleted file mode 100644 index e6b242b..0000000 --- a/old/52850-0.txt +++ /dev/null @@ -1,2661 +0,0 @@ -The Project Gutenberg EBook of Barbers' Manual (Part 1), Text Book on -Taxidermy (Part 2), by T. J. McConnaughay - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Barbers' Manual (Part 1), Text Book on Taxidermy (Part 2) - -Author: T. J. McConnaughay - -Release Date: August 19, 2016 [EBook #52850] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK BARBER'S MANUAL, TEXT BOOK TAXIDERMY *** - - - - -Produced by Richard Tonsing, The Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -[Illustration: T. J. MCCONNAUGHAY.] - - - - - PART FIRST - Barbers' Manual - PART SECOND - Text Book on Taxidermy - - - By T. J. McConnaughay - - PRICE, $1.25 - - Copyrighted and all rights reserved by author. - Chicago, Ill., 1898. - - - - - Preface. - - -By way of explaining the dual character of this little book, we here -indulge a few brief introductory remarks. - -Part First is designed simply as a manual of instruction for barbers, -and we hope it will, in a valuable measure, supply a long felt need. It -will prove especially beneficial to the younger and less experienced -members of our craft. - -The best artisans and artists admit they owe much to the accumulated -knowledge and experience of both their predecessors and their -contemporaries. Indeed, to assert any claim to advanced knowledge and -skill, without due acknowledgements for the help received from others -would savor of an inexcusable egotism. The man who professes to be a -self-made man is always notorious for worshiping his maker. - -We should, of course, always put our own impress upon all our work. Our -observations on the methods of others should supplement but not supplant -our own originality and our own reason. A noted artist when asked how he -mixed his paints to achieve such wonderful results, replied: “I mix them -with brains.” - -So must we use our own brains as well as the brains of others, if we -would succeed in this day of rapid improvements and sharp competition. - -The information given in this book is not guess work, but the result of -long years of study and practice. Thirty-one years have I conducted a -shop of my own. During these years every recipe here given has been -thoroughly tested. We know they are all good. - -Part Second is devoted to taxidermy, which for twenty-three years I have -connected with my other shop work. I have preserved and sold hundreds of -specimens, and this work has proven a source of much pleasure and -profit, enabling me to turn many otherwise idle moments into money. - -On this line I have not confined myself to taxidermic work alone, but -have also connected the tanning of hides with the hair on, which I have -manufactured into mats, rugs, etc. - -Hence this little book, under a twofold title, practically includes -three trades. - -We offer it as a money saving and money making investment. The recipes -and other information contained herein will enable any barber to make -all his own preparations, and to manufacture them for sale. He may also -connect taxidermy and tanning if it suit his pleasure and business. - - - - - Historic Sketch. - - -The word barber is derived from the Latin word “barba,” which means -beard, and hence is applied to one whose occupation is to shave and trim -beards and cut hair. The barber's craft is a very ancient one. The -practice of shaving was common among the ancient Egyptians, Greeks and -Romans; and was even mentioned by the prophet Ezekiel, chapter v, 1st -verse. Among the ancient Israelites the removal of the beard by shaving -or plucking was a sign of mourning. It would seem that the origin of our -trade was prehistoric. - -In early times barbering was conjoined with surgery, and the barber also -served the public in the capacity of surgeon. In France the -barber-chirurgeons, or barber-surgeons, were separated from the -perruquiers, or wig-makers, and were incorporated as a distinct body in -the latter part of the 17th century. In England barbers were -incorporated with special privileges in 1461, and were afterwards united -to the society of surgeons, but were confined to the minor operations of -blood letting and drawing teeth. In 1745 an act was passed, the preamble -of which declared the trade of the barber and the profession of surgery -are foreign to and independent of each other. - -This act practically divorced surgery from the barber's chair. However, -quite recently the surgeons of the Swedish navy were also barbers for -the crew. In former times, not far remote, it was customary to keep a -lute or a violin for the entertainment of patrons, which made the shop a -favorite resort for idle persons. In China and some other oriental -countries, barbers not only shave the face, but they also shave the -whole or a part of the head. - - - BARBER'S SIGN. - -Though barbering is now entirely separated from surgery, yet a monument -of their former union may be still seen in the striped pole and basin so -often projecting from the front of barber shops. - -The fillet, or spiral strip around the pole symbolizes the winding of a -ribbon round the arm previous to letting blood, and its red color -symbolizes the blood. The basin, yet sometimes seen at the base, -represents a vessel prepared to catch the blood. - -Barber's poles in this country are tri-colored. The white symbolizes the -arm, the red represents the shed blood, while Americans have added the -blue to complete our national colors. - - - - - Recipes, Formulas, Etc. - - - GERMAN HAIR DYE. - -The process here given comprehends a double formula, and to insure -satisfactory results, the directions subjoined should be carefully -followed. - - No. 1. - - Nitrate of Silver 3 drachms - Stronger Water of Ammonia ½ ounce - Distilled or Rain Water ½ ounce - - No 2. - - Pyrogallic Acid 3 drachms - Alcohol ½ ounce - Distilled or Rain Water 6 ounces - -DIRECTIONS.—Formula No. 1, and formula No. 2, should each be put up in a -separate bottle. - -In compounding, each of the first two ingredients should be combined and -reduced to a solution and the water then added. - -Before using these preparations the beard or hair should first be -thoroughly washed and dried. - -Then apply No. 1 with the fingers, and when partly dried apply No. 2 -with a tooth brush and a comb, being careful to get the dye down to the -skin. If convenient let the party go out into the open air for an hour. -Otherwise the hair should be thoroughly dried with a fan, and washed -with soap and soft water. This formula was brought from Germany by a St. -Louis barber and sold to the author in 1869. Properly put up it is not -only first-class, but I have never found any other preparation equal to -it. - - - BROWN HAIR DYE. - -Take four pounds of green walnut hulls. Put them in 1½ gallons soft -water and boil down to three pints. Strain off through cloth until clear -of sediment. To one quart of this add one quart of alcohol, and 3 ounces -of glycerine. Use as other restorers, once a day until the desired shade -is obtained. The hulls should be gathered in August. - - - QUININE HAIR TONIC AND SEA FOAM. - -The strong point in favor of this preparation as a sea-foam is that it -acts at the same time as a tonic for the hair. - - FORMULA. - - Alcohol 1 pint - Glycerine ½ ounce - Tincture of Cantharides ½ ounce - Aqua Ammonia ½ ounce - Sulphate of Quinine 30 grains - Oil of Cloves 1 drachm - Rock salt (or table salt) ¼ ounce - Distilled or rain water 1 pint - -DIRECTIONS.—When using as a sea-foam, wet the hair and rub briskly with -finger ends until the foam has disappeared. Then take a towel and rub -partly dry. - -When using as a dandruff cure, sea-foam twice a week, dampen the hair -twice a day for two weeks, after which use once a week as a sea-foam. -This will keep the scalp in fine condition. - -After you have tried it you will use no other. - - - CREAM FOR CHAPPED HANDS AND FACE. - -This recipe was given me by a druggist whom I have known for years. Its -reliable and competent source is a sufficient guarantee: - - FORMULA. - - Quince seed ¼ ounce - Distilled extract witch hazel 1 pint - Glycerine ¼ pint - Alcohol ¼ pint - Powdered Boracic Acid 160 grains - Carbolic Acid 32 drops - Perfume to suit. - -DIRECTIONS FOR MAKING.—First put quince seed in witch hazel and let -stand twenty-four hours. Then strain through cheese cloth and add the -other ingredients. I know this to be good for the face after shaving. - - - PYTHIAN CREAM. - -This is another preparation for the face and hands. - - FORMULA. - - Gum Tragacanth (in flake) ½ ounce - Glycerine 4 ounces - Distilled or rain water ½ gallon - -DIRECTIONS FOR MAKING.—Put gum tragacanth in water and let stand till -thoroughly dissolved, and strain through a cheese cloth. Then add the -glycerine and a sufficient amount of Pythian bouquet to perfume. Color -pink with powdered carmine. It should be about the consistency of cream. -If too thick add more water. There should be a half-gallon water to the -four ounces of glycerine when finished. - - - BAY CREAM. - -The only difference between this and Pythian Cream is in the perfume. -Some like the bay rum better. - -DIRECTIONS.—Use the formula of the preceding and then add perfume with -the genuine oil of bay. - - - COLD CREAM. - -The only difference between this and the two preceding creams is that -instead of perfume a compound of alcohol and menthol is used. - -DIRECTIONS.—Use the same body as for Pythian Cream, and then add alcohol -and menthol as follows: - -Put 6 drachms of menthol crystals into an ounce of alcohol. When the -menthol is thoroughly dissolved add this combination to ½ gallon of the -cream. The presence of the menthol gives this preparation a very -pleasant cooling effect. Hence it is well named. This cream may, of -course, be perfumed if desirable. - -Instead of these face creams, some customers will prefer the pure bay -rum, while perhaps many will prefer witch hazel. These can, of course, -be obtained from barber supply houses or from drug stores; the witch -hazel may be improved by adding to it a good cologne. Try two parts -witch hazel to one part cologne. - - - BAY RUM. - - No. 1. - - Bay Oil ½ ounce - Oil of Pimento ¼ ounce - Alcohol 3 pints - Water 3 pints - - No. 2. - - Magnesium ¼ pound - Oil of Bay ¼ pound - -Mash them well together and put them in a filter and pour in two quarts -of water. Let it filter slowly, and then add 2 quarts Alcohol. - - - IMITATION OF BAY RUM. - - No. 3. - - Oil of Bay 3 drachms - Oil Pimento ½ drachm - Water 1½ quarts - Acetic Ether 1½ ounces - Alcohol 2 quarts - -Mix and let stand 3 days, then filter. - - - CAMPHOR ICE. - - Oil of Sweet Almonds 2½ ounces - White Wax 2½ ounces - Spermaceti 3½ ounces - Gum Camphor ¾ ounces - -Mix together, melt and pour off in small salve boxes. - - - MENTHOL SALVE. - - Mutton Tallow 1 ounce - Lard 1 ounce - Menthol (in crystals) 3 drachms - -Melt together and pour off in salve boxes. - -Both the Camphor Ice and the Menthol salve are good for tender faces. - - - SILVER GLOSS SHAMPOO. - -This is an economic and very satisfactory preparation. - - FORMULA. - - White Castile Soap (the very best) 1 pound - Refined Carbonate of Potash ¾ pound - Distilled or rain water 1 gallon - Table Salt ½ ounce - -Refined Carbonate of Potash is also called Pure Salts of Tartar. I have -found the English brands preferable. - -DIRECTIONS.—Shave the soap fine and put into the water (as per above -formula), which should be contained in a porcelain vessel. - -Let it boil until soap is thoroughly dissolved and strain off into -another vessel, and then add the pure salts of tartar while still hot. -Add the salt and enough more boiling water to replace the amount which -has boiled away, and continue to stir until it becomes only luke warm; -then add a few drops of the oil of cloves (or some other perfume), if -desirable. Finally pour off in small jelly jars and set away for use. 1 -gallon made in this way will make 5 gallons of ordinary shampoo, by -simply adding 4 gallons more of water. This quantity should not cost -over fifty cents. A pound of the refined carbonate of potash costs -twenty cents, and a pound of castile soap only fifteen cents, and the -perfume will cost less than the remainder of 50 cents. - -One teaspoonful is enough to clean any ordinary suit of hair. - -In cleaning ladies' hair it is well to add a little ethylic ether, -commonly called sulphuric ether. Never use hard water. If necessary save -up enough rain water. I give elsewhere directions for making shampooing -outfit, which may also be conveniently used for shower baths in shops -and houses where there is no connection with water works. Water to be -used for shampooing should always be warm. - - - EGG SHAMPOO. - -This favorite preparation should be used immediately after mixing. - -Take 1 fresh egg, 1 teaspoonful of silver gloss shampoo, and ¼ -teaspoonful of powdered borax. Mix together with an egg beater, and then -use as other shampoos. - - - A CHEAP SEA FOAM. - -Take 2 ounces of the silver gloss shampoo, 2 ounces alcohol, 1 ounce -glycerine and 1 pint water; shake well together and perfume to suit your -fancy. - -The shampoo or sea-foam can be colored a nice yellow by making a tea of -saffron and water, adding enough after straining it to get the desired -color. Powdered carmine can also be used to color a red or pink color. - - - BRILLIANTINE. - -Take 1 ounce of good glycerine, ¼ ounce of rose geranium and 1 ounce -water. Mix. This preparation is a good one, and can be made very cheap -by using a less amount of the perfume. It never separates, and is good -as long as there is a drop of it left. - - - ENGRAVING FLUIDS. - -We here give a formula for making an etching fluid, to be used in -marking razors, shears and other steel tools. - - FORMULA. - - Bluestone 1 ounce - Table Salt 1 ounce - Water 6 ounces - -DIRECTIONS.—Cover blade or plate with soap or varnish, and then with -etching needle or common pencil write the name or letters desired, being -careful to score or scratch through to the metal. Then fill the traced -lines with the fluid and let it remain five minutes. The fluid will -corrode the metal in the lines thus laid bare. Therefore when the -covering and acid are washed off the lettering will remain. - -Be careful to wash promptly and dry thoroughly. - - - BLACK HEADS. - -What are known as black heads are generally found in the skin of people -who are addicted to the use of much hog meat. Such people are also as a -rule, rather careless, to say the least, about bathing their faces. A -hint to the wise will be sufficient. Let them not be afraid a rough -towel will scratch them. I give below a recipe highly recommended. - - FORMULA. - - Alcohol 4 ounces - Boracic Acid 2 drachms - Distilled or rain water 1½ ounces - -Apply this three times per day after first having thoroughly washed the -face and rubbing dry with a coarse towel. Considerable benefit will, at -least, be derived from a faithful application of the above. - - - HAIR BLEACHING. - -First clean the hair with the Silver Gloss shampoo, and when dry apply -peroxide of hydrogen until damp. When dry, again repeat the application, -and continue to repeat it until nearly as light as desired. - -The hair will continue to bleach a little lighter for about three days, -and hence it is necessary to discontinue the application when the hair -is a shade darker than desired. - - - WHITENING FOR THE FACE. - -Put 1 ounce of the oxide of zinc into a plate and pour over it 3 ounces -of soft water. Mash zinc with a spoon until it is all dissolved. Pour -the solution into a pint bottle and fill up with witch hazel. When the -weather is cold, pure soft water may be used instead of the witch hazel; -but the preparation would sour in warm weather. Apply with a soft cloth. - - - BARBERS' ITCH. - -Fear of this disease causes many men to shave themselves, and this class -would otherwise be among the very best customers. - -When these men observe how careless the average barber is with his -towels, mugs, tools, etc., they become disgusted and purchase a shaving -outfit and quit the barbers' chair, except when they want a hair-cut. - -I believe every barber should know how to treat this disease. Hence I -will make a few suggestions as to its causation and treatment. - -Scabies, or itch, in its various forms is a disease caused by the -irritation produced from the presence in the skin of what is called the -itch mite and the ova of the same. The cure involves the destruction of -these parasites. Get a doctor, if possible, to prescribe; if no doctor -can be got who understands it, I would try the following: An ointment -made from the flour of sulphur and lard or sulphur and vaseline, is -about the best remedy known. Rub in well at night and wash off in -morning. Or take citron ointment 1 ounce and mutton tallow 1 ounce. Melt -together and stir till cool. This I have found one of the best salves -for all skin diseases I have ever tried. Apply twice a day, but use with -care since it contains mercury. - - - HAIR OILS AND HAIR DRESSINGS. - -While oiling the hair is a thing of the past, we might indulge a few -remarks as a matter of history. Thirty years ago almost every customer -used oil on his hair, and every barber was expected to know how to mix -his own oils. A favorite preparation was made as follows: 1 pint of -alcohol and 1½ pints of castor-oil were shaken together, and then -perfumed with citronella or bergamot. - -Another favorite was made of raccoon oil and lard mixed half and half, -and perfumed with the oil of cloves. - -Some used the coon oil straight; others used the oil of birds, geese, -chickens or ducks, etc. Bear oil was considered a great oil for the hair -as well as for many other purposes. My own favorite among all the home -made preparations was made from beef marrow. The marrow was tried out -and a little salt was added. The oil was then perfumed with bergamot. - - - POMADES. - -In selecting material for pomade, have a butcher get you some fine leaf -lard and some of the finest suet, which should be taken from young -animals. Render out separately in porcelain vessels and strain off. - -DIRECTIONS.—Take lard 1 pound, tallow 1 pound; mix them and heat gently, -and cook for one hour over a slow fire; remove and let stand a few -minutes to settle; now pour off carefully. When almost cold add some -suitable perfume, say oil of bergamot 4 drachms, oil of lemon 3 drachms, -oil of cassia 2 drachms, oil of nutmeg 75 drops. Mix thoroughly with the -pomade and pour into small jars. - - - STICK POMADES. - -Take of the prepared tallow 1 pound, pure, clean bees wax 3 ounces, gum -benzoin, in a coarse powder, 1¼ drachms. Melt together with a slow heat, -mixing all the while. When partly cooled add some suitable perfume. Pour -it off in moulds and when cold take out and wrap in tin foil, then put -on a nice label as outer covering. - -To make the above into a coloring pomade, take 3 pounds of the prepared -lard and tallow, before being perfumed; add to it 2 pounds of fresh -walnut hulls, cut up fine; put into a porcelain vessel and heat gently -for four hours. Take off and strain, and proceed as in making the black -pomade. This will gradually color the hair or beard to a nice brown by -being used daily until the desired shade is obtained. - - - HOW TO STOP BLOOD. - -Every barber should have at hand a preparation for stopping blood. The -best of barbers are liable to bring blood from rough or tender faces. An -astringent pencil, which is very good and very handy, may be obtained -from the barber supply houses in the cities at a cost of only 10 cents -each. However, I prefer Monsell's Powdered Iron which may be obtained -from any drug store. The only objection to it is, it is liable to -discolor the skin. However, by being careful to put on only a small -amount, it may easily be washed off when the blood has ceased to ooze. - -If a small bump has been cut off or a shallow cut made in the smooth -skin, it will generally suffice to cover it with a thick lather and let -it remain until the shaving is completed. - -Alum is also used but is too slow in its action. - - - HAIR RESTORERS. - -I could give a formula that would make the hair fall out, but thus far I -have not been able to find a preparation that will produce a new growth -of hair on bald heads. As a preventative treatment I might suggest as -follows: - -Boil burdock root in soft water until strong, and then add to one pint -of it, a half pint of alcohol, a teaspoonful of salt, and 1 ounce of -glycerine. This used once a day will prevent the hair from falling out. -Or make a strong decoction of black tea or sage and mix with the -alcohol, salt, and glycerine as above and use as above. - -The basis of most hair tonics is the tincture of cantharides, quinine, -ammonia, camphor, and salt. A solution of borax in camphor water is used -by some as a stimulant for the scalp. I have a friend who is -experimenting on a new line with very encouraging prospects of -successfully producing hair on bald heads. If any party interested will -address me a few months hence, I may be able to advise them how to -reproduce hair on bald heads. - - - GLASS HONES. - -A glass hone is easily made, and no barber should be without one. -Procure a piece of heavy plate glass and have a glass cutter cut it into -pieces 3×8 inches in dimensions. Take the gloss off the face and also -around the edges on a grindstone, and then finish by rubbing the face of -the hone with pumice-stone kept wet with water. Continue this rubbing -until the gloss is entirely removed and the hone is smooth. Before -honing take a rubber, such as is used on a water hone, and, after -wetting hone rub until you have a sort of lather. Hone on this as you -would on any other hone. You will find it excellent for smoothing shears -after grinding, or a razor after having been over honed. - - - MUGS, BRUSHES AND SOAPS. - -The mug should be large and heavy and the brush used to make the lather -should also be large and first-class in every particular. In regard to -brushes, I would suggest that it pays to buy the very best. - -A poor brush that is continually shedding hairs is very annoying to the -customer, and it hinders the barber. I prefer the rubber ferruled brush, -but be sure to get the genuine. - -In regard to soap I must admit that I am partial to the J. B. Williams -barber soap. However, there are other brands that give good -satisfaction. There are no soaps too good. Hence get the best. - - - FACE POWDERS. - -There is nothing much better than cake magnesia, but it should only be -used to dry the face after shaving. I have given a liquid whiting which -is much used by ladies. I have often used it on men to whiten the skin. -See whitening for the face. - - - SHOWER BATH AND SHAMPOO CAN. - -Take a common tin bucket which holds three gallons, have a small tube -one inch long and one quarter of an inch in diameter put in one side -about one half inch from bottom of bucket. - -Then get a rubber hose three feet long of suitable diameter to fit on to -the tube. At the other extremity of the hose attach a sprinkler with its -tubular end made to fit the hose. - -Connect the hose to bucket and the sprinkler to hose, and the can is -complete. - -Lay the sprinkler over the upper rim of can (or bucket) to keep the -water from flowing out. Fill with soft warm water; and, when ready to -take the bath or shampoo, hang from ceiling or set on shelf high enough -to allow the water to flow over the head and body. - -Put on the shampoo. Take the sprinkler and thoroughly wash and rinse. - -Three gallons of water used in this way is better than a whole bath tub -full used in the ordinary way. This apparatus of course applies to -country places where they have not the advantage of water works, or -where the water furnished is hard. - - - TOWELS, HAIR CLOTHS, AND FACE CLOTHS. - -If you would secure first-class trade, you must keep a good supply of -clean good looking towels. Nothing is more disgusting in a shop than a -lot of dirty ragged towels. - -The workmen may be first-class, the tools first-class, etc.; but unless -the towels are in proper condition the better class of trade will go -elsewhere. - -I prefer a good moderate sized cotton towel, except for the wash cloth, -where I prefer a cotton crash towel on the order of a bath towel. - -This crash comes in bolts and may be cut the desired length; it must, -however, be hemmed. For the bath always use a good towel but not too -large. - -The breast cloth made of calico or gingham, should be full width of -goods, and not less than three and a half feet long. It should have a -half neck opening at one side made to fit up around the neck. - -The hair cloth may be made of calico, gingham or bleached sheeting. If -the sheeting is used get the goods wide enough to require no seam, and -then border with a two inch band of red oiled calico. - - - SUGGESTIONS FOR BEGINNERS. - -In the first place, if you have made up your mind to be a barber, why -not be a good one. There is always room at the top, and rich reward for -him who has reached the top. Rich reward, however, is the price of -self-exertion. Do not wait for a tidal wave to waft you on to success. -The minions of fortune are few and far between. You must not only work -but you must embrace every opportunity to improve your qualifications, -if you would achieve success in this age of advanced knowledge and -skill. You should always be on the alert, and never miss an opportunity -to acquire useful information. Knowledge is power, and it behooves you -to gain all the knowledge you can, especially of your own business. If -necessary pay for it, work for it, or even beg for it. The possession of -a good fund of practical knowledge with other necessary qualities of -mind and heart, will enable one to wear good clothes, make plenty of -money and to have scores of friends; while the lack of it will make -another the digger of ditches, living in rags and poverty, and deprived -of the more congenial companionship of the better and nobler elements of -society. Knowledge pays. - -Moreover, while you should attend well to the proper equipment of your -mind, you should not neglect the proper cultivation of your social -character. Especially should you cultivate what might be termed a -practical business social tact. - -Treat every customer as though your success depended upon him and him -alone, and always exert your utmost to do good work. Much depends upon -the barber's ability to shave well. To accomplish the great desideratum -of being able to shave well each one of the various customers with their -varying qualities of beard, you must diligently study the temper of your -razors with reference to the peculiar beard of each customer. Again much -depends upon the lather, the brush, the hone, the strop, etc. Hence you -will please pardon a few simple primary suggestions leading up to a good -shave. First you must equip yourself with first-class tools. - -Procure a first-class oil hone. - -A large rubber ferruled lather brush. - -A large heavy shaving mug. - -A half dozen No. 1 razors, 4½ to 4⅝ wide and ¾ concave. - -Your soap and all other materials and implements should be as good as -you are able to buy. - -When you hone your razor on the oil hone, use good soap and make a stiff -lather which you will spread on the hone. Then place the razor on the -hone and draw very lightly from heel to point so that the edge of the -razor will always be on the front side of the moving blade. Each stroke -across the hone should be a sloping or sawing stroke, and at the end of -each the razor should be turned on the back and pushed up across the end -of the hone, and the other side of the blade laid flat on the hone. Then -draw the razor back with a curving or angular stroke to the other end of -the hone. Turn again as before and continue with steady stroke until you -think the blade is sharp. Wet the thumb nail and try the edge by drawing -it lightly from end to end. Should the edge feel blunt or rough make a -few more strokes on the hone and try again, and so on until the edge is -satisfactory. A better way to test the edge, if you have a smooth soft -hand, is to wet the end of thumb or fore finger and draw the razor -lightly over it feeling of the edge. However, it requires practice to -tell with certainty by either method. Therefore practice carefully until -you become expert. - -We will here make a few suggestions in regard to the different hones -generally used by barbers. The oil hone, which is supposed to be -petrified hickory, is the one most used, and is perhaps the best. Second -in rank and general use comes the Swatty hone which is made from the -same material as the emery wheel, but it is of finer grade. This is a -very fast cutting hone. Next comes the water hone which is simply a fine -grit stone, and then comes the glass hone which is but little used. A -few barbers use it to take off the wire edge of over-honed razors. Hones -should be handled with great care. In honing the razor should be run -well out to the ends to prevent hollowing the hone. Should a hone begin -to hollow, work it down with fine sand paper to a perfect face and -smooth it with the rubber used on the water hones. I prefer olive oil on -an oil hone if carefully used. Of course lather may be used on an oil -hone the same as on the Swatty and glass hones. Use water on the water -hone and rub with the rub stone commonly used until the surface is -covered with a sort of soapy pasty lather before honing. The glass hone -may be used in the same manner. Any hone when not in use should be -wrapped up and laid away carefully after having been washed and -thoroughly cleaned. - -You should be provided with a good shell strop, or a good Russian -leather strop, and also a good canvas strop. After honing strop the -razor lightly on the leather only. The canvas should not be used except -when the razor has become smooth. When you have a customer in the chair, -first put a clean towel on him and proceed to make the lather using warm -soft water. Lather the face and scour the beard, and then lather again -with a good heavy lather. Proceed to shave, drawing the razor with a -sawing stroke, and make the strokes as long as practicable. Hold the -skin tight to throw out the beard, and go over the face the first time -as quickly as possible. Then wash the soap from the face, and go over it -a second time, keeping the skin somewhat stretched, and wet with soft -water. When finished, press a hot towel to the face and then use one of -the face creams given in this book. - -Next powder the face, and curl and perfume the mustache. If you think -his hair needs trimming tell him so, and if he has it done, do your very -best, even taking pains to cut the hair out of his ears. Shave his neck. -The most important point is to get a good edge on the hair. - -If he takes a shampoo, first give the scalp a good brushing to loosen -the dandruff, and then use Silver Gloss Shampoo, giving him to -understand that you have it for sale for family use. Rinse hair with -warm soft water, and dry with a fine bath towel, and then ask him if you -shall apply some of the hair tonic which will cost him only ten cents -extra. - -Comb his hair in the latest style, and if he desires it, color his -mustache with the celebrated German Hair Dye. Help him into his coat, -and thanking him bid him come again. - -Purchase every good book pertaining to your business, study diligently -and practice what you learn, and you will soon stand abreast with the -best and most progressive barbers. You should be prompted by no meaner -ambition. - - - SUCCESS. - - “If you wish success in life, - Make perseverance your bosom friend, - Experience your wise counselor, - Caution your elder brother, - And hope your guardian genius.” - _Addison_. - -[Illustration] - - - - - Taxidermist's Manual. - - - By T. J. MCCONNAUGHAY. - -[Illustration] - - - - - Taxidermy. - - -The word taxidermy is derived from the two Greek words, taxis, which -means arrangement, and derma which means skin. Hence this term is -applied to the art of preserving and mounting the skins of animals for -ornamental and scientific purposes. Little is known of the origin of -this art, but it would seem from books of travel and natural history, -that it is at most, not more than three hundred years old. It began to -be practiced in England about the beginning of the 18th century, which -fact is proven from the “Sloane Collection” which was formed in 1825, as -the nucleus of the present natural history collection lodged in the -galleries of South Kensington. It was about the middle of the 18th -century that the first book devoted to the principles of taxidermy was -published in France. After this, others appeared from time to time in -France and Germany, but England contributed no literature on the subject -until about the beginning of the present century. In 1828 an Englishman -named Scudder, established a museum of mounted specimens in an old alms -house in New York City. Previous to this, the art seems to have been -absolutely unknown in America. It was not till the exhibition of 1851, -that the French and German taxidermists taught the English the -principles of scientific treatment. - -Since that time several works have appeared from the pens of English and -American authors. Prominently among the American writers, were Charles -Waterton and Titian R. Peale who greatly improved the art in this -country. - -Jules Verreaux, of Paris, brought the art to a still higher perfection, -and introduced methods for giving to specimens a life-like expression, -which elevated it quite to the realm of higher art. Great were his -accomplishments in the art of expressing the actions and characteristic -attitudes of the living animals. Since his day taxidermy has rivaled the -plastic art, and today, it has reached such a degree of perfection that -the most artistic and æsthetic effects may be wrought by the hands of -any operator who possesses artistic faculties. The Illinois State -Natural History Society of Bloomington, published an illustrated -pamphlet from the pen of one Mr. Holder, which is a very valuable -contribution to taxidermic literature. The author was doubtless greatly -improved by his associations with Audubon and Bell, and in his book he -gives the results of a ripe experience. This book ranks as one of the -best yet published. We submit the results of our own patient study and -practical experience, and hope it may prove a worthy addition. - - - - - ARTICLE I. - ON SKINNING, STUFFING AND PRESERVATION OF BIRDS. - - - SKINNING. - -[Illustration: _No. 3._] - -Immediately after the bird is killed, the nostrils, throat and wounds -should be stuffed with cotton to prevent the blood from oozing out and -staining the plumage; but should any blood get on the plumage, it should -be removed as soon as possible. This can be done by taking a cloth or -sponge and dipping it in clean water, wringing it out so as to leave it -only moist, and rubbing the feathers gently until all traces of blood -stain are removed. Now sprinkle the feathers with plaster of paris, and -shake out before it sets. Repeat this until they are perfectly dry, and -then wrap the specimen in paper to protect the plumage until ready to -skin, which should be done as soon as the bird cools. - -[Illustration: _No. 2._] - -In proceeding to skin a bird, spread a cloth on a board or table and lay -the bird on its back. Separate the feathers on the breast with a scalpel -or knife. Insert the knife at the top of breast-bone and cut the skin -from there to the tail. Great care should be taken not to cut too deep -over the intestines, as it is only necessary to cut through the skin. -Now begin where you first inserted the knife and proceed to separate the -skin from the flesh, either with the fingers or the back of the scalpel -or knife. Tear some small pieces of paper, say about an inch square, and -put under the skin on the flesh as you get them separated, which will -keep the feathers from sticking to the flesh and becoming soiled; or -sprinkling cornmeal over the flesh and skin while skinning, will answer -the same purpose. Press carefully down each side to backbone. Now press -the thighs forward and inward, draw the skin from the thighs, unjointing -them at the first joint from the body. - -The skin is now removed over the rump, and the tail unjointed, taking -care not to injure the tail feathers. Now for convenience, take a cord -and fasten it to a nail on the wall or ceiling, put a wire hook on the -other end, and fasten in the bird so you can suspend it high enough -above the table to work on it easily. Now pull the skin downwards until -you get to the wings, which are to be unjointed at the shoulder joint. -It is then pulled down over the skull until the ears are reached. Here -many valuable specimens are spoiled by cutting the ears too close to the -skin, so be sure to cut the ears close to the skull. - -The eyelids are often spoiled also by inexperienced hands. Be sure and -cut them well back and, if necessary, trim them afterwards. Now remove -the eyeballs and unjoint the skull from the neck, enlarge the opening at -the base of skull, where the neck came off, and remove the brain with -spoon made for that purpose. Now remove the flesh from the thigh bone -down to knee joint, and turn them back in place; then skin the wings out -to first joint and remove the flesh. There is yet one job and the -skinning process is completed. Divide the feathers on the under side of -the wing between the second and third joints, cut the skin, and with a -sharp knife cut out all flesh from the bone, and put in some of the -preserving powder; cover it with a little cotton and sew it up, being -careful not to draw any of the feathers in; press the feathers down -smooth, and see that each is in its proper place. - -There are some birds with large heads and small necks. With these we -cannot draw the skin over the head, but have to push the skin as near -the head as it is possible, and cut off the neck bone; then make an -opening under the throat large enough to turn out the skull and the -remaining part of the neck bone, and proceed to skin the skull, take out -brain, etc., as directed heretofore. The flesh must be carefully removed -from all parts of the skin, and the preserving powder applied, being -very careful that all parts are well powdered. - -If you now wish to mount the bird it can be done immediately. - - - STUFFING BIRDS. - -In the first place take some plaster paris, mix it with water to a stiff -paste, and fill the eye-sockets with it, then press the glass eye in the -paris, using great care to set them in as near a natural position as -possible. When the plaster has hardened, which it does very quickly, if -the skin has become dry, dampen it with a damp sponge, and turn it back -over the skull, then lay the bird on the table and proceed to put in the -frame, stuff and sew up. - -I give three kinds of frames. One is the wire and wood frame, which you -see on page 78, Figs. 9 and 10. The others, wire frames, on page 80, -Fig. 3, for birds; also Fig. 11, for humming birds and other small -birds, on page 78. - -Take frame described Nos. 9 and 10, having the leg wire AA detached from -body board, fill the neck with tow, being careful not to fill it too -full; run neck wire E through the center of the neck and pass it out at -the top of head, as shown in Figs. 2 and 3, or through one of the -nostrils. I prefer the latter, because it does not break the skin and -holds the head more steady. Then put the tail support E through the -center or heavy part of the tail, raise the body board and place under -it some tow or cotton; or pad the board by placing some cotton on it and -tacking some cloth over it to keep the frame off from the back; then -take the leg wires, Fig. 13, AA and put them in the legs, as shown in -cut No. 3, and fasten on to the body board with blind staples, as -represented in cut No. 3; proceed with the stuffing; finish filling out -the neck and breast, shaping it while filling, using care not to get it -too full, as that is a fault of most beginners; after filling it down to -the opening, the next should be the legs; if the leg bone is left in -from the knee up, wrap it to the leg wire with a strip of muslin and tie -it; then stuff the leg up to the body, fill the body and sew up; in -sewing be careful not to draw any of the feathers down with the thread. -After it is all sewed up, place all the feathers down smooth and in -their proper place, as much depends on this. - -Next place the specimen on a board or perch; if on a board, procure a -suitable one, bore two holes the size of the leg wires through it, then -make a groove on the under side of board running off from each hole to -lay wire down in; place the specimen on the board, running the leg wires -through it, and draw the wires down until the legs set in proper -position, bend the wires down into the grooves and fasten them with -small blind staples. In this connection one should use his own judgment -in placing the bird on the board; one leg should generally be placed a -little in advance of the other. If the bird is to be placed on a limb -perch, bore the holes through the limb, place the bird on, and draw the -wires tight, and drive a wooden wedge in beside the wire to hold it, -then file the wire off close to the under side of the perch. Pose the -bird in as natural a position as you can, imitating nature as near as -possible. Place the wings in position, then take a piece of wire heavy -enough to hold the wings in place. Sharpen one end, and make a square -turn about one-fourth of an inch from the other end to keep it from -pulling through the wing. Now place the wings in proper shape. Pass the -wire through the wings and body in a way to hold them in shape. Pull the -wire until the turn on the one end presses against the wing. Cut the -wire on other side of bird and turn it back, as on the other side, so -that the wire cannot be pulled either way; then arrange the whole -body—wings, neck, tail, head, etc. In case the specimen is a web-footed -bird, take a thin piece of board, say from a cigar box, cut it to fit in -between the toes, and tack them in to hold the web in shape while -drying. This should be removed when dry. After all is completed bathe -the buts of wings, the feet, legs and beak, with the preserving fluid; -this should be repeated for three or four days. Then let the specimen -dry in a shady place. It can then be placed on another board or perch -and set in the cabinet. - - - MOUNTING BIRDS ON WIRE FRAME. - - (See directions for making frame.) - -Skin the bird and prepare it as directed in this article. Fill the neck -with tow, put in neck wire, letting the end come out through the -nostril; bend leg wires AA back so as to get them in the legs; run them -down on the inside of the leg, or through the center of leg bone, and -come out in the center of the foot. (See cuts Nos. 2 and 3.) Put tail -support E through the under part of the tail, and proceed as directed -heretofore in this article, to stuff, sew up, etc. - -Where the tow can not be secured and you have to use cotton in stuffing, -always put in the neck wire first, and stuff around it or wrap the neck -wire with strips of muslin, old calico, or anything that can be used for -that purpose, always being careful not to make the neck too large. -Excelsior can be used to good advantage in stuffing large bodies. - - - PELICANS. - -In dressing a pelican always use the board and wire frame. For position, -copy after some picture of the bird, which you can find in any natural -history. The only difference in dressing from the goose, etc., is they -have a game sack under the lower jaw, which is often as much as ten -inches wide and sixteen inches long. I find the best way to dress that -is to take a fine shingle, wide and long enough, and trim it in the -shape of a sleigh runner, and put it inside of the pouch or game sack, -with the straight edge up and the square end toward the neck. Draw the -pouch smooth over the shingle, and tie the bill together, then wet well -with the solution of corrosive sublimate. The board should be left in. -Wire can be bent and placed in to answer the same purpose. - - - PEA-FOWL. - -In dressing a pea-fowl, where the wings and tail have to be spread, -extra wires have to be put in. The wires for the wings are fastened on -to the body board, as when used for the fore legs of animals. Then, for -the tail support, take a wire about five feet long and bend it in a hoop -shape, leaving enough of the ends to extend into and fasten on the body -board. This must be put on the board before putting it in the body. -Dress the bird as others, letting the hoop or tail support extend out -under the tail. After it is all stuffed and set on the board, bend the -tail support up back of tail, and fasten the feathers of the tail to it -by tying them, one at a time, with a heavy thread, in such a way that -when all are fastened to the wire they will stand as when the bird was -strutting. Arrange the wings and body to suit and let dry. - - - DRESSING BIRDS WITH WINGS SPREAD. - -To dress a bird with wings spread, either flying or sitting, it will be -necessary to put in wing wires to hold the wings out. The easiest way is -to use the wire and board frame, using the front leg wires as used in -animals, for the wings. See Figs. 7 and 8, board and body frame. - -In dressing a bird this way, after skinning and wiring, as directed for -bird, using frames 9 and 10, put in the wing wires and fasten them to -body board, as directed for forelegs of animals. - -If wishing to represent the bird as flying, take four cords and fasten -them to the back of the bird in a way that will balance it; tie them -together a few inches above the back and extend one cord longer than the -others. It can now be hung from the ceiling by the cord; this will let -the specimen turn about and present a fine appearance. The feet should -be placed in as near a natural position as possible as when flying. In -all large footed birds use plenty of the solution of corrosive sublimate -or turpentine. The carbolic acid and water mixture is also used, and is -good. - - - TO CLEAN FEATHERS. - -As a test case take a bird after killing and smear it all over with -blood, let it lie until dry. Then put it in a basin, and give it a good -washing with soap and water, then rinse it clean. Now take a dry cloth -and wipe it until almost dry. Then sprinkle it with dry plaster of paris -and shake it out before it has time to set. Repeat this powdering and -shaking until it is perfectly dry, and the feathers will look bright and -nice. Try it. - - - PRESERVATION OF BUGS, ETC. - -Take a large moth fly or miller full of eggs. Make an incision on the -under side of body and take out all the eggs and entrails. Now put in -some of the preserving fluid and fill the cavity with cotton and sew it -up. Then run a pin down through the body and pin it to a board. Arrange -its feet, moisten its body with the preserving fluid and the job is -complete. Butterflies and small bugs need only the preparation over the -body. Heavy bugs can be placed in a cup and the preparation poured over -them. Let them lie in it a few hours and pin on board as directed in -moth flies. When dry place in a glass case. - - - - - ARTICLE II. - OF SKINNING ANIMALS. - - -As soon as an animal is killed, take cotton and stuff in the wounds, -nostrils and mouth, as directed in Article I. for birds; then let it -cool before commencing to skin. In skinning a specimen be very careful -about cutting holes in the skin, and also not to stretch it by pulling -on it while skinning. All being ready, lay the specimen on its back, -make an incision from the breast-bone back to the center between the -hind legs, being careful not to cut too deep over the abdomen. Divide -the skin right and left, putting cotton or paper on the body as the skin -is removed, or sprinkle with corn meal, as directed for birds in Article -I, to prevent the fatty matter from soiling the hair. When you come to -the hind legs, pull the skin down over the thigh joint, and unjoint it, -cut the leg off and skin down to the knee joint and unjoint there, -taking out all the flesh down to the foot, then treat the other hind leg -the same way. Now skin down over the rump and back to the tail. The tail -is hard to skin. Take a forked stick, and after pressing the skin as far -down on the tail-bone as possible, holding the bone as tight in the fork -as you can, pull downward and the bone will slip out. If the animal is -not too large it should be swung up with a rope or cord tied around the -body just in front of the hind legs, or by attaching a hook to the rope -which fastens into the flesh. Remove the skin down to the forelegs, and -unjoint them at the body, and skin out in the same manner as directed -for the hind legs, unjointing at the knees. Now skin the neck and head, -and when you come to the ears cut them close to the skull; fine -specimens are often spoiled by cutting them too far out from the skull. -We next come to the eyes. Be careful not to cut the eyelids. It is -better to cut close to the skull and trim afterwards than to risk -spoiling them. Remove the skin. Unjoint the neck close to the skull, -enlarge the opening at the base of brain and remove all the brains. Take -out the eyes and tongue and remove all flesh from the skull. - -This completes the skinning, except when the animal has horns. In that -case, proceed as above until you come to the neck. Skin as far forward -as you can and unjoint the neck at skull. Then cut across from one horn -to the other and loosen the skin around the horns. Then make another cut -from between the horns backwards along the neck far enough to make the -opening large enough to take the skull out; skin out the skull and the -skinning is completed. The flesh must now be cleaned from the skull by -boiling until tender, then scraping it, or simply by cutting and -scraping it. - -Take out the brains, eyes, etc., we are now ready to anoint the whole -inside of skin, skull, etc., with the preserving powder. Put in the -frame and stuff the body if ready; if not, the ears, nose, feet and lips -must be well wet with the preserving fluid and laid away in a cool, dry -place. - - - STUFFING AND MOUNTING ANIMALS. - -[Illustration: _No. 4._] - -After the skin is prepared, we will begin by preparing the skull. After -cleaning as directed anoint it with the preserving powder, then put in -suitable eyes, as directed in birds. Now if the legs are large enough to -take in the leg wires, drill holes through the ends large enough to -receive said wires. Next divide the skin of ears out to the points and -place a piece of tin in them the shape of ear. Now turn the skin of head -inside out and sew up the mouth, draw the under lip up under the upper -lip and sew it there so as when turned back the stitches will not show. -Next stretch the hide on the bench and measure it. In order to make the -wire frame as shown and described in wire frames, Nos. 4 and 6, make the -frame of suitable malleable wire, and place it in as shown, except the -neck wire should be passed out at nostril. First put the skull in place -and pass the neck wire through the nose. Then pass the leg wires out -through the leg bones, or on the inside of skin where the bone is not -large enough to receive it. Now cut the tail wire long enough to reach -to end of tail and put it in place. - -Now, if the skin has not been previously prepared with some of the -preserving preparations, powder the whole inside with the arsenic and -alum. However, the head and legs have to be prepared before putting in -the frame. We are now ready for the filling. Stuff cotton in around the -leg wires to make the legs proper shape, being careful not to get it in -too tight. Take some sand and mix some arsenic with it; fill the tail -with this, placing some cotton at base of tail to hold the sand in. Now -stuff the neck and body with any suitable material, shaping and sewing -up as you proceed. Examine the head, and where it needs filling out pass -the cotton in through nose and ears, and shape it as in life, arranging -the ears, nose and mouth. Now pose the specimen as you wish it to -remain, and place it in a cool, dry place to dry. The leg wires should -be bent so as to allow the foot to rest on board, and when dry the wires -should be cut off at bottom of feet, and the projecting neck wire at end -of nose should also be cut off. Anoint the feet, nose and ears with the -preserving fluid once a day for a few days. The wood and wire frame is -used in heavy animals, the wood simply taking the place of the wire -along the back. By examining the cuts it is easy to see how they are to -be used. - -Wishing to stand animals, such as squirrels, groundhogs, etc., on the -hind legs, they have to remain on a block or perch; so procure a -suitable block or perch, and varnish it before putting the specimen on. -Animals and birds can be stuffed with hay, or anything that you can get -into them in good shape. I often mow fine bluegrass and dry it -carefully, and find it makes splendid stuffing, especially for the -bodies of animals and large birds. Excelsior also makes a good filling. - - - ON MOUNTING DEER HEADS. - -In mounting a deer's head to look life-like (having horns on), proceed -to skin, anoint with the preserving powder, build up the nose with -plaster of paris, put in the eyes, sew up the mouth and neck, for which -see directions in another article. Now take a 2×4-inch piece of pine for -a neck support. Fit the end of it in the brain pit with plaster of -paris. When the plaster has hardened sew up the mouth as directed in -cat. Draw the skin up over the skull and sew the skin together, drawing -it close around the horns. The skin being opened on back of neck, sew it -up to within six inches of back end. Now make a board to fit in back end -of neck skin, and fasten it to the neck support in such a way as to hold -the head on wall as desired. Tack the skin around the board, being -careful not to draw the hair down. Stuff the neck and finish sewing up. -Cut the skin off at back of board. Arrange the whole head as directed in -the cat and set away to dry. See that the ears and eyes are all right, -and use plenty of the preserving fluid. When the head is completed make -a suitable shield to place on back end of the neck; this should be of a -neat pattern and nicely polished. Fasten this on to neck board with -screws, then on the wall, also with screws, which should be passed -through the shield, under edge of hair, to conceal the heads of screws. - - - - - ARTICLE III. - A SIMPLE METHOD OF SKINNING, STUFFING AND PRESERVING FISH. - - - FISH DRESSING. - -[Illustration: _No. 1._] - -Take a scale fish, say one that weighs two pounds, more or less, and if -a fish on which the scales are tight, you can skin and dress it without -losing any of the scales; but if a loose scaled fish, it will be better -to protect them as follows: Take some tissue paper and press it gently -on one side of the fish, then turn it over and treat the other side in -the same manner. The natural glutinous matter which covers the scales -will be sufficient to make it adhere firmly. Without this precaution the -skin could not be removed from some fish without losing the scales, -which would ruin the specimen. When these papers dry, lay the fish on -its back, take a pair of scissors and open the skin down the center of -the belly, beginning close up the gills and running clear back to the -end of the body. - -The skin should now be taken off with great care, using a smooth-edged -knife for skinning, and a pair of scissors to clip the fins and other -fine bones with. After the body has been skinned, take out the gills, -tongue and eyes. - -It is now ready for the preserving powder, which should be spread or -dusted over the inside of the skin, being careful to reach all parts -around the gills, in the mouth, eye sockets, etc. We now insert the -frame E (see cut No. 1), which is simply a wire bent as shown in the -cut, and sew up, beginning at the tail and ending at the gills, leaving -the ends EE of frame projecting, as represented in cut No. 1. We now -proceed to fill the body with plaster paris. Mix up a sufficient -quantity, take a funnel, open the gills or mouth and insert the tube of -the funnel therein, and pour in enough plaster paris to fill the body. -Handle the body carefully, and shape it properly, while the plaster is -setting, being careful to keep the frame EE straight with the body. When -the plaster has set (or hardened), bore two holes in a rough board to -set the frame rods EE in, which will hold the body up off the board. -(See cut.) Now proceed to stuff the head with cotton, being careful not -to press the gills out of shape, then draw the mouth together with a -thread and tie it. Fill the eye socket with plaster paris or putty, and -set the eye in the proper position. - -We are now ready for the fins and tail; if they have become dry, wet -them with water and spread them out; then take a needle and thread and -draw them up, as shown in cut No. 1. - -To make the frame, take a rough board, say one inch longer than the fish -you intend to dress. For a fish a foot long, the board should be one -inch thick and about three inches wide, and for larger fish in the same -proportion, or large enough to support the fish. To one end of the board -nail a piece of lath a foot long (see D in cut); on the other end nail a -block (C in cut), to which nail an upright piece (B in cut). Tack the -tail to the upright (B) with tacks (P). Raise the upper fins by drawing -a thread through them and tying to upright piece, as shown in cut. Drive -two nails in board (A), as shown (GH), to which fasten threads attached -to lower fins as shown in cut. Set away to dry and when thoroughly dry -wash the whole body, take off the tissue paper. When the fish gets dry, -dampen all the outer surface with corrosive sublimate and set away. Take -off the threads and place it on a nice, smooth board and give a light -coat of varnish. The specimen is then ready for the cabinet. - -Should you prefer to stuff the body with cotton instead of using plaster -paris, proceed as follows: After skinning as directed, make a frame, EE, -and take a straight piece of wire long enough to reach from the point of -the nose to the other end of the body, fasten this to the frame, EE, at -the upper end, by wrapping them together with a small wire or cord, -leaving the frame EE as near the center as possible. Take cotton or tow -and wrap the wire that is to run lengthwise of the body, say one-fourth -as big as the body, then insert it in the skin and proceed to stuff with -cotton, being very careful to get the natural shape. When this is -completed, proceed to sew up and mount as directed when dressed with -plaster paris. The Gar fish makes a fine specimen, by simply filling the -skin with dry sand while drying, and let it out when dry. - - - - - ARTICLE IV. - HUNTING SPECIMENS AND CARE OF SAME. - - -In hunting specimens, birds or animals, it is best to take a -double-barreled shot-gun, have your cartridges loaded some with fine -shot, and some with coarse; keep one barrel loaded with one number and -the other barrel with the other number, then you are ready for either -small or large game. Have some cotton and old newspaper with you, and as -soon as you kill a specimen, stop up the shot holes with the cotton, and -it is sometimes best to stuff some in the nostrils and mouth. If any -blood has run out on the hair, or feathers, as the case may be, wipe it -off carefully, then wrap the body in paper and pack it in the game sack, -using all care not to bend, break or soil the feathers, for if once -soiled it is hard to make the work look well again. - -On removing the birds from the game sack, if there is any blood on the -feathers, wash it out with clear water, and wipe until nearly dry; then -sprinkle with plaster of paris and shake until dry. In this way the -feathers will look smooth and natural; but if, after washing, you let -them dry without stirring, they will present a bad appearance. Where the -blood has remained on the feathers they must be well washed and treated -as directed in a test case as given at close of Article I. - - - - - ARTICLE V. - WOOD AND WIRE FRAMES. - - -[Illustration: _Fig. 7._] - -[Illustration: _Fig. 8._] - -[Illustration: _Fig. 9._] - -[Illustration: _Fig. 10._] - -[Illustration: _Fig. 11._] - -[Illustration: _Fig. 12._] - -[Illustration: _Fig. 13._] - -The above cuts represent my wood and wire frames for animals and birds. - -Fig. 7 is Fig. 8 reversed; Fig. 8, showing the way the neck and tail -supports EE are fastened to the body board with blind staples. Fig. 7 -shows the way the leg wires AA are fastened in the same manner. In -making the frame, measure the animal from shoulder to hip, and cut the -board a little longer than the measure taken; round the corners as shown -in cuts, and round the upper edges to keep them from cutting the skin -should it come in contact with it. Now take a wire or rod long enough to -reach from the end of the tail to the end of the nose, bend the wire as -shown in Fig. 8, and fasten it to the body board with blind staples, -unless the specimen be a large one, then it will be necessary to put -them on with strong wire staples. Next bend the wires for legs as shown -in Fig. 12, which should not be fastened to the board until after being -placed in the legs of the animal being dressed. They are then bent up as -shown in Fig. 13 and fastened to the body board with staples to suit. - -The frame for birds is made in the same way, excepting the forelegs, -which is used on bird frames only when wanting to spread the wings. Fig. -11 is a single wire frame, to be bent in the manner shown, and to be -used in dressing small birds. (See small bird page 5). - - - - - ARTICLE VI. - FOR BIRDS AND ANIMALS. - - - WIRE FRAMES. - -[Illustration: _Fig. 1._] - -[Illustration: _Fig. 2._] - -[Illustration: _Fig. 3._] - -[Illustration: _Fig. 4._] - -[Illustration: _Fig. 5._] - -[Illustration: _Fig. 6._] - -The above frames are made as follows: Take a straight wire and turn a -loop in the center as shown at B, Fig. 1. Take another wire about the -same length and bend it as shown in Fig. 2. Now run Fig. 2 wire through -the loop B in Fig. 1 down to bend E, fasten them in a vice at the loop B -in Fig. 1, and plait the three together as shown in Fig. 3. To form the -Fig. 4 frame, make another loop two or three inches or further up the -neck wire E, bend another wire as Fig. 2, put this through the loop, and -plait together as in Fig. 3. This forms the frame for animals, as shown -in Fig. 4. - -For Figs. 5 and 6, lay three wires together as shown in Fig. 5, put them -in a vise and twist or plait together as shown in Fig. 6. This forms -three wire frames—Figs. 3, 4 and 6. - -The advantage Fig. 4 frame has over Fig. 6, is that it is easier bent in -the center, there only being one wire. - - - - - ARTICLE VII. - MOLES. - -It is not necessary to give more than one way to dress a mole. An expert -can skin, stuff and sew up a mole in ten minutes in the following -manner: - -After killing a mole, let it cool; then make an incision along the -abdomen, commencing at the tail and running forward two inches, or about -to the center of the body. Skin out the hind legs, bone and flesh, down -to the foot and unjoint. Press the skin back to the tail and unjoint it -close to the body. Pull the skin off the body, taking care of front -feet, not to pull them loose from the skin; unjoint them, or break the -arm bone close to the foot; skin on down to mouth and cut the body -loose, leaving only the jaw bones in the skin. Spread on the whole skin -all the preserving powder that will stick to it, and turn the skin back -inside out. Turn the hind legs and proceed to fill the body with cotton, -using a wire to stuff the cotton in with, as in all other animals, being -careful not to stretch the skin, and also not to get the cotton knotted -up. After the body is filled sew it up and place on a board to dry. -Place the feet in position, and wet them and the tail and nose with the -solution of corrosive sublimate. - -Other small animals, such as rats, mice, ground squirrels, gophers, -etc., can be dressed in the same manner. After stuffing smooth the hair -and shape the body before laying away. - - - - - ARTICLE VIII. - MODE OF DRESSING AND PRESERVING TURTLES. - - -A good sized turtle may be thoroughly preserved without the tedious -process of unjointing, skinning, digging out the flesh, sewing up, etc., -by observing the following directions: - -Take a snapping, or any other hard shell turtle, say one that measures -ten inches across the back, or smaller, down to the smallest. - -The first thing to be done is to kill it, which is the hardest part of -the operation, as it clings to life tenaciously, and large ones are very -strong and hard to manage. One way is to get it to open its mouth, and -catch it by the under jaw with a pair of strong pliers, hold its mouth -open and make it swallow a quantity of the solution of corrosive -sublimate; this being a deadly poison, it will soon kill it. - -Another way is to hold its head as far out as you can pull it, and stick -it as close to the under shell as you can, running the blade well back -into the body. It takes some time for it to die after being stuck. - -And still another way is to open its mouth and stick a knife blade up -through the roof of the mouth into the brain. - -I prefer the poisoning, as it seems to die easier and quicker, and it -does not disfigure it. As soon as it dies, lay it on its back, and make -an opening in the skin, under one of the back legs, large enough to take -out all the entrails; now take a pair of pliers or a hook (made for the -purpose); pull out all the entrails, liver, heart, etc. If the specimen -is a large one, pour in some water and rinse out thoroughly, then put in -a lot of the preserving powder, being careful to get it well distributed -through the body. Then take some cotton and dust it well with the -preserving powder, and fill up the inside, pressing the cotton in tight, -filling the body full and sew up. Now open the mouth and pour some of -the solution of corrosive sublimate down its throat, and press some -cotton sprinkled with the powder down its throat, being careful not to -stretch the neck out of proportion. Remove the eyes and insert the -artificial eyes in their stead; fill the mouth with cotton and close it. -Cut a hole in the bottom of each foot, and probe the legs with a knife -or the blunt end of a wire; pour in some of the solution of corrosive -sublimate, or work in enough of the powder to preserve the flesh; if the -tail is a large one, it should be treated in the same way, and all sewed -up. Now set it on a board and tack the feet to the board in as near the -way it would hold them while walking as you can. Pull the neck out a -very little, and put a little block or a small roll of cotton under it -to hold it up in position while drying. Before putting it on the drying -board, take a small paint brush, pour out some of the solution of -corrosive sublimate in a dish and give the whole outer surface a -thorough wetting. This should be repeated once a day for several days. -This completes the dressing. After the specimen is dry, take it off the -board and set in the cabinet. - -Another way: After killing, as directed, lay the specimen on its back -and unjoint the breast shell from back shell with a chisel or heavy -knife blade; open the skin from the front part of the foreleg back and -around to front of the other foreleg, cutting under the legs. Skin out -all the flesh and bones of the legs and unjoint them at the foot, skin -out the tail, then unjoint the neck bone from backbone, and skin it out -and unjoint at the back of the skull. Take the flesh from back and -breast shells, then anoint all parts with the preserving powder. Take a -frame as Fig. 8, in article V, of the wire and wood frame, and put in -legs, neck and tail, as directed in animals, letting the neck wire pass -out through the mouth or nostril. Stuff the legs, neck and tail with -cotton or tow, and sew up the sides, leaving an opening to stuff the -body; fill the body, then finish sewing up. In stuffing the legs, neck -and tail be careful to keep the wires in the center of each. Open the -mouth and take out the eyes from inside and put in the glass eyes; put -some cotton back of them to hold them in place while drying. Close the -mouth, and wet the whole body with the solution of corrosive sublimate. -This should be done once a day for several days. Place the specimen on a -board to dry. For position, copy after nature as near as possible. After -the skin is dry a coat of varnish adds much to its appearance. - - - - - ARTICLE IX. - KILLING AND DRESSING SNAKES. - - -To kill a snake without bruising or breaking the skin is a difficult -undertaking, for, as a general thing, we are not looking for snakes, -therefore we are not prepared to capture one. - -When we do run across them, we generally kill them with the first thing -we get hold of. If the snake is not too large, strike it across the back -with a small stick. This disables him, and you now have time to prepare -to finish him. Watch your chance and when the opportunity presents -itself, tap it on the head a few times, and you can soon kill it without -bruising. When it is dead, open its mouth and cut the tongue and fangs -out, then unjoint the backbone from the skull and skin back on the body -an inch or two, turning the skin inside out. Tie a cord to the skinned -part of the body and pull on this with your right hand, while with your -left hand you pull the skin off from the body, which is easily done if -the snake is not too large in the center of the body; in that case it -must be opened in the largest part of the body. Make the opening on -under side of body, lengthwise of the snake, and long enough to allow -you to remove the skin all around the body, then cut the body in two. -Skin out both ends, unjointing the body close to the skull, turn the -skin right side out and sew up the opening, taking short stitches. Now -mix some plaster paris and water, leaving it thin enough to run; place a -funnel in the mouth and pour the plaster in until the body is full. Lay -the snake on a level board and coil it before the plaster gets dry, -placing the head in the position in which you want it to remain. Take -out the eyes and put in the glass ones; then wet the whole skin with the -solution of corrosive sublimate. This should be repeated once a day for -three or four days. - -Another method is to skin and sew up as directed, then take a long wire -and stuff the body with cotton or tow, being careful to get the stuffing -in smooth, so that no lumps will show on the outside. - -Another way is to fill the body with sand, and when the skin has -thoroughly dried, make a hole in the under part of the body and let the -sand run out. - -In either of the above modes the snake should be coiled as soon as -stuffed in the shape you want it to remain, and plenty of the solution -of corrosive sublimate used over the skin. - -Eels, frogs and toads are skinned and stuffed in the same manner as the -snake, no frames being used. - - - - - ARTICLE X. - DRESSING ALLIGATORS. - - -Take an alligator, say five feet long, make an incision the full length -of the body, on the under side, and skin out all the flesh and bones, as -recommended in skinning animals. Scrape off all the fat or flesh that -may be left on the inside of the skin, and give it a thorough coat of -the preserving powder. Now proceed to stuff it without using any frame. -First stuff the legs with cotton or tow, pressing it in very tight—their -skin being very tough, there is no danger of stretching it. Sew the neck -up, down to the front legs, and stuff tight; now sew up the tail to hind -legs and stuff it; then take a piece of pine board, say an inch thick, -two inches wide, and twelve inches long, place this inside of the skin, -draw the edges together over it, and tack both edges close together on -the board, fill the body up to the end of this board, and put in another -board in the same way, and again stuff; when the full length of the -opening is closed up in this way, before putting in the last section, -have the body thoroughly stuffed and put the section in afterward. - -The advantage in putting in the board is this: It is almost impossible -to sew the skin, and as it is to lay flat, it is much easier to use the -boards; they could also be used in the neck and tail, if you wish to lay -them straight with the body. Lay the specimen on a flat board, and place -his feet and tail as you wish to have them. The eyes should now be -removed, some of the solution of corrosive sublimate put in the sockets, -then put the glass eyes in with putty or plaster paris. Close the mouth -and set a block under the jaw to hold it up while drying. Give the body -a thorough wetting with spirits of turpentine, repeating it once a day -for three or four days. After the skin becomes well dried give it one or -two coats of varnish and you have a fine specimen. - - - - - ARTICLE XI. - DESCRIPTION OF FOOT-STOOL. - - -[Illustration: _No. 5._] - -Letter (A) represents the covering, (B) the moss or hair filling, (C) -the bolt which fastens the horn to the stool brace, (D) the tap of said -bolt, (E) the wooden base of stool, (F) a small rod or nail set in the -plaster paris, (G) a rivet through the horn, (H) head to bolt, (J) -plaster paris in the horn. - - - DIRECTIONS FOR MAKING THE STOOL - -Take three cow horns of good shape and size; rasp them and sand-paper -down, as hereafter directed in Article XII; then, after deciding what -height you want the legs, make a frame to saw them off on, as -illustrated and directed in Article XII, cut No. 6. After sawing off, -drill a hole through in the horn about three-quarters of an inch from -the large end. This hole should be large enough to take in a ten-penny -nail. Put the nail through and file it off even with the horn on both -sides, and rivet it with a small riveting hammer. Now level up the ends -of the horns where they were sawed off, by taking a coarse piece of -sand-paper, and laying it on a level board, rub the ends of the horn -round and round on it until it is perfectly level. Now take the bolt C, -of size and length to suit the horn, put it down in the horn to see that -it will suit; sometimes it has to be bent in the shape of the horn; -after fitting it to the horn, leaving about 1¼ inches projecting out to -go through the wooden base E and leaving room for the tap D. Now mix -some plaster paris and water until about as thick as it will run; pour -this in the horn until nearly full, put in the bolt, as shown, and while -the plaster paris is yet soft, take an eight-penny wire nail and push it -down head first in the plaster paris, leaving about half an inch -sticking out; this nail and the bolt should both come straight up from -the level of the end of the horn. When the plaster is partially dry, -level up around the bolt and nail at the end. The horn should now be -polished as directed in Article XII. The next is the wooden base E; have -a board turned or cut round, say twelve inches across and one inch -thick. This should be made of walnut, or some other hard wood, but when -the hard wood can not be procured pine will do. If pine is used it -should be painted, or stained and varnished on the under side, and if -walnut it should be sand-papered, filled and varnished. Now strike a -circle within about two inches of the outer edge and bore three holes at -equal distances apart and set in the bolts; when you get them in the -position you want them, press down on them to get the imprint of the -nails F, then remove the horns and bore a hole the size of the nails F. -Now put the bolts in again and screw the top on tight. The nail F is to -keep the horns from turning around and getting out of place. See that -the butt of horn fits tight to the wooden base E. - - - UPHOLSTERING FOOT-STOOL. - -Go to a saddler and get either curled hair, deer hair, or moss -sufficient for a heavy pad; lay it on the floor and beat all the dirt -out of it, then pick it all apart to get all the matted lumps out, lay -it on the stool top and pile it up about a foot high while loose, take a -piece of muslin or drilling, lay it on top of the moss or hair and draw -all the four corners down tight, tacking them about the center of the -edge of the wooden base E, then draw it all down and tack in the same -manner, drawing very tight, being careful to get it round and even and -leaving no wrinkle. In case the moss is not evenly distributed, take a -long awl and run it through the covering and carefully distribute it. - -Next in order is the outside covering, which should be a fine piece of -silk plush or velvet. Get a piece large enough to work some fine flower -or motto in the center, then put it on in the same manner as the first, -only tacking it down near the lower edge of the wooden base E; by being -careful you can get it on without wrinkling it. The tacks should be -small and very close together. Put a piece of braid around the edge and -tack it on with upholstering tacks and the stool is completed. - - - SAWING OFF HORNS. - -[Illustration: _No. 6._] - -Cut No. 6 is to illustrate a frame on which to cut horns to be used for -footstool legs. Without a frame of this kind it is almost impossible to -cut them to set level with stool and floor. In fact, it is more -difficult than it would be for a carpenter to cut molding to fit -corners, etc., without a mitre box. It is very simple and is made as -follows: For a frame large enough to cut four horns, take a fencing -board and cut off a piece from it two feet long. The board is supposed -to be about six inches wide and one inch thick. Saw off another piece -the same length and nail it to the edge, as shown in cut. This we will -call the back of frame and the other the bottom. The back then is five -inches high, measuring from bottom board up. This completes the frame as -shown. The horns are now placed on the frame and nails driven around -them into the frame to hold them firmly in place. Place the horns close -together in setting on the frame and pour plaster paris over the points -of all, as shown in cut horn A. After the plaster paris has thoroughly -hardened, saw off another piece of the same board and nail it to front -edge of bottom board, and proceed to saw off the horns level with the -upper edge of back and front boards, as in horn A. Should you want the -legs longer or shorter, take wider or narrower boards for back and front -of frame. After taking the horns from the frame, proceed to put in the -wire through the butt of horn and rivet it; then put in the bolt and -nail F (as directed in a former article) and fill the horn with plaster -paris, as shown in the above cut (C). The horn is now ready, after -polishing, to be placed on the stool. It can also be placed on a board -and used for a hat hook, or for holding back window curtains, etc. - - - - - ARTICLE XII. - DIRECTIONS FOR POLISHING HORNS, HOOFS, ETC. - - -Go to a hardware store and buy two good wood rasps, flat on one side and -round on the other; then get three grades of emery or sand-paper, say -No. 1, No. 0, No. 00; then go to a drug store and buy ten cents' worth -of sweet oil and ten cents' worth of rotten stone. Get an old felt hat -and an old case knife and you are ready for business. - -Take of either horns or hoofs, several at a time, and put them in an old -pot or kettle of boiling water, let it boil until they become soft, -which usually takes about half an hour; take out one at a time and rasp -it until it begins to cool and harden, put it back and take out another, -and keep this up until all are rasped down to the shape you want them. -Now take one at a time in the same manner and scrape them until they are -scraped smooth of all rasp marks, using the case knife for the scraper, -the edge of which has been ground square off like that of a shear blade. -Now take the No. 1 sand-paper and sand-paper down, then use the No. 0, -and finally finish up with the No. 00, rubbing-lengthwise of the horn. -We are now ready for the finishing touch. Take a piece of felt -sufficiently large to rub with, pour some of the sweet oil on it, then -dust with the rotten stone, and give the horn a thorough rubbing, -putting more of the rotten stone on occasionally, and keep up the -rubbing until you get a high polish. Such a polish will remain on for -years. - -Another way to polish horns: Fasten them firmly on a bench or to the -wall. Take a strip of ticking or felt about three inches wide and three -feet long. Wet it in water and sprinkle powdered emery over both sides. -Take hold of both ends, place it around the horn and draw backwards and -forwards, around and around, until the horn presents a smooth surface; -then take another strip of the same description and use in the same -manner, except using rotten stone instead of the emery. There are -different grades of the emery, and only the finest is to be used in -polishing; a coarser grade can be used in the same manner in the place -of sand-paper, and is very good. - - - COLORING HORNS. - -If you wish to give a horn a flesh color, secure a very light colored -horn, rasp and scrape it down very thin, and polish so that the horn is -transparent. Get some red paint (with plenty of dryer in it) give the -inside of the horn a coat of the paint, and set it away to dry. Before -applying the paint, wash the horn out well with soap and warm water and -dry well. The above gives a beautiful flesh color, which will last for -years, especially when filled with plaster paris. - - - TO REMOTE PLASTER PARIS FROM A HORN AND TO MAKE THE HORN ROUND. - -After the plaster paris has become thoroughly dry it is very hard; -therefore to cut it out with a chisel is very tedious; but it often has -to be done. If the inside of the horn is smooth and a little tapering, -it is very easy to remove by boiling it until the horn expands or -becomes soft; then tap the horn with a smooth stick or hammer, and the -plaster will drop out in a whole piece. If you have put a rivet through -the horn before putting in the plaster paris it is more difficult to -remove, as the rivet holds the plaster firmly in the horn. In such a -case take a chisel and dig out the plaster paris down to the rivet, then -either cut the rivet with the chisel or file it in two and take it out; -then proceed as above directed. - -To make the butt of a horn round, put the horn in boiling water; let it -remain about ten minutes; have a round wooden plug ready, which should -be wedge shaped; drive this in the horn while hot, and let it cool; -afterwards remove the plug, and the horn will remain round. This makes -quite a difference in the appearance of the horn where you wish to use -it for a hat rack, footstool, etc. - - - TO DRESS DEER HORNS. - -Make an extra strong lye, using the granulated lye and hot water, say -one tablespoonful of lye to half pint of hot water. Give the whole horn -a thorough bath in the mixture, and let it set about one hour; then take -a stiff brush and give the horns a thorough washing; this cuts off all -the dirt that has accumulated in the rough knotty parts. The horns -should now be put in a barrel of water and let soak a day or two, to -take off all the lye, then wash well using a stiff brush. Now take an -old hand-saw and cut down through the skull, commencing one inch back of -the horns and coming out at the eye sockets, being careful to saw -straight through, so that when placed on a board they will set level. -Take a two-inch pine block as wide as the skull and three inches longer, -round off the top and bottom ends to suit the shape ox the skull, place -the horns on the block, holding them there with the hands. Put it up -against the wall and if the horns pitch too far forward take down and -cut off from the front of the board, sloping it backwards until the -horns hang at a proper pitch. Now drill about four holes through the -skull, and screw the skull fast to the board. Take a dozen or more -shingle nails and drive in the front of board an inch or more apart, -leaving the heads sticking out. These are to hold the plaster paris, -which is put on to level up before putting on the covering. After the -nails are all in, mix some plaster paris and pour over the skull and -around the edges to round it up in shape for the covering. After the -plaster paris is partially hardened, smooth it by scraping down the high -places, then let it dry. Take a piece of strong unbleached muslin large -enough to stretch over the skull and board, tack the muslin on the back -part of the skull board, then draw it down between the horns and tack it -to the under side of the board at the lower end, drawing very tight; now -commence at the edge of the muslin and cut straight in to the inner side -of horns, round out a little for the horn, and proceed to draw it all -down tight, and tack it on the under side of the block, being careful -not to make any wrinkles in the covering; trim it off to the tacks on -the under side. (Some prefer to have the muslin wet while putting it -on.) We are now ready for the outer covering, which should be plush or -velvet, and is put on in the same way as the first covering. It requires -some skill to make a smooth job of the first; yet by going slow, any one -should do a fair job. Next make a board to screw on the back of this, -which should be made in diamond shape or rounding on both ends, and -about six inches longer and one inch wider than the skull board; this -should be made of walnut and nicely varnished; after it has thoroughly -dried fasten it tight to skull board with screws, counter-sinking their -heads. Bore one hole at each end of the base board and counter-sink -them; then screw it to the wall. Varnish the rough part of the horns and -let them dry; then take some chenille or tinsel cord to trim around the -butt of the horns and around the back part or edge of the skull board. -Tack it on with upholstering tacks. Cow horns and sheep horns are -mounted in the same manner. The sheep horns should be cleaned with the -lye, as directed for the deer horns, but no scraping or polishing is -necessary; they look better rough. The cow horns should be polished, as -directed on page 102, before they are put on the board. No polished horn -should be varnished. - - - POLISHING HOOFS OF VARIOUS KINDS. - -The cow hoof takes a high polish, and a number of useful articles can be -made of them—which are not only useful, but quite a novelty. Take a pair -of cow hoofs, which are neither bruised nor scaled, rasp them down in -good shape, then scrape, sand-paper and polish the same as directed in -polishing horns. The hoofs should be good matches, and both from the -same foot. Bore or drill two holes in one of them on the inner side, -about one-half inch apart, and place the two hoofs side by side on a -level board, seeing that the toes are even with each other. Take a piece -of wire or an awl and put through the holes in the hoof and mark the -place to make the holes on the other, so that when they are wired -together they will set even with each other. Drill small holes around -the tops, say a quarter of an inch apart; take a piece of malleable wire -of sufficient size and draw it through the holes in the sides of the -hoofs, drawing them firmly together, and twist the ends of the wire -together; this will hold them in place. Bind the upper edge of hoofs -with piece of cloth, sewing through the holes drilled for that purpose. -Stuff each hoof with tow or moss, and stuff with any goods to suit your -fancy, silk plush, velvet, etc. Put the filling in tight and let it come -above the level of hoof to make the cover rounding, then drawn down -tight. Draw the edges of the cover down and sew them with a strong -thread to the binding. Take a piece of fancy cord or ribbon and tack it -around the edge of the cover and you have a fancy pin cushion. To make a -match safe or tooth-pick case, polish the hoofs, wire together, and -drill the holes around the edge as before; then take some glue and -spread it well over the inside of each hoof; cut some red flannel to fit -the inside and press it in with your fingers until it is all smooth; cut -it off at the edge of top of hoof, and bind the edges with ribbon. This -makes a very pretty match safe or tooth-pick case. All hoofs are -polished in the same manner. Should the hoofs not set level after they -are put together, take a coarse piece of sand-paper and tack or hold it -on a level board, set the bottom of the hoofs on it and rub round and -round until they do set level. It would be best to attend to this as -soon as they are fastened together. - - - - - ARTICLE XIII. - ACORNS, TIPS FOR HORNS, ETC. - - -[Illustration] - -A nickel-plated acorn, as shown in the accompanying cut, makes a very -fine finish on the point of a polished horn. B is a wire stem attached -to the acorn, and is intended for fastening it to the horn. They are -made as follows: If made of metal, they are cast on the stem and then -turned. If brass, they are polished; but if iron, turned and then -bronzed, painted or nickel-plated. If made of horn, first put in the -stem and then turn and polish them. To put them on the horn, saw off the -point of the horn, drill a hole in the end of same, the size of the -stem, put a little glue in the hole and drive the stem in tight. The -horn should be polished before putting the knob on. Round knobs are also -very nice, put on in the same way. This way of putting them on is much -better and easier than the old way of screwing them on. - - - - - ARTICLE XIV. - RECEIPTS FOR VARIOUS PREPARATIONS USED IN THE PRESERVATION AND SETTING - UP OF ANIMALS, FOWLS, ETC. - - - SOLUTION OF CORROSIVE SUBLIMATE. - - Corrosive sublimate 1 teaspoonful - Alcohol ½ pint - -Mix and let stand twelve hours, and it is ready for use. - - - ARSENICAL SOAP. - - Arsenic in powder 3 pounds - Salts of tartar 1 pound - Camphor gum 6 ounces - Cocoanut oil soap 1½ pounds - Powdered lime 5 ounces - -Cut the soap up fine and put it in a kettle containing one gallon of -soft water and boil until the soap is well dissolved, then add the lime, -salts of tartar and arsenic, stirring the mixture thoroughly; put the -gum camphor in a half pint of alcohol and place in a mortar and crush -it; take the kettle off the fire and add the camphor; mix well, and when -partly cooled put it in fruit jars and seal up. It is now ready for use, -and great care should be taken in using it, as it is a deadly poison. - - - PRESERVING POWDER. - - Arsenic in powder 2 pounds - Alum in powder 1 pound - -Mix thoroughly and keep in a dry place. This is also very poisonous. - - - CARBOLIC ACID. - -The following solution of carbolic acid and water I have found very good -in preserving skins, bugs, etc.: - - Carbolic acid ½ ounce - Soft water 2 quarts - -Turpentine is also a good preservative, and is sometimes used in place -of corrosive sublimate. - - - THINGS WORTH REMEMBERING. - -Never attempt to dress a bird when its feathers are broken or badly -blood stained, unless it is a rare specimen. - -Never dress a bird after the feathers begin to slip. - -Never dress an animal after the hair begins to slip. - -Never let a hide get dry before applying the preserving powder. - -Never stretch a hide out of shape while taking it off. - -Never forget to stop all wounds and the mouth and nostrils with cotton -as soon as you kill the specimen. - -Never let a specimen get dry after stuffing it before shaping and -setting it up. - -Never inhale the preserving powder, or get it in cuts or sores, for it -is a deadly poison. - -Never be afraid of putting too much of the preserving powder on a hide. - -Never be afraid of charging a good price for a well dressed specimen. - -Always use the best material, such as eyes, tow, cotton, wire, etc. - -Always try to improve on each specimen you dress that you may excel -others in the art. - - - TANNING HIDES WITH HAIR ON. - -Very little has ever been written in regard to tanning skins with the -hair on. Indeed we may say there is scarcely any literature on the -subject, and this article must necessarily be very brief. Tanning with -the hair on is always somewhat difficult, but of course, some hides are -more difficult to tan than others. As an average, I will here give -directions for tanning a dog hide. The same process obtains in the -tanning of other hides. The only difference being in the length of time -required which must be regulated to suit each case. We will start with -the skin on the dog's back, and hence the first operation will be the -skinning process. To begin, make an incision from middle of under lip -back along the median line to the tip of the tail. Then make an incision -from the middle of each foot along the inner side of the leg to the -median line, and proceed to skin, being careful not to cut holes in the -hide, and at the same time to leave no flesh sticking to the skin. - -When skinning the head cut the gristle of the ear back close to the -skull and separate the skin as near out to the point of the ear as -possible. Unless this skin is separated, it is difficult to tan the ears -without losing the hair, especially in warm weather. Be very careful not -to cut the eyelids; skin on over the nose and cut loose from the body. - -Then go over the pelt and remove every particle of flesh which may have -been left on the skin, and be especially careful around the nose and -mouth. All the bones of the feet should be removed except the bones of -the toes. Next bathe the nose, ears, feet and tail with the preserving -fluids used in taxidermy. If you have none of the fluid, use plenty of -arsenic and alum, and then stretch the hide on a floor with the hair -side down and tack all the parts so that they will be stretched -perfectly smooth, after which salt all over thoroughly. Let it remain -until perfectly dry, and then take a piece of coarse sand-paper and rub -it down smooth and clear of any remaining vestige of fleshy particles. - -Or instead of the preceding modus operandi, remove the pelt from the -floor when about dry, and lay it on a fleshing beam and with a fleshing -knife scrape off all remaining flesh and grease. Should there be grease -that cannot be removed with fleshing knife, tack hide back on the floor -and spread about three gallons of sawdust over it and rub thoroughly. -Clean the skin and cover again with salt, and when dry sand-paper as -directed above. Next place in warm water to soften it, and when soft -wash it thoroughly with soap. Then rinse and wring it, and put it into -the following liquid which should be contained in a wooden vessel. The -liquid consists of one gallon of soft warm water, one-half ounce of -commercial sulphuric acid, and one-third of a pound of corn starch. -After compounding, this liquid should be stirred about ten minutes -before the skin is introduced. When the pelt is put in, it should be -pressed well under, and stirred with a wooden paddle for thirty minutes -or until it begins to thicken and turn a dark reddish color. Then take -it out and hang it up, and let it drain about thirty minutes, after -which put it into a weak lye made either from wood ashes or from -concentrated lye which may be bought in any grocery store; strain the -liquid before putting the hide in. Stir the hide in this lye about -thirty minutes again, or until you are satisfied the lye has had time to -neutralize the acid from the preceding bath. The object of this latter -bath is to counteract the acid effect of the former. Take out of the lye -and hang up and let it drain about one hour, and then give it a thorough -washing on a wash-board with plenty of soap and warm water. Rinse -perfectly clean and again hang up to drain. When the hair is nearly dry, -tack it again on the floor taking care to stretch it into proper shape. -When partly dry take it up and rub and pull it until soft, which -completes the tanning. We are then ready to place the skull in position. -After skinning the head, remove the brains and eyeballs, and then boil -the skull until all the flesh can be scraped from the bones. The skull -being ready, fill the eye sockets with plaster paris made with water -into the consistency of a plaster, and then set in a pair of suitable -glass eyes, being careful to so adjust them as to give them the -appearance of natural eyes. - -The under jaw should be wired to the upper, or bound securely to it by a -small cord or wire. Saw the skull and back corners of under jaw off, so -that when the sawed surface is fastened down flat on a board, the nose -will be somewhat elevated from the floor, while the back part of the -skull will lie on the floor. Fasten the skull to the small boards with -wire, and then stretch the skin over it. Soak only the skin of the head -in water, and sew up the mouth by drawing the lower lips up under the -upper in the natural way. The skin should be inside out while the lips -are being sewed. If in the process of skinning you have cut the skin -clear out through the lip, it must be sewed together far enough to -inclose the skull and the under board, which should not extend more than -two inches back of the skull. Build out the end of the nose with plaster -paris to make it natural shape and draw the skin over the skull. Be very -careful to have the nose and eyes all right. Tack the skin to the under -side of the board which should in width correspond to the thickness of -the dog's neck. The edges of the neck skin should be sutured together -under the board and tacked to it. Cut the skin, which is lapped under, -following the line of back end of board out to the side edges of the -board. Turn this flap out and sew the underlying end to the upper skin, -or to the skin of back of neck, and close to the back end of board; this -brings the skin on a level of under side of board; now round off the -turned out flap so as to conform with the line of the neck and fore -legs; the head will now need some stuffing to round it up in proper -shape. Take some cotton and put it in through the ears with a wire, -placing it where needed to give the head a proper shape; arrange the -skin around the eyes, nose and mouth; then let dry before lining. Put a -good supply of the alcohol and corrosive sublimate on the ears, nose and -lips, as soon as head is dressed. Now for the lining, procure a -sufficient amount of felt to line it, say of a dark green color; then -get enough to make a strip one and a half inches wide and long enough to -go around the edge of hide; this should be an orange color. - -Take this strip and pink one edge of it, then baste the lining on to -skin letting the edges of it project about two inches out from edge of -hide. Now comb the hair around the edges of hide back towards the center -of same. Then take the pinked strip and lay it on the hair side of skin, -the smooth edge along the edge of the hide and the pinked edge laying -back on the hair; then sew the pinked strip, lining and hide together, -running close to the edge of hide. Now turn the pinked strip out on to -the projecting lining and sew another seam around just out side of the -hide, thus sewing the lining and the pinked strip together. Now pink the -out edge of lining to suit your taste; then take some yarn or zephyr and -knot the lining and hide together, the same as in knotting a comfort, -and the job is complete. - -To make a robe sew a number of hides together and line them, simply -binding the edge with a straight strip. - - - TO SOFTEN HIDES. - -Where a hide has become hard by getting wet, or from some other cause -after tanning, wet it on flesh side with water and hang up. When partly -dry give it a thorough rubbing. If that fails to soften it, oil it with -Neatsfoot oil and rub it in well. - - - TO CLEAN RUGS AND FURS. - -When rugs and furs become dirty from use take hardwood sawdust, dampen -it and rub well into hide. Shake out and repeat until clean. - - - TO KILL MOTHS IN FURS, ETC. - -Sprinkle them well with arsenic shaking it well down on hide. Tie up and -lay away for a few days. Then dust all the arsenic out and clean with -the sawdust. In stuffed birds use the arsenic alone, but handle it with -care for it is a deadly poison. - - - - - EXTRAS. - - - A FAMILY LINIMENT. - - Alcohol 1 pint - Gum Camphor ½ ounce - Aqua ammonia 3 ounces - Oil of Sassafras ½ ounce - Laudanum ½ ounce - -Mix. - -Wishing to use the above for neuralgia or rheumatism, add to three -ounces of the preparation 4 grains menthol (in crystals). - - - FIVE DAY CORN OR WART CURE. - - Cannabis 5 grains - Salicylic Acid 29 grains - Collodion ½ ounce - Caster Oil 10 drops - -Directions: - -Mix thoroughly, and before applying dampen the corn or wart with -turpentine; then apply, being careful not to get the preparation on the -sound flesh. Repeat this every night before going to bed for five -successive nights. Now bind a slice of lemon on excrescence, let it -remain one hour, and then wash and scrape off corn or wart. You may of -course repeat as often as necessary, or until excrescence is entirely -removed. - - - FURNITURE POLISH. - - Turpentine ½ pint - Yellow lubricating oil ½ pint - Muriatic acid 1 ounce - -Directions: - -Mix and let stand two days, and then apply with a sponge after which -thoroughly dry with a woolen cloth. - - - WHITE CEMENT. - - Best white glue ½ pound - Soft water 2½ pints - -Directions: - -Mix and heat over a slow fire until dissolved; then stir in 4 ounces dry -white lead, ¼ pint alcohol, and 1 ounce aqua ammonia. - - - - - INDEX. - - - PAGES. - - Barbers' Itch, 23 - - Black Heads, 21 - - Bleaching for the Hair, 22 - - Brilliantine, 20 - - - Camphor Ice, 16 - - - Engraving Fluid, 20 - - - Face Whitenings, 23-32 - - Four Face and Hand Creams, 12-15 - - - Glass Hone, 30 - - - Hair Dyes, 9-10 - - Hair Oils and Pomades, 25-26 - - - Menthol Salve, 17 - - Mugs, Brushes and Soap, 31 - - - Quinine Hair Tonics and Sea Foam, 11-20 - - - Shampoos, 17-19 - - Shower-Bath and Shampoo Can, 32 - - Suggestions to Beginners, 35 - - - To Stop Blood, 29 - - Towels and Hair Cloths, 33 - - - TAXIDERMY. - - Article I., On Skinning and Dressing Birds 48 - - Article II., On Skinning and Dressing Animals 63 - - Article III., Fish Dressing 72 - - Article IV., Hunting Specimens and care of same 77 - - Article V. and VI., Wood and Wire Frames 79-81 - - Article VII., Dressing Moles, etc. 82 - - Article VIII., Dressing Turtles 84 - - Article IX., Killing and Dressing Snakes 89 - - Article X., Dressing Alligators 92 - - Article XI., On Making Footstools, etc. 94 - - Article XII., Polishing Horns, etc. 102 - - Article XIII., Tips for Horns, etc. 113 - - Article XIV., Recipes for Preserving Preparations, 114 - - Tanning Hides, etc. 117-126 - - Extra Formulas 127-129 - - - - - TRANSCRIBER'S NOTES - - - 1. Silently corrected typographical errors. - 2. Retained anachronistic and non-standard spellings as printed. - 3. Enclosed italics font in _underscores_. - - - - - -End of the Project Gutenberg EBook of Barbers' Manual (Part 1), Text Book on -Taxidermy (Part 2), by T. J. McConnaughay - -*** END OF THIS PROJECT GUTENBERG EBOOK BARBER'S MANUAL, TEXT BOOK TAXIDERMY *** - -***** This file should be named 52850-0.txt or 52850-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/8/5/52850/ - -Produced by Richard Tonsing, The Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |