Chapter 18

--after the celebrated picture--was one of the things very nicely rendered in the "Fisheries Exhibition;" the painting of an artistic scene at the back of this case helped the effect wonderfully, as it usually does in good work. "Hooded Crows Tracking a Widgeon," and "Wounded Tern," fallen by its eggs, were two other clever groups--said to be "copyright," though how on earth such things can be copyright I do not know, especially as not one of the things exhibited could be called original; indeed, everything I saw at the "Fisheries," with the exception of the osprey mentioned above, had been done over and over again by German, French, and English artists.

The work of these "copyright" groups--excepting the foliage, which was rather "stiff"--was, however, very clean and nice, and favourably compared with work by other taxidermists, many of whose "pieces"--as the Americans say--should have been refused on the score of pretentious incompetence.

There was one detestable exhibit, all the more grievous as being professional. No wonder that people, seeing this sort of thing, should laugh at fish and bird "stuffing." As I looked and wondered, I felt that a first-class assortment of injurious epithets applied to such "work" would have relieved my perturbed spirit.

This digression puts me in mind of another, and that is to warn the amateur not to "know too much," and think he has nothing to learn directly he can set up a bird or mammal, or anything else, in a fairly respectable manner. The people who know everything, and imagine they cannot be taught, are just the people who know very little and who will never learn more. "Duffers" they are, and "duffers" they will be, to the end of their days. Every sensible man, even should he rival Methusaleh--which heaven forfend!--must be learning Art (even should he teach) all his life.

Make haste to learn, therefore, from anyone who can give you a hint, and don't set yourself up (or down) in some obscure country town and fancy you are great. Come out into the world, measure yourself against the best, criticise your own work as if it were a stranger's. Be honest, and say, "That man's work knocks mine into a cocked hat," and then go home miserable, but determined to beat that man's work or perish in the attempt. Never sneak! If you see first-class work by anyone, go boldly and say, "Sir, I am an amateur," or, "I am a young professional," as the case may be. "Your work interests and delights me. May I look around?" Doubtless, the person addressed will be flattered by your appreciation, and, unless narrow-minded, will exchange views with you to your benefit.

Let us return to our theme. Amongst the water birds, then, we may instance herons with young as making a nice group, moorhens leading out their young on water under a mossy bank and so on; and this brings us to the question of mounting pairs of birds, with their nests and eggs, or nests and young.

GROUPS OF BIRDS AND YOUNG, WITH MODELLED FOLIAGE--Nothing in taxidermy requires more correct mounting and taste, and nothing is more charming, if properly done, than illustrating the life-history of, say, a pair of birds with their nest and young. Take any birds you like--sparrows or robins--and, if you know anything, you may "invest with artistic merit" even such common specimens as these. There is a certain fascination in young things which, I suppose, calls up all the kindly feelings of our nature, and so it is that young birds tended by their parents are groups which appeal the most to the finer senses, besides being really educative if worked out properly.

I remember, quite twenty years ago, when a boy, seeing a collection of nearly all the "British" birds, their nests and eggs, for sale, so that the idea is not a new one, nor is that of surrounding such groups, with proper accessories and modelled leaves and flowers, as will shortly be exhibited to the public in the new "British" Natural History Room at South Kensington, and as is now exhibited in the Leicester Museum. I remember getting foliage done for me many years ago for such groups, and I believe Mr. Shaw, of Shrewsbury, did it long before I copied his lead. Who was the original inventor of this system I know not, but I shrewdly suspect we have to thank French artists for this. Let it be thoroughly understood that I do not intend to disparage the beautiful work done for South Kensington by the various gentlemen and artists interested, but I merely point the adage, "Nothing new under the sun."

Of course, when I say "modelled foliage" I do not allude to stamped leaves in various materials, sold at so much (or so little) a gross, and used to "decorate" "boxes of birds" in the "Black Country" quite fifty or sixty years ago, but that which has arisen on its ashes in response to the cry for "more art," and because of the impossibility of getting any other natural flowers than "everlasting," or any other leaves than those of grasses and ferns (mentioned in the last chapter), to dry for decorative, or, as we say, "fitting up" purposes.

To describe the processes involved in copying leaves and flowers of any plant from nature, so that all will appear perfectly life-like and yet be durable, and stand exposure to moderate heat and cold, would take up too much space, added to which, my personal knowledge of all is required in this is of such recent acquirement, that, although I have fairly succeeded in teaching myself modelling of this kind, and have executed a few groups, yet I would like a little more time to elapse ere I pose as a teacher; but, no doubt, when the time comes, someone--perhaps the publisher of "Practical Taxidermy"--may be induced to give the results of my labours to the class most interested.

I may instance some groups: Robin's nest, in bank covered with ivy, and primroses in flower, the old female bird feeding the young, the male searching for more food, or singing on branch near nest; long-tailed titmice, in furze-bush (South Kensington); chiff-chaff, in long grass, surrounded by willow-herb; chaffinches in blossoming hawthorn; white-throat's nest, with young, surrounded by leaves and flowers of the bramble (Leicester Museum); blue-tits, in apple-tree with modelled foliage and flowers; moorhens swimming, with young just leaving nest, surrounded with water-lilies, flowering rush, and other plants; grouse and young; swallows, in section of cow-house, with plants, etc, growing on roof (Leicester Museum); grebes and nest, amid marsh plants and marsh marigold in flower, etc. (South Kensington).

To give a tenth of the phases of the studies which can be worked out would fill pages of this book; suffice it to say that nature, being the guide in this, must be rigidly adhered to. There is, of course, no need to copy any accidental awkwardness; but don't invent too much, as the greatest charm of all is taking Nature as your guide. At the back of these groups may be placed the eggs, and birds of the same species in change of plumage or winter dress, thus making the life history complete. For museums, and similar educational institutions, the food and the skeleton should be exhibited, with explanatory label attached.

Reptiles and fishes are most unsatisfactory things to treat artistically. When set up and dried they shrivel, and are seldom modelled nicely. (To counteract such shrivelling, see Chapter XII.) I have almost made up my mind that, taking into consideration the stiffness of outline usually present in mounting by the ordinary methods, all fish should be cast in plaster or paper, although even then stiffness may be present unless the fish is posed properly. Fish lying in a mass on a bank, or in a dish, as were some at the "Fisheries," look the most natural and easy.

One plan, new to me, however, was adopted in such subjects as large pike, etc, which were cast, coloured, and placed in a long basket upon straw, the whole covered with glass. This method is especially nice for the hall table as a souvenir of piscatorial success. I was rather disappointed in the colouring of these casts. Many of the artists had entirely missed the subtle colours of the pike, trout, and other fish --one salmon only, and one dishful of grayling, magnificently managed, excepted. [Footnote: One of the very best books I know to help teach the colouring of fish is "British Freshwater Fishes," by the Rev. W. Houghton, M.A. Two vols, quarto, each fish beautifully drawn and coloured.]

Perhaps, the best treatment of fish, when modelled in plaster, was exhibited in the Indian section; here the tints of the fish were beautifully managed, the skins appeared wet, but not varnished, and all the colours were nicely blended in. As for the stuffed fish, their name was legion, and they were there in all degrees of merit. One thing, however, struck me with painful surprise; among the thousands of freshwater fish I saw mounted by taxidermy, not one was without those ridiculous little spears (cut from large rushes, or from paper) growing from the bottom of the case, each one, or each bunch of them, erect as possible, and almost always arranged at equal distances apart, with maddening precision.

Some of the sea-fish admitted of more elastic treatment, and I saw one very good exhibit of these. The artist had, however, rather detracted from their undeniably good treatment by modelling small stones. These were so natural as to require a label explaining this; but I would remind all workers in taxidermy that there is no useful end gained by modelling small stones; a great amount of labour is wasted, and the intention of modelling--which is to replace the great weight of large stones by extraordinary lightness--is completely overlooked.

"SCREENS."--The ordinary screen intended for use is made of two sheets of thick plate-glass, between which are pressed ferns, butterflies, etc, the whole set in an oak or other wood frame, with castors.

Those intended for ornament are more lightly made. Thus: A square frame, about 30 in. by 24 in. by 4.5 in. deep, is made in thin fancy wood, or in pine veneered; no front nor back is fitted, merely a groove ploughed all around, with "beads," to receive and to retain the glass, on each face. This frame is then fixed by screws, with buttons fitting over the screw holes, between two turned and carved uprights (like small bedstead posts), supported by carved feet on castors; a handle of carved wood is fixed on top of the box, which completes the joiner's work. The inside of the frame is papered and coloured; the birds--usually brightly-coloured foreign birds, or humming birds and butterflies--are inserted, properly mounted on light twigs, etc, and the glass beaded in, to complete all.

One very nice "screen" was exhibited at the "Fisheries," almost a reproduction of the woodcut illustrating the outside of Science Gossip, with the addition of a hawk striking the kingfisher. There were also two large and capital trophies, called "The Rod". and "The Gun," remarkably cheap, mounted as screens in framed bamboo. The first represented a string of large fresh-water fish depending from a branch of a tree, a creel, a rod, a landing-net, and other angling gear. "The Gun" showed a fine bittern and heron, and, I think, some other birds, also depending from a branch, with a gun and some old-fashioned tools (powder-flask, etc.) included.

"Screens" filled with corals and sponges (Euplectellae, etc.) would be very handsome and useful. I am not sure whether I have seen any managed in this manner.

Very handsome "screens" for the mantelpiece may be made up from owls, hawks, seagulls, and a variety of other birds. The birds being skinned out through an opening in the back, the wings and tail are cut off and spread out on a board, with fine needle points driven through their webs until the pair of wings--the butts or shoulders placed inward--assume the shape of a long oval; the tail is fully spread by the same means, and wings and tail are "wrapped" with cotton and left to dry. The head and breast are stuffed independently of these and sewn up.

When all is ready, a handle of about 8 in. to 10 in. long by 0.5 in. square must be turned out of ivory, ebony, or any wood desired. One end of this should be turned the full thickness of the wood for about 1.25 in. from the top, then drilled with two holes through its diameter, and a slot cut of 0.25 in. in width longitudinally for the full length of the 1.25 in. to receive a thin piece of oval shaped deal about 4 in. long by 2.5 in. broad by 0.25 in. thick, which should have a silken loop attached, and a piece of blue or other coloured silk stretched over it, and the edges of the silk tucked under the wood and attached by paste; this latter is then fixed to the handle by rivets running through the two holes previously drilled.

The wings and tail are now glued and pinned to the uncovered part of the thin wood, the shoulders of the wing inward, the tail radiating from the bottom. On top of these comes the body (also wired and glued) fitting in the small space left between the wings. The silk during the fixing of the wings, tail, and head, should be protected by paper pasted over all, and which can be removed when the screen is finished.

Screens are also made of single large birds, such as the peacock, or swan and heron; these are stuffed in the same manner as above, but instead of being attached to handles should be fixed on a shield of some fancy wood, the back of which must be polished, and made to slide up and down on an upright standard, springing from carved legs.

Still more handsome screens are those intended to flank the fireplace. These are, however, ovals of glass, set in carved or gilded frames, which are made to slide up or down on a standard or upright, supported by a carved tripod. Humming birds or insects are included between the glasses of the carved oval. These screens are made of all sizes, the standard of some standing 5 ft. to 6 ft. high, the ovals being often 3 ft. by 2 ft.; but smaller ones are constantly made.

JEWELLERY.--Following the example of the ladies who indirectly send expeditions to "frosty Caucasus or glowing Ind" to take tithe of animals for the sake of their skins, of birds for their plumes, and of insects for their silk, to be used in adornment, society demands that objects of natural history should not be all relegated to the forgotten shelves of dusty museums, but live as "things of beauty and joys forever." Hence the new alliance between the goldsmith and the taxidermist, resulting in a thousand ingenious combinations of nature and art--a list of a few of which may not be unacceptable as hints.

For earrings, two leopard's claws are mounted as miniature Robin Hood bugles, the mouth and bell of each being of gold, attached to which is a chain depending by its centre from the ear-wire. Two tiger's claws placed base to base, their hooks pointing inwards, are strung and clasped with gold, thus forming the lyre of the Tragic Muse, as a brooch or ornament for the breast. Beetles, usually of the genus chrysochroa, also, are set as earrings. Humming birds' heads, their throats surrounded with a fillet of gold, form also handsome brooches. The feet of the various species of grouse and owls are capped with silver or gold (in which is set a cairngorm), the toes tipped, or the tarsus banded with silver or gold, to form clasps or brooches.

Pins for the sterner sex are mounted up from the teeth of foxes or dogs, or more curiously of their noses even. Hares' ears are also mounted for both sexes, especially for the Scotch markets. To turn from the adornment of the person to that of the house, we find horses' hoofs mounted in silver or electro for snuff boxes, inkstands, paper weights, etc.; rams' or buffaloes' horns as Scotch "mulls" or as flower stands. Sometimes the whole head of a ram or buffalo is mounted, the horns polished, sawn in two, hinged and mounted in silver, and set with Scotch stones. Deers' heads are mounted as gas chandeliers; foxes' heads as gas brackets or as supports for Duplex lamps; monkeys, bears, ibises, owls, eagles, etc, as "dumb-waiters" or lamp bearers.

These are a few of the uses to which mammals and birds can be put.

Emu's eggs form also handsome goblets when sawn through and mounted in silver, or when mounted as vases for the chimney-piece, or formed into an inkstand group.

Foxes' pads mount up as whip handles, bell pulls, and paper knives, as also do the feet of the various deer. The only satisfactory way, however, to prepare these is to slit them carefully up the back, and pull the skin away from the bone all around, leaving the skin attached to the lowest point you can skin to. Clean out all the flesh and sinews, and dress the skin with the No. 9, and the bone with No. 15, preservatives. Stuff with a little chopped tow where needed, and sew up neatly, sewing also the skin at top over the end of the bone; if done neatly, the stitches will never show. Use waxed hemp, and pull each stitch tight.

Game birds stuffed as "dead game" and hung in oval medallions form suitable ornaments for the billiard-room or hall if treated in an aesthetic manner. Not, however, in the manner I lately saw perpetrated by a leading London taxidermist--a game bird hanging in a prominent position, as if dead, from a nail, enclosed in an elaborate mount, the bird so beautifully sleek and smooth that, although it was hanging head downwards, not a feather was out of place! All was plastered down, and gravity and nature were utterly set at defiance. A little consideration, and a visit to the nearest poulterer's shop, would have prevented such a palpable error.

Kittens or puppies of a few days old, if nicely marked, can be stuffed and mounted on a piece of marble for paper weights, or on red cloth for penwipers.

The shells of small tortoises make tobacco pouches if lined with silk, as do also the skins of the feet of albatrosses (the long bones of the wings of these birds make pipe-stems) or squirrels mounted as a whole.

The shells of large tortoises make fancy baskets if the lower shell or plastron is sawn away, with the exception of the centre piece, which is left to form a handle. The shell may be lined with metal or with any other material or fabric desired.

Lobster claws make up as Punchinellos, or as old men and women, or--as exhibited at the Fisheries--handles of fish-knives and forks, tops of inkstands, paper weights, etc. The uses of ivory, either in the rough, or sawn and polished, are too manifold to notice here.

FEATHER FLOWERS.--I have seen some splendid specimens of flowers (made from waste feathers of birds) brought from China, the Island of Ascension, and Brazil, but can give no directions for making them, further than to say that I should suppose anyone skilled in the making of such artificial flowers as are sold by the best milliners, or makers of wax flowers, would have but little difficulty in making up these beautiful objects.

This is, of course, but a precis of the various uses to which objects of natural history can be applied as means of ornament; and, indeed, so many branches are represented by this department of art that it would require a book double the size of the present, and written by experts of the various professions and trades concerned, to give a full history of the practical working of what is known as "Ornamental Taxidermy."

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