Drying and Shrinking.—After the actual mounting of a mammal is finished, the specimen should be put aside in a separate room, away from the dust, and allowed to stand for from three or four weeks to three or four months, according to its size. It must have time to dry thoroughly, and shrink as much as it will. Every specimen is bound to shrink in drying, and it is better for this to occur before it leaves the workroom, and before the finishing touches are put on, rather than after it goes on exhibition, and is practically beyond your reach.

In shrinking, all the seams open, more or less; the eyelids draw away a trifle from the glass eye; usually the lips open somewhat; and in ruminants the inner skin of the ear often draws straight across the inside.

Cleaning Up a Specimen.—In finishing a specimen, the first thing is to dig the clay and tow out of all open seams, cracks, and small holes, preparatory to filling them with papier-machÉ. With the sharp point of a pointed bone-scraper, dig out the clay, or whatever filling material is in sight, very thoroughly, so as to give the papier-machÉ a chance to enter deeply and catch firmly underneath the edges of the skin. With a stiff brush, brush out the seams and openings, so that no clay-dust remains, for there is nothing so good as clay-dust to prevent papier-machÉ from sticking to a skin. It is often well to use a bellows in getting dirt out of holes and seams.

Beat the dust out of the hair, or blow it out with the hand bellows, or brush it out, or wash it out if necessary, any way to get it out. If the hair has been poisoned with arsenic water, do as little to it as possible in getting out the accumulated dust, for too vigorous treatment will bring out the arsenic with the dust, and send it into your lungs.

If, however, the hair has not yet been poisoned, as soon as the cleaning is finished lay the animal upon its back, or on its side, and pour into the hair, so that it will run immediately down to the roots, a solution of alcohol, water, and corrosive sublimate made as follows: If you wish to make four gallons of the solution, take two gallons of ninety-five per cent alcohol, dissolve in it all the corrosive sublimate it will take up, making what chemists call a "saturated solution." In this there will always be a little of the sublimate left on the bottom of the jar. This is, of course, too strong to use thus, under any circumstances. Carefully pour off the clear liquid so as to leave the sediment remaining in the jar, and then dilute the former with an equal quantity of water, which thus yields the desired four gallons. It is most effectually applied by pouring it from a small watering-pot, with the sprinkler off the spout, into the hair, so that it will fill it and cover the skin without being wasted. The corrosive sublimate is deposited at the roots of the hair, and also on the hair, in quantity sufficient to prevent the ravages of insects, but not to be injurious to the health of the taxidermist. Strong arsenic water may be used for this purpose,[** pupose] instead of the other solution, if preferred. In case the solution used should leave a gray deposit on the hair, it should be sponged off with a little warm water.

Papier-MachÉ.—How to Make and Use It.—Every taxidermist must know how to make good papier-machÉ before his education can be considered complete. This material is absolutely indispensable in taxidermic work, and its composition should be thoroughly understood. It is used in filling up holes, seams, and cracks, in modeling the mouth parts of specimens that have been mounted with the mouth open, in restoring missing parts of various specimens, in modeling bones to go in "restored" skeletons, etc. It is also of great value in modeling groundwork to be made in imitation of rock or wood. There is really no good substitute for this material. When properly made it sticks tightly to its place, is easily modeled, can be crowded into the smallest crack, dries quickly when exposed to the air, is hard and smooth when dry, takes paint readily, and yet when kept wrapped in a wet cloth under an inverted bowl can be kept soft for several days.

There are several ways of making papier-machÉ, according to the use to which it is to be put. I have taken pains to prepare an exact formula for making the finest and best quality, and from that the worker will undoubtedly be able to work out variations in quality, according to his needs.

The most important ingredient is the paper pulp. The finest pulp for papier-machÉ is that made by the ton in the Bureau of Engraving and Printing in Washington, from mutilated paper currency, but not from tobacco stamps, which is coarse and not fit for fine work. A hundred pounds of this pulp would cost, in Washington, about $1.50, and could be made into sheets of small bulk, and dried for use as needed. It is a great advantage to have it in this form. When needed for use, take a dry sheet or ball of the right size, dissolve and beat it up into a thin mush in a bowl of water, until the particles are all well separated, then pour it on a sieve to run the water out without losing the pulp. The water is then squeezed out of it by gentle pressure with the hand, but it should not, by any means, be squeezed as dry as possible, for the water is an important factor. Pulp prepared thus can be stirred up with glue into a perfectly homogeneous paste, free from all lumps, and so fine it can be pressed into the smallest crack.

If you have no manufactured pulp, then you must make it yourself. Procure a lot of old newspapers, of as soft paper as possible, tear them to bits, put the pieces in a kettle of boiling water and beat the mass in any way you please, boiling it meanwhile, until it becomes paper pulp. It should be free from lumps and small pieces of paper, or it will not work well.

The following are the ingredients necessary to make a lump of papier-machÉ a little larger than an ordinary base-ball, and weighing 17 ounces.

Fine Papier-MachÉ.

While the paper pulp is being prepared, melt some best Irish glue in the gluepot, and make it of the same thickness and general consistency as that used by cabinet-makers. Measure the different ingredients to be used, until the result teaches you what good papier-machÉ is like, and after that you can be guided by your judgment as you proceed. On taking the paper pulp from the water, give it a gentle squeeze, but by no means squeeze it as dry as you can. Now put it in a bowl, put over it about three tablespoonfuls of your hot glue, and stir the mass up into a soft and very sticky paste. Next add your plaster Paris, and mix it thoroughly. By the time you have used about three ounces of the plaster, the mass is so dry and thick you can hardly work it. Now add the remainder of your glue, work it up again until it becomes sticky once more, then add the remainder of your plaster. Squeeze it vigorously through your fingers to thoroughly mix the mass, and work it until it is free from lumps, is finely kneaded, and is sticky enough to stick fast to the surface of a planed board when you rub a bit on it by firm pressure of the finger. If it is too dry to stick fast, add a few drops of either glue or water, it makes little difference which, and work it up again. When the paper pulp is poor, and the machÉ is inclined to be lumpy, lay the mass upon a smooth board, take a hammer and pound it hard to grind it up fine.

If the papier-machÉ is not sticky enough to stick fast to whatever a bit of it is rubbed upon, it is a failure, and requires more glue. In using it the mass should be kept in a lump, and used as soon as possible after it is made. Keep the surface of the lump moist by means of a wet cloth laid over it, for if you do not, the surface will dry rapidly. If you wish to keep it over night, or longer, wrap it up in several thicknesses of wet cotton cloth, and put it under an inverted bowl. If it should by accident or delay become a trifle too stiff to work well, add a few drops of water to the mass, pound it with the hammer, and work it over again. If you wish to keep a lump for a week, to use daily, add a few drops of glycerine when you make it, so that it will dry more slowly.

The papier-machÉ made when the above formula was prepared had the following qualities: When tested by rubbing between the thumb and finger, it was sticky and covered the thumb with a thin coating. (Had it left the thumb clean, it would have been because it contained too much water.) When rubbed upon a pane of glass, it stuck tightly and dried hard in three hours, without cracking, and could only be removed with a knife. When spread in a layer, as thin as writing-paper, it dried in half an hour. A mass actually used dried hard enough to coat with wax in eighteen hours, and, without cracking, became as hard as wood; yet a similar quantity wrapped in a wet cloth and placed under an inverted bowl kept soft and fit for use for an entire week.

Such are the qualities of first-class papier-machÉ, and the manner of producing them all. I have dwelt at great length on this material because it is such an important and indispensable factor in general taxidermic work. It will pay any taxidermist to become an expert in making it and using it, and a little later, when we get to modeling intricate mouth parts, and making all sorts of restorations and repairs, we shall see what a valuable servant is papier-machÉ.

"MachÉing" Mounted Mammals.—Surely it is unnecessary for me to devote much space to directing how to fill up with papier-machÉ the holes, seams, and cracks in a mounted mammal. Of course all cavities opened by shrinkage or accident must be filled up. Use a sharp-pointed knife, press the fine and soft machÉ deeply into every opening, make it catch underneath the skin, so that when dry it cannot flake off, or be knocked off; and smooth it on the outside to the level of the skin. Use the machÉ liberally, and it will be more certain always to remain as you leave it. Fill up rough seams until they are smooth, so that the hair can be glued on if necessary. Wherever dry clay shows, dig it out and replace with the other more durable material, which can be painted, whereas dry clay can not.

Putty.—In the days of my youth I was taught by my European teachers to use putty for all such work as that described above; but I very soon became disgusted with it, and years ago ceased to use it for any purpose whatever. It is greasy, inert, and yet purely temporary stuff. It never gets really hard unless used in a great mass, and when used in small quantities for fine work it is utterly worthless. Do not use it unless you are so situated that you are positively unable to make papier-machÉ—and I cannot imagine any such situation as being possible within the pale of civilization.

Painting on Papier-MachÉ.—Of course this material dries white, and must be painted. If paint is put directly upon it, the oil and color is absorbed at once, and it takes many coats to properly fill it up. To save time and give the best results, first give your papier-machÉ work two coats of shellac, which dries in a few minutes and fills up all the pores, so that your paint will stay as you put it on. Use oil colors, but put them on with turpentine to avoid the unnatural gloss that oil will give. In another chapter (XXVI.) will be found detailed hints in regard to painting mounted specimens.

Gluing Hair upon Mammals.—It is very seldom that a dry skin is mounted without there being upon it some spot or spots destitute of hair, which must be repaired. Sometimes it is only a small spot, sometimes it is nearly the entire head, or an entire leg from which the epidermis has come loose, carrying the hair with it, and leaving an unsightly bare spot. It requires a good deal of ingenuity, much skill, and tireless patience to glue hair upon an animal so that it will so closely resemble the natural growth that no one will notice the difference. But in every case, except some of the seals and sea-lions, this can be accomplished, if it be necessary, although very often it requires good judgment and the hand of an artist to do it.

Each mammal has its own peculiarities in regard to the quality, thickness, length, and general set of its hair, all of which must be carefully studied. When the hair grows long and thickly, the task is much easier than if it be thin or short.

1st. Procure a pair of very small curve-pointed forceps, so fine they will hold a single hair if necessary. (Price, 75 cents.)

2d. Procure a pair of small and sharp scissors, with sharp points.

3d. Procure a bottle of common fish-glue, or royal glue.

4th. If possible, procure a piece of useless skin, from which to cut the hair necessary to use in making the repairs.

Very often it is impossible to procure any pieces of skin with hair suitable for the purpose, and then the only way is to cut hair from the specimen which is to be repaired, picking out with the forceps a tiny bunch here and there in such a way that the bunches cut out will not show. This can nearly always be done in making slight repairs upon thick-haired animals, such as bears, wolves, monkeys, etc. But with such short-haired animals as the tiger, zebra, and giraffe, the hair must be procured elsewhere. Use the hair of any animal to repair the coat of another, so long as it will answer perfectly, no matter what the genus or species may be. Use tow, or jute, painted or dyed the proper color, if it is sufficiently like the hair which will surround it.

In order to treat this subject intelligibly, we will undertake to separate all terrestrial mammals into three classes, as follows:

1st. Animals with very close, short hair; as the tiger, zebra, horse, and giraffe.

Upon such animals as the above, the hair lies almost flat upon the skin, completely covering it with a very smooth, glossy coat. To repair hair upon such animals, procure pieces of skin having hair of the requisite quality, and soak them in clear water until decomposition sets in, and the hair easily comes out by the roots. The hair must not be cut off, or it will not answer. Be sure that your fish-glue is good and strong, and about as thick as castor-oil. Clean the bare surface of the skin by scraping it with a knife to remove all dirt, and give the glue a chance to take hold. With your small forceps, pull from the pieces of half-macerated skin a small bunch of hair of the proper tint, and with a small camel's-hair brush apply a drop of glue to the roots of the hair. Begin at the side of the bare spot where the hair grows directly away from it, and lay down your little bunch of hairs so that their tips shall fairly cover the roots of those nearest the edge. Then press down the bunch of hair thus placed in position, work the hairs slightly apart, and make them lie quite flat upon the skin. Follow up this process with untiring patience, and the result will be entirely satisfactory. I have seen large patches of hair glued upon a tiger so successfully that when finished the sharpest eye could not detect the repaired spots. But it was very slow work, requiring an hour's steady work to cover a spot of not quite two square inches.

2d. Animals with thick, long hair; as most monkeys, bears, wolves, all the ruminants of cold climates, etc.

In repairing the coats of such as the above, the necessary hair may be cut off in bunches, either from the animal itself, or from old pieces of skin, so long as the hair is of the proper length. Notice carefully the set of the hair, and imitate it very exactly. The glue may be applied quite plentifully to the roots of each bunch of hairs while you hold it in your forceps, and usually quite a large bunch may be set on at a time, and afterward spread out a little. In repairing the mountain sheep (Ovis montana) and prong-horn antelope (Antilocapra americana), the point of vital importance is to get every hair to set in precisely the right direction, so that the surface will be smooth. If the hair is put on carelessly, and without due observance of the above caution, upon the repaired spot it will stick stiffly out like the bristles of a shoe-brush, and the imperfection of the coat will be painfully apparent.

3d. Animals with long hair growing very thinly; as upon certain portions of orang utans, chimpanzees, and all members of the hog family.

Upon the animals indicated above, it will be found that the hair grows in little bunches of three or four hairs in a bunch, but so thinly distributed that the skin shows through quite distinctly.

Furthermore, in such cases the hairs stand out from the skin, and their roots are plainly visible. Successfully to repair such a skin is very slow, tedious work, and cannot be done by a man whose time is very valuable. A boy working for small wages is the best means to employ, but he must be watched closely.

Procure the hair necessary for making the repairs. Then with a sharp awl, or coarse needle, prick the skin full of holes to correspond in number and distribution with the arrangement of the tiny hair bunches upon the skin surrounding the spot. Prick the little holes rather deeply and slanting in the right direction. Then take a bunch of three or four hairs in your smallest forceps, dip the end in the fish-glue, and keeping the hairs well together, set the bunch into one of the little holes. See that the hairs stand out in the right direction, and proceed in this way until the bare spot is covered.