Until within a very few years, the taxidermist produced but little purely ornamental work, and the most of that little was rather crude and unattractive. Now, however, decorative pieces are produced in bewildering variety, and many of them are justly regarded as works of art. The productions of the Society of American Taxidermists are now to be seen in thousands of the finest homes in the United States, and in art galleries, both public and private. In all the exhibitions of the Society, the display of "Articles for Ornament or Use" has always been the most attractive feature, and the one which has elicted from visitors the most surprise, admiration, and hard cash. The beautiful exhibits made by Messrs. F.S. Webster and F.A. Lucas, of Washington; Thomas W. Fraine and W.J. Critchley, of Rochester, N.Y.; Mr. and Mrs. George H. Hedley, of Medina, N.Y.; Mr. John Wallace, of New York; David Bruce, of Brockport, N.Y.; and Messrs. F.T. Jencks, and Aldrich & Capen, of Boston, will certainly never be forgotten by those who saw them.

It is impossible to describe here the precise methods by which the various kinds of decorative objects may be produced, and surely in the light of all the methods and details that have already been given, it is unnecessary. It will be sufficient to describe by word and picture the character of the various classes of objects, and leave their production to be worked out according to the principles already laid down. The accompanying plate represents a carefully selected group of decorative objects which were displayed in the New York exhibition of the Society of American Taxidermists, and were afterward presented by their respective owners to the National Museum at Washington, where they are now displayed in the Society's exhibit.

Wall Cases.—The shallow box case with glass front, sheltering one specimen or a group, and garnished with certain accessories, is one of the most popular and pleasing of all pieces of decorative taxidermy. Its evolution is due directly to the desire to protect from destruction the more cherished of the single specimens that first began to grace the homes of the lovers of animated nature. In American homes there are to-day thousands of pretty wall-cases of choice birds mounted with suitable accessories, either natural or artificial, many with painted backgrounds, and an equal number without. There are also hundreds of cases of small mammals mounted in the same way.

Artificial Leaves.—The accessories most available are grasses and ferns carefully pressed, dried, and painted green, and set in the foundation work. Natural moss is used in the same way, and for bushes with foliage, artificial leaves are easily procured and wired on to the twigs of the branch that has been selected for use. These can be procured of any first-class dealer in taxidermists' supplies, or at large artificial flower establishments. If leaves of some special kind are desired, or leaves in great quantity, it will be best to procure them direct of C. Pelletier, 135 Wooster Street, New York City, who has supplied me for eight years. The cost of leaves varies from 25 cents to $2.00 per gross; and for some kinds even more.

Water and Ice.—To represent water, use a sheet of clear glass, and build up underneath it a bottom of sand, or gravel, or weeds, as may be necessary. Ice is easily counterfeited by coating a sheet of glass or wood with paraffin, which is quite white, and sufficiently transparent to give the proper effect. Icicles are manufactured by Demuth Brothers, 89 Walker Street, New York, especially for taxidermists, at very moderate prices, and are infinitely better than anything the taxidermist can produce. They are fastened to the sides of snow-covered rocks, or wherever they belong, by setting them at the base in stiff papier-machÉ with sinew glue.

Snow is made by flowing plaster Paris over the surface to be covered, and dressing its surface at once; and then, before it becomes quite hard, sprinkling its surface with painter's frosting, which is exceedingly thin flakes of clear glass, and must be ground up in a mortar to get it fine enough to use. If ground too finely, it becomes a dull white powder, like marble dust, and is useless. In order to give a glistening appearance to the surface the particles must be large enough to reflect light. Mica is of no use for this purpose. In making the snow that covers the ground underneath the group of musk ox in the National Museum, Mr. Joseph Palmer invented a compound composed of the pulp of white blotting-paper, starch, and plaster Paris, which made a white, fluffy-looking mass that could be sprinkled over the ground by hand, and closely resembles a light fall of snow.

For the preparation of boughs of evergreens for use in groups, so that the needles will not fall off the twigs, Mr. Jenness Richardson, taxidermist to the American Museum of Natural History, in New York, has, by long and patient experimenting, evolved a solution in which he actually effects the complete preservation of coniferous foliage. When the branches to be used have been put through this liquid and dried, they are afterward painted, and are really as perfect as when living on the parent stem. Mr. Richardson has kindly put me in possession of the knowledge of his entire process, but I am not at liberty to publish it at present.

Painted Backgrounds.—The beauty of a wall-case, or indeed of any group in a flat case, is greatly enhanced by the addition of a painted background of the proper character to represent the home surroundings of the living creatures in front of it. Of course the back must seem to be a harmonious continuation of the bottom, where the real objects are. The tints of the picture should be very quiet, and by no means gaudy or striking, and should not attract attention away from the zoological specimens. The objects to be gained in a painted background are distance, airiness, and, above all, a knowledge of the country inhabited by the bird or mammal. As an example of the value of a painted background in the production of a pleasing effect, the reader is respectfully referred to a group the writer produced nine years ago, entitled "Coming to the Point," and now in the National Museum (see Fig. 1, Plate XVI.). It is not boasting to say that that simple group, composed of a white setter dog, six partridges, a bush full of autumn-tinted leaves, and a really handsome painted background (by Mary E.W. Jeffrey) has given more pleasure than anything else the writer ever produced. The case is only ten inches deep, but the apparent distance is about a mile, and the autumn scene is very acceptable to the public, sportsmen especially.

As yet the museums will have no painted backgrounds. Ten years ago they would have no groups, and no birds with painted legs and beaks. They have all come to the two latter, and they will all come to painted backgrounds also, in due time, and it will be a good thing for them when they do. If I am ever at the head of a museum, it shall have groups with painted backgrounds galore, and there will be imitators thereof in plenty. There is in this direction a vast field which has hardly been touched, and when it is once developed the world will be the gainer. Museum managers the world over are too conservative by half. Some of them will get out of the ruts they are in by following others; some will not get out until they are dragged out, and a few others will never get out at all.

Twenty-five years hence the zoological museums of this country will be as attractive and pleasing as the picture galleries, and they will teach ten times as many object-lessons as they do now. To-day the average museum is as lifeless as a dictionary; but the museum of the future will be life itself.

In Plate XVI. are shown three other examples of wall-cases, of different kinds. Fig. 10 is a group of humming-birds, with choice accessories, under a hemispherical glass shade, surrounded by a black velvet mat, and set in a rich gold frame. This exceedingly artistic arrangement is designed either to stand on an easel or hang on the wall, and is the work of Mr. and Mrs. George H. Hedley. No. 11 represents a group of gray squirrels in a rustic case made of papier-machÉ, with glass front, top, and sides, and natural accessories, the work of Mr. Joseph Palmer, of the National Museum. No. 12 represents a group of south southerly ducks at the edge of a marsh, in a square case with closed back, and painted background. This was prepared by Mr. William Palmer. In Fig. 57 appears a representation of a very pretty wall-case, by Mr. F.A. Lucas. This was one of a series of four companion cases representing the four seasons, and it is only the very unscientific who need to be informed that the blue-birds building their nest are meant to represent "Spring."

EXPLANATION OF PLATE XVI.

Contributions of Ornamental Taxidermy from the New York Exhibition of the Society of American Taxidermists to the U.S. National Museum.

Table Groups.—Very fine specimens are often furnished with cases having glass on all sides, including the top, permitting inspection from all points. Of course every group of this kind requires a small table for its base. The most striking table group I have ever seen is one that was prepared by Mr. F.A. Lucas, entitled "An Interrupted Dinner," and represented by Fig. 2, Plate XVI. A red-tailed hawk has just killed a ruffed grouse, and has scarcely begun his meal when a goshawk swoops down upon him with outstretched talons to seize the quarry. The hawk has turned upon his back, shielding his prey with one wing, and with beak and talons "at full cock" is ready to receive his assailant, who hovers in mid-air immediately above him. The goshawk is supported on an invisible brass standard, which enters his body by way of the tail, and the illusion is perfect.

Mr. Frederic S. Webster has in his Washington studio a table-case single specimen which is in every sense a masterpiece. It is very nearly a replica, but with a heron of a larger species, of his prize piece, "The Wounded Heron," represented in Plate XVI., Fig. 5. A snowy heron lies on its back (on a black velvet panel), its breast pierced by a gilt arrow, which the wounded bird has seized with its right foot, and is endeavoring to withdraw. The subject is a difficult one, and its treatment in every detail is masterly.

Dead-Game Panels.—Game birds of all kinds—particularly the handsomest ducks, geese, grouse, woodcock, and snipe—made to represent bunches of dead game, are very popular as dining-room ornaments, and during the last ten years the taxidermists of this country have produced thousands of them, many of great beauty. In regard to their proper make-up I will offer a few suggestions.

While the bird is yet warm, or at least relaxed, hang it up by one leg, pose it carefully, and mark out its outline on paper. See that the bird hangs like a dead bird, and not like a stuffed bird. In mounting the skin, make the body flat rather than round, and have the eyes three-quarters closed. The majority of "dead-game" birds are mounted with their eyes wide open. Birds close their eyes when dying.

The "Dead Gull," shown in Plate XVI., Fig. 5, which is the work of Mr. E.A. Capen, of Boston, author of "Oology of New England," may be taken as a perfect model of its kind. In every line it is a dead bird, one that has been killed with small shot in a sportsman-like manner, and has fallen dead without a feather awry.

Fire-Screens.—Probably no handsomer fire-screens were ever produced by a taxidermist than those of Mr. Thomas W. Fraine. The specimen presented by him to the National Museum is represented in Plate XVI., Fig. 4. It is made of the mounted head and neck of a peacock, set against a background of the ocellated tail feathers, of which the magnificent metallic feather shield from the bird's back forms the centre. The framework is a very thin board of tough but light wood, the back of which is covered with satin or raw silk, and the whole is supported on an elegant gilt tripod standard. The effect of this arrangement as a whole is truly superb, and it is no wonder that Mr. Fraine's peacock screens have been very popular.

The wings of the roseate spoonbill, the scarlet ibis, pelican, egret, great blue heron, and many other birds, are often made into fire-screens, either with or without the mounted head and neck. Of these the two first mentioned are the most beautiful, especially the roseate spoonbill.

There is one form of screen produced in the west against which I protest. An entire bird is mounted standing on a perch-standard, its wings are spread full stretch, and drawn upward, regardless of the laws of anatomy, until the front edges meet and touch on a perpendicular line above the bird's back. Such an arrangement of wings for a bird that is otherwise naturally mounted is painful to look upon, to say the least. The bird seems to be undergoing torture, and the general effect is not pretty.

Bird Medallions.—In 1880 Mr. F.S. Webster's genius evolved one of the most beautiful designs in ornamental taxidermy ever produced, viz., the bird medallion. The idea of mounting one-half of a bird was not of itself a new one, but Mr. Webster's development of that suggestion was entirely new and novel. Instead of mounting one side of a bird with the rotundity that an actual half of a fully mounted bird should possess, he studiously flattened the subject, carefully preserving all the while a perfect uniformity in proportions, and in each case produced the proportions of an ordinary medallion. Of course both legs appeared on the specimen, and every specimen so mounted was the finest of its kind, and faultless in form and finish. The first specimen of this sort may be described as a type of all the rest.

The subject chosen was a snowy heron (Ardea caudidissima) of extra fine quality. In the centre of a massive and very deep gold and velvet frame, with a glass across its top, against a background of black velvet of the heaviest and finest quality stood the snow-white bird, in relief,—a genuine medallion. The exquisite plumes of the head, breast, and back lay against the rich black cloth like threads of spun glass. The head was raised, and the beak slightly elevated in a very life-like attitude; the body rested on one leg, which stood on a little gilt log, modeled in papier-machÉ, and the other foot was held up near the breast in an attitude characteristic of the herons. The effect as a whole was charming. There was nothing gaudy, nor cheap, nor hard in the arrangement, and the idea was a great success. The receiving-frame used by Mr. Webster was also his own design, called forth by the necessity of fully protecting the work.

Other birds that became popular subjects for treatment in this way were the wood duck, scarlet ibis, white ibis, roseate spoonbill, English pheasant, and resplendent trogon. Of course the color and quality of the material used as a background was varied to suit the colors of each subject, but of all the materials tried, plush proved to be most acceptable.

Heads.—This subject has been fully discussed in another chapter. An additional example, showing a particularly fine head of a barren ground caribou, on a shield of a very artistic pattern, is to be seen in Plate XVI., Fig. 3, the original of which was mounted by Mr. William J. Critchley, and presented to the Society, for its exhibit in the National Museum, by Professor Henry A. Ward.

Single Specimens.—Eagles, owls, hawks, ravens, crows, herons, ducks, grouse, and other game birds in general, mounted singly, on either plain or fancy pedestals, make very interesting and proper ornaments for the tops of book-cases, wall-brackets, easels, and the like. Good examples of objects of this class are represented in Plate XVI. as follows: Fig. 8, Bald Eagle; Fig. 7, "Frightened Owl," by Mr. John Wallace, of New York City; Fig. 15, Snowy Egret, by Mr. Thomas Rowland; and No. 9, Gray Squirrel, by Mr. P.W. Aldrich, of Boston.

Grotesque Groups.—No one who has ever visited one of the exhibitions of the S.A.T. is likely to forget the exceedingly droll and mirth-provoking groups of stuffed frogs, caricaturing poor humanity, produced by Mr. J.F.D. Bailly, now of Montreal, Canada. As a humorist and satirist our old friend Bailly has few equals, and, in conjunction with his fine mechanical skill, his love of the ridiculous took permanent form in groups of frogs. The frog seems to have been created for the especial purpose of enabling Monsieur Bailly to caricature mankind. The results must be seen to be appreciated. We have had groups of frogs duelling, playing billiards, making love, getting drunk, smoking, dancing, fishing, gaming, electioneering, and what not. For frogs, however, there is only one taxidermist, for I have never seen anyone else, either French or American, who could even rival our old friend. He skinned every frog through its mouth, without breaking the skin, turned it wrong side out, wired it, made its legs of cotton, turned it back, filled its body with cotton, set it up in position, varnished it all over, and fitted it out with miniature furniture to suit the subject.

Mr. Bailly used to cut similar taxidermic capers with squirrels, and Messrs. Critchley, Lucas, and others have produced some very amusing grotesque pieces with cats and kittens. In Plate XVI., Fig. 15, is shown (indistinctly) one of Mr. Bailly's frog groups, entitled "Sold Again." A fisherman is in the act of pulling out a big fish, which the attending small boy reaches out to take in with a dip-net, when the fish turns out to be only an old shoe.

Fur Rugs with Mounted Heads.—Before a raw pelt or skin can be made up as a rug, it must be sent to a first-class tanner, and thoroughly tanned and dressed. This process should make the skin clean, soft, and pliable. If the head is to be mounted, that part should not be tanned, nor put through any process. After the skin has been properly tanned, relax the head, and mount it in such a manner that the head will lie as flat as possible upon the floor. When the skull is present, it is customary to mount tiger, leopard, and bear rugs with the mouth open, snarling. Some prefer to have a head mounted with the lower jaw entirely off, and only the upper half of the head filled out. This makes of the head what is known as a "mask." Every rug requires to have an inner lining of buckram to give it body and stiffness sufficient to keep it spread out flat. Underneath that must come the lining proper, of quilted felt of suitable color, which is generally left projecting an inch or two beyond the skin all around. This projecting edge is pinked with a pinking iron, to make it more ornamental.

The finest work on rugs, particularly the finer kinds, such as lion, tiger, leopard, and bear, is done by Mr. F.S. Webster, of Washington, who has developed this line of work most handsomely and systematically, and who does an immense amount of it. Elsewhere in this book appears full directions for the preservation of skins for sale as pelts for furriers' use.

How to Make Imitation Rocks.—In making a rockwork pedestal, the first thing is to build your foundation, of wood if it be very large, of wood covered with very stiff and strong paper, if it be small. In the latter case there must be a wooden skeleton to which the paper may be tacked. Having tacked the paper on in large sheets, and duly crumpled it to get the proper form of the rocky mass, give the paper a coat of thick glue. When dry it will be quite stiff and strong. Now apply papier-machÉ of a coarse quality, and model its surface to show the proper angles or lines of stratification. Procure some granite or sandstone, or whatever rock you choose to imitate, pound it up as finely as necessary, and after giving the surface of the papier-machÉ a coat of thick glue, apply your rock material by throwing it against the surface to be covered, so that the particles indent the surface and stick fast. In this way the whole surface can be completely covered, and when it is done with the actual material, no painting is necessary. The possibilities and variations in this line are infinite, and so much depends upon circumstances it is unprofitable to go further into details.

Very pretty single pieces, or small masses of rock, may be made by using peat, or coke, or cork, either in large pieces or smaller pieces glued together, and covering the surface with fine sand mixed with various dry colors, and adding colored lichens in spots here and there.

Cloth is poor stuff to use in making rockwork. It draws in straight lines, and in smooth, plain surfaces. It generally shows up the wooden framework to perfection. Use manila paper instead, by all means, and take great pains in shaping your wooden foundation. Always avoid straight lines and plain surfaces.