Chapter VII: Part 7

Now arrange the velvet upon which the painting is to be laid, by stretching it upon pasteboard, and fasten with thumb tacks, so as it may be kept in place for working upon: after this is done, stamp upon it the pattern you wish to have painted. This can better be executed at a place where stamping for embroidery and other work is generally done, and where designs can be found from which you can select just the pattern you wish.

If you have a picture you would like to paint, that is not perforated, you may make a transfer of it to velvet by pricking through with a fine needle, following carefully and completely the full outlines of the copy before you, after this is done, and before the picture is moved, press through the now perforated pattern white powder, with a soft pad, which will show up the outlines of what you seek, on the velvet beneath, or you can use the transfer process given on page 28. It is now ready to receive the painting.

=The Colors used= are Winsor & Newton’s oil colors in tubes, and the opaque mixture for thinning. Flake white, rose madder, cerulean blue, vermilion, chrome green Nos. 1 and 2, burnt sienna, orange chrome, emerald green, mauve lake. For Poppies use Chinese vermilion, a little chrome yellow and green for the centers; for Pansies use mauve lake, with green and yellow for the center; for Daisies (white) with yellow centers, use flake white, with chrome yellow for the center; Forget-me-nots, use light blue, by mixing white with permanent blue, dot the centers with yellow; for leaves, use green, with a little Naples yellow and Chinese vermilion for autumn leaves; for stems of flowers, use green, and green heightened with white for grasses, and where the leaves require it; for Wild Rose, use rose madder and white, apply same as in poppy.

=Applying the Colors.= After the piece has been fastened to the board, and the flower is stamped thereon, you may begin the painting. Take first a Forget-me-not. Commence with pencil No. 3. Take upon the brush all it will hold of cerulean blue, mixed with white lake, lay this upon the point which you are to place the flower, and with the brush press it out by rolling the brush from the center to the outline of the petal of the flower, in such quantities as to show a rolled edge, (resembling the embroidery), leaving the center with but little of the paint. With the same brush, or point of the pen, (after cleaning with naphtha), touch the center with a small particle of chrome yellow, (about the size of a pin head). Now, with the needle, lay on the stems, using green. In doing this, cover the whole of the needle with the color, and lay on the velvet full length, drawing it over the outline, and rolling in the fingers as you move it. This is also used in making flat grasses and leaves. In painting the daisy a pen is used. Place the paint first upon a palette knife, and then take it off from the knife with the pen, which will be found much more convenient, being particular to get the point full of the color by laying the pen sideways when taking it up, (using flake white), press to the outside of the flower, and by bearing heavy enough you will find it carries the color to the outline of the petal in rolls, leaving the center almost void of color. The instrument used for this should be very elastic, and one not easily broken by bending. After you have gone over each petal, dot the center, by using No. 3 brush, with chrome yellow and burnt sienna, mixed, using enough of the color to fit the space of pistil.

In painting the Poppy, use No. 7 brush for outside petals, and No. 5 for inside, or smaller ones. Press as before directed upon the brush, and turning it at the same time toward the outline, pressing the paint to the margin of the petal, and leaving it there in a roll, with the center of the petal as before mentioned. This being done, take brush No. 3, and with chrome yellow place in the pistil and stamens (commonly called the “heart”). For other flowers, follow instructions as previously laid down.

The outlines of flowers are made with brush No. 3, and the pen. The needle is again employed for drawing in the veins, using for this light green, and apply as heretofore directed, by covering with the color, and draw full length over the outlines endwise.

In making autumn leaves, take No. 5 brush, using for this vermilion, chrome yellow and burnt sienna, and sometimes a little green. For durability, this painting will compare favorably with any other method.

* * * * *

N. B.—When the opaque mixture is used no previous preparation or coating of any kind is necessary. The colors will not spread, run or stain silk or velvet of the most delicate shade or tint, beyond the outline.

Use the opaque mixer, to thin the paint to its proper consistency before applying, using no oils, turpentine, or dryer of any kind with the mixer, as it is of itself a sufficient dryer.

If your silk or material painted shows a dampness beyond the line of color, let it remain until the color dries, and it will all evaporate dry, leaving no stain whatever on the material, placing the paint beautifully in rolls, to imitate what it is intended to, Kensington embroidery.

ARRASENE
AND RIBBON EMBROIDERY.

Ladies are turning away from the more laborious kinds of work, and seeking that which is artistic, useful, and beautiful. Many who have heretofore sat idle, are making their leisure hours pleasant, and their homes resplendent by aid of decorative art. Housekeeping may be classed among those necessities which, to many, is a “life-long torment,” for which there is hardly a remedy, although there are those who find charms therein; they at the same time are almost lost amid the vast multitude of ordinary indifferent ones. However, nearly all are kept mindful of the purity of the art of home decoration, and are showing sufficient interest to do something for its elevation.

Arrasene embroidery is comparatively new, yet its beauty has so fascinated the women of taste that teachers of the art are sought after everywhere, and their scarcity has caused the publication of the following instructions.

There is a wool called wool arrasene, and a silk called silk arrasene; the arrasene embroidery is simply the working of these in tufts, to form flowers and other ornaments, such as mottoes, cushions, etc. An owl worked in grey arrasene is beautiful. Inasmuch as the working of flowers seem to better satisfy the taste of arrasene art workers, I will give the instruction.

=How to Make a Wild Rose.= For this you will need two shades of satin or velvet—either are very pretty. Have the pattern stamped or drawn on whatever you wish to embroider, plush, felt, satin, or other goods; cut the satin in shape of the petal of the flower, and be sure to have them long enough to turn in the edges. Now blindstitch it on the pattern, being careful to leave fullness enough to form folds in the petals, gathering them at the center, using the French knot, or seed stitch, and embroidery silk, yellow and brown for roses. For double rose, cut more pieces for petals, and lay one over the other. For daisies, use narrow white ribbon, plaiting the ribbon in the center, filling in with the French knot stitch, using two shades of yellow and brown.

In making a forget-me-not, use very narrow blue ribbon, for the centers one knot stitch of yellow and one of red. For green leaves and stems, and the green around the rose, (calyx), use arrasene wool or silk, or a part of each. It is much handsomer to use the silk for high lights; for stems of roses use reddish brown.

Many flowers can be very effectively represented by the ribbon embroidery, such as dogwoods, sunflowers, pansies, and other varieties.

PORTRAITURE
IN
BLACK CRAYON.

Crayon portraiture, to one who knows nothing of the method, seems not only very difficult, but almost unattainable, except after long years of study and practice. Even then many suppose artists are born, not made. The writer of this article has been employed in teaching the art for several years, and could refer to many pupils who, after comparatively few lessons, were able to execute finished portraits of real merit. Any one who can learn to write can learn to draw, but a special method is necessary to enable pupils to work intelligently. Most other branches of art have been elaborately treated by able pens, but crayon drawing as a study, has been hitherto neglected. A careful preparation of written instructions cannot fail to enable one with ordinary ability and taste to master this most beautiful art. One of the first requisites for successful work, is to have proper material, and of the best quality.

PAPER. The best and only paper that should be used is Whatman’s imperial, or double elephant. It should never be used by tacking to a drawing board, but must be mounted on a stretcher. All Art Stores have a ready supply of these, but for the sake of economy they can be made in the following manner. Take a pine frame 20 × 24, or any desired size, lay a sheet of Whatman’s paper upon a table, face side down, dampen it with a sponge over the entire surface: lay the frame upon it, and trim the edges of the paper with a knife, about one inch larger than the frame. Cut out the corners, then with a small brush put a little flour paste upon the paper beyond the frame, and also upon the edges of the frame; turn this paper up on to the edges of the frame, drawing it a little with the fingers to take out the larger wrinkles, and make it adhere firmly. Put away in a cool room, to allow the paper to dry, and a stretcher is ready for use. Do not moisten the paper on the side upon which the drawing is to be made, as this would occasion spots, which would spoil the work.

In selecting materials, buy the small paper stomps, which come in packages of a dozen or more; one soft rolled chamois stomp; (avoid the hard stiff ones); a stick of square Conte crayon No. 3, a piece of Conte rubber, which can be sharpened with a knife when it becomes too blunt, a few sticks of the round glossy Conte crayons, a crayon holder, and a few sticks of soft charcoal. Take a small block of wood, about 3×5 inches, paste a piece of fine sand paper carefully over one or both sides, and let it dry. This block is useful to sharpen and clean the rubber and paper stomps. Upon another block of the same size, or a little larger, paste a piece of Whatman’s paper, smoothing it down carefully, allowing this to dry thoroughly. Take the stick of No. 3 square crayon, rub it over this block hard, to make the pulverized crayon to be used with stomps, or use a fine file, and allow the crayon thus pulverized to fall upon the block. Keep this free from dust when not in use. These are all the materials necessary to execute a crayon portrait.

The next step will be to make the enlargement of the photograph from which a copy is to be made, providing a solar print is not used. There are several ways of doing this. The best method is to have a good pentagraph, unless one is able to draw the outline enlargement free hand. In either or all cases make the outline upon a piece of manilla wrapping paper, cut the size of the stretcher intended. When this enlargement is made, thoroughly blacken the back with a piece of charcoal by laying the paper upon a smooth drawing board or table; turn it over and lay it upon the stretcher, being careful to place it so the drawing will be in the center of the stretcher, securing it with tacks or pins at the corners, in order that it may not slip. With a stylus, or hard lead pencil, trace over all these outlines again, being careful to follow them accurately, omitting none. Remove the paper with care, and a definite outline of the picture will be seen upon the stretcher. This will rub off with the slightest touch, therefore take one of the paper stomps, rub it on the block of pulverized crayon, holding it in the hand as a pencil, trace lightly over these outlines in order to prevent losing them while at work upon the picture. Be careful, however, to do this very lightly, if not, the lines will show when the picture is finished, and spoil the effect of the work.

The first step to be taken is to put the crayon on the darkest part of the features. Rub the paper stomp on the block of pulverized crayon very hard, turning it around between the fingers in order to get the crayon on the whole surface of the point and tapering end. Apply this lightly but firmly, and with a broad stroke to the lines or lids above the eyes, the nostrils, the line through the center of the mouth, the dark shades in the ears and the eyebrows, following the outlines already upon the stretcher. Put in the pupils of the eyes very black and heavy. The stomp has now cleaned itself somewhat. Next darken the iris of the eye, put on the shadows under the eye, the curves of the nose from the eyebrows to the end, and the curves around the nostrils. Next the upper lip, tinting it lightly. Now define the outlines of the cheeks, working in light strokes inward, and hatching them, or crossing the strokes at an acute angle (never at right angles). Work for the expression, and hold it.

Having gone thus far the stomp will be quite free of color. The blending process comes next in order. Work slightly upward from the lines around the eyes, borrowing from the color already there for the shadows desired. The same from all the features above mentioned, watching the photograph closely and leaving off such shadows gradually.

Tint all the darker shades on the entire face in the same manner, not as dark at first as they will be required. Leave all the strong high lights perfectly white until the picture is nearly finished. In putting on these shadows the hatching process will be found the most effective, not, however, by making strong lines, but simply have the strokes of the stomp made in such direction, very soft and indistinct. If any large white spots seem to remain, thus destroying the evenness of the tone, touch them over lightly until the tone resembles in quality a wash with India ink or water color, gradually growing lighter and lighter until lost in the high lights and half tones. The beauty of the finished portrait will depend very largely upon this blending, as there must be no abrupt ending to any shadow. Leave the face for the present, and take the chamois stomp, rubbing it on the block of crayon until the end is thoroughly covered. Lay it very flat and lightly on the parts of the hair which are the darkest, commencing at the deepest part of such shades, and ending toward the high light. Leave these high lights as in the face perfectly white for the present.

Try and follow the direction in which the hair is combed, but mass it. No attempt should be made to show individual hairs. It is simply light and shade in masses. Next take the clear end of the chamois stomp, borrow from the darker shades to tint the high lights, making broad strokes. If this makes them too dark, lighten with the rubber. All rubber strokes in the hair should also be broad, not fine lines. The drapery comes next in order. A black silk dress or a broadcloth coat should be worked in the same manner. With the chamois stomp put in the darker places in the drapery first, following the same general rule of hatching only in broad strokes, not lines. Tint the higher lights in the drapery with the clean end of the same stomp, borrowing from the darker places as before. The same rule should be observed in ending the drapery as in the shadows of the face—let it become lighter and lighter, until lost entirely.

Note carefully the collar and shirt front. Generally there will be seen light shadows upon them. If so, tint lightly with a clean stomp, borrowing the color necessary from the drapery, not from the block.

If the drapery now appears spotty it must be cleaned up in the following manner. Fill up the lighter places with the paper stomp, rubbing lightly in different directions, while the spots that are too dark can be cleaned off with the rubber in light strokes. In this manner the drapery can be worked up very smoothly, and free from spots. The background should be worked up in the same manner as the drapery, only not as dark. Do not put a background around the entire head, only from the shoulders up about half the distance to the forehead. If the subject is a lady, and lace work is desired, make this with the paper stomp. Do not work for details, but in an indistinct manner, following the original design somewhat, but in soft strokes, taking out the high light with the rubber, if necessary. The drapery, background and hair are now supposed to be finished, the above directions having been followed carefully.

The finishing of the features must now be attended to. With a paper stomp, not too black, strengthen all the darkest shades in the face, borrowing color again, working the shades off upon the high lights, preserving the half tones and reflected lights. Unless the high lights are very strong in the original, tint them over slightly with a stomp fairly clean. It is hardly necessary to say the subject, or original photograph, must be studied very carefully. If this is done, and the outlines accurately made, a perfect likeness will be the result.

If the pupils of the eyes, or any very deep shadow, need a little strengthening, it can be done with the round Conte crayon, sharpened to a very fine point, and hatched lightly over such shadows.

The finishing touches must be made by using a clean paper stomp, going over the entire picture, a little beyond all the outlines, to soften them, thus producing a soft and natural effect. Last of all, take out the catch light in the eyes, with a sharp pointed knife, scratching it slightly until it is of the desired shape.

In closing these instructions, the writer wishes to impress upon the pupil or reader the necessity of working at all times, and upon all parts of the picture, _very lightly_, if not, a muddy effect will be the result. The hatching should be tolerably open, but not too much so. This produces the effect of transparency, which is very desirable.

If the above instructions are carefully studied, and patient labor put forth, any one may reasonably expect to obtain excellence in representing life-like and natural portraits.

ANALYSIS OF COLORS

THEIR NATURE AND QUALITY.

We will begin with gall-stone, which is one of the finest and brightest in the world, and it very lasting color, although in face painting it should be sparingly used, its wonderful brilliancy being apt to drown all the other colors, and make the work it is used in too warm in its tints.

_Of Terra Sienna_, it is unburnt, a bright yellow-brown earth, and is used by some miniature painters as a warm yellow; but burnt it is a beautiful color, and partakes of three tints, yellow, red and brown.

_Yellow Ochre_ is a bright yellow earth, and comes from France, is semi-opaque, and works well. Much used by artists, but must be used with caution. It is a lasting color, and of service in the fleshy face tints.

_Roman Ochre_ is a reddish yellow earth of a very great body, and used by some with success in miniature painting. Used with gum water it works well, and being a warm color, it communicates that quality to the tints it is worked on.

_Naples Yellow_ is an earth found near Naples, and is a soft, bright and durable color. A great proportion of that used is composed of lead, alum, sal-ammonia and antimony. This color is not very much used by artists, as it does not stand well. Is a pale, gritty yellow. It absorbs all colors that are worked on it or mixed with it.

_Gamboge_ is the concrete juice of various trees in Ceylon—is a transparent color, and consequently useful as a glazing color.

_Yellows_ have their base in iron, lead, quicksilver and arsenic.

BLUE. Of all blues in use none can equal ultra-marine—its wonderful brilliancy and permanency excelling all others. But it is often adulterated after reaching this country, and the genuine is not common. Put a small quantity on a case knife, and hold it over a candle, keep the smoke from touching it; if adulterated it will appear in grey spots, and if genuine it will remain brilliant as at first. It was formerly made from lazulite, the beautiful variegated blue mineral, worth at one time in Italy twenty-five dollars an ounce. A greater part of that used now is composed of carbonate of soda, sulphur and kaolin, colored with cobalt.

_Prussian Blue_ is a good color, it is a ferrocyanuret of iron, produced in different ways. There is no substitute for Prussian blue for miniature painting on account of its strength of effect and transparency. The best and purest is that which is dark color.

_Indigo_ is beautiful on account of its extreme depth of color, nearly approaching to black; the best is called the rock indigo.

_Cobalt_ is another fine blue, much used in sky grounds, and in the delicate parts of faces and necks.

_French Ultra._ A beautiful bright blue; it is adapted for ladies’ drapery—rather too powerful for pearly tints or flesh.

_Permanent Blue, Cerulean._ Useful in draperies and backgrounds; also in landscape and flower painting. Not good for flesh tints.

_Sap Green_ is the juice of buckthorn berries, and has proven to be a highly useful color when judiciously mixed with other colors, producing warm fleshy tints which cannot be made without it.

_Copper_ is the base of most blues, though some are formed from iron and cobalt.

REDS. Carmine is a fine bright crimson, inclining to scarlet, and rather an opaque color. From it a variety of fine tints may be made, but it being a very high red, renders it unfit for delicate subjects; in this case use rose madder. There are various kinds of it prepared of other reds, but the deep kind is the best, the lighter being made so by adulteration, commonly made of alum and cream tartar, colored with cochineal, but it fades rapidly by out door exposure. The genuine is made from kaolin, or China clay, colored with cochineal, prepared with much difficulty, which makes it expensive.

_Crimson Lake_ is a beautiful crimson color, inclining toward the purple, making it useful for the carnation tints in painting delicate subjects.

_Chinese Vermilion_ is a bright red, and useful in miniature pictures, though too freely used, its opacity renders it dangerous to mix much with other colors, but by itself, in touching the lips and other parts that require extreme brightness, it is of good service. It comes from China in small parcels, fourteen ounces each.

The native, or _Mineral Cinnabar_, or vermilion, is very fine in Spain; the French have mines of it in Normandy.

_Light Red._ Useful in almost all flesh colors, and the ground upon which all the finer tints are made.

_Venetian Red._ Nearly the same as light red, and used almost for the same purpose. It is an earth, found in many parts of the world.

_Rose Madder_, indispensable for carnation lips. This, with cobalt, and almost any transparent yellow, forms all sorts of pearly and grey tints.

_Indian Red_ is of a deep purple cast, and a most excellent color for touching the deep red parts, and the fleshy tints. Also useful in bright backgrounds and draperies.

BROWNS. Umber is a yellowish brown, and mixes well with water colors. Useful in backgrounds. When properly burnt it is a charming reddish brown, very useful in hair. Works extremely well.

_Terra de Cassel_, or Vandyke brown, so called from the very great estimation the inimitable painter of that name held it in, is the finest rich brown in the world, in itself producing a more beautiful color than can be formed by the junction of any colors whatever. It is in general use, and is, in its natural state, rather coarse and sandy, but when prepared, it amply repays the artist for his labor; good glazing color for hair shadows.

_Lampblack_ is the smoke of burning resin, and is useful for marking the pupil of the eye, and in painting draperies. It is a good color when burnt, stands and works remarkably well. The smoke of a candle, received on a plate, is found the best, being blacker than the common lampblack. Ivory black is preferred by some.

_King’s Yellow_ is a fine bright opaque color, and is admirably calculated for painting lace, gilt buttons, etc., but should be cautiously used, as it is a rank poison.

_Chinese White_ is permanent, and works remarkably well; it is freely used on every part of a picture in water colors.

_Flake White._ This is the only white adapted for oil colors. Chinese white is never used.

MIXING COMPOUND TINTS FOR THE FACE. Purple is formed of either ultra-marine, Prussian blue, smalt or indigo, mixed with either carmine or lake. Ultra-marine, although the most beautiful and brilliant of colors by itself, loses that perfection in any mixture, but it still retains a sufficient share of brightness to render it a desirable tint in the purplish-grey tints of the face. Prussian blue, mixed as before mentioned, makes a bright or dark purple, according to the quantity of either color. Indigo makes a still darker purple, owing to its great natural depth of color. French ultra and carmine, or lake, forms nearly the same tint as ultra-marine, and may be used nearly for the same purpose.

_Olive Tints._ A very fine olive tint is formed of gall-stone, Nottingham ochre and carmine, or lake; and another of sap green and lake only.

TINTS AND THE COLORS WHICH PRODUCE THEM.

Grey is made by combining White and Lampblack. Buff is made by combining White and Yellow Ochre, Red. Pearl is made by combining White, Black, Blue. Orange is made by combining Yellow, Red. Violet is made by combining Red, Blue, White. Purple is made by combining Violet, Red, White. Gold is made by combining White, Stone, Ochre, Red. Olive is made by combining Yellow, Blue, Black, White. Chestnut is made by combining Red, Black, Yellow. Flesh is made by combining White, Yellow Ochre, Vermilion. Limestone is made by combining White, Yellow Ochre, Red, Black. Sandstone is made by combining White, Yellow Ochre, Red, Black. Freestone is made by combining Red, Black, Yellow Ochre, White. Fawn is made by combining White, Yellow, Red. Chocolate is made by combining Raw Umber, Red, Black. Drab is made by combining White, Raw and Burnt Umber. Pea Green is made by combining White and Chrome Green. Rose is made by combining White, Madder, Lake. Copper is made by combining Red, Yellow, Black. Lemon is made by combining White, Yellow. Snuff is made by combining Yellow, Vandyke Brown. Claret is made by combining Red, Umber, Black. Dove is made by combining White, Vermilion, Blue, Yellow. Pink is made by combining White, Vermilion, Lake. Cream is made by combining White, Yellow. Salmon is made by combining White, Yellow, Raw Umber, Red. Straw is made by combining White, Chrome Yellow. Lilac is made by combining White, with Violet. Changeable is made by combining Red, Green, lightened with White. Peach Blossom is made by combining White, Red, Blue, Yellow. Bronze Green is made by combining Chrome Green, Black, Yellow, or Black and Yellow, or Black and Green.

TRANSPARENT COLORS. Burnt Terre de Sienna, Terre Verte Asphaltum, Dragon’s blood, Carmine, Rose Pink, Gamboge, Prussian Blue, all the Lakes and all the Gums.

SEMI-TRANSPARENT. Umber, Vandyke Brown, Chrome Red, Emerald Green, Indigo, Verdigris, Brilliant Ultra-Marine.

CONTRAST AND HARMONY OF COLORS. One color will generally harmonize with another when both contain the same base in different proportions. White contrasts with Black, Brown, and harmonizes with any other color. Yellow contrasts with Purple, White, and harmonizes with Orange and pale colors. Orange contrasts with Blue, and harmonizes with Red, Pink. Red contrasts with Green, and harmonizes with Crimson. Green contrasts with Red, and harmonizes with Yellow. Purple contrasts with Yellow, White, and harmonizes with Crimson. Black contrasts with pale colors, and harmonizes with deep colors. Gold contrasts with dark colors, and harmonizes with light colors.

TAXIDERMY

SKINNING, PREPARING AND MOUNTING THE MAMMALIA, OR QUADRUPEDS.

SKINNING.

When a quadruped is killed, and its skin intended for stuffing, the preparatory steps are to lay the animal on its back and plug up its nostrils, mouth, and any wounds it may have received, with cotton or tow, to prevent the blood from disfiguring the skin. The fox will serve admirably our purpose as an example. Therefore, Reynard being procured, we need not say how, lay him on his back in the same position as before recommended, and having first stuffed the mouth with cotton and tied it up, and measured his neck and body with rule and calipers, and noted them, proceed. Make an incision from the last rib nearly to the vent, but not quite up to it. Having done so, proceed to raise the skin all round the incision as far as the thighs, first skinning one side and then the other, using the flat end of the knife in preference to the blade to raise the skin. Having reached the hind legs, separate the latter at the femur or thigh-bone, close to the backbone, leaving the legs attached to the skin. Now skin the head quarters close up to the tail, and separate it from the body at the last vertebræ, taking care not to injure the skin. Pull the skin over the heads of the hip-joints, and now the carcase may be suspended by the hind-quarters, while the skin is stripped by pulling it gently and cutting towards the fore-quarters. The fore-legs are separated from the body, as the hind ones had been, close to the shoulder-bone, and the skin fairly pulled over the head and close to the nose, when the head is separated from the body by cutting through the last vertebræ of the neck. Reynard is now skinned, the head, legs, and tail being all attached to the skin, from which the carcase is separated.

The flesh is now cut entirely away from the cheek-bones, the eyes removed, the brains taken out by enlarging the occipital opening behind the cranium, the whole cleaned and supplied with a coating of arsenical paste and stuffed with tow or wool to the natural size.

The legs are now successively skinned by pushing out the bones and inverting the skin over them until the foot-joint is visible; every portion of flesh and tendons must be cut away and the bone cleaned thoroughly, and a coating of arsenical soap laid over it as well as the skin. Wrap tow, or cotton, or any other suitable material, round the bone, bringing it to its natural shape, and draw the skin over it again. Do this to each leg in succession, and the body itself is ready for stuffing and mounting.

The utmost care will not prevent accidents; the fur and plumage will get sullied, and before stuffing it is well to examine the skin, for stains and spots are calculated to deteriorate its appearance. Grease or blood-spots may be removed by brushing over with oil of turpentine, which is afterwards absorbed by dusting plaster of Paris over. Macgillivray recommends that all skins, whether they are to be put away in a cabinet or stuffed, should receive a washing of spirits of turpentine sprinkled on, and gently brushed in the direction of the feathers or fur. Not to trust too much to memory, it is desirable to measure and note the proportions of the animal before skinning, first taking the muzzle to the tail. Afterwards, from the junction of the tail to the tip. Secondly, from the middle of the shoulder-blade, or scapula, to the articulation of the femur, or thigh-bone. Thirdly, the animal being placed on its side, measure from the upper part of the scapula to the middle of the sternum—that is, to the spot where the two sides meet above, and finally from the socket of the scapula to the socket of the articulation of the femur, or thigh-bone. In addition to these, note, by measurement with caliper compasses, the size of the head, the neck, the tail, and other points which affect the shape of the animal. These measurements will serve as a guide in stuffing, and for the size of the case and length of the mounting wires. In the process of skinning, it is important to avoid penetrating to the intestines, or separating any of the abdominal muscles which lead to the intestines; any such accident would be very disagreeable, as well as injurious to the skin.

=Stuffing Quadrupeds, etc.= Let us suppose the animal which we intend to stuff, to be a cat. Wire of such a thickness is chosen as will support the animal by being introduced under the soles of the feet, and running it through each of the four legs. A piece of smaller dimensions is then taken, measuring about two feet, for the purpose of forming what is termed by stuffers, a tail-bearer. This piece of wire is bent at nearly a third of its length, into an oval of about six inches in length; the two ends are twisted together, so as to leave one of them somewhat longer than the other; the tail is then correctly measured, and the wire is cut to the length of it, besides the oval. The wire is then wrapped round with flax in a spiral form, which must be increased in thickness as it approaches the oval, so as to be nearly equal to the dimensions of the largest vertebræ, or root of the tail. When finished, it should be rubbed thinly over with flour paste, to preserve its smooth form, which must be allowed to dry thoroughly, and then the surface should receive a coating of the preservative. The sheath of the tail must now be rubbed inside with the preservative. This is applied with a small quantity of lint, attached to the end of a wire, long enough to reach the point of the tail-sheath. The tail-bearer is then inserted into the sheath, and the oval part of the wire placed within the skin of the belly, and attached to the longitudinal wire, which is substituted for the vertebræ or backbone.

Four pieces of wire, about the thickness of a crow-quill, are then taken, which must be the length of the legs, and another piece a foot or fifteen inches longer than the body. One end of each of these is sharpened with a file, in a triangular shape, so that it may the more easily penetrate the parts. At the blunt end of the longest piece a ring is formed, large enough to admit of the point of a finger entering it; this is done by bending the wire back on itself a turn and a-half, by the assistance of the round pincers. On the same wire another ring is formed in a similar manner, consisting of one entire turn, and so situated as to reach just between the animal’s shoulders. The remaining part of this wire should be perfectly straight, and triangularly pointed at the extremity.

Another method of forming the supporting wires, as practiced by M. Nichols, is to take a central wire, which must be the length of the head, neck, body and tail of the cat; two other pieces are then taken and twisted round the center piece, these extremities being left for the leg wires. After the wires are thus twisted together the central one is pulled out, and the feet wires of one side are pushed through the legs of one side from the inside of the skin, and the other two leg pieces are bent and also forced through the legs, and afterward made straight by a pair of pincers; the center piece, having been previously sharpened at one end with a file, is now forced through the forehead and down the neck, till it enters the center of the twisted leg wires which it formerly occupied, and pushed forward to the extremity of the tail, leaving a small piece projecting out of the forehead, after which the completion of the stuffing is proceeded with.

This mode is unnecessary for the smaller animals, and it should only be adopted for quadrupeds the size of deer, etc. These wires are, besides, much more difficult to insert by this than by the other method.

All the wires being adjusted, the operation of stuffing is next proceeded with. The skin of the cat is now extended on a table; and the end of the noose seized with the left hand, and again pushed into the skin, till it reaches the neck, when we receive the bones of the head into the right hand. The skull is now well rubbed over with the arsenical soap, and all the cavities which the muscles before occupied are filled with chopped tow, flax, or cotton, well mixed with preserving powder. The long piece of wire is now passed into the middle of the skull, and after it is well rubbed over with the preservative, it is returned into the skin. The inner surface of the neck-skin is now anointed, and stuffed with chopped flax, taking care not to distend it too much. Nothing like pressure should be applied, as the fresh skin is susceptible of much expansion.

Observe that it is always the inner surface which is anointed with the arsenical soap. Take care that the first ring of the wire, which passes into the head is in the direction of the shoulders, and the second corresponding with the pelvis, or somewhat toward the posterior part. One of the fore-leg wires is then inserted along the back of the bone, and the point passed out under the highest ball of the paw. When this is accomplished the bones of the leg are drawn up within the skin of the body, and the wire fastened to the bones of the arm and fore-arm with strong thread or small twine. Brass wire, used for piano forte strings, makes it more secure, and is not liable to rot. These are well anointed, and flax or tow _slivers_ wrapped around them so as to supply the place of the muscles which have been removed. To give the natural rise to the larger muscles, a piece of silver should be cut off the length of the protuberance required and placed in the part, and the silver wrapped over it. This gives it a very natural appearance.

The mode of fixing the legs is by passing one of their pieces of wire into the small ring of the horizontal or middle supporting wire. Pursue the same plan with the other leg, and then twist the two ends firmly together by the aid of a pair of flat pincers. For an animal of the size of a cat, the pieces left for twisting must be from five to six inches in length. After being twisted, they are bound on the under side of the body wire with strong thread; the two legs are then replaced and put in the form in which we intend to fix them. The skin of the belly and top of the shoulders is then anointed, and a thick layer of flax placed under the middle wire. The shape is now given to the scapula on both sides, and all the muscles of the shoulders imitated. These will be elevated or depressed, according to the action intended to be expressed. The anterior part of the opening is now sewed up, to retain the stuffing, and to enable us to complete the formation of the shoulders and junction of the neck. This part of the animal is of great importance, as regards the perfection of its form, and much of its beauty will depend upon this being well executed.

If the animal has been recently skinned, the best plan possible is to imitate, as nearly as possible, the muscles of the carcase, by which many parts will be noticed which might otherwise have been neglected. As a rule, COPY NATURE WHENEVER YOU HAVE IT IN YOUR POWER.

It must be observed as a general rule, that the wires for the hind legs of quadrupeds should always be longer than those of the fore legs.

The next thing is to form the hind legs and thighs, which must be done as above described for the fore legs; but with this difference, that they must be wound round with thread, drawn through the stuffing at intervals, to prevent it slipping up when returned into the skin of the leg. They are then fixed by passing the leg wires into a second ring of the center body wire, which is situated at or near the pelvis; the two ends are then bent, twisting them to the right and left around the ring; and, to make them still more secure, they should be wound round with small brass wire or packthread; the tail-bearer is then attached in the manner formerly described.

Having completed this part of the iron work, the skin of the thighs is coated inside with the preservative, and the stuffing completed with chopped flax or tow. The whole inner parts of the skin which can be reached are again anointed, and the body stuffing completed with chopped flax. Care must be also paid not to stuff the belly too much, as the skin very easily dilates. The incision in the belly is now closed by bringing the skin together, and then sewed within and without, while attention is paid to divide the hairs, and not to take any of them in along with the thread; but should any of them be inadvertently fixed, they can be picked out easily with a point. When this is completed, the hair will resume its natural order and completely conceal the seam.

The seam should now be well primed on both sides with the solution of corrosive sublimate, to prevent the entrance of moths.

The articulations of the legs are then bent, and the animal placed on its feet, and pressure used at the natural flat places, so as to make the other parts rise where the muscles are visible.

A board is now prepared, on which to place the cat. But before fixing it permanently the animal should be set in the attitude in which it is intended to be preserved, and the operator, having satisfied himself, then pierces four holes for the admission of the feet wires, which must be drawn through with a pair of pincers till the paws rest firmly on the board. Small grooves are then made for the reception of the pieces of wires which have been drawn through, so that they may be folded back and pressed down in them, and not be beyond the level of the back of the board; wire nails are now driven half in, and their heads bent down on the wires to prevent them from getting loose or becoming movable.

The stuffer next directs his attention to the position and final stuffing of the head and neck. The muscles of the face must be imitated as correctly as possible by stuffing in cotton at the opening of the eyes, as also at the mouth, ears and nostrils. To aid in this also the inner materials may be drawn forward by the assistance of instruments, and also small pieces of wood formed like small knitting meshes.

Our next care is the insertion of the eyes, which must be done while the eyelids are yet fresh. Some dexterity and skill are required in this operation, and on it will depend most of the beauty and character of the head. The seats of the eyes are supplied with a little cement, the eyes put in their place, and the eyelids properly drawn over the eyeballs; but if rage or fear are to be expressed, a considerable portion of the eyeballs must be exposed. The lips are afterwards disposed in their natural state and fastened with pins. If the mouth is intended to be open, it will be necessary to support the lips with cotton, which can be removed when they are dry. Two small balls of cotton, firmly pressed together and well tinctured with the arsenical soap, must be thrust into the nostrils so as to completely plug them up to prevent the air from penetrating, as also the intrusion of moths; and, besides, it has the effect of preserving the natural shape of the nose after it has dried. The same precaution should be adopted with the ears, which, in the cat, require but little attention in setting.

We must again recommend the stuffer to see that he has sufficiently applied the preservative soap; and the nose, lips, eyes and paws, being very liable to decay, must be well imbued with spirits of turpentine. This is applied with a brush, and must be repeated six or eight times, at intervals of some days, until we are certain of the parts being well primed with it; and, after all, it will be advisable to give it a single coating of the solution of corrosive sublimate.

The methods of stuffing, which we have pointed out in the preceding pages, are applicable to all animals, from a lion down to the smallest mouse. Animals of a large description require a frame-work suited to their dimensions; these we will point out in their order. There are also some animals whose peculiarity of structure requires treatment differing a little from the ordinary course.

=Apes and Monkeys.= One of the chief difficulties to contend with in setting up monkeys and apes, is the preservation of their hands and hind hands, or what we commonly call their feet; because we must not attempt to deprive these limbs of their flesh, as we never could again supply its place anything like what is in nature. The hands must therefore be dried, and then well imbued with turpentine and the solution of corrosive sublimate, repeated eight or ten times at least, at intervals of four or five days. The other parts of the stuffing should be exactly similar to that recommended for quadrupeds generally. The paws of several will require to be colored with the different varnishes, and, when dry, slightly polished with fine sand paper to remove the gloss. The callosities, on the hinder parts of many of them, will also require to be colored, and treated in the same way as the face.

=Bats.= The wing-membranes of this varied and numerous tribe do not require either wire or parchment to set them. They are very easily dried by distension. They are laid on a board of soft wood, the wings extended and pinned equally at the articulations, and, when dry, they are removed from the board.

=Hedgehogs.= When it is wished to preserve hedgehogs, rolled into a ball, which is a very common position with them in a state of nature, there should be much less stuffing put into them than is usual with quadrupeds, so that they may the more easily bend. No wires are required in this case. The head and feet are drawn close together under the belly; then place the animal on its back in the middle of a large cloth, and tie the four ends firmly together; suspend it in the air till thoroughly dry, which finishes the operation.

If hedgehogs are wished with the heads and limbs exposed, the usual method of mounting is adopted. The skins of mice, moles, etc., having a very offensive smell, it will be necessary to add a considerable portion of the tincture of musk to the solution of the corrosive sublimate with which the skins are imbued. The same applies to badgers, wolverenes, polecats and skunks, all of which are strong smelling animals.

=Bears.= The structure of the wires requires to be different in these larger animals from any we have before described.

Procure a bar one inch thick, two inches broad, and as long as to reach horizontally from the shoulders to the connection of the thighs, or _os pubis_. A hole is bored four inches distant from one of its ends, from which a connecting groove must be formed, extending on both sides to the end of the plank next the hole; this groove must be cut out with a hollow chisel deep enough to receive the wire. The wire is then passed through it, one end of which is just long enough to be twisted with the other at the end of the plank. The wire on both sides is now pressed down into the grooves and twisted firmly together by the aid of a pair of strong pincers. Pierce some holes obliquely into the groove and insert some wire nails into them, which must be firmly driven home, and then bent over the wires to keep them firm. The longest end of the wire should be at least eighteen inches beyond the bar so as to pass through the skull of the animal.

The use of this bar, it will be observed, is a substitute for the central or supporting wires of the body. Two other holes are now bored into it, the one two, and the other three inches from the end which we first pierced; these are for the reception of the wires of the fore legs; and two similar holes must be made at the other extremity of the bar for receiving the wires of the hind legs.

Bears always support themselves on the full expansion of their dilated paws, so that it is necessary to bring the leg-wires out at the claws. The leg-wires are bent at right angles for a length of five inches from the upper end. These are put through the holes in the bar, and when they have passed through they are curved again. Two small gimlet-holes are then made for the reception of smaller wire, by which the leg-wires must be bound together close to the bar. The foreleg-wires are fixed in the same manner, which completes the framework.

No other means are used for middle-sized animals, such as the lion, tiger, leopard, etc. The stuffing is completed as in other quadrupeds.

The walrus, seals, and other amphibious animals of this order, are treated in the manner of quadrupeds generally, only that leg-wires are unnecessary, except in the fore-feet; the tail, which represents the hind-feet, has merely to be dried and kept properly stretched in during this process, which precaution also applies to the fore-feet. They are the easiest stuffed of all animals, only the skins are very oily; they should be well rubbed with the arsenical soap, and also with the preserving powder.

The stuffing of the walrus, and other large animals of this family, should consist of well dried hay for the interior parts and tow for the surface next the skin.

=Beaver, etc.= The beaver, muskrat, common rat, and other animals whose skins have a strong smell. These require to be plentifully supplied with the preservative. The tail of the beaver should be cut underneath, and all the flesh removed, then stuffed with tow or chopped flax, and afterwards thoroughly dried and well primed with the arsenical soap to prevent putrefaction, to which it is very liable. It should also have repeated washings with oil of turpentine. The back should be round and short.

=The Porcupine.= In stuffing this animal considerable and varied expression may be given, both from the attitude and disposition of the quills. Great attention is therefore required in giving these a proper set during the process of drying. They will require to be looked at several times during the first and second day after they have been stuffed, and any of them that may have fallen out of the position required, to be adjusted.