Fill the sockets of the eyes with clay, build out the cheeks and the sides of nose with clay and tow and draw the skin of the lips down where they belong. The gla.s.s eyes are to be cut from their wires and set, drawing the lids around them with an awl. When they seem properly placed drive pins at both inner and outer corners. The ears are attacked next and when arranged to suit, three or four pins driven in at their bases to hold them.
On a rug the ears should usually be laid back close to the head as by so doing the chance of their being broken off when finished and dry is lessened. Also a mounted rug head is usually intended to register rage or anger.
The upper surface of the face being attended to, turn it upside down on a folded bag or something in the nature of a cushion while we lace it across the form with a stout thread and needle. If a hollow paper form is used it should be filled with crumpled paper, excelsior, coa.r.s.e tow or similar material. Do not use fur sc.r.a.ps for this as I have seen done or it will be a moth nest.
The whole inside of the skin may now be poisoned after slightly dampening, and then tacked out fur side up in the proper shape to dry.
In order to make an animal skin lay flat to the floor it is necessary in most cases to cut out several V-shaped pieces. Behind the fore legs almost always and often in front of them, also and frequently in front of the hind legs are the places where these gores are removed.
Consisting as they do of the thinly haired skin inside the legs their absence is not noticeable when neatly sewed up.
Take care in this final stretching of the rug skin to get it alike on both sides, or, as the artists say, bilaterally symmetrical. When tacked out, go back to the face and perfect it so it may dry just right. With a fine awl point draw the upper eyelids down a little, straighten the eye brows, lashes and whiskers, and mould the nostrils into shape, bracing them with damp clay; when dry it is easily removed. Now set it aside until fully dry before proceeding with the tr.i.m.m.i.n.g and lining. One and a half or two inch wire brads are good to use in stretching skins, but 3d wire lath nails will do; the longer brads are more easily handled.
After removing the nails turn the skin on its back and draw a line from neck to tail with pencil or chalk. By measuring from points on this line we can trim off the legs and flanks of the rug evenly. If it is a small or medium size skin it will look best with an all felt lining. So by laying it flat on a piece of felt somewhat larger all round and marking around it at a distance of 3 inches we can cut out the lining. The edge of this is to be pinked. One end of our chopping block, usually of sycamore or oak, is kept for this function, and a few minutes work with pinking iron and hammer will border the lining with neat scallops.
A sufficient length of felt strips about 2 inches wide, should be cut to reach around the outside of the skin, also pinked on one edge. Allow generously for this as it will have to be gathered in rounding the feet and head. In the case of animals having a bushy tail or brush as the fox, wolf, etc., the tail is merely sewed up on the under side after poisoning and not lined or trimmed. Pumas, tigers and others with short furred tails are trimmed and lined like the rest of the rug. In lining large rugs a double tr.i.m.m.i.n.g of felt is often used and a lining of strong canvas is used throughout, as when on the floor it is not visible, protects the skin as well, and costs somewhat less.
[Ill.u.s.tration: PINKED LINING, BRIAR St.i.tCHED.]
The tr.i.m.m.i.n.g felt is sewed around the edge of the skin, pa.s.sing the needle through from the back obliquely, resulting in a long st.i.tch on the felt and a short one on the fur side. What few hairs are drawn down by this can be picked out later with a needle or awl.
[Ill.u.s.tration: SEWING Tr.i.m.m.i.n.g ON RUG.]
Before sewing the lining on an interlining of cotton wadding should be cut out and basted in place with a few long st.i.tches. Now place the skin fur side up, on the lining and adjust it so an equal margin shows on all sides and pin it in several places to prevent its slipping while sewing it fast. To do this turn it felt uppermost and sew around just at the edge of the skin, in the tr.i.m.m.i.n.g felt, reversing the st.i.tch previously used. This hides the short st.i.tch outside and if drawn up evenly will hardly be noticed if a color of thread has been selected corresponding somewhat to that of the felt.
If an extra nice finish is desired the lining may be put on with a decorative briar or cat st.i.tch with some bright colored silkatine.
Brushing away any clay from around the eyes and nose, giving the latter a touch of the proper color (black for the majority of animals). A coat of thin sh.e.l.lac to simulate the natural moist appearance and connecting the dried eyelids with the gla.s.s eyes with hot colored wax will about complete the rug. Waxing around the eyes is done with a small round artist"s brush and adds to the finished appearance of a job.
In mounting a rug head with either full head, closed or open mouth, the beginner had best use a head form from the dealer for a few times at least. A little study of one of these will enable him to model an open mouth head, when a good set of teeth are supplied, and the ready made article not at hand. It requires considerable time and some natural ability to set the teeth and model the gums and tongue effectively.
A tongue modeled with clay and tow, covered with several layers of papier mache and when dry, coated with flesh colored wax is good enough for any rug, though museum mounting might require that the tongue be skinned and the skin used to cover the model.
Plaster, putty, papier mache and various plastic cement materials are used for modeling mouths, of which papier mache is probably the best; plaster paris is often used in an emergency but is brittle and heavy.
For modeling use finely ground paper pulp mixed with glue and plaster or whiting. Only practice and experiment will determine just the precise mixture wanted.
A paper half head form may be the basis and to this wire the jaw bones with their sets of teeth. Clever work will reproduce the interior of the mouth, gums and tongue, and when perfectly dry they should be finished either with paint or colored wax.
The tongue should have its base and lower side coated with glue and have a brad driven through it into the material between the lower jaw bones.
If the head of this brad is well set in, a drop or two of wax will cover it.
[Ill.u.s.tration: COYOTE RUG, OPEN MOUTH
(Author"s Work.)]
In preparing a skin for mounting an open mouth head the lips should be pared down and preserved as far as possible as they are to be filled out and attached to the form by pinning at their edges. Common toilet pins are used for this, driving them in part way and when the work is dry cutting them off close down to the surface. After this is done the lips may be waxed thus joining them to the form completely. Never fear to use plenty of pins in head mounting. In some places they may be driven to the head and left covered by the fur, in other places where there is little or no fur, cut them close and drive down flush.
Of course greater liberties may be taken with a rug skin than one mounted entire for exhibition, still a competent artist can put a great amount of expression in even a rug head. The close student of animal anatomy can produce an appalling snarl of anger on the heads of the larger carnivora or change the same to a sleepy yawn or grin in a few minutes" manipulation.
The professional is often called in to repair damaged rugs and especially those with open mouths. Here the operator must use his own judgment as no two seem to demand the same treatment. Missing teeth may have to be supplied and carved from bone, celluloid or antlers. The tips of broken deer antlers make very good canine teeth and blocks of celluloid which are much easier to shape than bone, are sold by supply dealers.
I have dwelt at some length on rug making as it is a branch of taxidermy which seems to be always in more or less demand with the public. Also it forms an easy entrance to the more complicated mounting of complete animals and much of the work is identical with the process of preserving heads for wall decoration.
CHAPTER XIII.
FUR ROBES AND HOW TO MAKE THEM.
While not usually cla.s.sed as taxidermy the making and repairing of robes will bring in many a dollar to the worker in the middle and northern states. A st.i.tch in time (on a robe) often saves more than the proverbial nine, and the better the quality the more anxious the owner to have it put in good order.
The late lamented bison furnished the robe par excellence, few of which pa.s.s through the hands of the taxidermist nowadays. Their place has, in some degree, been taken by the Galloway and other cattle hides, which also make a practically one piece robe of good weight leather. These are too heavy for economical dressing by hand, but the regular tanning concerns will dress them soft, pliable, and clean for a very reasonable price.
The regular robe makers do much of their work with the heavy overst.i.tch sewing machines, but it can be done as well or better by hand at the expense of more time. Many of the smaller skins, as coyote, racc.o.o.n, fox, opossum, and wild cat make up as handsome carriage robes and sell at remunerative prices.
Skins of an inferior l.u.s.tre or that are mutilated are often used. For instance, the skin of the head may be mounted separately and not interfere with using the balance in a robe. For use in a robe skins should be taken off open and stretched in a rectangular shape as near as possible.
After tanning, sew up all cuts and holes in the skins, dampen the flesh side with clear water and tack out fur side down on the floor, table top, or better still on light boards cleated together which may be set on edge against the wall out of the way. In all sewing on rugs and robes be sure and use a substantial thread well drawn up, fine st.i.tches are not essential but good material is, as such things come in for a deal of rough use unlike mounted specimens which are, or should be seldom handled. Glovers triangular needles and gilling or carpet thread of suitable sizes are the necessary tools.
Skins of approximately the same size should be used in making up a robe or the effect will be bad. After stretching and drying, cut them to rectangular shape, taking care to get the darker line down the back in the center of each. A good way is to cut a piece of cardboard to the required size and mark around it. Gaps in front of and behind the legs may be filled by sewing in small pieces rather than cut down the skins too much. The drawing shows c.o.o.n skin marked to cut for robe. The skin is poorly stretched yet there are many even worse, altho trappers are learning to handle the skins in better shape.
[Ill.u.s.tration: c.o.o.n MARKED TO CUT FOR ROBE]
After the necessary number of skins are cut out they are sewed together in rows and the rows in turn sewed to each other like a patchwork quilt, taking care to have the fur all run the same way. The robe should now be dampened again and stretched and tacked to its full extent to remove any wrinkles and flatten the seams. This sewing is all done from the back of the robe using an even over-hand st.i.tch. Just before the final stretching it is well to apply a.r.s.enical solution to the damp skins.
On drying it is ready for the tr.i.m.m.i.n.g and lining. Sometimes it is necessary to turn over the upper edge of the skins and baste it down or it may show the raw edge of the hides on account of the fur laying all one way.
Strips of felt 3 in. wide, pinked on one edge are used for tr.i.m.m.i.n.g, and may be had from the dealers, ready to use, or we can buy the felt by the yard and easily pink it in the work room. Any one doing much robe work would find a pinking machine (price about $5.00) a good investment, but the small hand iron does just as good work.
[Ill.u.s.tration: STRONG HIDE (CATTLE) LAP ROBE.]
A double border of contrasting colors may be used, the upper strip of which should be 3/4 inch narrower. The border is sewed on from the back with heavy thread, using the same st.i.tch as that for the lining rugs. An interlining of cotton wadding is basted in place before the lining is sewed on. Plush or beaver cloth is to be had in 54 and 60 inch widths and a variety of colors, of which the darker greens, browns, and blacks are to be preferred.
Fur robes are usually 4860; 5466; 6070; or 6084 inches in size, so linings of the above widths cut without waste.
Single cattle or horse hides may be left with the edges merely straightened or they may be cut and pieced to regular robe shape. The bushy tails of such animals as wolf or fox are sometimes used along one side or both ends as a fringe.
The number of skins required to make a robe are as follows:
Racc.o.o.n 12 to 20 Coyote, wolf or dog 6 to 10 Wild cat 12 to 16 Woodchuck or opossum 20 to 30 Goat 4 to 8
Baby carriage robes of angora or lamb skins are lined with quilted satin and trimmed with felt of some light shade. They usually have either an opening for the head and shoulders or a pocket for the feet.
[Ill.u.s.tration: COYOTE LAP ROBE, 8 SKINS.
Note tails in center.]
The natives of Patagonia make up many robes of the guanaco and vicuna, dressing the skins and sewing them together with sinew. Their dressing is faulty as the skins are apt to stiffen and crack and the sinew hardens with time until it becomes like wire, though the st.i.tching is wonderfully even. They have, however, worked out a scheme of joining the skins in a way to eliminate waste, that is far ahead of civilized fur workers. A row of skins are joined head to tail and the next row headed the opposite way will fit in perfectly, the legs being left on the skins. The sketch with this will explain better than any description.