Practical taxidermy

by Montagu Browne

(2) modelled from the dead head in clay, by the eye and by measurements, and a mould taken from that, to be again cast into for the model.

This latter, though entailing three processes, is the more correct, and gives the best result when the modeller is experienced; but as the former is the easier, and leads up to better things, I must describe it first.

We will take as an example the most difficult head to cast — a horned head — considering that, if we do this correctly, all others will be easy enough. Here, then, is a stag's head, some modelling or pipe-clay, some soft-soap, a hundredweight or so of common plaster of Paris at about 4s. per cwt., two pails, or rather zinc or galvanised iron buckets, one of them containing water. [Footnote: Pipe-clay quite good enough for this purpose is sold by the pipe makers in dry blocks or pieces, at about 6s. or 7s. per cwt. The clay must be soaked as wanted in a bucket of water and beaten up with a stick or "bat" until it is smooth, free from lumps, and of the consistence of very stiff putty. It should then be formed into a square mass, and kept damp by wet cloths.]

The first operation, after beating up the clay, is getting the head into position; this will be easy enough should it be cut off from the body, otherwise the head must be propped up on the table, whilst the greater part of the body rests on boxes, or trestles, somewhat lower than the table. A very little "gumption" will enable the learner to cope with these small difficulties, always remembering, however, that both body and head must be immovably fixed during the process of casting.

Let us assume, therefore, the body arranged so that the head — face uppermost — and part of the neck, rests on the table, firmly fixed; supports, or stays of wood, fastened at one end to the horns by wires or cords, and at the other end by nails to the table, will effect this. The chin should be propped up a little from the surface of the table, by means of a pad of clay which has been previously prepared; next cut more slices of clay from the mass, and build in the front and sides of the face in a straight line, to just under the nostrils, but above the line of the mouth; smooth the clay — which should extend outwards some two or three inches from the head — with water and a broad knife. The lower half of the head is now hidden, mouth and all, up to just above the upper lip.

Next fill in the nostrils and the lachrymal sinuses (the orifices below the eyes) with clay, but in a careful manner, so that, although they shall be filled up sufficiently to prevent the plaster from running in to make "undercuts," they shall still preserve a certain shallow imprint of their original form. Now mix your soft soap with a brush until it becomes a stiff lather, and paint it all over the face and hair of the head; build up a wall of thin board around the clay — in the manner described in Chapter VIII. on Fish Casting — and when practicable tie a thin board just in front of the horns, so that the model may end there.

If, however, the back of the head down to the neck is required — which it seldom is, for reasons explained hereafter — it must be managed by "piece-casting." (See Chapter XII.) The head being nicely soaped, lay a thin piece of string or strong hemp along the top of the face and head, exactly in the centre, and extending from the clay under the nostrils up to the back of the head in a straight line. Be sure that the string is perfectly straight, and that it presses closely to the nose before coming on to the clay.

Next mix the plaster, not in the usual manner, by adding water to it, but by half filling a vessel with water, to which the plaster is added, a little at a time, until enough is mixed to serve the purpose, i.e., in sufficient quantity to cover the head with a layer some inches thick. After it is well worked up and moderately thick, carefully pour it over the specimen, taking it up as it runs down, and piling it up a little thicker in the centre, to give stability to the mass. Just as the plaster is setting — which a very little experience will teach — lift the ends of the string upward through the plaster, which has the effect of cutting it in two, but these halves will not fall off of their own accord if care be taken.

The mould being allowed to set for about half an hour or an hour, according to the quality of the plaster, is then ready for the next operation, which is the turning of the carcase, so that the head may also be turned upside down. Previously to this, should the mould show the least sign of coming off, it will be as well to tie it on.

Supposing, however, that the wall of boards being removed, the head is successfully turned until it rests with its centre on the table, it may happen that the horns, being in the way, may require to hang over the edge of the table to effect this properly, and that the head, being rounded by the superior thickness of the mould, may require propping. To describe the means for overcoming such self-evident little difficulties as these, would only insult my reader's judgment.