MOUNTING FISH.
These with reptiles are most difficult to preserve with any success by
the ordinary methods. There are some individuals which it is impossible
for the taxidermist to prepare the skins of, so as to retain a natural
appearance for any length of time. They can only be represented by casts
painted to the best of the artist's ability.
Most of the varieties of medium and large game fishes can be mounted by
the average taxidermist and it is with these we are mostly concerned.
There are almost as many methods of mounting fish as there are
operators, each having some pet kink of real or fancied superiority.
As often as otherwise fish are mounted in the medallion style, with one
side only showing. This is especially adapted to display on walls and
panels. For filling material everything from sawdust to plaster has been
employed but as good results as any are secured by a hard core of the
approximate size of the skinned fish, coated with some plastic
substances which is moulded into shape through the skin.
In skinning some fish the scales must be protected by pasting thin paper
over them but ordinarily it is sufficient to keep the skin wet and not
allow it to dry out until it is complete. A piece of oil cloth is good
to work on in skinning fish or birds either. Some taxidermists have a
large pane of glass set flush in a table top for this purpose.
[Illustration: FISH BEDDED IN SAND WITH PLASTER MOULD OF UPPER HALF.]
With a freshly caught fish at hand which is to be made into a medallion
the process is about as follows: Before skinning lay it flat on one side
on a piece of soft wood board of the proper thickness and mark out its
outline. Though only one side of the mounted fish shows, a little more
than precisely one half is preserved in order to include the tail, the
vertical and dorsal fins and also to give an appearance of rotundity.
Leaving this margin all around, the skin is cut away from the side
which, on account of damage or other reason, is selected for the back.
The head must be cut through with chisel or a fine saw. Severing the
bones at the base of the fins with the scissors the whole body is
removed by cutting the spinal column at its junction with the skull.
In skinning fish you will note a white layer, like tin foil, which gives
the fish its silvery color. Do not disturb this if possible. Remove all
surplus flesh, cut away the gills and interior of head and if at all
greasy (what fish is not) treat to a bath in gasoline. Use absorbent,
sawdust or meal to remove oily gasoline, drop in alcohol or formaldehyde
solution while the body is prepared. To do this cut out the board by the
outline on it with a short bevel on the back and the other side the full
shape of the fish. The whole form is slightly diminished, however, to
allow for a coating of clay. This is applied after the skin has been
removed from the solution and poisoned.
When a good fit is secured the skin is fastened in place by sewing from
top to bottom, across the back board, or if large, nailing the edges to
the board. The fins which have been kept wet are to be spread; each
clamped with two pieces of pasteboard. On very large fish spring clothes
pins may be used to clamp the fins, for small ones pins forced through
both thicknesses, _outside_ the fins.
Sponge the fish off carefully to remove all clay or other dirt and give
it a coat of rather thin white varnish. This prevents the scales curling
up and to some extent fixes or restores the colors of the fish.
The eye is set after the fish is dry and if it does not fill the socket,
model around it with wax or paper pulp. Fish eyes vary so greatly that
to strictly copy nature you had better use the uncolored fish eyes,
painting the back with suitable oil colors with a coat or two of shellac
over it to prevent the clay in which it is set from affecting the paint.
The final painting of a mounted fish which is necessary to complete the
best work is a task for an artist. If a specimen in the flesh (living if
possible) is at hand this is made easier. All fish skins collected
should be accompanied by color sketches if possible.
All silvery fish should be coated with size and nickel leaf over their
entire scaly surface. On this ground paint with thin oil colors. If the
paint is not too thick the desired silvery sheen will show through. If
the whole fish is dark no leaf is needed and in some cases the upper
part of the body requires a gold ground with the nickel leaf on the
silvery under parts. Japanese gold paint or something similar will do
for a golden ground.
The finished medallion may lie flat in a case, be fastened on the face
of a panel, or hung by a loop at the mouth or center of back. Panels of
natural wood are a favorite mount and framed panels covered with plush
or the imitation pebbled upholstery leather.
Another method of mounting medallions is to take a plaster mold of the
display half of the fish and from it make a plaster cast like the back
board. This is sandpapered down to allow for the skin and gouged out at
the bases of the fins and tail. The head too is not reproduced on the
cast.
[Illustration: MEDALLION FISH, PAPER BACKING, BOARD BACK, EXCELSIOR
BETWEEN.]
When the skin is ready to apply, coat this plaster cast with some
nonporous modelling material. A mixture of thin liquid glue and whiting
is good for this. Some paper pulp is put inside the head and at the
junction of body and fins. Shape from the outside with the fingers.
A piece of wood should have been placed in the back of the plaster cast
when making same, in order to fasten to a panel by screws from the back.
Paint the wood with melted paraffin before putting in the wet plaster or
it may swell and subsequently shrink enough to crack the cast. By either
of the preceding methods the entire fish can be mounted if desired.
The opening cut should be made from head to tail along the lower edge of
the body in most scale fish and will require some neat modelling to hide
as both sides are to be on exhibition.
Entire fish are usually supported by metal standards rising from a
wooden base. Such standards are preferably of brass, threaded and fitted
with nuts and rosettes at both ends. Two nuts at the lower end clamp the
base and with the upper end inserted in the back board, the upper nut
will adjust the fish at the right heighth. The rosettes cover the nuts
and add a finished appearance.
Especially adapted to tarpon and other ponderous fish are medallions
mounted on paper. To do this a half mould is made as described, the skin
removed, cleaned, poisoned and replaced in the mould. Then it is backed
up with numerous layers of soft paper, well pasted and pressed in with
the hands. Let these layers of paper overlap the mould at least as much
as the margin of skin left on the back.
When a sufficient thickness is attained fill the hollow form loosely
with crumpled paper or excelsior and fit in place a back board of light
wood. Nail through the margin of skin and paper into the edges of this.
If a number of large holes were made in the back board it will expedite
the drying out.
When partly dry, remove from the mould, painting and finishing as before
when completely dry. By this means the contour of large fish is
absolutely reproduced and the finished work is extremely light and
durable.
Many of the smooth skinned fishes are impossible to mount
satisfactorily, a cast is the best we can do for them.
When using a living fish as a guide in painting, it may be confined in
an aquarium and by sliding a wire screen partition, be kept just before
the artist's eye.