INTRODUCTION. 



years in the art of Taxidermy, it is still far from perfection. 

 This is to be attributed,, in a great measure, to the education 

 of the persons who practise this art ; for among all I have met 

 with employed in the preservation of animals, none have had 

 the advantage of anatomical study, which is quite indispen- 

 sable to the perfection of stuffing. One or two individuals, it 

 is true, have attended to the structure of the skeleton of Man, 

 and a few of the more common animals, but this is far from 

 the information which they ought to possess ; for nothing short 

 of a general and extensive knowledge of comparative anatomy 

 can qualify them sufficiently for an art which is so comprehen- 

 sive and varied in its application. 



These observations are particularly applicable to Quadru- 

 peds and Reptiles, for what are even the best stuffed specimens 

 of the first museums in the world compared to the living sub- 

 ject? Nothing better than deformed and glaringly artificial 

 productions, devoid of all the grace and beautifully turned 

 points of living nature. A knowledge of drawing and 

 modelling are also indispensable qualifications, to enable 

 the stuffer to place his subject in a position both natural and 

 striking. It is the too frequent practice for the stuffer to set 

 about preserving the animal without having determined in 

 what attitude he is to place it, so that it will appear to most 

 advantage, and be in character with the ordinary habits of the 

 creature. This he leaves to the last efforts of finishing his 

 work, and, consequently, its proportions and character are 

 likely to be devoid of all appearance of animation. 



The first thing, therefore, to be attended to in all great na- 

 tional natural history establishments, is to choose young persons 

 who are yet in their boyhood, to be instructed in this art, most 

 important to science. Their studies should be commenced by 

 deep attention to drawing, modelling, anatomy, and chemistry, 

 while they, at the same time, proceed with the practical part 

 of their art. Every opportunity of examining the habits and 

 actions of the living subject should be embraced, and its atti- 

 tudes and general aspect carefully noted. Without strict at- 

 tention to these points, so manifestly obvious, the art of pre- 

 serving animals never will attain that degree of perfection 

 which its importance demands. On the other hand, if this art 

 is pursued in the manner here recommended, artists may be 

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