THE SCOPE AND NEEDS OP TAXIDERMY. 
57 
Having studied nature, the next thing is to show by the excel- 
lence of our work that we have profited thereby. It will not do 
to say that there is no demand for good work, and that we can- 
not afford to produce it at the ruling prices. Every one else, 
whose productions are superior in quality, puts his price up on 
account of that very superiority, and we must do the same thing. 
Once prove our ability to do fine wmi’k, and the demand for it 
will surely follow. Finally, let us compare our work one with 
another, freely admitting that our own is perhaps not perfect, 
and striving to profit by the excellencies of our neighbor. We 
must get entirely rid of the idea that but one man is master of 
the art, and that that one man is ourself. For, unhappily, 
there is a tendency among some — who are of course not members 
of our Society — to indulge in that idea. We need not be afraid of 
comparing work and telling how it is done, for no mere knowl- 
edge of methods will give the artistic eye and skilled hand nec- 
essary for attaining the desired results. Briefly, then, study of 
nature, comparison of work and methods, and liberality of 
thought, are needed among taxidermists themselves ; for certain 
other help we must look to others. This other help is good criti- 
cism. We need not alone critics who can find fault — those we 
have in abundance — but those who can tell us how to remedy 
our defects and point out our excellencies. Criticism is like a 
boomerang. Skilfully thrown, it attains its mark ; but in un- 
trained hands it is very apt to recoil upon him who casts it. One 
might suppose that field naturalists were just the ones to help 
us, but my own experience has taught me that, as a rule, the 
field naturalist is quite untrustworthy. He studies nature, it is 
true, but he studies one side only — the habits of animals — while 
with their forms and attitudes, and the manner in which attitude 
is expressive of feeling, he is but little acquainted. The trouble 
is that, unless a man observes an animal with special reference 
to form, he fails to catch the details, and grasps merely the gen- 
eral effect. But if we can expect but little aid from the natu- 
ralist, we must look to obtaining it from the artist — only — it must 
be the artist who has gathered his knowledge from living ani- 
2nals, and not from models. Let him not rely on models for 
anatomy. Have I not seen dogs made with fifteen pairs of ribs, 
