Take out the entrails, open a passage to the brain, which should be scooped out through the mouth; introduce into the cavities of the skull and the whole body, some of the mixture of salt, alum, and pepper, putting some through the gullet and whole length of the neck; then hang the bird in a cool, airy place—first by the feet, that the body may be impregnated by the salt, and afterwards by a thread through the under mandible of the bill, till it appears to be free from smell; then hang it in the sun, or near a fire: after it is well dried, clean out what remains loose of the mixture, and fill the cavity of the body with wood, oakum, or any soft substance, and pack it smooth in paper.

In selecting eggs for a cabinet, always choose those which are newly laid; make a medium-sized hole at the sharp end with a pointed instrument, and one at the blunt end: let this last hole be as small as possible; this done, apply your mouth to the blunt end, and blow the contents through the sharp end. If the yolk will not come freely, run a pin or wire up into the egg, and stir the yolk well about; now get a cupful of water, and immersing the sharp end of the shell into it, apply your mouth to the blunt end and suck up some of the water into the empty shell; then put your finger and thumb upon the two holes, shake the water well within, and after this, blow it out. The water will clear the egg of any remains of yolk or of white which may stay in after blowing. If one injection of water will not suffice, make a second or third.

An egg, immediately after it is produced, is very clear and fine; but by staying in the nest, and coming in contact with the feet of the bird, it soon assumes a dirty appearance. To remedy this, wash it well in soap and water, and use a nail-brush to get the dirt off. The eggshell is now as it ought to be, and nothing remains to be done but to prevent the thin white membrane (which is still inside) from corrupting.

Take a wineglass and fill it with a solution of corrosive sublimate in alcohol, then immerse the sharp end of the eggshell into it, keeping the finger and thumb which hold the egg just clear of the solution. Apply the mouth to the little hole at the blunt end, and suck up some of the solution into the shell. There need be no fear of getting the liquor into the mouth, for as soon as it rises in the shell the cold will strike the finger and thumb, and then the sucking must be immediately discontinued. Shake the shell in the same manner as when the water was in it, and then blow the solution back into the glass.

The eggshell will now be beyond the reach of corruption; the membrane for ever retains its pristine whiteness, and no insect, for the time to come, will ever venture to prey upon it. If you wish your egg to appear extremely brilliant, give it a coat of mastic varnish, put on very sparingly with a camel-hair pencil: green or blue eggs must be done with gum arabic, as the mastic varnish is apt to injure the colour.

Large fishes should be opened in the belly, the entrails taken out, and the inside well rubbed with pepper, and stuffed with oakum. Small fishes may be put in spirit, as well as reptiles, worms, and insects (except butterflies and moths); insects of fine colours should be pinned down in a box prepared for that purpose, with their wings expanded.

Mix together by a gentle heat, one ounce of Canada balsam, and a quarter of a pint of spirits of turpentine; with a soft brush spread it thinly over one side of good tissue paper. The composition dries quickly, is very transparent, and not greasy, and therefore, does not stain the paper to which it is applied.

Melt a little isinglass glue with brandy, and pour it thinly over the medal, &c., so as to cover its whole surface; let it remain on for a day or two, till it has thoroughly dried and hardened, and then take it off, when it will be fine, clear, and hard, and will present a very elegant impression of the coin. It will also resist the effects of damp air, which occasions all other kinds of glue to soften and bend if not prepared in this way.

Take two parts of stearine, two parts of Venetian soap, one part of pearlash, and twenty-four to thirty parts of a solution of caustic potash. The stearine and soap are cut into slices, mixed with the cold lye, and boiled for about half an hour, being constantly stirred. Whenever the mass rises, a little cold lye is added. The pearlash, previously moistened with a little rain water, is then added, and the whole boiled for a few minutes. The mass is then stirred until cold, when it is mixed with so much cold lye that it becomes perfectly liquid, and runs off the spoon without coagulating and contracting. Previously to using this composition, it should be kept for several days well covered. It may be preserved for years.

Before applying it to the objects, they should be well dusted, the stains scraped away, and then coated, by means of a thick brush, with the wash, as long as the plaster of Paris absorbs it, and left to dry. The coating is then dusted with leather, or a soft brush. If the surface has not become shining, the operation must be repeated.

Modelling in Cork, Gutta Percha, Leather, Paper, Plaster of Paris, Wax, Wood, &c.—Modelling, in a general sense, signifies the art of constructing an original pattern, which is to be ultimately carried out on an enlarged scale, or copied exactly.

When models are constructed to give a miniature representation of any great work, elevation, or topographical information, they are executed in detail, with all the original parts in just and due proportions, so that the work may be conducted or comprehended better; and if the model is a scientific one, viz., relating to machinery, physical science, &c., then it requires to be even still more accurate in its details. In fact, all models should be constructed on a scale, which should be appended to them, so that a better idea may be obtained of the proportions and dimensions.

The materials used in modelling are plaster of Paris, wax, whiting, putty, clay, pipeclay; common and factory cinders; sand of various colours; powdered fluor-spar, oyster-shells, bricks, and slate; gums, acacia and tragacanth; starch; paper, white and brown, cardboard and millboard; cork sheets, cork raspings, and old bottle-corks; gutta percha; leather and leather chips; wood; paints, oil, water, and varnish; moss, lichen, ferns, and grass; talc, window and looking-glass; muslin and net; chenille; carded wool; tow; wire; hay and straw; various varnishes, glue, and cements.

The tools consist of brushes for paints, varnishes, and cements; two or three bradawls; a sharp penknife; a chisel, hammer, and punches; scissors and pencil.

Caves may be modelled readily in cork, wood, starch-paste, or cinders covered with brown paper soaked in thin glue.

Arrange the cinders, whether common or factory, in such a manner as to resemble the intended design; then cover in such parts as require it with brown paper soaked in thin glue until quite pulpy. When nearly dry, dust over with sand, powdered brick, slate, and chopped lichen or moss, from a pepper-box; touch up the various parts with either oil, water, or varnish colours; and if necessary, form your trees of wire, covered with brown paper and moss, glued on.

When a Cave is constructed in the above manner, on a large scale, and the interior sprinkled with powdered fluor-spar or glass, the effect is very good by candle-light.

Stalactites may be represented by rough pieces of wood, which must be smeared with glue, and sprinkled with powdered fluor-spar, or glass.

Construct the framework of wood, and fill up the outline with old bottle-corks. The various projections, recesses, and other minutiae, must be affixed afterwards with glue, after being formed of cork, or hollowed out in the necessary parts, either by burning with a hot wire and scraping it afterwards, or by means of a sharp-pointed bradawl.

If small cork models are constructed, the trees should be formed by transfixing short pieces of shaded chenille with a fine wire (.), and sticking them into the cork.

Various parts of the model must be touched up with oil, water, or varnish colours; and powdered brick, slate, and chopped lichen, or moss, dusted on as usual.

Wooden models are constructed roughly in deal, according to the proper design, and the various fine parts afterwards affixed with glue or brads.

In forming the finer parts of the wooden model, a vast amount of unnecessary labour may be saved, and a better effect obtained, by burning much of the outline, instead of carving it. By this plan, deeper tones of colouring, facility of operating, and saving of time and labour, are the result.

In common with other models, those constructed of wood require the aid of lichen, moss, powdered slate, &c., and colours, to complete the effect.

When water issues from the original cave, and it is desirable to copy it in the model, a piece of looking glass should be glued on the stand, and the edges surrounded by glue, and paper covered with sand. Sometimes it is requisite to cut away the wood of the stand, so as to let in the looking glass; this, however, is only when the water is supposed to be much lower than the surface of the land.

Starch-paste models are formed in the usual way, of the following composition:—Soak gum tragacanth in water, and when soft, mix it with powdered starch till of a proper consistence. It is much improved by adding some double-refined sugar finely powdered. When the model is finished, it must be coloured correctly, and varnished with white varnish, or left plain. This is the composition used by confectioners for modelling the various ornaments on cakes.

Ancient cities may be constructed of cork or starch-paste, in the same manner as directed above; bearing in mind the necessity for always working models according to a scale, which should be afterwards affixed to the stand of the model.

Modern cities are better made of cardboard, starch-paste, or pipe-clay; the houses, public buildings, and other parts being constructed according to scale.

Houses should be cut out of a long thin strip of cardboard, partially divided by three strokes of a penknife, and glued together; this must afterwards be marked with a pencil, or pen and ink, to represent the windows, doors, stones, &c.; and the roof—cut out of a piece of square cardboard, equally and partially divided—is then to be glued on, and the chimney—formed of a piece of lucifer match, or wood notched at one end and flat at the other—is to be glued on, A square piece of cardboard must be glued on the top of the chimney; a hole made with a pin in the card and wood; and a piece of grey worsted, thinned at the end, fixed into the hole for smoke.

Cathedrals, churches, and other public buildings are made in the same way; but require the addition of small chips of wood, ends of lucifer matches, cork raspings, or small pieces of cardboard, for the various ornaments, if on a large scale, but only a pencil-mark if small.

When constructed of starch-paste, or pipeclay, the material is rolled flat on a table or marble slab, and the various sides cut out with a sharp penknife; they are then gummed together, and coloured properly.

If large models of houses or buildings are made, the windows are constructed of talc or thin glass, covered with net or muslin. The frames of the windows are made of cardboard, neatly cut out with a sharp penknife.

Countries should be made of cork, because it is easier to work. Although the starch-paste is very agreeable to model with, yet it is liable to shrink, and therefore, when in the mass, one part dries quicker than another, so that there is not equal contraction—a great objection to its employment in accurate models. Cork, on the contrary, may be easily cut into all forms, and from abounding with pores, it is remarkably light—no little consideration to travellers.

Topographical models may, however, be formed of plaster of Paris, but the weight is an objection. A model of a country on a moderate scale—say one-eighth of an inch to a square mile—with its mountains, valleys, and towns, may be thus made:—A model having been first made in clay, according to scale and plan, moulds should then be taken of various parts in gutta percha, rendered soft by dipping it into hot water, and the parts cast in paper cement.

The several mountains and other parts being formed, join them together in their proper places with some of the No. i. paper cement, rendered rather more fluid by the addition of a little thin glue. The towns are made of a piece of cork, cut and scratched to the form of the town; steeples of cardboard, and trees of blades of moss. Sand is sprinkled in one part; looking-glass in others, for the lakes, bays, and rivers; and green baize flock for the verdant fields.

Monuments, ancient or modern, are better constructed of cork, on account of the lightness and facility in working, more especially the ancient ones.

Ruins should be constructed of cork, according to the directions given above, and when it is necessary to represent the mouldering walls covered with moss or ivy, a little green baize flock, or moss chippings, should be attached by mucilage to the part; and oftentimes a brush of raw sienna, combined with varnish, requires to be laid underneath the moss or flock, in order to improve the effect. Prostrate columns and huge blocks are effectively represented in cork, and should be neatly cut out with a sharp knife, and the various parts supposed to be destroyed by age picked away with a pin or blunt knife afterwards.

We will suppose that the model is to represent the Temple of Theseus at Athens, which was built by Cimon, the son of Miltiades. In the first place we must obtain the necessary dimensions, and then, reducing the number of feet to fractional parts of an inch, form a scale suitable for carrying out the whole. A piece of wood of the necessary size is procured, the plan marked out in pencil, and the ground on which it stands imitated in cork, by cutting away the parts that are not required with a sharp penknife, and adding others with glue.

The floor of the temple is now to be glued on with common glue, for we should remark that the liquid glue does not dry quickly enough for cork modelling, and is not so good as the old plan; the sides and ends are formed of cork sheets, marked with a lead pencil to represent the blocks of stone; and ruined and broken parts imitated, by pricking the cork with a blunt penknife or needle. The frieze, representing the battle between the Centaurs and Lapithæ and the metopes in mezzo-relievo, containing a mixture of the labours of Hercules and Theseus, should be drawn upon the sheets of cork according to scale, and coloured with a little lampblack and raw sienna, to represent the subject intended, if the scale is small; but if the model admits of it, the groups may be neatly carved with a sharp penknife from the cork, which has been previously outlined with pencil.

The next thing we shall have to do is to strengthen the interior of the model, and this is done by glueing small pieces of cork, at irregular intervals, at the angles formed by the junction of any parts; these are put on the inside, and lastly, the roof is affixed. Any parts that require to be coloured, may be touched up with varnish or water colours, and lichen, &c., affixed with mucilage where it is requisite.

We will imagine that the reader desires to model the features of some friend, and as there is some difficulty in the matter, on account of the person operated upon having a natural tendency to distort the features when the liquid plaster is poured upon the face, and some danger of suffocation if the process is not well managed, we will proceed at once to describe the various stages of operating:

Mix the plaster of paris with warm water, and have it about as thick as cream, but do not mix it until all is ready. Lay the person upon his back, and having raised his head to the natural position when walking, by means of a pillow of bran or sand, cover the parts intended to be cast with oil of almonds or olives, applied by means of a feather, brush, or lump of cotton: plug the ears with cotton or wool, and insert two quills into the nostrils, and plug the space between each quill and the nostril very carefully with cotton.

Cover the face with the plaster, beginning at the upper part of the forehead, and spread it downwards over the eyes, which should be kept

closed, but not in such a manner as to produce any distortion by too violent compression—and continue the plaster as far as the lower border of the chin; cover that part of the chest and arms that is to be represented, and carry the plaster upwards, so as to join the cast of the face; then carefully remove each, and season for casting, by soaking or brushing with linseed oil boiled with sugar of lead or licharge. Some persons boil the moulds in the oil; and many, instead of casting the face in one piece, and the chest in another, lay threads across the face and up and down it, leaving the ends out. As the plaster sets, or is nearly set, the threads are pulled through, so as to divide the cast into four, five, or more pieces.

The back part of the head is moulded by having an oval trencher sort of vessel, deeper than half the head, and generally made of plaster, and boiled in oil. The back of the head being oiled, and this trencher partially filled with liquid plaster of Paris, the head is lowered into it, and the cast taken. The back of the neck is cast with the person turned over on his face.

Each part of the mould is marked so as to secure accurate junction with the adjoining part or parts; sometimes with a

or

, which, passing over the junction of two pieces, serves to distinguish them.

To model the face, join the several pieces, and tie them together with twine; then wrap some rag round the joints, to prevent the plaster oozing out, and pour in the plaster, made tolerably fluid, taking care to oil the inside of the mould very carefully first. When the outer part of the mould is nearly set, scoop out the centre with a spoon, and let the whole dry; then remove the strings, &c., and smooth off the edges of the joints upon the model with a sharp penknife, and carve out the eyes from the mass, otherwise they will appear as if closed.

Wax models may be made from the moulds used for the plaster; but when the wax sets at the outside to about one-eighth of an inch, the rest should be poured out of the mould; or, a smaller portion being poured in, it may be shaken about the inside of the mould until it is coated. The pieces are removed, and the seams trimmed up, as in the plaster cast.

If a cast be made in Gutta Percha from the model in plaster—or, what is still better, in fusible metal,—then, by pressing basil leather, moistened with water, into the mould, and strengthening the back and centre with chips of wood affixed by liquid glue, a very nice model may be obtained in leather, which, when varnished, will look like oak carving—especially if it be stained with Stephens's Oak Stain.

Rustic-work seats, &c., may be constructed of wire twisted to the proper shape and size, and then covered with gutta percha, rendered soft by being dipped in hot water. The gutta percha should be twisted round the wire previously warmed, and gently heated over a spirit lamp, or dipped again into hot water, so as to allow the various parts to be covered with it. When the model is finished, it should be touched up here and there with oil colours—green, yellow, sienna, and Venetian red—according to fancy, and the effect produced will be very good.

Socotine aloes, powdered rhubarb, of each one drachm; compound powder of cinnamon, one scruple; hard soap, half a drachm; syrup enough to form the mass. To be divided into fifty pills, of which two will be sufficient for a dose; to be taken occasionally.

A severe attack of tic-doulou-reux is said to have been cured by the following simple remedy:—Take half a pint of rose water, add two teaspoonfuls of white vinegar, to form a lotion. Apply it to the part affected three or four times a day. It requires fresh linen and lotion at each application; this will, in two or three days, gradually take the pain away.

Those subject to sore throat will find the following preparation simple, cheap, and highly efficacious when used in the early stage: Pour a pint of boiling water upon twenty-five or thirty leaves of common sage; let the infusion stand for half an hour. Add vinegar sufficient to make it moderately acid, and honey according to the taste. This combination of the astringent and the emollient principle seldom fails to produce the desired effect. The infusion must be used as a gargle several times a day. It is pleasant to the taste, and if swallowed, contains nothing to render it dangerous in any way.

It is now considered injurious to use water for the ear in cases of ear complaint. Pure glycerine has been found to act most beneficially as a solvent. In some forms of ear complaint powdered borax, as a constituent of the "drops" to be used has been found useful, and tannic acid in other forms. Carbolic acid mixed with glycerine is used when a disinfectant is necessary. So delicate, however, is the structure of the internal ear that in all cases it is desirable to consult a medical practitioner.

Sulphate of zinc, three grains; tincture of opium, ten drops; water, two ounces. To be applied three or four times a day.

Squinting frequently arises from the unequal strength of the eyes, the weaker eye being turned away from the object, to avoid the fatigue of exertion. Cases of squinting of long standing have often been cured by covering the stronger eye, and thereby compelling the weaker one to exertion.