The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-09-06
SNAKE SCULPTURE.
Mighty Ticklish Job to Get VenOmOus
Reptile Into a Plaster Cast.

The National Museum will send to the
Worlds Fair at st. Louis fine exhibit OF
| snake casts So like the real thing is each
| of these plaster models. owing TO the In
genuity with which they have been nodded
! and painted, that, were it not enclosed In a
glass case. the visitor might well be ex-
cused for a shudder of alarm on catching
sight Of il.
| These extraordinary works of art are
productions of William Palmer of the
| Smithsonian Institution and John W.
! Thompson, keeper Of the reptile house at
the Geological Gardens in Philadelphia.
| A number of them are now being made
! by the former in the taxdermy laboratory
! back of the Smithsonian Institution notably
| a cobra da capello, the same which died
some time ago at the Bronx Park ZOO.
This cobra, although taken in death
| cast, will be- shown in characteristic
fighting attitude. the hood-like neck dis
tended and the body erected in that pc
culiar curve which has earned for the
creature the designation of the most grace
full Of animals. This is the first cast ever
taken Of a cobra da capelLo.
The greater part of the casting is done
from Uedu sfhheS' I'D, opeI dtiOh IL n
comparatively simple one but where live
poisonous snakes are employed 1t Is
different 1t IL sometimes found advisable
10 use live snakes, because the character
list ic colors and markings are very delicate
and fade within few hours after death.
Many of MIR Thompson's casts were
taken from life, because, when an order
was placed with him from the museum
authorities, it saved trouble, time, and ex-
pense 10 use specimen in the loo as a
model, instead OF procuring dead one OF
the same species. The operation Of making
a live snake pose is thus describe! by Mr.,
Thompson:
MY first step az is the case Of the cook
with the hare, is 10 secure the snake, My
assistant makes a slipknot with a piece
Of strong Irvine, attaches it to long pole
and opening the cage. places it over the
snakes head The reptile, struggling and
sqIirming. and wild with fear and anger,
is lifted ont, and should he be one Of the
deadly varieties there is some exciting
sport before he ia finally conquered then
hold sponge saturated with chloroform
10 his nostrils In short time he is, for
the time being and 10 all intenfs and pur-
poses dead 10 the world, and the cast Is
then made With all possible expedition
'-ouille are placed in the reptiles ne nos .ad
plaster Of paris is poured all over him.
After the plaster has had time 10 harden,
the snake which has been CREASED IN adj
vance To facilitate its removal. is carefully
pulled ont from the cast and returned TO its
cage. usually none the worse for the opera
tIOH
The inside II the cast If now flushed
ont with soapy water, the grease Of which
fills up the pores and prevents sticking
The plaster il then poured in and tho "ast
remains lndistuTbed for twenty-fOur hours
IN order Ia insure perfect hardening
The next step Is the chipping away
81 the outer shell which has 10 be done
with extreme care lest the delicate outline
of the impressoued plaster may be ire
tricvsbIy ruined Particularly IL this tr'!"
Of the head and Dyes which are always
!nf iii the last. When all the shel Ii Clipped
away an exact Reproduction 81 the snake
down 10 the finest details has De"I sn'pred.
and all that remains 10 le don" II ~" 'alni
ing in the original uDlDrs
u is ~. painting which II b" really or'n'A'
'oatlrr II III" 'p"ralipn and the ono "iIlch
determines ~" success ~ l1llUrr ~ IN"
sTurt " Is very tedious work. ana ~ Dnt'
Instances fuzzy u month " spent On ehrl
specimen Where possible ~" snake
IL placed IN u glass box beside ne artist,
who si,Idies the colOrs AZ hs works zach
scale reosi yes separate treatment ann ths
head 70 usually . labor OF several days