Special grease is then rubbed in and the skin placed in a machine which softly and continuously beats in the softening mixture, after which it is put into a slowly revolving drum, fitted with wooden paddles, partly filled with various kinds of fine hard sawdust according to the nature of the furs dealt with.
The patches of grass were splinters of wood, and where neither grass nor sawdust showed was a solid wooden flooring.
The sawdust adapts it self to the rough shape of the concrete, and deadens the blow to some extent.
In England gold and copper blanks are protected from oxidation, and after their passage through the furnace are merely washed in colanders with water and dried with sawdust in a rotating drum.
The ground was sawdust and the pebbles scattered around were hard knots from trees, worn smooth in course of time.
Where the skins are heavily dyed it is comparatively easy to see the difference between a natural and a dyed colour, as the underwool and top hair become almost alike and the leather is also dark, whereas in natural skins the base of the underwool is much paler than the top, or of a different colour, and the leather is white unless finished in a pale reddish tone as is sometimes the case when mahogany sawdust is used in the final cleaning.