The horn cap is affixed with a pin (cut short) driven through the middle and into the resin tree, as well as being glued with Ambroid.
What you can't see here is the incredibly long time it took to fit this disc of metal to the non-flat surface of the horn.
Again, what you can't see is how difficult engraving a convex surface was. Whether I'd lost my touch, whether my gravers were dull, or whether it was that outward-curved surface, it took me 3 days to do this.
But remember the TSII tagline: Anything goes if it looks right. Using multiple layers of very thin AL sheet molded to the surface, allowed me the access and control I needed, and saved, used, enhanced!, those little bumps. It retained all the work that went into them, instead of requiring that work to be done all over again. I had extensive experience with the stuff [silver tape] and just because it hadn't performed perfectly in all the applications we greedily expected it to (it broke, it fell off) didn't mean there wasn't a place where it shone. If there was one perfect application, this was it: resin pommels. "Every hoss has jus' one race in dem, honey, jus' one." (from The Phantom Filly by George Agnew Chamberlain, 1942.) The place where silver tape did NOT fall off was where the foundation was NOT leather (no oxygen exhange!), where things did NOT flex whatsoever, and where the tape was held down by something else. In this case that would be the girth straps. So I plastered several layers on, squeezing out the air and darting them to fit the curve, cutting as I went. As the patterns show, each layer got bigger, since it had to cover more. I couldn't tell you how I did the darting (wrinkles); each layer dictated its own, and I cut their edges with the X-Acto and smoothed everything down with the fid.
The pins had to have holes drilled for them, and that was a challenge, because of the adhesive gumming up the drill bit!! Eventually I got past it...
Now at last I can start work on the cinch rings and straps.