I am very thankfull to you for your Letters continue to write from time to time, draw, and study music closely, there is time for all things—I give you my Gun with all my Heart best wishes, but earn it at your Dear Mamma's will—God bless You—
Your Father and Friend—
John J. Audubon
At Edinburgh Audubon met a young landscape painter, Joseph B. Kidd, and the two worked together for some time, Kidd receiving instruction in animal painting and Audubon hints on the treatment of his landscapes, which had always been a source of trouble to him. Kidd was Audubon's Edinburgh agent for a time, and later entered upon the ambitious project of reproducing all of his birds in oils, as will be noticed later.[339]
On March 17, 1827, when the second number of his Birds was in preparation, Audubon boldly issued his "Prospectus," contrary to the advice of some of his friends, who could see only egregious folly in such an undertaking and regarded it as foredoomed to failure. As everybody knows, it is easier to say things than to do them, but all these friendly critics sang a different tune later on, when they had seen more of the indomitable will and self-reliance of the man, who was to carry steadily forward to a successful issue a work which was in press nearly twelve years and which cost over $100,000 to produce. In Audubon's original prospectus of The Birds of America the specifications as to the form, size, and cost of the work, which had been determined for some months, underwent little change in subsequent editions of this printed statement.[340]
Audubon left Edinburgh for London on April 5, 1827, with locks shorn but energy unabated. He followed a roundabout course, visiting Belford, "Mitford Castle," Newcastle-upon-Tyne, York, Leeds, Liverpool, and Shrewsbury, at every point extending his acquaintance, showing his drawings to many, and adding appreciably to his growing list of subscribers. Several days were spent in hunting and drawing birds with the Selbys, at their beautiful country place called "Twizel House," at Belford, in Northumberland, where he was soon made to feel as much at home as with his older Liverpool friends, the Rathbones, at "Green Bank."
P. J. Selby, after whom Audubon named a Flycatcher which appeared in his second number, was an amateur artist and ornithologist, and at that time was engaged upon an extensive publication to which Audubon was invited to contribute, a single volume of plates and text having then been published.[341]
At Newcastle, where Audubon spent a week, he saw much of its grand old man, Thomas Bewick, "the first wood cutter in the world," and conceived a deep regard for him, which he afterwards expressed in one of his "Episodes." As they parted, this great son of nature held him closely by the hand, and for the third time repeated, "God preserve you!" "I looked at him in such a manner," said Audubon, "that I am sure he understood I could not speak."
As he proceeded southward, his subscription list augmented apace, Manchester alone giving him eighteen new names, and he began to feel more sanguine of success, if, he added, "I continue to be honest, industrious, and consistent."