With respect to the review, I can only say that if Mr. Lockhart is so doubtful as to my powers, he may doubt as long as he lists. I shall not submit any essay of mine to his judgment. If you had informed me that he or the conductor of my other review would print a notice of your works, I should have agreed to write one with pleasure, but under existing circumstances I shall not, it being repugnant to my feelings and contrary to my practice and principles to sue for favor with any man. I have already written three reviews of your books which have been printed, and when I am applied to for a fourth I shall write it too, with "an elegance of style, a power of expression, and knowledge of the subject" equal to those usually displayed by the editor of the Quarterly.
Some of the criticism, whether friendly or hostile, which this work eventually evoked will be considered in a later chapter.
Shortly after his arrival in London, Audubon received a call from Joseph Bartholomew Kidd, a young artist whom he had met at Edinburgh the previous March, and was attracted so much by his "youth, simplicity and cleverness" that he again invited him to paint in his rooms. On the 31st of March, 1831, an agreement was made with Kidd[389] to copy some of his drawings in oils and put in appropriate backgrounds. "It was our intention," said Audubon, "to send them to the exhibition for sale, and to divide the amount between us. He painted eight, and then I proposed, if he would paint the one hundred engravings which comprise my first volume of the Birds of America, I would pay him one hundred pounds." In 1832 Captain Thomas Brown gave this notice of the undertaking in the Caledonian Mercury:
About a year ago Audubon conceived the grand idea of a Natural History Gallery of Paintings, and entered into an agreement with Mr. Kidd to copy all his drawings of the same size, and in oil, leaving to the taste of that excellent artist to add such backgrounds as might give them a more pictorial effect. In the execution of such of these as Mr. Kidd has finished, he has not only preserved all the vivacious character of the originals, but he has greatly heightened their beauty, by the general tone and appropriate feeling which he has preserved and carried throughout his pictures.
Kidd worked intermittently on some such scheme for about three years, and produced numerous pictures on canvas or mill-board. He was thus engaged in 1833 when he wrote to ask for an advance of from twelve to fourteen pounds on account of an accident that had befallen him on the 16th of May of that year. Kidd said in his letter that while he was attending a sale of Lord Eldin's pictures, the floor of the building suddenly gave way with a crash and precipitated the whole company, together with the furniture, into a room below; that he had sustained many bruises himself, not to speak of a dislocated arm, but what with blisters, cupping, nurses and remedies of all sorts, he was then slowly mending. Another of their projects was to publish Kidd's copies of Audubon's drawings as individual pieces, and a notice of this appeared in Blackwood's Magazine for 1831. John Wilson, in reviewing Audubon's work in the magazine for that year said: "it is expected that there will be completed by Audubon, Kidd, and others,—Four Hundred Subjects. Audubon purposes opening, on his return [from America], an Ornithological Gallery, of which may the proceeds prove a moderate fortune!" All such plans, however, seem to have been delayed or frustrated, and a misunderstanding with Kidd brought them suddenly to a close in 1833. Audubon's explicit directions under this head were given in a letter to his son Victor, written at Charleston on Christmas Day of that year.[390]
When his letterpress was finished, Audubon left Edinburgh with Mrs. Audubon on April 15, 1831. Newcastle, York, Leeds, and Manchester were again visited, and a pause of several days was made at Liverpool before proceeding to London, when, as the naturalist recorded, they "traveled on that extraordinary road, called the railway, at the rate of 24 miles an hour." In May[391] they visited Paris, Audubon no doubt wishing to collect the money due from his agent there, as well as to introduce his wife to the unrivaled attractions of the great city. Upon returning to London in July he had the pleasure of again meeting his fidus Achates, Edward Harris,[392] of Moorestown, New Jersey, and immediately began to put his affairs in order for a long period of absence.
While Audubon was in Paris, the following letter[393] was written by his staunch friend and supporter in Congress, Edward Everett, who, as has been seen, fully appreciated the national character of his great undertakings. The effort of this able advocate to give The Birds of America free passage to their native land, however, do not appear to have been successful until two years later, as a letter to be quoted in due course clearly indicates.
Edward Everett to Audubon
Charlestown, Mass., May 19th, 1831.