In 1880 Dr. Elliott Coues examined a large collection of original Wilson and Audubon drawings and manuscripts, "owned and kept with the greed of a genuine bibliomaniac" by Joseph M. Wade, then editor of _Familiar Science and Fancier's Journal_. If not Wilson's portfolio itself, its contents, at least, said Dr. Coues, were then in Mr. Wade's possession, and this series of Wilson's drawings included, he thought, more than half of the originals of his famous plates. To quote Dr. Coues:[183] In handling these drawings and paintings, of all degrees of completeness, one of sensibility could but experience some emotions he would not care to formulate in words.... I was fairly oppressed with the sad story of poverty, even destitution, which these wan sheets of coarse paper told. Some of Wilson's originals are on the fly-leaves of old books, showing binder's marks along one edge. One of the best portraits, that of the Duck Hawk, is on two pieces of paper pasted together. The man was actually too poor to buy paper! Some of the drawings are on both sides of the paper; some show a full picture on one side, and part of a mutilated finished painting on the other. Some show the rubbing process by which they were transferred. They are in all stages of completeness, from the rudest outlines to the finished painting. I know full well that in 1804, when Wilson had fairly begun his work on birds, he was poor enough, but I hesitate to believe upon such evidence that he was too poor to buy decent drawing materials. Wilson doubtless practiced economy in these matters as in everything else, through his ingrained habit of Scotch thrift, and he was probably quite as well-to-do then as five years before, when out of his slender earnings he was able to lay money aside.[184] Later, to be sure, his modest savings were quite consumed by his _Ornithology_, and then William Bartram came to his aid, even giving him a home in his own house. It is also wide of the mark to conclude from his fugitive letters or from his drawings, as this critic has done, that Wilson was possessed of genius only, and "had nothing else, not even talent and ability." Wilson certainly had a talent for writing and cultivated it with marked success; even his verse was not all of a "despicable mediocrity." In the art of drawing, however, his natural gifts were of a very modest sort, and what he achieved was the result of the most painstaking effort. Of course he was not a finished scholar, as graduates from the school of adversity seldom are, but he had a passion for knowledge and the determination to excel. His genius was not fully displayed until a powerful motive, the ambition to make known the birds of his adopted land, had possessed his spirit and taxed his powers to their utmost capacity.