At Liverpool Audubon received much assistance also from Edward Roscoe, botanist and writer, Dr. Thomas S. Traill[323] and Adam Hodgson, who introduced him to Lord Stanley. When he came to write his _Ornithological Biography_, these early friends were all publicly called by name, and we thus had (though, as it afterwards appeared, in name only) the "Rathbone Warbler,"[324] "Stanley Hawk," "Children's Warbler," "Cuvier's Regulus," "Roscoe's Yellow-throat," "Selby's Flycatcher," and still possess "Bewick's Wren," "Traill's Flycatcher," "Henslow's Bunting,"[325] "MacGillivray's Finch," and "Harlan's Hawk," to cite a few instances of this form of acknowledgment. Within barely a week after landing at Liverpool a total stranger, Audubon was invited to show his drawings at the Royal Institution. The exhibition, which lasted a month, was a surprising success; 413 persons, as he recorded, were admitted on the second day, and it netted him one hundred pounds although no charge for admission was made during the first week. Everyone, said the naturalist, was surprised at his appearance, for he wore his hair long, dressed in unfashionable clothes, rose early, worked late, and was abstemious in food and drink. Shortly after his arrival, his sister-in-law, Mrs. Alexander Gordon, urged him to have his hair cut and to buy a fashionable coat, but he could not then bear to sacrifice his ambrosial locks, which continued to wave over his shoulders until the following March. If we can accept Sir Walter Besant's characterization of the period, the "long-haired Achæan" was no stranger to the streets of London as late as 1837: "brave is the exhibition of flowing locks; they flow over the ears and over the coat-collars; you can smell the bear's grease across the street; and if these amaranthine locks were to be raised you would see the shiny coating of bear's grease upon the velvet collar below." Audubon had not been in England three weeks before he resumed his drawing and painting habits, at first in order to repay his friends for their kindness, and later as a means of support; at times he would devote every spare moment to this work, and he was then able to paint fourteen hours at a stretch without fatigue. On October 2 he recorded that he had made in less than twenty minutes a diminutive sketch of the Turkey Cock from his large twenty-three hour picture. This was for Mrs. William Rathbone, Senior, who later presented it to him in the form of a handsome gold-mounted seal, inscribed with his favorite motto, "America, my country."[326] The facility which Audubon displayed in producing his pictures of animal life—American wild turkeys, trapped otters, fighting cats, English game pieces, and the like, in a style both novel and individual, added much to his immediate popularity in England, as it later did to his purse. His painting devices are thus referred to in a journal entry for January, 1827: