Audubon had not been in London a month before word was received from Lizars that all his colorers had struck work and that everything was at a stand. Accordingly, he began to search London for skilled workmen, and on June 18 wrote: "I went five times to see Mr. Havell, the colorer, but he was out of town. I am full of anxiety and greatly depressed. Oh! how sick I am of London!" Three days later another discouraging letter came from Lizars, who shortly after threw up his contract and left his patron in a sad predicament—with an enormously expensive work, still-born, on his hands, without adequate funds, and, in short, with all his cherished plans suspended in mid-air. Audubon no doubt realized that if his grand undertaking were to succeed at all, it must experience a new birth in London, where an expert engraver of the requisite enterprise and zeal must be found without delay. He closed his journal on the second day of July with the remark that he was too dull and mournful to write a line, and it was not opened again for nearly three months. [Illustration: TITLE PAGE OF THE ORIGINAL EDITION OF "THE BIRDS OF AMERICA," VOLUME II, 1831-1834.] This gap in Audubon's record can now be filled in reference to some important particulars, for in the interval he made his greatest discovery in England, in Robert Havell, Junior, then a young and unknown artist of thirty-four, who through eleven years of the closest association with his new patron was to become one of the greatest engravers in aquatint the world has ever seen. Until recently the intimate story of Audubon's relation to the Havells has been much obscured.[345] The reference in the journal record of June 19, just given, was undoubtedly to Robert Havell, Senior, who for many years was associated with his father, Daniel Havell, the first of five generations of artists of that name, in the engraving and publishing business, but who at this time was established independently at 79 Newman Street, London; he also conducted a shop called the "Zoölogical Gallery," at which were sold engravings, books, artists' materials, naturalists' supplies, and specimens of natural history of every sort. His three sons, Robert, George, and Henry Augustus, all became artists, but the eldest, who bore his father's name, was educated for a learned profession. Contrary to his father's injunctions and advice, Robert, who was bent on becoming an artist, abruptly left his home in 1825, determined to shift for himself. He began with an extensive sketching tour on the River Wye, in Monmouthshire, and produced numerous paintings which, as his biographer remarks, display all the charm found in the work of his distinguished cousin, William Havell. These won immediate recognition in London, where he received commissions from various publishers, including the house of Messrs. Colnaghi & Company.