Audubon the Naturalist: A History of His Life and Time. Vol. 1 (of 2) — John Shaqi
Audubon the Naturalist: A History of His Life and Time. Vol. 1 (of 2)Herrick, Francis Hobart
History
Audubon the Naturalist: A History of His Life and Time. Vol. 1 (of 2)
Herrick, Francis Hobart
Audubon, John James, 1785-1851
now shooting upwards, as if intent on reaching the sky, then
descending as if to join the feathered masses below, and again
diverging toward either side and sweeping over the surface of
the ocean. The Ripley now partially furled her sails, and lay
to, when all on board were eager to scale the abrupt side of
the mountain isle, and satisfy their curiosity.[2]
Audubon's accounts of the birds are copious, interesting and generally
accurate, considering the time and circumstances in which they were
produced. When at his best, his pictures were marvels of fidelity and
close observation, and in some of his studies of mammals, like that of
the raccoon (see p. 182), in which seemingly every hair is carefully
rendered, we are reminded of the work of the old Dutch masters and of
Albrecht Dürer; notwithstanding such attention to microscopic detail,
there is no flatness, but the values of light and shade are perfectly
rendered. In his historical survey of American ornithology, Elliott
Coues was fully justified in designating the years 1824-1853 as
representing the "Audubonian Epoch," and the time from 1834 to its close
as the "Audubonian Period." "The splendid genius of the man, surmounting
every difficulty and discouragement of the author, had found and claimed
its own.... Audubon and his work were one; he lived in his work, and in
his work will live forever."[3]
There is no doubt that Audubon regarded an honest man as the
quintessence of God's works, and though he sometimes set down statements
which do not square with known facts, this was often the result
of lax habits, or of saying what was uppermost in his mind without
retrospection or analysis. When memory failed or when more piquancy and
color were needed, he may have been too apt to resort to varnish, but
for everything written on the spot his mind was as truth-telling as his
pictures. In considering the good intent of the man, his extraordinary
capacity for taking pains, and his vast accomplishments, criticism
on this score seems rather captious. On the other hand, when it came
to dealing with his own early life, that was a subject upon which he
reserved the right to speak according to his judgment, and in a way
which will be considered later.
Public-domain text, read in full here on John Shaqi.
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