colored his prints in the usual manner by flowing washes of pure water-color tints over the monochrome proof which was printed from the copper plate. In this phase of the process the great charm of his genuine talent for water-color painting asserted itself. Aside from the first crude washes, put on by artists or colorists employed for the purpose, he himself applied the salient tones and all the more delicate tints. Much misunderstanding has arisen in regard to the engraving and publication of Audubon's earlier plates owing to the complex relations which existed between Lizars, the two Havells of the same name, and the naturalist himself; this involved the reissue of the first two numbers of the work, and a confusing series of legends upon the plates themselves, occasioned partly by a division of labor between father and son, and by the death of Robert Havell, Senior, in 1832. The errors into which some commentators have fallen, however, are due to their examination of but one set of plates. The account which follows is based upon a collation of complete copies at the British Museum, the Radcliffe Library, Oxford, the Jardin des Plantes, Paris, and the Boston Society of Natural History, and of numerous scattered plates. Lizars engraved the first ten plates only of the large folio, but before the summer of 1827 a considerable number of these early impressions had been distributed. The Havells, as we have seen, started the work anew, and Robert, the younger, retouched the greater part of Lizars' plates, so that their reissue in London constitutes for the bibliophile a second, and in some cases a third, edition. Moreover, the plates which were eventually executed by the younger Havell, to the number of 425, were repeatedly printed from to meet the requirements of new subscribers; on such occasions errors were corrected, minor changes in the artist's or engraver's name introduced, and the nomenclature of the birds and plants more or less completely revised. Frequently the Whatman water-marks, or, indirectly, Audubon's titles, postdate the year of publication as printed on the plate itself. Conflicting legends, particularly on the earlier plates, which have often puzzled collectors, are mainly due to one or another of the conditions named. Nearly every plate underwent alterations of some sort, but the various legends show conclusively whether the print belongs to a first or a subsequent impression. In the British Museum copy, the younger Havell's first independent legend appears on Plate lxxvi (Virginia Partridge), as "Engraved, Printed, & Coloured by R. Havell Junr. 1830." The word "London" was later added, but was eventually discarded. After the senior Havell's death in 1832, the son naturally dropped the suffix from his own name; thereafter his brief designation of name and date became gradually stereotyped. It should be noticed, however, that when