AUDUBON IN LONDON 383 



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, includ- 

 ing the house of Messrs. Colnaghi & Company. 



Robert Havell, Senior, then in his fifty-eighth year, 

 though deeply interested in Audubon's adventurous 

 plans, felt himself too old to embark on so extended a 

 work, which it was then believed would require from 

 fourteen to sixteen years for completion; he volun- 

 teered, however, to do his best to find a substitute. 

 With this in view, he applied to Mr. Colnaghi, the pub- 

 lisher, and was immediately shown the unsigned proof 

 of a beautiful landscape, exquisitely drawn and en- 

 graved by one of the youthful retainers of his estab- 

 lishment. The elder Havell, after scrutinizing it care- 

 fully, exclaimed, "That's just the man for me!" 

 "Then," replied the publisher, "send for your own son!" 

 Through this singular coincidence, father and son be- 

 came reconciled and a partnership between them was 

 soon announced. 



As a test of young Havell's skill, to follow the 

 story of his biographer, Audubon gave him his drawing 

 of the Prothonotary Warbler, which had already been 

 engraved and issued by Lizars as Plate iii of The Birds 

 of America earlier in that year. Havell finished the 

 engraving in two weeks, when a proof was struck and 

 the naturalist summoned. Audubon examined the 

 print with the utmost keenness and deliberation; then 

 he seized the sheet, and holding it up, danced about 

 the room, calling out in his French accent: "Ze jig is 

 up, ze jig is up!" The Havells, who at first thought 

 this might signify disapproval, were quickly disabused 

 when Audubon approached young Robert and, throw- 



