Page:Audubon and His Journals.djvu/304

From Wikisource
Jump to navigation Jump to search
This page has been validated.
256
AUDUBON

was quite a shock to my nerves; but I had an appointment at Lord Spencer's and another with Mr. Ponton; my thoughts cooled, I concluded to keep my appointments. On my return I found a note from Mr. Vigors telling me Charles Bonaparte was in town. I walked as quickly as possible to his lodgings, but he was absent. I wrote him a note and came back to my lodgings, and very shortly was told that the Prince of Musignano was below, and in a moment I held him by the hand. We were pleased to meet each other on this distant shore. His fine head was not altered, his mustachios, his bearded chin, his keen eye, all was the same. He wished to see my drawings, and I, for the first time since I had been in London, had pleasure in showing them. Charles at once subscribed, and I felt really proud of this. Other gentlemen came in, but the moment the whole were gone my thoughts returned to the colorers, and my steps carried me in search of some; and this for three days I have been doing. I have been about the suburbs and dirtier parts of London, and more misery and poverty cannot exist without absolute starvation. By chance I entered a print shop, and the owner gave me the name of a man to whom I went, and who has engaged to color more cheaply than it is done in Edinburgh, and young Kidd has taken a letter from me to Mr. Lizars telling him to send me twenty-five copies.

June 19. I paid a visit to Sir Thomas Lawrence this morning and after waiting a short time in his gallery he came to me and invited me into his painting-room. I had a fair opportunity of looking at some of his unfinished work. The piece before me represented a fat man sitting in an arm-chair, not only correctly outlined but beautifully sketched in black chalk, somewhat in the style of Raphael's cartoons. I cannot well conceive the advantage of all that trouble, as Sir Thomas paints in opaque color, and not as I do on asphaltum grounds, as I believe the old masters did, showing a glaze under the colors, instead of over, which I