John James Audubon, Painter of Birds,
Now Revealed as an Important Writer
Who Was 'Witness to Our Heroic Age'
By ELMO SCOTT WATSON
*Relrased by Weitern N*w*paper Union.)
TO MOST Americans the
name “Audubon” is
synonymous with just
one word — “birds.” Three
species bear his name, as
does the society which is dedi
cated to the study, protection
and preservation of those
feathered denizens of Amer
ica which were his life-long
passion. We remember him
also as the author-artist of a
set of books which a fellow
scientist once called “the
most magnificent monument
that art has yet raised to
ornithology.” Yet there is an
other—and possibly a better
—reason why John James Au
dubon should be remembered
gratefully by his fellow
Americans.
That is because he was “a wit
ness to our heroic age” and, as
an appreciative and understand
ing witness, he was one of its
best interpreters. Such is the
theme of a new book, whose pub
lication by the Houghton Mifflin
company of Boston, was a major
event of the 1940 publishing sea
son. The book is “Audubon’s
America — The Narratives and
Experiences of John James Au
dubon,” illustrated with nearly a
score of facsimiles of his prints
and paintings in fuU color.
But more important than this
inclusion of authentic reproduc
tions of Audubon’s paintings in a
popular-priced book is the fact
that his “narratives and experi
ences” in it are edited by Donald
Culross Peattie. And Mr. Peat
tie, naturalist and author of such
books as “Singing in the Wilder
ness” and “A Prairie Grove,” is
probably the one man in America
today who is most competent to
act as an appreciative and under
standing interpreter of John
James Audubon, a witness-to and
an interpreter of our heroic age.
Some of the most charming
prose that Mr. Peattie has ever
written is included in ‘‘What Au
dubon Knew," which serves as an
introduction to the book. It says
in part:
“The source of history is the
narratives of those who lived it
. . . Now of all those who ever
lived here, traveled and greatly
adventured, none could bear
more fascinating testimony than
John James Audubon. He had the
advantage of being a foreigner
. . So that he took nothing for
granted, and in the perspective
of a more mature culture, all
things American struck him as
fresh. He had the further ad
vantage that he was a genius,
and a genius of art at that, so
that to observe, to depict what he
saw. was habitual and instinctive.
“But Audubon had, too, a gen
ius for the art of living. He
lived with zest for the adventure
and with personal ardors. He
THE VIRGIN
It is at this point in his essay
that Mr Peattie points out how
Audubon’s fame as an ornitholo
gist, the renown which has made
his name synonymous with the
word “birds,” has obscured his
value to his fellow-Americans as
“a witness of our heroic age.”
Moreover, his art as a painter
has overshadowed his ability as
a writer. For a professional writ
er he was, a man who wrote to
sell and who did sell.
“I am not saying that he knew
how to write history like the
learned Parkman, or style like
JOHN JAIMES AUDUBON
A self-portrait in oi!s, made at
Beech Woods, Feliciana parish,
La., in 1822 at the age of 37.
the choice Thoreau, or that he
thought as an equal with Emer
son,” observes Mr. Peattie. ‘‘1
am asserting only that while
Cooper went to England while he
wrote ‘The Prairie’ (an unread
ably dull book, to my ears), Au
dubon was on the prairies. That
where Emerson knew his Carlyle,
Audubon knew his Mississippi
squatters, that while Thoreau was
THE SNOW* 11EKON, OR WHITE EGRET.
savorea everyming, even me un
savory. He saw almost every
thing, from 1803 to 1849, from
Florida to Labrador, from New
York city to Fort Union on the
borders of Montana. He lived
among Pennsylvania Quakers, in
Kentucky among pioneers from
Virginia, in New Orleans among
Indians. He explored Maine and
South Carolina, Texas and Flor
ida.
Wide Variety of Experience.
“In the nearly 50 active Amer
ican years of Audubon's life, what
other individual had such a va
riety of experience? No one, cer
tainly, was at once so sensitive
and so lusty. No one with his
pen and his brush. .
traveling around Concord, Audu
bon was traveling around North
America. While Parkman was
writing history, Audubon was
making and witnessing it.”
Considering these facts, it
seems strange indeed that until
now no attempt has been made
to bring together into one volume
a general selection of the first
hand narratives of what Mr.
Peattie calls ‘‘this shrewd and
eager observer of all conditions
and aspects of American men,
manners and scenes.” This has
been due partly to the fact that
Audubon’s writings have been
scattered through a wide assort
ment of volumes, many of which
are to be found only in the larger
AN OPOSSUM.
libraries and are therefore known
to only a few scholars and spe
cialists in American history.
For these reasons Americans
generally know little about Audu
bon, the writer, even though they
may be familiar enough with Au
dubon, the artist, and what they
do know about him as a chroni
cler of the period in which he
lived is when he is quoted “in
evidence for the unbelievable
numbers of the passenger pig
eons, or the destruction of the
buffalo, or on some other point in
natural history."
Therefore the great value of
this book is that it “makes up
in some measure for neglect of
Audubon’s precious testimony.”
For, as Mr. Peattie says, “as edi
tor, I have preferred to bring
him forward less as the natural
ist than as one who knew river
captains and roustabouts, pio
neers and men of letters, Indians
and scientists. This without, of
course, slighting his natural his
tory writings but reducing them
to some reasonable proportion to
the whole. That whole is the
America of his day, America as
he, and perhaps only he, knew it
—Audubon’s America.”
How richly that promise is ful
filled is shown by a reading of
the chapters which follow the in
troductory "What Audubon
Knew,” and Mr. Peattie’s evalua
tion of "Audubon as a Witness.”
The titles of thdse chapters are
indicative of the diversity of Au
dubon’s experience, the catholic
ity of his interests and the scope
of his "traveling around North
America”—"Kentucky Days and
Nights,” "Hunters’ Tales,” "Pio
neer Types,” "Deep South,”
"Four Proud Fowl,” "Down East
for Birds and Subscribers” and
"Out West With Buffalo and In
dians.”
To those who think of Audubon
only in terms of birds, the
amount of his writing about ani
mals will be revealing. After com
pleting his monumental work,
"The Birds of America,” he be
gan work on “The Quadrupeds
of America” and "into the new
project the old master entered
with all the zest, so he wrote his
young friend Spencer Baird, that
he had once felt for birds.” So
it is appropriate that this new
book reproduces almost as many
pictures of animals (seven in all)
as it does pictures of birds
(eight).
Not the least interesting fea
ture of the book is a “Biographi
cal Note” (a long “note” albeit,
since it covers 22 pages!) which
tells in interesting fashion the sto
ry of his life from the date of
his birth, April 26, 1785, at the
port of Les Cayes or Aux Cayes
on the south coast of the republic
of Haiti until his death in New
York city on January 27, 1851.
This biographical sketch dis
cusses the much-disputed story of
his paternity and cites the fact
that available documents prove
conclusively that he was the nat
ural son of Lieut. Jean Audubon
of the French navy and a Creole
woman of good birth, whose fam
ily name was either Rabin or
Fougere. Says Mr. Peattie: “Thi$
should set at rest the preposter
ous claim that has recently (and
only recently) been set up for
him, that he was none other than
the lost Dauphin, Louis XVII,
majesty disguised as a wander
ing artist! This legend would be
too far-fetched for notice if it were
not, unfortunately, the one story
about Audubon that sticks in
many minds. Two women biog
raphers of Audubon have recent
ly taken it quite seriously, and
thousands of words have been
written in debate on this point.
They can all be cut short by lay
ing down a fact denied by no
body. The unfortunate little Bour
bon prince had a deformed ear,
while Audubon's ears were both
quite normal. Who will seriously
argue the point beyond thi«?”
I
! I
Homesickness, per
haps, had brought him
back.' Old Peter Johansen
buttoned his threadbare over
coat, blew warm breath on
his rough hands and jumped
to the ground. There was no
railroad detective to grab him
for riding that freight train,
because this was the day be
fore Christmas. All but the
I homeless, like himself, seemed
busy preparing for the Day of Days.
Forty years. Peter retiected, since
ne last set foot in Clark City. It had
been a year after the big earth
quake; a year after all hell broke
loose, killing his parents and sis
ter as they sat at dinner in the little
house on Vine street.
Peter remembered: How he had
come home late that evening; how
the earth began quivering like a
beast possessed; how he had
Peter stood alone for a long time
watching the star appear.
searched like a madman through
the ruins of that shock-wracked,
fire-swept bungalow. Then, as Clark
City began rebuilding, he had drift
ed off in a daze to roam up and down
the earth—a ne'er-do-well, a hobo!
But always he remembered Linda,
dear little sister Linda. In 40 years
her memory always came back
stronger than ever on Christmas
Eve, for it was then that they used
to climb Lookout Hill hand-in-hand
at dusk, watching the evening star
rise in the heavens.
That, perhaps, was why he was
back this Christmas Eve.
“Almost dusk now," he reflected,
trudging along Clark City's busy
thoroughfare. Christmas crowds Jos
tled him, for he was a hapless wan
derer with no place to go.
No place to go? Not Peter! Soon
he found his way to the old residen
tial district where Lookout Hill rose
like a sentinel.
“The same old hill,” he told him
self. "Little Linda! If you were only
here now to see your big brother!
No—thank God you’re not here, for
your big brother is ashamed of him
self!!”
At the crest Peter stood alone for
a long time, watching the star ap
pear as it had since that first night
over Bethlehem. He didn’t notice
the old lady until she spoke.
’’Beautiful, that star, isn’t it?”
Peter fumbled with his grease
stained cap.
•‘Yes’m, it is. Especially from
Lookout Hill.”
“Many years ago,” she continued,
almost in a trance, “my little broth
er and I used to watch that star
rise in the heavens each Christmas
Eve, until—”• (she wiped a tear
away)—“we were separated some
how during the big earthquake. He
was killed, they found out later.
“Each Christmas Eve ever since
I’ve come back here, just to remem
ber him. I hope he’s happy up there
in Heaven.”
Peter was staring at her, fairly
ready to shriek, for it was Linda!
No doubt about it, now!
He recognized the tilt of her nose,
unchanged by the years; the famil
iar ring of a voice that somehow
had failed to grow old. But he held
himself back, for Peter was
ashamed of himself.
She didn’t notice him scuffle off
after awhile, for Linda was still
watching the star.
In the freight yards he found an
empty boxcar and bedded down un
der some straw in a corner. After
a while he felt the car move, and
somehow he was glad.
“Yes, it was Linda,” he sobbed
to himself, "but I just couldn't tell
her. Thank God she’s alive and
happy. And Thank God she re
members me on Christmas eve as
I was, not as I am."
After awhile he fell asleep.
(Released by Western Newspaper Union.)
Cakes Printed in Germany
A famous Christmas cake in Ger
many is Aachen Printen, from which
the English word “print” is derived.
In the days before book-printing the
, idea of imprint belonged to the bak
ing business to express the malting
1 of patterns in cakes. Many of these
‘ cakes have figures representing the
old gods Wotan and Thor.
Santa May Nut Smoke Cigars
Santa Claus, perhaps, doesn’t
; smoke—or he would be better in
| 'ormed on the quality of cigars.
Elegance of Fabric, Fine Furs
Achieve New Style Distinction
By CHERIE NICHOLAS
Undoubtedly the most out
standing characteristic of smart
est winter fashions is the elegance
and superiority of the materials em
ployed in their making. Women of
discriminating taste find their fond
est hopes realized in the high dis
tinction imparted to costumes by
choice fabrics styled with classic
simplicity. Add fur opulence and
you have sounded the keynote to
which the better part of the present
style program tunes into uncertain
terms.
Especially in the matter of woolen
weaves have all previous records
been exceeded with versatile tex
tures, gorgeous colorings and fasci
nating novelty. Never before in the
annals of textile history has thet*
been such a superb showing in fab
ric output. The existing vogue for
three-piece costume suits, and the
style prestige accorded the new soft
ly styled dressmaker coats have in
tensified spontaneous enthusiasm
and interest in handsome sterling
quality woolens.
Above in the illustration is pre
sented a stunning coat with the
dressmaker look. Softly styled as a
dress is this new type now coming
into prominence. The patrician
model here shown has a nice sort
of formality partly because of its
softly sculptured lines and partly
because of the fine 100 per cent wool
Forstman fabric, called “velperla,”
of which it is made. The color
“graingold” is also news. It gives
one the feeling of autumn tinted
birch leaves. Golden hued woolens
and coppery tones and tints are
being played up in all their glory,
especially with the very smart spot
ted furs and with beaver trims. You
will love the texture and "feel” of
the material that fashions this coat.
It is not only all wool with velvety
fine finish, but it is crush resistant
and measures up to the test of long
wear.
The fur accent that distinguishes
this coat deserves special comment.
In the huge beaver-covered button
lies a stroke of real styling genius.
The single fur button fastening has
already made widespread fashion
appeal. Thhs simple little touch of
fur makes fine excuse to add a
hat of matching fur and a huge
muff which ensembles the costume
most attractively. In the way of
fur trims this season, something of
fur always matches something else
of fur in the costume, thus estab
lishing a relationship that resolves
the composition into a perfect unit.
The inimitable styling given the
winsome dress of sheer woolen shown
below to the right in the group is
recognized at a glance. This most
attractive model is an Eisenberg
“original" and augurs well for the
supremacy of American designers in
the field of costume styling. Shirred
ruching typifying superior workman
ship forms giant pockets on bodice
and hip. The straight sleeve gains
interest from its unusual side clos
ing fastened by three widely spaced
buttons. For the lively touch so es
sential in this winter's costumes
there are jeweled flower buttons and
a contrasting satin ascot.
As you see below to the left, tab
pockets distinguish a sophisticated
jacket of Fromm pedigreed silver
fox. A grand and glorious fur of
this type will set off to perfection
any cloth costume with which it is
worn throughout winter. The skins
are so cleverly marked and worked
that the marking of the fox itself
outlines the pockets as well as form
ing a yoke at the shoulders. A tiny
standing collar, elongated lapels and
pocket tops are of stitched taffeta—
a combination of unusual chic that
sets off the full silver-bright beauty
of the fox. The wool hat has a great
choux of coq feathers.
(Released by Western Newspaper Union.)
Trotter Derby
Here is an instance where the
camera catches Dame Fashion in
the very act of having appropriated
for her very own the time-honored
Derby hat pictured in the family al
bum worn by revered ancestors in
the early sixties or thereabouts. At
any rate the "trotter derby” is
smart this season, especially if you
feminize it with a bewitching veil,
face its wee brim with flattering
blue velvet and wee bows of velvet
ribbon in cunning pose at the back.
Masculine Influence
The masculine influence in wom
en's fashion reflects in the new
derby hats feminized with prettily
frivolous veils, and flannel long
sleeved shirts that are topped with
: jackets cut and tailored in man
fashion. Long wool knit socks and
| striped Vies are campus favorites.
Hat, Gloves Add
Color to Costume
When you buy a new hat, buy a
new pair of smart leather gloves to
match. That’s fashion’s favorite idea
for putting color spice into this
year’s costumes and American
leather glove makers are playing
right into fashion’s hands with an
array of colors such as you’ve never
before seen.
There are two smart ways of
matching gloves and hats ... ei
ther match the gloves to the hat it
self or to the trimming. Matching
the trimming is a good idea if the
hat is black with a contrasting feath
er, facing, ribbon or veil on it.
Or, better still, when you get a
hat with contrasting trim, choose
two pairs of gloves—one to match
the hat and one to match the trim.
Then when one pair of gloves is be
ing washed (and most American
made gloves can be washed) you
have another harmonious pair to
wear.
This hat and glove combination is
an unbeatable idea for making one
costume look like more, particularly
if the main costume is black, dark
brown, gray or beige all of
which can use hats and gloves in
several different colors.
Frog Fastenings
The fact that frog fastenings are
again in use comes as good news.
Not only are ’’frogs” made of braid
“a la militaire,” but the newest
note is to form them of cordings of
the same cloth as the dress or coat.
They serve in a utilitarian way ad
mirably, and designers are develop
ing the theme from the decorative
I point of view.
Beautiful Afghan Is
In Easy Puff Stitch
U ERE’S how the smart woman
1 1 adds beauty to her home or
makes a lovely gift—she crochets
these squares in easy puff stitch
and double crochet and soon has
enough to join into this rich af
ghan.
* * •
Pattern No. 2634 contains directions for
afghan; illustrations of it and stitches;
color schemes; photograph of square;
materials required. Send order to:
Sewing Circle Needlecraft Dept.
82 Eighth Ave. New York
Enclose 15 cents in coins for Pat
tern No.
Name ...
Address .
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SPECIAL
BARGAINS
WHEN you see the specials of
our merchants announced
in the columns of this paper
you can depend on them. They
mean bargains for you.
• They are offered by merchants
who are not afraid to announce
their prices or the quality
of the merchandise they offer.