Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:03,333 --> 00:00:08,300
JOHN FITZPATRICK: THIS IS A MAN
WHO GENUINELY CHANGED ART AND
2
00:00:08,333 --> 00:00:12,500
HE GENUINELY CHANGED SCIENCE
IN THE FIRST HALF OF THE 1800'S.
3
00:00:13,066 --> 00:00:15,233
RICHARD RHODES: THERE
WERE ONLY TWO AMERICANS WHO
4
00:00:15,266 --> 00:00:20,200
WERE INAUGURATED INTO THE
GREATEST SCIENTIFIC SOCIETY OF
5
00:00:20,233 --> 00:00:22,100
EUROPE OF THE DAY.
6
00:00:22,133 --> 00:00:24,466
ONE WAS BENJAMIN FRANKLIN,
7
00:00:24,500 --> 00:00:27,700
THE OTHER WAS
JOHN JAMES AUDUBON.
8
00:00:27,733 --> 00:00:30,000
JAMIE WYETH: THERE'S AN
EXCITEMENT IN HIS WORK,
9
00:00:30,033 --> 00:00:32,733
IT'S JUST MORE THAN JUST
PAINTING THE BIRD.
10
00:00:32,766 --> 00:00:34,333
I MEAN, THEY ARE ACCURATE.
11
00:00:34,366 --> 00:00:37,433
I GUESS THEY'RE BIOLOGICALLY,
SCIENTIFICALLY ACCURATE BUT,
12
00:00:37,466 --> 00:00:40,400
BUT, IT GOES WAY BEYOND THAT
AND THAT'S WHERE I THINK HE'S,
13
00:00:40,433 --> 00:00:44,033
YOU KNOW, HE'S A
GIANT OF PAINTING.
14
00:00:44,433 --> 00:00:46,533
DANNY HEITMAN: THE ORNITHOLOGIST
ROGER TORY PETERSON
15
00:00:46,566 --> 00:00:48,266
SAID IT BEST,
16
00:00:48,300 --> 00:00:52,166
"AUDUBONS REAL GIFT
TO US IS AWARENESS.
17
00:00:53,666 --> 00:00:57,066
AND IN THAT AWARENESS
IS THE BEGINNING OF ALL
18
00:00:57,100 --> 00:00:59,666
TRUE CONSERVATION."
19
00:01:00,766 --> 00:01:04,966
RICHARD RHODES: AUDUBON LIVED
ON THE CUSP OF THE CHANGE FROM
20
00:01:05,000 --> 00:01:10,233
WILDERNESS TO FARM AND
INDUSTRIAL AMERICA.
21
00:01:10,933 --> 00:01:15,833
SO HE SAW THE WILDERNESS
IN IT'S LAST FLOURISHING AND
22
00:01:15,866 --> 00:01:19,233
HE SAW THE BIRDS IN
THEIR LAST FLOURISHING.
23
00:01:29,166 --> 00:01:35,866
♪
24
00:01:44,600 --> 00:01:49,333
♪
25
00:02:00,900 --> 00:02:05,100
♪
26
00:02:06,100 --> 00:02:08,733
CHRISTOPH IRMSCHER:
AUDUBON WAS BORN IN 1785 IN
27
00:02:08,766 --> 00:02:11,700
ST. DOMINGUE, THE
FRENCH PART OF HAITI.
28
00:02:11,733 --> 00:02:14,366
AUDUBON WAS ILLEGITIMATE,
WHICH WAS A FACT THAT HAUNTED
29
00:02:14,400 --> 00:02:15,600
HIM HIS ENTIRE LIFE.
30
00:02:15,633 --> 00:02:19,133
HE WAS THE SON OF A
CHAMBERMAID THAT HIS FATHER
31
00:02:19,166 --> 00:02:22,233
HAD MET GOING OVER FROM
NANTES, WHERE HE WAS FROM,
32
00:02:22,800 --> 00:02:24,200
TO ST. DOMINGUE.
33
00:02:24,233 --> 00:02:27,000
HIS MOTHER DIED SHORTLY
AFTER HIS BIRTH.
34
00:02:27,200 --> 00:02:29,500
WHEN THE SLAVE REBELLION ON
ST. DOMINGUE TOOK PLACE HIS
35
00:02:29,533 --> 00:02:31,600
FATHER TOOK HIM AND HIS
SISTER OVER TO FRANCE,
36
00:02:32,266 --> 00:02:34,733
WHERE THEY GREW UP
AND THEY WERE ADOPTED BY
37
00:02:34,766 --> 00:02:37,733
HIS FATHER'S WIFE.
38
00:02:38,766 --> 00:02:41,433
AUDUBON: THE FIRST OF MY
RECOLLECTIVE POWERS PLACE ME
39
00:02:41,466 --> 00:02:43,133
IN THE CENTRAL PORTION OF...
40
00:02:43,166 --> 00:02:46,566
THE CITY OF NANTES, ON THE
LOIRE RIVER, IN FRANCE...
41
00:02:49,133 --> 00:02:53,200
THE THUNDERS OF THE REVOLUTION
STILL ROARED OVER THE LAND.
42
00:02:53,233 --> 00:02:56,533
THE REVOLUTIONISTS COVERED THE
EARTH WITH THE BLOOD OF MAN,
43
00:02:56,566 --> 00:02:59,066
WOMAN, AND CHILD.
44
00:02:59,100 --> 00:03:01,100
RICHARD RHODES: IT
WAS A TERRIBLE TIME,
45
00:03:01,133 --> 00:03:05,966
AND THIS LITTLE BOY SUFFERED
THE TRAUMA OF SEEING PEOPLE
46
00:03:06,000 --> 00:03:09,700
SLAUGHTERED IN THE STREET,
CHAINED TO BARGES THAT WERE
47
00:03:09,733 --> 00:03:11,533
SUNK IN THE MIDDLE
OF THE RIVER,
48
00:03:12,133 --> 00:03:14,666
SO THAT FOR A YEAR THEY
COULDN'T EAT THE FISH BECAUSE
49
00:03:14,700 --> 00:03:16,733
OF ALL THE CORPSES
IN THE RIVER.
50
00:03:16,766 --> 00:03:21,066
HIS FATHER WISELY MOVED THE
FAMILY TO A VILLAGE SOUTH OF
51
00:03:21,100 --> 00:03:25,800
NANTES ON THE LOIRE RIVER,
WHERE THEY LIVED FOR THE REST
52
00:03:25,833 --> 00:03:29,366
OF AUDUBON'S CHILDHOOD.
53
00:03:29,666 --> 00:03:31,766
AUDUBON: A VIVID PLEASURE
SHONE UPON THOSE DAYS
54
00:03:31,800 --> 00:03:35,066
OF MY EARLY YOUTH.
55
00:03:35,100 --> 00:03:37,633
WHEN I HAD HARDLY
YET LEARNED TO WALK THE
56
00:03:37,666 --> 00:03:41,300
PRODUCTIONS OF NATURE
LAY SPREAD ALL AROUND ME.
57
00:03:41,800 --> 00:03:44,800
THEY WERE MY FIRST PLAYMATES.
58
00:03:44,833 --> 00:03:47,833
ALMOST EVERY DAY, INSTEAD
OF GOING TO SCHOOL WHERE
59
00:03:47,866 --> 00:03:51,900
I OUGHT TO HAVE GONE,
I USUALLY MADE FOR THE FIELDS
60
00:03:51,933 --> 00:03:54,533
WHERE I SPENT THE DAY.
61
00:03:55,366 --> 00:03:57,700
I WAS FERVENTLY
DESIROUS OF BECOMING
62
00:03:57,733 --> 00:03:59,800
ACQUAINTED WITH NATURE.
63
00:03:59,833 --> 00:04:02,900
NONE BUT AERIAL COMPANIONS
SUITED MY FANCY.
64
00:04:04,333 --> 00:04:07,633
I FELT THAT AN INTIMACY
WITH THEM MUST ACCOMPANY
65
00:04:07,666 --> 00:04:10,300
MY STEPS THROUGH LIFE.
66
00:04:11,266 --> 00:04:15,300
NO ROOF SEEMED SO SECURE TO
ME AS THAT FORMED BY THE DENSE
67
00:04:15,333 --> 00:04:18,866
FOLIAGE UNDER WHICH
THE FEATHERED TRIBES WERE
68
00:04:18,900 --> 00:04:21,266
SEEN TO RESORT.
69
00:04:21,300 --> 00:04:22,633
RICHARD RHODES: ONE OF
THE OUTCOMES OF THE FRENCH
70
00:04:22,666 --> 00:04:26,500
REVOLUTION WAS THAT
NAPOLEON TOOK OVER FRANCE.
71
00:04:26,533 --> 00:04:29,866
AUDUBON WAS HIS
FATHER'S ONLY SON,
72
00:04:29,900 --> 00:04:33,533
AND HIS FATHER DIDN'T WANT
HIM TURNED INTO CANNON FODDER
73
00:04:33,566 --> 00:04:36,733
TO SATISFY
NAPOLEON'S AMBITIONS.
74
00:04:36,766 --> 00:04:40,733
SO HE HAD THE RIGHT
DOCUMENTS FORGED,
75
00:04:40,766 --> 00:04:44,266
AND PUT HIS NOW
EIGHTEEN-YEAR-OLD SON IN 1803
76
00:04:45,666 --> 00:04:49,266
ON A FAST SHIP FOR
THE UNITED STATES.
77
00:04:49,300 --> 00:04:51,600
AUDUBON: MY FATHER FOUND IT
NECESSARY TO SEND ME TO THE
78
00:04:51,633 --> 00:04:55,900
UNITED STATES OF AMERICA,
AND I CAME WITH INTENSE AND
79
00:04:55,933 --> 00:04:58,900
INDESCRIBABLE PLEASURE.
80
00:04:59,333 --> 00:05:02,966
RICHARD RHODES: THE
UNITED STATES IN 1803 WAS STILL
81
00:05:03,000 --> 00:05:06,333
BASICALLY AN
ATLANTIC COASTAL COUNTRY.
82
00:05:06,366 --> 00:05:10,000
IN FACT THE FAMOUS EXPEDITION
OF LEWIS AND CLARK THAT
83
00:05:10,033 --> 00:05:13,566
THOMAS JEFFERSON
SENT OUT WAS JUST,
84
00:05:13,600 --> 00:05:17,166
WHEN AUDUBON ARRIVED
IN THE FALL OF 1803,
85
00:05:17,200 --> 00:05:19,966
PREPARING
TO LEAVE FOR THE WEST.
86
00:05:20,633 --> 00:05:23,066
AUDUBON: MY FATHER GAVE
ME WHAT AMERICANS CALL A
87
00:05:23,100 --> 00:05:24,966
BEAUTIFUL PLANTATION.
88
00:05:25,000 --> 00:05:27,600
REFRESHED DURING THE SUMMER
EVES BY THE WATERS OF THE
89
00:05:27,633 --> 00:05:32,566
SCHUYLKILL RIVER AND TRAVERSED
BY THE CREEK CALLED PERKIOMEN.
90
00:05:33,733 --> 00:05:38,000
IT WAS THERE, AT MILL GROVE,
THAT I COMMENCED MY SIMPLE AND
91
00:05:38,266 --> 00:05:41,233
AGREEABLE STUDIES, WITH AS
LITTLE CONCERN ABOUT THE
92
00:05:41,266 --> 00:05:44,300
FUTURE AS IF THE WORLD
HAD BEEN MADE FOR ME.
93
00:05:45,733 --> 00:05:50,400
CARES I KNEW NOT, AND
CARED NOT ABOUT THEM.
94
00:05:50,433 --> 00:05:54,766
I HAD NO VICES, NEITHER
HAD I ANY HIGH AIMS.
95
00:05:55,500 --> 00:05:57,933
RICHARD RHODES: THIS STORY
WOULD NOT BE COMPLETE WITHOUT
96
00:05:57,966 --> 00:05:59,533
THE GIRL NEXT DOOR.
97
00:05:59,566 --> 00:06:03,400
AND THERE WAS A GIRL
NEXT DOOR, LUCY BAKEWELL.
98
00:06:03,433 --> 00:06:07,100
THE BAKEWELLS HAD MOVED
TO THE UNITED STATES AROUND
99
00:06:07,133 --> 00:06:09,000
THE SAME TIME AUDUBON DID.
100
00:06:09,033 --> 00:06:13,566
AND THEY MOVED HERE TO A
SUBSTANTIAL PROPERTY NEXT DOOR
101
00:06:13,600 --> 00:06:17,500
TO AUDUBON'S PLACE THAT
WAS CALLED FATLAND FORD.
102
00:06:18,000 --> 00:06:23,566
AND THERE LUCY WAS LIVING WHEN
AUDUBON REALIZED HE NEEDED TO
103
00:06:23,600 --> 00:06:28,166
BUY A GOOD HORSE, AND THAT HIS
NEIGHBOR MR. BAKEWELL MIGHT
104
00:06:28,200 --> 00:06:31,066
HAVE ONE FOR SALE.
105
00:06:31,100 --> 00:06:33,233
AUDUBON: I WAS SHOWN
INTO A PARLOR WHERE
106
00:06:33,266 --> 00:06:37,600
ONLY ONE YOUNG
LADY WAS SEATED BY THE FIRE.
107
00:06:37,900 --> 00:06:39,866
KELLY BRENGELMAN: LUCY WAS
ABOUT TO TURN SEVENTEEN OR
108
00:06:39,900 --> 00:06:42,366
ALREADY WAS SEVENTEEN WHEN
SHE MET JOHN JAMES AUDUBON,
109
00:06:42,400 --> 00:06:44,366
SO SHE WAS READY
TO MEET ROMANCE AND
110
00:06:44,400 --> 00:06:45,800
HE GAVE IT TO HER.
111
00:06:45,833 --> 00:06:47,900
AUDUBON: IT WAS SHE.
112
00:06:47,933 --> 00:06:49,966
OH, MAY GOD BLESS HER,
113
00:06:50,000 --> 00:06:53,766
WHO AFTERWARDS WOULD
BECOME MY BELOVED WIFE.
114
00:06:54,933 --> 00:06:56,666
KELLY BRENGELMAN: SHE
WAS A VERY PROPER WOMAN,
115
00:06:56,700 --> 00:07:00,366
AND THIS WAS A FLAMBOYANT
MAN COMING INTO HER LIFE.
116
00:07:00,400 --> 00:07:01,833
LUCY AUDUBON: MY DEAR COUSIN,
117
00:07:01,866 --> 00:07:04,933
MY MARRIAGE TOOK PLACE
AT THE BEGINNING OF APRIL.
118
00:07:04,966 --> 00:07:08,633
I WISH YOU WERE ACQUAINTED
WITH THE PARTNER OF MY DESTINY.
119
00:07:08,666 --> 00:07:11,700
IT IS USELESS TO SAY MORE
OF HIM TO YOU AT SO GREAT A
120
00:07:11,733 --> 00:07:15,066
DISTANCE, THAN THAT HE HAS A
MOST EXCELLENT DISPOSITION,
121
00:07:15,800 --> 00:07:19,800
WHICH ADDS VERY MUCH TO THE
HAPPINESS OF MARRIED LIFE.
122
00:07:20,566 --> 00:07:23,366
RICHARD RHODES: WHEN THE
YOUNG PEOPLE OF AMERICA DECIDED
123
00:07:23,400 --> 00:07:27,200
TO BECOME AMERICANS,
THEY WERE READY TO STRIKE OUT
124
00:07:27,866 --> 00:07:30,900
FROM THE ATLANTIC COAST,
TO MOVE INTO THE INTERIOR,
125
00:07:31,366 --> 00:07:35,466
TO CROSS THE APPALACHIANS TO THE
NEW TOWNS ON THE REAL FRONTIER,
126
00:07:35,500 --> 00:07:39,666
THE FAR WEST, WHICH
WAS IN THOSE DAYS KENTUCKY.
127
00:07:41,233 --> 00:07:43,566
LUCY AUDUBON: YOU WILL FORM
SOME IDEA OF THE ROADS WHEN
128
00:07:43,600 --> 00:07:47,100
I TELL YOU THAT THE FIRST
DAY WE TRAVELED 70 MILES,
129
00:07:47,133 --> 00:07:50,033
SET OUT AT FOUR IN THE
MORNING AND ARRIVED AT THE INN
130
00:07:50,066 --> 00:07:53,266
ABOUT SEVEN IN THE EVENING,
AND EVERY DAY AFTERWARDS,
131
00:07:54,033 --> 00:07:56,100
TRAVELING THE SAME
AMOUNT OF HOURS,
132
00:07:56,133 --> 00:08:00,333
WE COULD ONLY GO BETWEEN
THIRTY AND FORTY MILES.
133
00:08:01,833 --> 00:08:05,466
WE TRAVELED SOMETHING
MORE THAN 300 MILES BY LAND,
134
00:08:05,500 --> 00:08:08,600
AND 700 BY WATER.
135
00:08:09,100 --> 00:08:11,733
THE 700 MILES BY
WATER WAS PERFORMED WITHOUT
136
00:08:11,766 --> 00:08:15,233
MUCH FATIGUE, THOUGH NOT
WITHOUT SOME DISAGREEABLES.
137
00:08:15,800 --> 00:08:19,966
OUR CONVEYANCE WAS A LARGE,
SQUARE, OR RATHER OBLONG BOAT,
138
00:08:20,000 --> 00:08:22,100
BUT PERFECTLY
FLAT ON ALL SIDES,
139
00:08:22,133 --> 00:08:25,766
AND JUST HIGH ENOUGH TO ADMIT
A PERSON WALKING UPRIGHT.
140
00:08:28,233 --> 00:08:31,300
I WISH, MY DEAR COUSIN, YOU
COULD HAVE ENJOYED THE VARIETY
141
00:08:31,333 --> 00:08:33,966
OF BEAUTIFUL PROSPECTS
WE DID ON OUR JOURNEY,
142
00:08:34,700 --> 00:08:37,866
WITHOUT PARTAKING
OF THE FATIGUES.
143
00:08:39,800 --> 00:08:42,300
HOWEVER, CONSIDERING
THE LENGTH OF IT,
144
00:08:42,333 --> 00:08:44,166
I MUST NOT COMPLAIN.
145
00:08:44,200 --> 00:08:46,966
WE TRAVELED GENERALLY ALL
RIGHT AND REACHED THE PLACE OF
146
00:08:47,000 --> 00:08:49,300
OUR FUTURE RESIDENCE,
WHICH IS A VERY
147
00:08:49,333 --> 00:08:52,366
PLEASANTLY SITUATED PLACE.
148
00:08:52,400 --> 00:08:54,533
THE COUNTRY ROUND
IS RATHER FLAT,
149
00:08:54,566 --> 00:08:57,466
BUT THE LAND IS VERY FERTILE.
150
00:08:57,733 --> 00:09:00,066
AUDUBON: THE COUNTRY
WAS SETTLED BY PLANTERS AND
151
00:09:00,100 --> 00:09:04,066
FARMERS OF THE MOST BENEVOLENT
AND HOSPITABLE NATURE.
152
00:09:04,100 --> 00:09:08,900
AND MY YOUNG WIFE, WHO
POSSESSED TALENTS FAR ABOVE PAR,
153
00:09:08,933 --> 00:09:12,366
WAS REGARDED AS A GEM,
AND RECEIVED BY THEM ALL WITH
154
00:09:12,400 --> 00:09:14,900
THE GREATEST PLEASURE.
155
00:09:14,933 --> 00:09:19,066
THIS PLACE SAW MY BEST
DAYS, MY HAPPINESS,
156
00:09:19,100 --> 00:09:23,700
MY WIFE HAVING BLESSED
ME WITH OUR SON, GIFFORD.
157
00:09:23,733 --> 00:09:27,166
THE PLEASURE WHICH I FELT IN
HENDERSON AND UNDER THE ROOF
158
00:09:27,200 --> 00:09:32,100
OF THAT LOG CABIN CAN NEVER
BE ERASED FROM MY HEART.
159
00:09:33,433 --> 00:09:36,600
LUCY AUDUBON: I AM VERY SORRY
THERE IS NO LIBRARY HERE,
160
00:09:36,633 --> 00:09:39,600
OR BOOKSTORE OF ANY KIND,
FOR I HAVE VERY FEW OF MY
161
00:09:39,633 --> 00:09:43,500
OWN AND AS MR. AUDUBON IS
CONSTANTLY AT THE STORE
162
00:09:43,533 --> 00:09:48,166
I SHOULD ENJOY A BOOK
VERY MUCH WHILST I AM ALONE.
163
00:09:48,200 --> 00:09:51,900
AUDUBON: WE HAD MANY GOODS
AND OPENED A LARGE STORE,
164
00:09:51,933 --> 00:09:56,000
WHICH WENT ON PROSPEROUSLY
WHEN I ATTENDED TO IT.
165
00:09:56,033 --> 00:10:00,000
BUT BIRDS WERE BIRDS, AND
MY THOUGHT WE EVER AND ANON
166
00:10:00,033 --> 00:10:04,533
TURNING TOWARDS
THEM, AS NATURE ONLY.
167
00:10:05,400 --> 00:10:08,466
I SELDOM PASSED A DAY
WITHOUT DRAWING A BIRD OR
168
00:10:08,500 --> 00:10:11,666
NOTING SOMETHING
RESPECTING ITS HABITS.
169
00:10:13,566 --> 00:10:16,866
I FELT A GREAT DESIRE TO
MAKE CHOICE OF A STYLE MORE
170
00:10:16,900 --> 00:10:20,433
PARTICULARLY ADAPTED TO
THE IMITATION OF FEATHERS THAN
171
00:10:20,466 --> 00:10:22,633
THE DRAWINGS AND WATERCOLORS
THAT I HAD BEEN IN THE
172
00:10:22,666 --> 00:10:24,733
HABIT OF SEEING.
173
00:10:24,766 --> 00:10:27,666
TO COMPLETE A COLLECTION
NOT ONLY VALUABLE TO THE
174
00:10:27,700 --> 00:10:33,200
SCIENTIFIC CLASS, BUT
PLEASING TO EVERY PERSON.
175
00:10:33,600 --> 00:10:36,633
MY DRAWINGS HAVE ALL BEEN
MADE AFTER INDIVIDUALS FRESH
176
00:10:36,666 --> 00:10:41,566
KILLED, MOSTLY BY MYSELF, AND
PUT UP BEFORE ME BY MEANS OF
177
00:10:41,600 --> 00:10:45,133
WIRE IN THE PRECISE
ATTITUDE PRESENTED.
178
00:10:46,766 --> 00:10:49,500
BUT IN FORMING WORKS
ENTIRELY WITH THE VIEW TO
179
00:10:49,533 --> 00:10:52,800
DISTINGUISH THE
TRUE FROM THE FALSE,
180
00:10:52,833 --> 00:10:56,366
NATURE MUST BE
SEEN FIRST ALIVE.
181
00:10:57,333 --> 00:11:01,133
THE GREAT HORNED OWL IS ONE
OF THE MOST COMMON SPECIES
182
00:11:01,166 --> 00:11:03,933
ALONG THE SHORES OF THE OHIO.
183
00:11:03,966 --> 00:11:06,766
ROBERTA OLSON: THE GREAT
HORNED OWL IS ONE OF AUDUBON'S
184
00:11:06,800 --> 00:11:08,366
EARLY MASTERPIECES.
185
00:11:08,400 --> 00:11:12,933
AND IT SHOWS HIS
MODERN QUALITIES.
186
00:11:12,966 --> 00:11:16,500
HE DID THE BIRD ON
THE RIGHT IN 1814 AS THE
187
00:11:16,533 --> 00:11:19,266
INSCRIPTION SAYS, IN HENDERSON.
188
00:11:19,533 --> 00:11:21,900
AND HE DID IT IN HIS
EARLY TECHNIQUE OF PASTEL,
189
00:11:21,933 --> 00:11:25,566
EVEN THOUGH HE BEGAN TO USE
INK AND OTHER THINGS IN IT,
190
00:11:25,600 --> 00:11:28,300
AND YOU CAN SEE THAT YOU CAN
ALMOST TOUCH THE FEATHERS,
191
00:11:28,333 --> 00:11:30,266
THEY WOULD BE SOFT.
192
00:11:30,300 --> 00:11:33,433
THAT IS THE MALE, WHICH IS
SMALLER THAN THE FEMALE.
193
00:11:33,466 --> 00:11:35,833
THE FEMALE IS ON THE LEFT
AND YOU CAN SEE THAT SHE IS
194
00:11:35,866 --> 00:11:39,266
DIFFERENT NOT ONLY IN HER
PLUMAGE BUT ALSO BY THE MEDIA,
195
00:11:39,300 --> 00:11:41,166
BECAUSE SHE IS
DONE IN WATERCOLOR.
196
00:11:41,200 --> 00:11:44,766
HE HAS OVERLAPPED THE
TWO AND COLLAGED THEM,
197
00:11:44,800 --> 00:11:48,633
OR GLUED THEM DOWN ON
A THIRD SHEET OF PAPER.
198
00:11:51,500 --> 00:11:53,666
DON BOARMAN: BY THE TIME HE'D
BEEN HERE ONLY THREE YEARS...
199
00:11:53,700 --> 00:11:56,900
HE WAS THE THIRD WEALTHIEST
MAN IN HENDERSON.
200
00:11:56,933 --> 00:12:00,333
HE BEGAN TO SPECULATE
IN REAL ESTATE.
201
00:12:00,866 --> 00:12:02,833
CHRISTOPH IRMSCHER:
THEY LIVED QUITE COMFORTABLY,
202
00:12:02,866 --> 00:12:04,133
GIVEN THE FRONTIER CONDITIONS.
203
00:12:04,166 --> 00:12:06,733
THEY HAVE SLAVES, SOMETHING
THAT'S NOT ALWAYS MENTIONED.
204
00:12:06,766 --> 00:12:09,666
DON BOARMAN: IN 1812
THEY'D HAD ANOTHER SON,
205
00:12:09,700 --> 00:12:11,966
JOHN WOODHOUSE AUDUBON.
206
00:12:12,000 --> 00:12:14,400
THE MIDDLE NAMES,
GIFFORD AND WOODHOUSE,
207
00:12:14,433 --> 00:12:16,866
CAME FROM LUCY'S
SIDE OF THE FAMILY.
208
00:12:16,900 --> 00:12:19,900
CHRISTOPH IRMSCHER: HE BECOMES
AN AMERICAN CITIZEN IN 1812,
209
00:12:19,933 --> 00:12:21,433
A NATURALIZED
AMERICAN CITIZEN,
210
00:12:21,466 --> 00:12:24,033
ON A TRIP BACK
TO PHILADELPHIA.
211
00:12:24,066 --> 00:12:29,366
UNFORTUNATELY HE ALSO INVESTS
IN A STEAM MILL THAT BECOMES A
212
00:12:29,400 --> 00:12:32,400
GIGANTIC BUSINESS FAILURE.
213
00:12:32,433 --> 00:12:35,533
AUDUBON: THE BUILDING OF
THAT ACCURSED STEAM MILL WAS,
214
00:12:35,566 --> 00:12:39,200
OF ALL THE FOLLIES OF MAN,
ONE OF THE GREATEST.
215
00:12:39,966 --> 00:12:42,133
I HAD HEAVY BILLS TO PAY,
216
00:12:42,166 --> 00:12:44,133
WHICH I COULD NOT MEET.
217
00:12:44,166 --> 00:12:48,200
I PAID ALL I COULD,
AND LEFT HENDERSON POOR AND
218
00:12:48,233 --> 00:12:50,566
MISERABLE OF THOUGHT.
219
00:12:50,600 --> 00:12:54,400
NOTHING WAS LEFT TO ME
BUT MY HUMBLE TALENTS.
220
00:12:54,800 --> 00:12:57,166
JOHN FITZPATRICK: THERE IS
A TRANSFORMATIONAL MOMENT
221
00:12:57,200 --> 00:12:59,766
IN HIS LIFE,
RIGHT AROUND 1820 I THINK,
222
00:13:00,333 --> 00:13:02,066
WHERE HE JUST SAYS,
223
00:13:02,100 --> 00:13:06,400
"I'M COMMITTED TO THIS
TOTALLY CRAZY IDEA,
224
00:13:06,433 --> 00:13:11,033
OF PAINTING ALL THE BIRDS
IN NORTH AMERICA, IN LIFE SIZE."
225
00:13:13,333 --> 00:13:16,000
I DON'T THINK EVEN AUDUBON
KNEW HOW BIG A JOB THAT WOULD
226
00:13:16,033 --> 00:13:17,900
END UP HAVING TO BE.
227
00:13:17,933 --> 00:13:19,533
KELLY BRENGELMAN: WHEN
THEY WERE DESTITUTE,
228
00:13:19,566 --> 00:13:21,566
AFTER THEY HAD LOST
EVERYTHING IN HENDERSON,
229
00:13:21,600 --> 00:13:24,200
JOHN JAMES KIND OF BECAME
OBSESSED WITH FINDING MORE
230
00:13:24,233 --> 00:13:26,833
BIRDS, AT A TIME WHEN HE
SHOULD HAVE BEEN OBSESSED WITH
231
00:13:26,866 --> 00:13:28,300
FINDING A REAL JOB.
232
00:13:28,333 --> 00:13:30,333
RICHARD RHODES: SO HOW
IS HE GOING TO DO THIS?
233
00:13:30,366 --> 00:13:32,033
HOW IS HE GOING TO
SUPPORT HIS FAMILY?
234
00:13:32,066 --> 00:13:34,833
WELL HE'S NOT, LUCY'S GOING
TO TAKE CARE OF THAT PART.
235
00:13:34,866 --> 00:13:36,566
LUCY IS A TEACHER.
236
00:13:36,600 --> 00:13:40,100
AND HE WILL SIGN
ON TO A FLATBOAT,
237
00:13:42,100 --> 00:13:45,200
DOWN ONE OF THE GREAT BIRD
FLYWAYS OF NORTH AMERICA,
238
00:13:45,766 --> 00:13:48,366
THE CENTRAL FLYWAY
DOWN THE MISSISSIPPI.
239
00:13:53,466 --> 00:13:55,666
AUDUBON: I LEFT
CINCINNATI THIS AFTERNOON AT
240
00:13:55,700 --> 00:13:57,800
HALF PAST FOUR O'CLOCK.
241
00:13:57,833 --> 00:14:01,300
THE FEELINGS OF A HUSBAND
AND FATHER WERE MY LOT,
242
00:14:01,333 --> 00:14:04,233
WHEN I KISSED MY BELOVED
WIFE AND CHILDREN WITH AN
243
00:14:04,266 --> 00:14:07,766
EXPECTATION OF BEING
ABSENT FOR SEVEN MONTHS.
244
00:14:08,666 --> 00:14:12,600
I AM ONBOARD A KEELBOAT
GOING DOWN TO NEW ORLEANS,
245
00:14:12,633 --> 00:14:15,400
THE POOREST MAN ON IT.
246
00:14:16,166 --> 00:14:18,233
RICHARD RHODES: THE BOATS
NEEDED SOMEONE ABOARD WHO
247
00:14:18,266 --> 00:14:20,100
WOULD BE A POT HUNTER,
248
00:14:20,133 --> 00:14:22,666
WHO WOULD GET OFF WHEN
THEY PULLED OVER TO THE BANK
249
00:14:22,700 --> 00:14:25,633
AND GO FIND SOME ANIMALS IN
THE FOREST TO SHOOT THAT THEY
250
00:14:25,666 --> 00:14:27,733
COULD COOK UP FOR FOOD.
251
00:14:27,766 --> 00:14:32,900
THAT WOULD BE HOW HE WOULD
PAY HIS WAY DOWN THE RIVER.
252
00:14:37,533 --> 00:14:40,133
AUDUBON: THIS
AFTERNOON BEING CALM,
253
00:14:40,166 --> 00:14:43,200
WITH ONE OF THOSE
WHIMSICAL SUNSETS THAT ONLY
254
00:14:43,233 --> 00:14:46,666
BELONG TO AMERICA.
255
00:14:48,133 --> 00:14:51,433
AS NIGHT CAME,
OUR MINDS BECAME AFFECTED BY
256
00:14:51,466 --> 00:14:54,066
STRONG EMOTIONS.
257
00:14:54,100 --> 00:14:58,333
I LOOKED AT MY DRAWINGS, AND
PARTICULARLY AT THAT OF MY
258
00:14:58,366 --> 00:15:00,333
BELOVED WIFE.
259
00:15:00,366 --> 00:15:03,400
I LIKE TO SPEND ABOUT
ONE HOUR IN THOUGHTS DEVOTED
260
00:15:03,433 --> 00:15:06,166
TO MY FAMILY.
261
00:15:07,233 --> 00:15:11,800
THE MORNING BROKE, AND WITH
IT MIRTH, ALL ABOUT US.
262
00:15:16,933 --> 00:15:20,833
THEY ARE NOT THE SOFT SOUND
OF THE FLUTE THAT I HEAR,
263
00:15:23,166 --> 00:15:26,933
BUT THE SWEETER NOTES
OF NATURE'S OWN MUSIC,
264
00:15:27,666 --> 00:15:30,966
CHEERING THE APPROACH OF
A BENEVOLENT, SHINING DAY.
265
00:15:31,000 --> 00:15:34,233
I NEVER FOR A DAY GAVE
UP LISTENING TO THE
266
00:15:34,266 --> 00:15:36,366
SONGS OF OUR BIRDS...
267
00:15:36,400 --> 00:15:38,866
OR WATCHING THEIR
PECULIAR HABITS,
268
00:15:38,900 --> 00:15:43,300
AND DELINEATING THEM IN
THE BEST WAY THAT I COULD.
269
00:15:43,900 --> 00:15:46,733
I THOUGHT THAT I NOW DREW
BIRDS FAR BETTER THAN I HAD
270
00:15:46,766 --> 00:15:51,133
EVER DONE BEFORE MISFORTUNE
INTENSIFIED OR AT LEAST
271
00:15:51,166 --> 00:15:54,233
DEVELOPED MY ABILITIES.
272
00:15:54,266 --> 00:15:56,533
RICHARD RHODES: AUDUBON
REALLY HAD REACHED THE POINT
273
00:15:56,566 --> 00:15:58,700
WHERE HE COULD
BEAUTIFULLY DRAW A BIRD,
274
00:15:58,733 --> 00:16:00,700
IN THREE DIMENSIONS,
275
00:16:00,733 --> 00:16:03,166
AND AS HE SAID THE
ATTITUDE OF LIFE.
276
00:16:03,200 --> 00:16:06,100
HE OBSERVED THE BIRDS
IN THEIR NATURAL ENVIRONMENT
277
00:16:06,133 --> 00:16:10,000
FOR HOURS AND HOURS
AND DAYS AND DAYS.
278
00:16:12,400 --> 00:16:16,500
AUDUBON: I RECEIVED TWO LETTERS
FROM MY BELOVED WIFE TODAY.
279
00:16:16,533 --> 00:16:19,200
I HOPE THAT MY FAMILY
WISHES ME AS GOOD A CHRISTMAS
280
00:16:19,233 --> 00:16:22,233
AS I DO THEM.
281
00:16:22,266 --> 00:16:25,566
SUNDAY, JANUARY 7, 1821.
282
00:16:27,066 --> 00:16:30,333
AT NEW ORLEANS AT LAST.
283
00:16:30,533 --> 00:16:33,933
WE ARRIVED HERE ABOUT
EIGHT O'CLOCK THIS MORNING.
284
00:16:35,466 --> 00:16:38,566
DANNY HEITMAN: AUDUBON
ARRIVED EARLY IN 1821.
285
00:16:38,600 --> 00:16:41,233
IN SHORT ORDER HE HAD
HIS POCKET PICKED,
286
00:16:41,266 --> 00:16:43,566
HE SUFFERED A HANGOVER.
287
00:16:43,600 --> 00:16:47,033
AUDUBON: I AROSE EARLY,
TORMENTED BY MANY DISAGREEABLE
288
00:16:47,066 --> 00:16:50,666
THOUGHTS, WITHOUT A CENT
IN A BUSTLING CITY WHERE
289
00:16:50,700 --> 00:16:53,866
NO-ONE CARES A FIG FOR
A MAN IN MY SITUATION.
290
00:16:54,766 --> 00:16:59,266
DANNY HEITMAN: IN THE SPRING
OF 1821 HE'S DESTITUTE,
291
00:16:59,700 --> 00:17:01,766
HE'S DOWN ON HIS
LUCK, HE'S DEPRESSED,
292
00:17:01,800 --> 00:17:05,266
AND HE'S QUITE POSSIBLY ABOUT
TO GIVE UP ON THIS AMBITION HE
293
00:17:05,300 --> 00:17:10,666
HAS TO BE A FULL-TIME BIRD
ARTIST AND TO CONTINUE HIS
294
00:17:10,700 --> 00:17:13,133
WORK ON THE BIRDS OF AMERICA.
295
00:17:13,166 --> 00:17:14,966
IT'S AT THAT POINT...
296
00:17:15,000 --> 00:17:20,966
THAT HE MEETS LUCRETIA PERRY,
WHO IS THE WEALTHY MISTRESS OF
297
00:17:21,000 --> 00:17:22,866
OAKLEY PLANTATION...
298
00:17:22,900 --> 00:17:26,066
IN ST. FRANCISVILLE,
NEAR NEW ORLEANS.
299
00:17:26,100 --> 00:17:30,000
LUCRETIA WANTS AUDUBON TO
TUTOR HER DAUGHTER ELIZA,
300
00:17:30,033 --> 00:17:31,800
WHO'S FIFTEEN YEARS OLD.
301
00:17:31,833 --> 00:17:35,766
HE'S TO SPEND HALF OF HIS TIME
TUTORING ELIZA AND THE OTHER
302
00:17:35,800 --> 00:17:38,933
HALF OF HIS TIME HE CAN
COMB THESE WONDERFUL WOODS
303
00:17:38,966 --> 00:17:42,500
HERE FOR HIS BIRD SPECIMENS.
304
00:17:44,500 --> 00:17:46,733
AUDUBON: THE WOODS
HERE HAVE A NEW AND
305
00:17:46,766 --> 00:17:49,333
VERY ROMANTIC APPEARANCE.
306
00:17:49,366 --> 00:17:52,566
THE MOSS ON EVERY TREE
DARKENS THE UNDERGROWTH AND
307
00:17:52,600 --> 00:17:56,700
AFFORDS TO THE MELANCHOLY
MIND A RETREAT.
308
00:17:58,833 --> 00:18:03,066
MY BELOVED BIRDS OF
AMERICA FILL ALL MY TIME,
309
00:18:03,100 --> 00:18:07,066
AND NEARLY ALL MY THOUGHTS.
310
00:18:08,900 --> 00:18:13,033
I KNOW OF NO SPECIES
SO GAY OR FROLICSOME AS THE
311
00:18:13,066 --> 00:18:14,866
RED-HEADED WOODPECKER.
312
00:18:14,900 --> 00:18:18,633
THEY FIND A SUPERABUNDANCE
OF FOOD EVERYWHERE,
313
00:18:18,666 --> 00:18:22,666
AS WELL AS THE BEST FACILITIES
FOR RAISING THEIR BROODS.
314
00:18:25,033 --> 00:18:27,633
THE LITTLE LABOR THAT
THEY PERFORM IS ITSELF A
315
00:18:27,666 --> 00:18:30,033
SOURCE OF ENJOYMENT.
316
00:18:30,300 --> 00:18:32,366
JOHN FITZPATRICK: I MEAN
THIS IS NOT JUST AN ARTIST.
317
00:18:32,400 --> 00:18:35,133
THIS IS A GUY WHO IS
PASSIONATE ABOUT THESE THINGS,
318
00:18:35,166 --> 00:18:37,566
HE'S CURIOUS ABOUT
WHAT THEY'RE DOING,
319
00:18:37,600 --> 00:18:40,000
AND HE WANTS TO PUT ALL THAT
ONTO PAPER AND LET OTHER
320
00:18:40,033 --> 00:18:41,500
PEOPLE ENJOY THAT.
321
00:18:41,533 --> 00:18:45,233
THAT WAS REVOLUTIONARY,
COMPLETELY NEW.
322
00:18:45,266 --> 00:18:49,700
SO HE'S DEPICTING
PLUMAGE MUCH MORE ACCURATELY
323
00:18:49,733 --> 00:18:51,400
THAN ANYBODY EVER HAD.
324
00:18:51,433 --> 00:18:54,766
HE'S DEPICTING POSTURES
FAR MORE ACCURATELY AND
325
00:18:54,800 --> 00:18:58,500
WITH FAR MORE, WELL,
PASSION THAN ANYBODY EVER HAD.
326
00:18:58,533 --> 00:19:02,133
AND HE'S DEPICTING BEHAVIORS,
ACTUAL GENUINE BEHAVIORS THAT
327
00:19:02,166 --> 00:19:04,666
THE BIRDS DO IN REAL LIFE,
328
00:19:04,700 --> 00:19:07,133
MUCH MORE ACCURATELY
THAN ANYBODY EVER HAD.
329
00:19:07,166 --> 00:19:09,233
RICHARD RHODES: BIRD
ILLUSTRATIONS HAD BEEN
330
00:19:09,266 --> 00:19:11,633
BASICALLY, BEFORE AUDUBON,
331
00:19:11,666 --> 00:19:14,200
FOR PURPOSES
OF BIRD IDENTIFICATION.
332
00:19:14,233 --> 00:19:16,500
REMEMBER THIS WAS
BEFORE PHOTOGRAPHY,
333
00:19:16,900 --> 00:19:20,666
HE HAD TO ENVISION
THIS SOMEHOW IN HIS MIND
334
00:19:20,700 --> 00:19:22,666
FROM DEAD SPECIMENS.
335
00:19:23,266 --> 00:19:25,633
ROBERTA OLSON: AND
HE SAW THEM MOVING.
336
00:19:25,666 --> 00:19:29,266
THEREFORE IN HIS WATERCOLORS
YOU WOULD HAVE THE BIRDS
337
00:19:29,300 --> 00:19:32,366
MOVING BEYOND THE FRAME,
THEY WOULD BE COMING IN
338
00:19:32,400 --> 00:19:34,200
FROM THE LEFT,
MOVING OFF TO THE RIGHT,
339
00:19:34,233 --> 00:19:36,100
THEY'D BE FLYING
OFF OF THE TOP.
340
00:19:36,133 --> 00:19:38,700
AND MANY OF THE BIRDS YOU
WILL SEE LIFTING THEIR FEET AND
341
00:19:38,733 --> 00:19:41,900
YOU SWEAR THAT IF YOU BLINK
THEY WILL EITHER FLY AWAY
342
00:19:41,933 --> 00:19:44,900
OR STEP OFF THAT
PIECE OF PAPER.
343
00:19:44,933 --> 00:19:48,066
AND HE RECOUNTS HOW THIS
VERY EPISODE OF THE RED-TAILED
344
00:19:48,100 --> 00:19:50,566
HAWKS HE VIEWED
WITH HIS OWN EYES.
345
00:19:50,600 --> 00:19:54,200
A FEMALE HAD GRABBED A
RABBIT IN HER TALONS AND
346
00:19:54,233 --> 00:19:58,700
WAS GOING OFF WITH IT
WHEN HER MATE ATTACKED HER.
347
00:20:00,333 --> 00:20:02,533
CHRISTOPH IRMSCHER: THERE
IS NEVER A SIMPLE NARRATIVE
348
00:20:02,566 --> 00:20:04,800
THAT AUDUBON GIVES YOU IN
HIS BEST COMPOSITIONS.
349
00:20:04,833 --> 00:20:07,933
YOUR EYE IS DIRECTED INTO
MANY DIFFERENT DIRECTIONS,
350
00:20:07,966 --> 00:20:10,533
WHICH IS WHY THESE
IMAGES ARE NEVER DULL,
351
00:20:10,566 --> 00:20:12,000
THEY'RE NEVER BORING.
352
00:20:12,033 --> 00:20:14,566
YOU SEE THE EYE OF THE MALE,
YOU SEE THE EYE OF THE FEMALE,
353
00:20:14,600 --> 00:20:17,333
YOU SEE THEIR BEAKS, YOU SEE
THE OPEN BEAK OF THE MALE.
354
00:20:17,366 --> 00:20:21,266
AND AUDUBON DOES ENCOURAGE
THAT KIND OF FEELING,
355
00:20:21,300 --> 00:20:24,966
THAT WE ARE PART OF THE
IMAGE THAT HE PRESENTS TO US.
356
00:20:25,000 --> 00:20:27,966
DANNY HEITMAN: I THINK WHAT'S
REALLY IMPRESSIVE ABOUT
357
00:20:28,000 --> 00:20:32,000
AUDUBON IS HIS
PHENOMENAL ENERGY.
358
00:20:32,033 --> 00:20:36,966
WHILE HE WAS HERE AT OAKLEY
HE WOULD RISE BEFORE DAWN,
359
00:20:37,000 --> 00:20:40,500
HE WOULD GO OFF INTO THE WOODS
TO LOOK FOR BIRD SPECIMENS,
360
00:20:40,533 --> 00:20:43,633
COME BACK, DO HIS TUTORING.
361
00:20:43,666 --> 00:20:46,633
HE'D BE OUT IN THE
AFTERNOON, AFTER HIS TEACHING
362
00:20:46,666 --> 00:20:52,033
RESPONSIBILITIES, AND HE
WOULD OFTEN BE WRITING LATE
363
00:20:52,066 --> 00:20:55,700
INTO THE NIGHT, RECORDING
HIS EXPERIENCES HERE,
364
00:20:55,733 --> 00:20:58,566
AND OF COURSE KEEPING UP
WITH HIS CORRESPONDENCE.
365
00:20:58,600 --> 00:21:01,400
HE HAD A TIRELESS ENERGY.
366
00:21:01,433 --> 00:21:04,733
OF COURSE HE BROUGHT
BACK SPECIMENS HERE.
367
00:21:04,766 --> 00:21:09,566
IT'S VERY HOT, IT'S AT
THE HEIGHT OF SUMMER.
368
00:21:09,600 --> 00:21:15,700
AND THERE ARE NOTES IN HIS
JOURNAL ABOUT WORKING VERY
369
00:21:15,733 --> 00:21:19,866
HARD TO DRAW A
PICTURE OF A RATTLESNAKE
370
00:21:21,400 --> 00:21:23,833
BEFORE IT DECOMPOSES.
371
00:21:23,866 --> 00:21:27,733
THIS IS NOT THE SORT OF
PERSON THAT ONE WOULD IDEALLY
372
00:21:27,766 --> 00:21:31,000
WANT TO HAVE AROUND YOUR HOUSE.
373
00:21:31,300 --> 00:21:33,800
RICHARD RHODES: THERE'S A GOOD
DEAL OF CORRESPONDENCE THAT
374
00:21:33,833 --> 00:21:37,966
SURVIVES BETWEEN LUCY AND
JOHN JAMES DURING THIS PERIOD
375
00:21:38,000 --> 00:21:42,666
THAT HE'S IN NEW ORLEANS
AND UP RIVER ON THE PLANTATION.
376
00:21:42,700 --> 00:21:45,833
SHE'S NOT VERY
HAPPY AT THIS POINT.
377
00:21:45,866 --> 00:21:48,966
SHE'S LIVING WITH RELATIVES,
WHICH IS ALWAYS PAINFUL,
378
00:21:49,000 --> 00:21:51,466
PARTICULARLY IF YOU'VE HAD
YOUR OWN ESTABLISHMENT AND ALL
379
00:21:51,500 --> 00:21:53,700
OF THOSE THINGS BEFORE.
380
00:21:53,733 --> 00:21:56,266
SHE HAS HER TWO YOUNG
SONS SHE TAKING CARE OF AND
381
00:21:56,300 --> 00:21:58,033
TRYING TO SCHOOL.
382
00:21:58,066 --> 00:22:00,500
THERE'S A GOOD DEAL OF HER
BEING CONCERNED THAT HE'S
383
00:22:00,533 --> 00:22:02,033
FORGOTTEN HER.
384
00:22:02,066 --> 00:22:04,333
THAT HE PERHAPS DOESN'T
LOVE HER ANYMORE.
385
00:22:04,366 --> 00:22:08,300
THE SOLUTION WAS TO BRING
LUCY DOWN TO LOUISIANA.
386
00:22:09,600 --> 00:22:11,166
KELLY BRENGELMAN:
THIS IS AT THE POINT WHERE
387
00:22:11,200 --> 00:22:13,466
SHE FINALLY SAW THE BIRDS
THAT HE HAD DRAWN THERE.
388
00:22:13,500 --> 00:22:15,600
AND EVERYTHING MELTED AWAY.
389
00:22:15,633 --> 00:22:17,100
HER ANGER JUST WENT AWAY.
390
00:22:17,133 --> 00:22:20,133
SHE SAW THE WORK THAT HE
WAS CREATING AND SHE KNEW
391
00:22:20,166 --> 00:22:22,400
THAT THIS WAS GOING TO
BE VERY, VERY POPULAR.
392
00:22:22,433 --> 00:22:24,333
SO ALL WAS FORGIVEN
AT THIS POINT.
393
00:22:24,366 --> 00:22:26,600
ALL WAS FORGIVEN.
394
00:22:26,833 --> 00:22:30,100
RICHARD RHODES: AND WITH
HER SET OF SKILLS SHE FIT IN
395
00:22:30,133 --> 00:22:34,800
PERFECTLY TO SERVE AS THE
COMPLETE TEACHER ON THE
396
00:22:34,833 --> 00:22:38,333
PLANTATIONS OF THESE WEALTHY
SOUTHERNERS WHO WANTED THEIR
397
00:22:38,366 --> 00:22:41,500
CHILDREN TO
HAVE THE FINER TOUCHES OF
398
00:22:41,533 --> 00:22:43,800
A EUROPEAN EDUCATION.
399
00:22:43,833 --> 00:22:48,166
AND THEY MADE AN ADEQUATE
LIVING THAT WAY WHILE HE
400
00:22:48,200 --> 00:22:51,866
COLLECTED IN THIS
PARADISE IN LOUISIANA.
401
00:22:53,600 --> 00:22:57,266
WHEN AUDUBON STUDIED BIRDS
HE WASN'T ABLE TO GO TO A
402
00:22:57,300 --> 00:23:00,900
PARK SOMEWHERE AND SIT ON
A BENCH AND WATCH THE BIRDS
403
00:23:01,633 --> 00:23:03,500
FLY AND SO ON.
404
00:23:03,533 --> 00:23:05,300
HE HAD TO GO INTO
THE WILDERNESS.
405
00:23:05,333 --> 00:23:07,233
HE DID IT MOSTLY ON FOOT.
406
00:23:07,266 --> 00:23:09,733
HE WAS A FAMOUS WALKER,
407
00:23:09,766 --> 00:23:12,200
HE COULD WALK
FORTY MILES IN A DAY.
408
00:23:12,233 --> 00:23:14,433
AND HE WASN'T WALKING ON
A NICE SMOOTH SURFACE,
409
00:23:14,466 --> 00:23:17,666
HE WAS WALKING THROUGH
OPEN FOREST OR PRAIRIE.
410
00:23:17,700 --> 00:23:24,400
ALL OF THIS IN THE SERVICE OF
UNDERSTANDING THE BIRDS NOT
411
00:23:24,433 --> 00:23:28,066
SIMPLY AS DEAD SPECIMENS BUT
AS LIVING CREATURES WHO HAD
412
00:23:28,100 --> 00:23:31,000
LIFE CYCLES OF THEIR OWN.
413
00:23:33,866 --> 00:23:35,966
AUDUBON: THE FAMILIARITY
OF THE HOUSE WREN
414
00:23:36,000 --> 00:23:38,333
IS EXTREMELY PLEASING.
415
00:23:38,366 --> 00:23:40,933
THIS SWEET LITTLE BIRD
DELIGHTS IN BEING ABOUT THE
416
00:23:40,966 --> 00:23:44,033
HABITATIONS OF MAN.
417
00:23:44,400 --> 00:23:47,466
I KNEW OF ONE NEST IN
SUCH AN OLD HAT AS YOU SEE
418
00:23:47,500 --> 00:23:50,200
REPRESENTED BEFORE YOU.
419
00:23:51,766 --> 00:23:54,000
CHRISTOPH IRMSCHER: THE HOUSE
WREN IS ONE OF MY FAVORITE
420
00:23:54,033 --> 00:23:57,833
IMAGES BECAUSE IT SHOWS THAT
AUDUBON HAS A SENSE OF HUMOR.
421
00:23:57,866 --> 00:24:00,566
IT'S ONE OF THE FEW PAINTINGS
WHERE AUDUBON GETS EVIDENCE OF
422
00:24:00,600 --> 00:24:02,466
HUMAN LIFE RIGHT
INTO THE PAINTING,
423
00:24:02,500 --> 00:24:06,333
AND BIRDS HAVE REPURPOSED
IT FOR THEIR OWN LIVES,
424
00:24:06,366 --> 00:24:08,700
USING IT AS A HABITATION.
425
00:24:08,733 --> 00:24:11,233
YOU SEE EXCREMENT
DRIFTING DOWN THE HAT...
426
00:24:11,266 --> 00:24:13,500
AS IF THE BIRDS WERE
EXPRESSING THEMSELVES.
427
00:24:13,533 --> 00:24:16,233
YOU KNOW, EXPRESSING THEIR
OWN OPINION OF WHAT HUMANKIND
428
00:24:16,266 --> 00:24:17,600
MEANS TO THEM.
429
00:24:17,633 --> 00:24:19,566
JOHN FITZPATRICK: THERE'S
ONE OF AUDUBON'S PAINTINGS
430
00:24:19,600 --> 00:24:21,433
THAT I PARTICULARLY LIKE
AS AN ILLUSTRATION OF THE
431
00:24:21,466 --> 00:24:24,333
THOUGHT THAT HE PUT INTO
THESE COMPOSITIONS.
432
00:24:24,366 --> 00:24:27,200
THE CAROLINA PARAKEET IS A
SPECTACULAR ONE WITH A WHOLE
433
00:24:27,233 --> 00:24:31,700
BUNCH OF PARAKEETS, KIND
OF ARRANGED IN A BIG S CURVE
434
00:24:31,733 --> 00:24:33,733
DOWN THE PAGE, AND
EVERY SINGLE PARAKEET'S IN
435
00:24:33,766 --> 00:24:35,533
A DIFFERENT POSTURE.
436
00:24:35,566 --> 00:24:37,300
ONE OF THEM NEAR THE
BOTTOM AND HE'S LOOKING
437
00:24:37,333 --> 00:24:38,866
STRAIGHT AT YOU.
438
00:24:38,900 --> 00:24:42,066
AND HE'S DISPLAYING ALL THEIR
FEATHERS AND THEIR DIFFERENT
439
00:24:42,100 --> 00:24:44,000
POSTURES IN THAT ONE PAINTING,
AND IT'S ALL BROUGHT TOGETHER
440
00:24:44,033 --> 00:24:48,800
IN A BEAUTIFUL MOSAIC OF
PATTERN THAT IS BRILLIANT.
441
00:24:49,400 --> 00:24:52,400
ROBERTA OLSON: THIS IS THE
ONLY PARROT NATIVE TO AMERICA,
442
00:24:52,433 --> 00:24:55,466
AND AUDUBON FIRST
SAW IT IN 1808.
443
00:24:55,500 --> 00:25:00,833
THIS WATERCOLOR HOWEVER
DATES FROM AROUND 1825.
444
00:25:00,866 --> 00:25:03,033
JAMIE WYETH: IF YOU LOOK AT
WATERCOLOR BEFORE AUDUBON CAME
445
00:25:03,066 --> 00:25:05,633
ALONG IT WAS RATHER,
YOU KNOW, WASHES AND RATHER
446
00:25:05,666 --> 00:25:07,300
PROSAIC AND WHATNOT.
447
00:25:07,333 --> 00:25:09,166
HE JUST ZEROED RIGHT IN.
448
00:25:09,200 --> 00:25:12,200
I MEAN THE EYEBALL OF A
BIRD AND THE GLEAM OF IT.
449
00:25:12,233 --> 00:25:15,033
AND THIS IS WATERCOLOR!
450
00:25:15,066 --> 00:25:17,600
TECHNICALLY, AS A
WATERCOLORIST HE WAS ONE OF
451
00:25:17,633 --> 00:25:20,500
THE GIANTS OF THE
MEDIUM AND HE TOOK WATERCOLOR
452
00:25:20,533 --> 00:25:23,100
TO ANOTHER LEVEL.
453
00:25:23,133 --> 00:25:25,100
SO MY FATHER WAS JUST
INTRIGUED WITH THAT.
454
00:25:25,133 --> 00:25:29,633
I THINK JOHN JAMES AUDUBON
AND ALBRECHT DURER ARE THE TWO
455
00:25:29,666 --> 00:25:31,866
PEOPLE IN WATERCOLOR THAT
MY FATHER ABSOLUTELY ADORED.
456
00:25:32,700 --> 00:25:35,400
HE'S A REMARKABLE
TECHNICIAN AND NOT RESTRICTED
457
00:25:35,433 --> 00:25:37,333
BY HIS MEDIUM.
458
00:25:38,066 --> 00:25:40,200
JOHN FITZPATRICK: HE STARTED
TO ACTUALLY REALLY FLOURISH
459
00:25:40,233 --> 00:25:42,633
WITH THE STYLE THAT
BECAME SIGNATURE AUDUBON,
460
00:25:42,666 --> 00:25:44,266
WITH LOTS OF BEHAVIOR.
461
00:25:44,300 --> 00:25:46,233
HE WAS SHOWING OFF.
462
00:25:46,266 --> 00:25:48,966
AND HE'S DOING THAT
WITH HIS PAINTINGS.
463
00:25:49,000 --> 00:25:51,733
AUDUBON: I HAVE REPRESENTED
TEN OF THESE PRETTY AND
464
00:25:51,766 --> 00:25:55,133
MOST INTERESTING BIRDS
IN VARIOUS POSITIONS.
465
00:25:55,400 --> 00:26:00,933
FLITTING, FEEDING OR
SITTING ON THE SLENDER STALK
466
00:26:01,466 --> 00:26:05,500
OF THE TRUMPET FLOWER AND
PRUNING THEMSELVES.
467
00:26:05,733 --> 00:26:08,200
ROBERTA OLSON: MOST CERTAINLY
AUDUBON SAW RUBY-THROATED
468
00:26:08,233 --> 00:26:10,500
HUMMINGBIRDS IN LOUISIANA.
469
00:26:10,533 --> 00:26:14,566
AMONG THE MANY KINDS OF
MEDIA AUDUBON EMPLOYED HERE
470
00:26:14,600 --> 00:26:17,900
WAS ONE THAT REALLY SORT
OF KNOCKS YOUR SOCKS OFF.
471
00:26:17,933 --> 00:26:22,233
THAT IS THE APPLICATION
OF GOLD AND COPPER COLORED
472
00:26:22,266 --> 00:26:24,600
METALLIC PIGMENTS.
473
00:26:24,633 --> 00:26:27,900
YOU CAN ONLY SEE THEM WHEN
YOU TIP THE PAPER SO THAT THEY
474
00:26:27,933 --> 00:26:30,933
CATCH THE LIGHT.
475
00:26:31,333 --> 00:26:33,833
AND AS EVERYONE KNOWS WHO
HAS WATCHED RUBY-THROATED
476
00:26:33,866 --> 00:26:36,966
HUMMINGBIRDS, THAT IS EXACTLY
THE WAY THEY LOOK WHEN THE
477
00:26:37,000 --> 00:26:39,533
LIGHT CATCHES THEIR FEATHERS.
478
00:26:41,400 --> 00:26:43,966
AUDUBON: THIS GLITTERING
FRAGMENT OF THE RAINBOW IS
479
00:26:44,000 --> 00:26:46,933
SEEN ADVANCING ON FAIRY WINGS,
480
00:26:46,966 --> 00:26:50,966
CAREFULLY VISITING
EVERY OPEN FLOWER CUP.
481
00:26:51,566 --> 00:26:55,866
IT MOVES FROM ONE FLOWER TO
ANOTHER LIKE A GLEAM OF LIGHT.
482
00:26:55,900 --> 00:27:00,300
UPWARDS, DOWNWARDS, TO
THE RIGHT, TO THE LEFT.
483
00:27:02,166 --> 00:27:04,300
JOHN FITZPATRICK: BY THE
MID-TWENTIES AUDUBON HAS
484
00:27:04,333 --> 00:27:07,166
ACCUMULATED A PRETTY AMAZING
COLLECTION OF PAINTINGS,
485
00:27:07,200 --> 00:27:09,633
AND HE'S GOTTEN VERY,
VERY GOOD AT THESE THINGS.
486
00:27:09,666 --> 00:27:11,866
HE'S NOW READY TO SAY, WELL,
I'VE GOT TO MAKE SOME MONEY
487
00:27:11,900 --> 00:27:13,466
OFF THIS FINALLY.
488
00:27:13,500 --> 00:27:16,066
SO HIS FIRST EFFORT OF
COURSE IS GO TO THE EAST COAST
489
00:27:16,100 --> 00:27:18,700
OF THE U.S. AND TRY
TO GET SOME TRACTION THERE.
490
00:27:18,733 --> 00:27:21,433
AND BASICALLY HE FALLS FLAT.
491
00:27:21,466 --> 00:27:25,966
AUDUBON WAS NOT VIEWED BY
THE SCIENCE COGNOSCENTI IN
492
00:27:26,000 --> 00:27:29,033
PHILADELPHIA AS ANYTHING
EXCEPT A PIONEER GUY,
493
00:27:29,066 --> 00:27:30,366
A WOODSMAN OUT IN THE WEST.
494
00:27:30,400 --> 00:27:33,333
DON BOARMAN: HE GIVES THE GOOD
NEWS AND THE BAD NEWS TO LUCY.
495
00:27:33,366 --> 00:27:37,466
THE BAD NEWS IS I DID NOT FIND
AN ENGRAVER OR A PUBLISHER OR
496
00:27:37,500 --> 00:27:40,600
ANYBODY INTERESTED IN
HELPING ME PROMOTE THIS IDEA.
497
00:27:42,100 --> 00:27:46,333
THE GOOD NEWS IS EVERYBODY
LOVES MY PAINTINGS.
498
00:27:46,366 --> 00:27:49,166
AND THEY TELL ME THAT I REALLY
NEED TO GO TO ENGLAND OR
499
00:27:49,200 --> 00:27:51,266
FRANCE TO GET THIS DONE.
500
00:27:51,300 --> 00:27:54,733
SO THEY BOTH AGREE THIS
IS WHAT HE NEEDS TO DO.
501
00:27:54,766 --> 00:27:59,433
SHE BEGINS WORKING, TEACHING,
HE AGAIN FARMS HIMSELF OUT
502
00:27:59,466 --> 00:28:02,366
TEACHING EVERYTHING
HE COULD THINK OF.
503
00:28:02,400 --> 00:28:05,600
AND THEY MANAGE TO SAVE
A GOOD BIT OF MONEY.
504
00:28:05,933 --> 00:28:10,566
BY 1826 HE TAKES HIS
DRAWINGS AND GETS ON A BOAT
505
00:28:10,600 --> 00:28:13,966
HEADED TO LIVERPOOL, ENGLAND.
506
00:28:14,000 --> 00:28:16,133
AUDUBON: I LEAVE
MY BELOVED AMERICA,
507
00:28:16,166 --> 00:28:20,800
MY WIFE, MY CHILDREN,
AND ACQUAINTANCES.
508
00:28:20,833 --> 00:28:23,933
THE PURPOSE OF THIS VOYAGE
IS TO VISIT ENGLAND WITH THE
509
00:28:23,966 --> 00:28:28,266
INTENTION OF PUBLISHING MY
WORK OF THE BIRDS OF AMERICA.
510
00:28:30,433 --> 00:28:34,166
MY SITUATION APPEARS
PRECARIOUS IN THE EXTREME.
511
00:28:34,933 --> 00:28:37,933
I IMAGINE THAT EVERY
INDIVIDUAL WHOM I AM ABOUT TO
512
00:28:37,966 --> 00:28:42,033
MEET POSSESSES TALENTS
SUPERIOR TO THOSE OF ANY ON
513
00:28:42,066 --> 00:28:44,666
OUR SIDE OF THE ATLANTIC.
514
00:28:44,900 --> 00:28:47,966
THE BIRD SEIZED WHEN
SITTING ON HER NEST...
515
00:28:48,000 --> 00:28:50,900
COULD NOT BE MORE TERRIFIED.
516
00:28:52,533 --> 00:28:54,733
DON BOARMAN:
AUDUBON NOW IS LONELY,
517
00:28:54,766 --> 00:28:56,133
HE'S IN A FOREIGN COUNTRY...
518
00:28:56,166 --> 00:28:58,433
HE'S SCARED OUT OF HIS MIND.
519
00:28:58,466 --> 00:29:02,600
BECAUSE HE KNOWS THAT
THIS IS HIS LAST SHOT.
520
00:29:03,833 --> 00:29:06,600
HE'S MEETING PEOPLE
HE DOES NOT KNOW,
521
00:29:06,633 --> 00:29:09,933
HE'S DEPENDING ON THE
BENEVOLENCE OF PEOPLE HE
522
00:29:09,966 --> 00:29:15,366
DOES NOT KNOW AND
IF HE FAILS HERE...
523
00:29:17,166 --> 00:29:18,933
IT'S DONE.
524
00:29:18,966 --> 00:29:22,100
ALL THESE LAST FEW YEARS
OF WORK WERE FOR NOTHING.
525
00:29:22,133 --> 00:29:24,966
ALL THOSE PEOPLE,
INCLUDING HIS IN-LAWS,
526
00:29:25,000 --> 00:29:30,533
WHO HAD RIDICULED HIM,
THIS IS ALL WEARING ON HIM NOW.
527
00:29:31,800 --> 00:29:35,433
BECAUSE IF HE CAN'T MAKE
THIS WORK THEN MAYBE THEY
528
00:29:35,466 --> 00:29:39,433
WERE RIGHT AND I AM A
WORTHLESS NO-GOOD JERK,
529
00:29:39,466 --> 00:29:43,033
AND POOR LUCY HAS REALLY
MADE A BAD CHOICE.
530
00:29:46,800 --> 00:29:49,300
RICHARD RHODES: HE HAD AN
INTRODUCTION TO SOMEONE WHO
531
00:29:49,333 --> 00:29:52,733
BRUSHED HIM OFF WHEN HE
SHOWED UP IN HIS ROUGH COUNTRY
532
00:29:52,766 --> 00:29:56,166
BUCKSKINS WITH HIS HAIR
DOWN TO HIS SHOULDERS.
533
00:29:56,200 --> 00:29:59,066
AND HE REALLY WAS
LOST IN THE MIDDLE OF THIS
534
00:29:59,100 --> 00:30:01,066
TOTALLY NEW WORLD.
535
00:30:01,100 --> 00:30:05,100
BUT HE MADE A CONNECTION AND
WITHIN A FEW WEEKS WAS TAKEN
536
00:30:05,133 --> 00:30:08,300
UP BY ONE OF THE FIRST
FAMILIES OF LIVERPOOL.
537
00:30:08,333 --> 00:30:10,733
THEY THOUGHT
MR. AUDUBON WAS A TRUE AND
538
00:30:10,766 --> 00:30:13,466
AUTHENTIC AMERICAN ORIGINAL.
539
00:30:13,500 --> 00:30:17,666
AND HE SLIPPED INTO THIS
ROLE OF THE "AMERICAN WOODSMAN",
540
00:30:17,700 --> 00:30:19,600
AS HE CALLED HIMSELF.
541
00:30:19,633 --> 00:30:21,033
AND HE PERFORMED,
542
00:30:21,066 --> 00:30:23,066
HE WOULD BE INVITED
TO DINNER...
543
00:30:23,100 --> 00:30:26,700
HE'D WEAR HIS COUNTRY
CLOTHES, HE'D WOULD DO,
544
00:30:26,733 --> 00:30:30,033
"WOO-WOO-WOO" INDIAN
DANCES AROUND THE TABLE.
545
00:30:30,900 --> 00:30:33,800
AUDUBON: I WAS ASKED TO
IMITATE THE WILD TURKEY CALL
546
00:30:33,833 --> 00:30:36,600
AND I DID, TO THE SURPRISE
OF THE WHOLE CIRCLE.
547
00:30:37,600 --> 00:30:40,633
I HOOTED LIKE A BARRED
OWL AND COOED LIKE A DOVE.
548
00:30:41,400 --> 00:30:45,100
I'M GLAD REALLY THAT I WAS NOT
DESIRED TO BRAY LIKE AN ASS,
549
00:30:45,433 --> 00:30:48,666
BECAUSE IT WOULD HAVE BEEN
RUDE, EVEN FROM AN ASS,
550
00:30:48,700 --> 00:30:50,766
TO BRAY IN SUCH COMPANY.
551
00:30:50,800 --> 00:30:52,666
ROBERTA OLSON: AUDUBON
WAS A GENIUS AT MARKETING,
552
00:30:52,700 --> 00:30:54,833
FIRST OF ALL AS THE AMERICAN
WOODSMAN HE CAME OVER TO
553
00:30:54,866 --> 00:30:59,000
EUROPE WITH HIS BUCKSKIN
CLOTHES ON THE MODEL OF
554
00:30:59,033 --> 00:31:02,100
NATTY BUMPO AND DANIEL BOONE,
AND HE PUT BEAR GREASE IN HIS
555
00:31:02,133 --> 00:31:04,700
HAIR SO HE COULD
REALLY SMELL AUTHENTIC,
556
00:31:04,733 --> 00:31:07,333
AND OF COURSE HE
DID ROAD SHOWS.
557
00:31:07,366 --> 00:31:10,166
HE BROUGHT ALL OF HIS
WATERCOLORS AND HE WOULD TACK
558
00:31:10,200 --> 00:31:13,166
THEM UP, FIRST IN LIVERPOOL
AND THEN IN EDINBURGH AT THE
559
00:31:13,200 --> 00:31:15,633
ROYAL INSTITUTION.
560
00:31:15,666 --> 00:31:19,600
AUDUBON: THIS DAY, LUCY,
WAS ONE OF TRIAL TO ME.
561
00:31:19,633 --> 00:31:22,600
AT NINE THIS MORNING I WAS
QUITE BUSY ARRANGING AND
562
00:31:22,633 --> 00:31:25,300
DISPOSING IN SETS MY DRAWINGS,
563
00:31:25,333 --> 00:31:28,200
TO BE FAIRLY INSPECTED
BY THE PUBLIC,
564
00:31:28,233 --> 00:31:31,000
THE CONNOISSEURS,
THE CRITICS.
565
00:31:31,033 --> 00:31:35,500
THERE I WAS, ALL
IN VIEW OF THE WORLD.
566
00:31:35,533 --> 00:31:38,166
MAN: PAINTINGS AND WATERCOLORS
COVERED THE WALLS OF THE
567
00:31:38,200 --> 00:31:43,333
INSTITUTION HALL AND THE
EFFECT WAS LIKE MAGIC.
568
00:31:43,600 --> 00:31:46,966
THE SPECTATOR IMAGINED
HIMSELF IN THE FOREST.
569
00:31:47,000 --> 00:31:50,133
ALL WERE OF THE SIZE OF
LIFE, FROM THE WREN AND THE
570
00:31:50,166 --> 00:31:54,366
HUMMINGBIRD TO THE WILD TURKEY
AND THE BIRD OF WASHINGTON.
571
00:31:55,066 --> 00:31:58,000
'TWAS A WILD AND POETICAL
VISION OF THE HEART OF
572
00:31:58,033 --> 00:32:00,233
THE NEW WORLD.
573
00:32:00,266 --> 00:32:03,933
RICHARD RHODES: TO WALK
INTO A ROOM FULL OF BIRDS IN
574
00:32:03,966 --> 00:32:06,466
THE SIZE AND MANNER OF LIFE,
575
00:32:06,500 --> 00:32:09,500
AS AUDUBON WOULD
SAY, IN FULL COLOR,
576
00:32:09,533 --> 00:32:12,600
LIT BY THE NATURAL
LIGHT FROM THE WINDOWS,
577
00:32:12,633 --> 00:32:16,266
WAS SOMETHING LIKE GOING
TO A MOVIE THEATER TODAY.
578
00:32:18,433 --> 00:32:21,366
IT MUST HAVE BEEN EMOTIONALLY
ALMOST OVERWHELMING.
579
00:32:21,400 --> 00:32:25,000
HERE WAS THE AMERICAN
WILDERNESS BROUGHT TO LIFE
580
00:32:25,033 --> 00:32:28,533
BEFORE PEOPLE'S EYES IN
THESE WONDERFUL DRAWINGS.
581
00:32:28,766 --> 00:32:32,133
AUDUBON: MY DEAREST FRIEND,
MY SITUATION IN EDINBURGH
582
00:32:32,166 --> 00:32:34,600
BORDERS ON THE MIRACULOUS.
583
00:32:34,633 --> 00:32:38,200
WITHOUT EDUCATION I AM
POSITIVELY LOOKED ON BY ALL
584
00:32:38,233 --> 00:32:42,033
THE PROFESSORS AS A
VERY EXTRAORDINARY MAN.
585
00:32:43,000 --> 00:32:45,700
RICHARD RHODES: AUDUBON'S
FIRST ENGRAVER WAS A MAN IN
586
00:32:45,733 --> 00:32:50,700
EDINBURGH, SCOTLAND,
BUT HE WAS NOT REALLY QUITE
587
00:32:50,733 --> 00:32:53,366
UP TO DATE IN THE
TECHNOLOGY OF ENGRAVING.
588
00:32:53,400 --> 00:32:58,066
HEARD THAT THERE WAS A MORE
MODERN WAY TO ENGRAVE THAT A
589
00:32:58,100 --> 00:33:01,633
FAMILY IN LONDON, THE
HAVELL FAMILY, HAD PERFECTED.
590
00:33:02,466 --> 00:33:06,100
THIS WAS CALLED AQUATINT, AND
WHAT IT MEANT WAS THAT THE
591
00:33:06,133 --> 00:33:10,200
PLATE WAS PREPARED IN A WAY
THAT YOU GOT A KIND OF SHADING
592
00:33:10,233 --> 00:33:14,000
IN THE AREAS WHERE
COLOR WAS TO BE APPLIED.
593
00:33:14,033 --> 00:33:18,200
SO THIS NEW AND MODERN WAY
OF DEALING WITH ENGRAVING
594
00:33:18,233 --> 00:33:22,033
DREW AUDUBON FROM SCOTLAND
TO LONDON WHERE HE MADE
595
00:33:22,066 --> 00:33:24,233
AN ARRANGEMENT WITH THE HAVELLS,
596
00:33:24,266 --> 00:33:27,033
WHO WERE DEFINITELY
THE FINEST ENGRAVERS IN
597
00:33:27,066 --> 00:33:29,266
EUROPE OF THE DAY.
598
00:33:29,300 --> 00:33:34,133
THE SERIES WAS GOING TO BE
PAID FOR BY SUBSCRIPTION.
599
00:33:34,166 --> 00:33:37,400
FIVE PLATES WOULD BE DONE
AND THOSE WOULD BE DELIVERED
600
00:33:37,433 --> 00:33:41,900
TO A SUBSCRIBER FOR
THE EQUIVALENT OF $100
601
00:33:41,933 --> 00:33:44,600
FIVE MORE PLATES
AND ANOTHER $100.
602
00:33:44,633 --> 00:33:47,500
AND THUS ACCRUING SLOWLY
YOU WOULD END UP WITH THE
603
00:33:47,533 --> 00:33:51,700
435 PLATES OF THE
FINISHED FOUR VOLUMES OF
604
00:33:51,733 --> 00:33:53,433
"THE BIRDS OF AMERICA".
605
00:33:53,466 --> 00:33:54,966
KELLY BRENGELMAN:
WELL THERE JOHN JAMES WAS,
606
00:33:55,000 --> 00:33:57,133
HE WAS IN ENGLAND, AND HE KEPT
WRITING LETTERS TO HER SAYING
607
00:33:57,166 --> 00:33:59,633
I GOT HERE IN ENGLAND AND
EVERYBODY LOVES MY WORK,
608
00:33:59,666 --> 00:34:02,866
AND I GOT ACCEPTED INTO ALL
THESE SCIENTIFIC SOCIETIES,
609
00:34:02,900 --> 00:34:05,233
AND PEOPLE LOVE IT AND
I GOT GREAT REVIEWS,
610
00:34:05,266 --> 00:34:07,500
AND HEY, I FOUND A PUBLISHER,
I'M GETTING IT PUBLISHED AND
611
00:34:07,533 --> 00:34:09,400
I'M TRAVELING
FOR SUBSCRIPTIONS.
612
00:34:09,433 --> 00:34:11,800
WELL, AT THIS POINT
SHE'S OVERJOYED.
613
00:34:11,833 --> 00:34:14,400
BUT THEN JOHN JAMES'
LETTERS START CHANGING.
614
00:34:14,800 --> 00:34:18,233
AUDUBON: MY DEAREST FRIEND,
IT IS NOW MY INTENTION TO REMAIN
615
00:34:18,266 --> 00:34:21,366
IN ENGLAND AS LONG AS I WILL
HAVE DRAWINGS TO KEEP MY WORK
616
00:34:21,400 --> 00:34:25,533
GOING, SAY FIVE YEARS
EXCLUSIVE OF THE PRESENT YEAR.
617
00:34:26,366 --> 00:34:30,433
AND IF IN JANUARY NEXT I FIND
MYSELF SUBSTANTIALLY SETTLED,
618
00:34:30,466 --> 00:34:33,300
I WILL WRITE FOR THEE TO COME.
619
00:34:33,800 --> 00:34:35,600
RICHARD RHODES:
THEY CORRESPONDED,
620
00:34:35,633 --> 00:34:38,700
BUT MAIL WAS DELIVERED ON
SAILING SHIPS IN THOSE DAYS,
621
00:34:38,733 --> 00:34:41,500
AND SOMETIMES IT TOOK ONE
MONTH TO MAKE THE PASSAGE,
622
00:34:41,533 --> 00:34:43,633
AND SOMETIMES IT
TOOK THREE MONTHS.
623
00:34:43,666 --> 00:34:48,300
THEY SLOWLY GOT TO CROSS
PURPOSES WITH EACH OTHER.
624
00:34:49,133 --> 00:34:50,900
KELLY BRENGELMAN: SO THEY
WOULD WRITE THESE LETTERS TO
625
00:34:50,933 --> 00:34:52,800
EACH OTHER WHICH WOULD
CRISS-CROSS IN THE MAIL.
626
00:34:52,833 --> 00:34:55,366
SO THEY'D GET ONE LETTER
THAT WAS FILLED WITH ROSES AND
627
00:34:55,400 --> 00:34:58,066
LOVE, AND ANOTHER LETTER
THAT PRETTY MUCH LASHED OUT AND
628
00:34:58,100 --> 00:34:59,933
TOLD EACH OTHER THAT
THEY'D HAD ENOUGH AND
629
00:34:59,966 --> 00:35:02,133
THAT THEY DIDN'T NEED
EACH OTHER ANYMORE.
630
00:35:02,166 --> 00:35:03,800
LUCY AUDUBON: MY DEAR HUSBAND,
631
00:35:03,833 --> 00:35:07,100
I HAVE THIS DAY RECEIVED
YOUR LETTER OF AUGUST.
632
00:35:07,133 --> 00:35:09,700
WHERE IT HAS BEEN
I CANNOT IMAGINE,
633
00:35:09,733 --> 00:35:12,166
BUT I AM AT ANY RATE
VERY GLAD OF IT,
634
00:35:12,200 --> 00:35:14,966
AS YOU SPEAK OF THINGS
I DID NOT KNOW BEFORE.
635
00:35:15,000 --> 00:35:17,633
IF ANY CIRCUMSTANCE HAS
OCCURRED TO CHANGE YOUR
636
00:35:17,666 --> 00:35:20,800
AFFECTION FOR ME, AS
YOU RATHER INSINUATE,
637
00:35:20,833 --> 00:35:24,300
BE EXPLICIT AND LET
ME REMAIN WHERE I AM.
638
00:35:26,100 --> 00:35:30,100
AUDUBON: DO, MY LUCY,
UNDERSTAND ME WELL.
639
00:35:30,133 --> 00:35:33,933
MY WORK WILL NOT BE FINISHED
FOR FOURTEEN YEARS TO COME,
640
00:35:33,966 --> 00:35:36,500
FROM THIS VERY PRESENT DATE.
641
00:35:36,533 --> 00:35:41,166
AND IF IT IS THY INTENTION NOT
TO JOIN ME BEFORE THAT TIME,
642
00:35:41,200 --> 00:35:45,100
I THINK IT WILL BE BEST
FOR BOTH OF US TO SEPARATE,
643
00:35:45,133 --> 00:35:49,366
THOU TO MARRY IN AMERICA
AND I TO SPEND MY LIFE MOST
644
00:35:49,400 --> 00:35:52,766
MISERABLY ALONE FOR THE
REMAINDER OF MY DAYS.
645
00:35:54,833 --> 00:35:57,333
DON BOARMAN: FINALLY HE
CAN'T STAND IT ANYMORE AND HE
646
00:35:57,366 --> 00:36:01,133
DECIDES TO COME BACK
HOME AND GET HER,
647
00:36:01,166 --> 00:36:04,133
AND BRING HER TO
ENGLAND WITH HIM.
648
00:36:04,366 --> 00:36:06,166
HE HAD ALREADY WRITTEN
HER SEVERAL TIMES,
649
00:36:06,200 --> 00:36:08,766
PLEASE MEET ME IN NEW YORK.
650
00:36:08,800 --> 00:36:10,300
AND SHE SAID NO.
651
00:36:10,333 --> 00:36:12,266
KELLY BRENGELMAN: SHE WAS
ACTUALLY A QUITE STRONG WOMAN,
652
00:36:12,300 --> 00:36:13,566
SO SHE SAID NO.
653
00:36:13,600 --> 00:36:16,300
IF YOU WANT ME, YOU'RE
GOING TO HAVE TO COME TO ME.
654
00:36:16,333 --> 00:36:19,000
DON BOARMAN: SO HE
ARRIVES WITH TWO PURPOSES.
655
00:36:19,433 --> 00:36:21,466
NUMBER ONE WAS TO
GET HIS FAMILY.
656
00:36:21,500 --> 00:36:24,333
AND NUMBER TWO WAS
TO REPLENISH HIS SUPPLY
657
00:36:24,366 --> 00:36:25,966
OF BIRD PAINTINGS.
658
00:36:26,000 --> 00:36:28,066
THERE WERE A LOT OF
BIRDS HE KNEW ABOUT THAT HE
659
00:36:28,100 --> 00:36:29,966
DIDN'T HAVE SPECIMENS FOR.
660
00:36:30,000 --> 00:36:32,100
HE KNEW HE HAD
TO GET THOSE IN ORDER TO
661
00:36:32,133 --> 00:36:34,433
COMPLETE THE COLLECTION.
662
00:36:37,966 --> 00:36:40,200
AUDUBON: THE FISH HAWK
HAS A GREAT ATTACHMENT TO
663
00:36:40,233 --> 00:36:43,166
THE TREE IN WHICH HE HAS
BUILT HIS FIRST NEST,
664
00:36:43,200 --> 00:36:46,133
AND RETURNS TO IT
YEAR AFTER YEAR.
665
00:36:46,366 --> 00:36:49,166
THE NEST IS GENERALLY PLACED
IN A LARGE TREE IN THE
666
00:36:49,200 --> 00:36:52,333
IMMEDIATE VICINITY
OF THE WATER.
667
00:36:52,633 --> 00:36:55,566
THE YOUNG ARE FED UNTIL
THEY ARE FULLY FLEDGED,
668
00:36:55,600 --> 00:36:59,900
AND OFTEN AFTER THEY
HAVE LEFT THE NEST.
669
00:37:00,133 --> 00:37:03,433
IT RISES WITH EASE
TO A GREAT HEIGHT.
670
00:37:03,466 --> 00:37:06,666
IT DIVES WITH WINGS
PARTIALLY CLOSED.
671
00:37:06,700 --> 00:37:10,300
NO SOONER DOES IT SPY
A FISH SUITED TO ITS TASTE
672
00:37:10,333 --> 00:37:13,300
THAN IT PLUNGES HEADLONG
WITH GREAT RAPIDITY INTO THE
673
00:37:13,333 --> 00:37:16,100
WATER TO SECURE ITS PREY.
674
00:37:22,666 --> 00:37:25,400
THE LARGEST FISH WHICH I HAVE
SEEN THIS BIRD TAKE OUT OF THE
675
00:37:25,433 --> 00:37:30,233
WATER WAS A WEAKFISH SUCH AS
REPRESENTED IN THE PLATE BUT
676
00:37:30,266 --> 00:37:33,000
SUFFICIENTLY LARGE TO WEIGH
MORE THAN FIVE POUNDS.
677
00:37:35,566 --> 00:37:38,233
DON BOARMAN: SO HE HAD
ACCUMULATED PERHAPS SIXTEEN
678
00:37:38,266 --> 00:37:39,966
NEW PAINTINGS OF BIRDS.
679
00:37:40,000 --> 00:37:43,766
HE SENT THOSE TO ROBERT HAVELL
BACK IN LONDON SO HE WOULD
680
00:37:43,800 --> 00:37:48,500
HAVE ENOUGH TO WORK ON
DURING AUDUBON'S ABSENCE.
681
00:37:49,666 --> 00:37:52,300
HE THEN DECIDES THAT HE'S
NOT GOING TO WAIT ON LUCY,
682
00:37:52,333 --> 00:37:54,133
HE'S GOING AFTER HER.
683
00:37:54,166 --> 00:37:58,000
HE GETS ON A BOAT AND
HEADS DOWN THE RIVER.
684
00:37:58,033 --> 00:38:00,500
RICHARD RHODES: WE HAD
STEAM RIVERBOATS BY THEN,
685
00:38:00,533 --> 00:38:02,700
DOWN THE MISSISSIPPI RIVER.
686
00:38:02,733 --> 00:38:05,800
GOT OFF IN LOUISIANA.
687
00:38:05,833 --> 00:38:09,633
THE TOWN WAS EXPERIENCING A
YELLOW FEVER EPIDEMIC AT THE
688
00:38:09,666 --> 00:38:12,500
TIME, IT WAS COMPLETELY
ABANDONED IN THE MIDDLE OF THE
689
00:38:12,533 --> 00:38:15,433
NIGHT WHEN HE ARRIVED.
690
00:38:16,666 --> 00:38:19,833
AUDUBON: I WENT AT ONCE
TO MY WIFE'S APARTMENT.
691
00:38:19,866 --> 00:38:22,200
HER DOOR WAS AJAR.
692
00:38:22,233 --> 00:38:26,400
ALREADY SHE WAS DRESSED
AND SITTING AT HER PIANO.
693
00:38:27,133 --> 00:38:30,066
I PRONOUNCED HER NAME GENTLY.
694
00:38:30,100 --> 00:38:34,600
SHE SAW ME, AND THE NEXT
MOMENT I HELD HER IN MY ARMS.
695
00:38:34,933 --> 00:38:37,933
ONCE MORE WE WERE TOGETHER.
696
00:38:37,966 --> 00:38:39,533
KELLY BRENGELMAN:
AT THAT POINT,
697
00:38:39,566 --> 00:38:42,233
THAT'S WHEN THEY DECIDED
THEY COULDN'T DO THIS APART,
698
00:38:42,266 --> 00:38:45,666
THAT THEY NEEDED TO BE TOGETHER
AND LUCY JOINED HIM IN ENGLAND.
699
00:38:46,166 --> 00:38:48,300
DON BOARMAN: THEY PRETTY
MUCH VOWED THAT THEY
700
00:38:48,333 --> 00:38:49,800
WOULD NEVER SEPARATE AGAIN.
701
00:38:49,833 --> 00:38:52,766
WHEN THEY GET BACK TO ENGLAND
CRUIKSHANK PAINTED THE
702
00:38:52,800 --> 00:38:57,000
PORTRAIT OF LUCY THAT'S
ABOUT THE ONLY ONE KNOWN.
703
00:38:57,366 --> 00:38:59,266
KELLY BRENGELMAN: SHE
BECAME HIS BUSINESS MANAGER.
704
00:38:59,300 --> 00:39:00,766
SHE HELPED HIM WITH SALES,
705
00:39:00,800 --> 00:39:04,566
SHE KEPT ALL THE DETAILS,
THE FINANCIAL DETAILS TOGETHER,
706
00:39:04,600 --> 00:39:06,466
BECAUSE SHE HAD THE
EDUCATION AND THE KNOWLEDGE
707
00:39:06,500 --> 00:39:07,800
TO DO IT.
708
00:39:07,833 --> 00:39:09,733
SHE FINALLY FELT LIKE
SHE WAS A PART OF HER
709
00:39:09,766 --> 00:39:11,033
HUSBAND'S WHOLE LIFE.
710
00:39:11,066 --> 00:39:13,200
NOT JUST HIS WIFE AND THE
MOTHER OF HIS CHILDREN AND
711
00:39:13,233 --> 00:39:16,800
HIS LOVER AND HIS CONFIDANTE,
BUT SOMEONE OF WORTH.
712
00:39:17,300 --> 00:39:19,900
CHRISTOPH IRMSCHER: THE
AUDUBON BRAND BECOMES A FAMILY
713
00:39:19,933 --> 00:39:21,366
ENTERPRISE EVENTUALLY.
714
00:39:21,400 --> 00:39:23,400
LUCY BECOMES PART OF IT,
715
00:39:24,733 --> 00:39:26,700
HIS TWO SONS BECOME PART OF IT.
716
00:39:26,733 --> 00:39:29,000
HE HAS A NETWORK OF
AGENTS THAT HE CREATES,
717
00:39:29,033 --> 00:39:34,000
PEOPLE WHO WILL COLLECT
SUBSCRIPTION FEES FOR HIM.
718
00:39:34,033 --> 00:39:36,533
RICHARD RHODES: ALL
OF THAT SLOWLY BUILT FOR
719
00:39:36,566 --> 00:39:40,600
AUDUBON A REPUTATION,
NOT ONLY AS AN ARTIST,
720
00:39:40,633 --> 00:39:43,366
BUT ALSO AS A NATURALIST.
721
00:39:43,700 --> 00:39:47,633
AUDUBON: IN SPITE OF ALL THIS
I FEEL DULL, ROUGH OF TEMPER,
722
00:39:47,666 --> 00:39:50,766
AND LONG FOR NOTHING SO
MUCH AS MY DEAR WOODS.
723
00:39:52,000 --> 00:39:55,066
I AM GOING TO AMERICA AGAIN!
724
00:39:55,900 --> 00:39:58,800
ROBERTA OLSON: BY 1831 AUDUBON
HAD RUN OUT OF WATERCOLOR
725
00:39:58,833 --> 00:40:01,266
MODELS FOR HAVELL TO ENGRAVE.
726
00:40:01,300 --> 00:40:04,566
SO HE CAME BACK TO THE
UNITED STATES WITH LUCY AND
727
00:40:04,600 --> 00:40:08,800
HE EMBARKED ON TWO
SOUTHEASTERN EXPLORATIONS.
728
00:40:10,600 --> 00:40:13,800
AUDUBON: I JUMPED AT ONCE
INTO MY WOOD-HUNTING HABITS:
729
00:40:13,833 --> 00:40:17,000
UP BEFORE DAYBREAK
AND SOON AT WORK,
730
00:40:17,033 --> 00:40:19,466
EITHER IN THE WAY OF
SHOOTING, TAKING VIEWS,
731
00:40:19,500 --> 00:40:22,933
OR DRAWING BIRDS.
732
00:40:23,866 --> 00:40:27,966
LET US PAUSE A WHILE,
AND WATCH THE HERON.
733
00:40:29,233 --> 00:40:32,666
IN MY ESTIMATION FEW
WADERS ARE MORE INTERESTING
734
00:40:32,700 --> 00:40:35,133
THAN THE BIRDS OF THIS FAMILY.
735
00:40:35,566 --> 00:40:37,966
YOU MIGHT IMAGINE THAT
WHAT YOU ARE SEEING IS
736
00:40:38,000 --> 00:40:42,266
THE STATUE OF A BIRD,
SO MOTIONLESS IT IS.
737
00:40:42,533 --> 00:40:46,500
HE PATIENTLY AWAITS THE
APPROACH OF HIS PREY.
738
00:40:46,533 --> 00:40:49,366
AND NOW, WHAT A START!
739
00:40:49,966 --> 00:40:54,166
HIS FORMIDABLE BILL
HAS TRANSFIXED AN EEL.
740
00:40:55,366 --> 00:40:58,333
SEE WITH WHAT DIFFICULTY
HE GULPS IT DOWN
741
00:40:58,366 --> 00:41:01,733
HIS CAPACIOUS THROAT.
742
00:41:05,433 --> 00:41:08,533
MY MIND WAS AMONG
THE BIRDS FARTHER SOUTH,
743
00:41:08,566 --> 00:41:12,066
THE FLORIDA'S,
THAT ALMOST UNKNOWN COUNTRY.
744
00:41:14,300 --> 00:41:18,300
FROM NOVEMBER UNTIL THE MIDDLE
OF APRIL THE AMERICAN COOT IS
745
00:41:18,333 --> 00:41:21,700
EXTREMELY NUMEROUS IN FLORIDA.
746
00:41:22,533 --> 00:41:25,766
IN THAT SEASON THEY ARE SEEN
IN FLOCKS OF SEVERAL HUNDREDS
747
00:41:25,800 --> 00:41:29,566
ON THE GRASSY
LAKES AND INLETS.
748
00:41:29,800 --> 00:41:32,000
WHILE SWIMMING THEY
MOVE WITH EASE,
749
00:41:32,033 --> 00:41:34,600
ALTHOUGH NOT WITH MUCH SPEED.
750
00:41:34,633 --> 00:41:38,133
THE CURIOUS FORM OF THEIR FEET
MIGHT INDUCE ONE TO SUPPOSE
751
00:41:38,166 --> 00:41:42,200
THESE BIRDS INCAPABLE OF
MOVING ON LAND WITH EASE.
752
00:41:42,233 --> 00:41:44,800
EXPERIENCE PROVES
THE CONTRARY,
753
00:41:44,833 --> 00:41:47,966
FOR THEY NOT ONLY WALK WITH
FREEDOM BUT CAN RUN WITH GREAT
754
00:41:48,000 --> 00:41:50,866
SPEED WHEN NECESSARY.
755
00:41:51,633 --> 00:41:55,633
THE ROSEATE SPOONBILL IS
FOND OF THE COMPANY OF HERONS,
756
00:41:55,666 --> 00:41:58,766
WHOSE KEEN SIGHT
AND VIGILANCE ARE USEFUL IN
757
00:41:58,800 --> 00:42:01,033
APPRISING IT OF DANGER.
758
00:42:01,066 --> 00:42:03,833
THIS BEAUTIFUL BIRD IS FOUND
ALONG THE MARSHY AND MUDDY
759
00:42:03,866 --> 00:42:08,000
BORDERS OF ESTUARIES, WHERE
THEY CAN RESIDE AND BREED IN
760
00:42:08,033 --> 00:42:12,933
PERFECT SECURITY IN THE MIDDLE
OF AN ABUNDANCE OF FOOD.
761
00:42:12,966 --> 00:42:16,733
THE SIGHT OF A FLOCK OF THESE
BIRDS IS EXTREMELY PLEASING TO
762
00:42:16,766 --> 00:42:20,666
THE STUDENT OF NATURE.
763
00:42:22,566 --> 00:42:25,000
THE FLIGHT OF THE BLACK
SKIMMER IS PERHAPS MORE
764
00:42:25,033 --> 00:42:30,200
ELEGANT THAT ANY WATER BIRD
WITH WHICH I AM ACQUAINTED.
765
00:42:30,233 --> 00:42:32,700
THE GREAT LENGTH OF
ITS NARROW WINGS,
766
00:42:32,733 --> 00:42:35,800
ITS PARTIALLY
ELONGATED FORKED TAIL,
767
00:42:35,833 --> 00:42:39,500
ITS THIN BODY AND
EXTREMELY COMPRESSED BILL,
768
00:42:39,533 --> 00:42:43,866
ALL APPEAR CONTRIVED TO ENSURE
THAT BUOYANCY OF MOTION ONE
769
00:42:43,900 --> 00:42:48,233
CANNOT BUT ADMIRE WHEN
HE SEES IT ON THE WING.
770
00:42:51,633 --> 00:42:54,600
RICHARD RHODES: BY THEN
HE WAS WELL ENOUGH KNOWN THAT
771
00:42:54,633 --> 00:42:56,866
THE GOVERNMENT
LOANED HIM A GUNBOAT,
772
00:42:56,900 --> 00:43:00,900
WITH A COMPLETE CREW
TO THREAD HIS WAY THROUGH
773
00:43:00,933 --> 00:43:03,066
THE WATERWAYS AROUND
THE EVERGLADES.
774
00:43:05,666 --> 00:43:08,633
AUDUBON: WE GET INTO A
BOAT AND AFTER AN HOUR OF
775
00:43:08,666 --> 00:43:11,366
HARD ROWING WE FIND
OURSELVES IN THE MIDDLE OF
776
00:43:11,400 --> 00:43:14,200
THE MOST EXTENSIVE MARSHES.
777
00:43:14,233 --> 00:43:17,566
WE GO WADING THROUGH MUD
AND WATER TO OBSERVE THE WAYS
778
00:43:17,600 --> 00:43:20,466
OF THE BEAUTIFUL BEINGS
WE ARE IN PURSUIT OF.
779
00:43:23,833 --> 00:43:27,000
I KNOW I AM ENGAGED IN
AN ARDUOUS UNDERTAKING.
780
00:43:28,033 --> 00:43:31,366
BUT IF I LIVE TO COMPLETE
IT I WILL OFFER TO MY COUNTRY
781
00:43:31,400 --> 00:43:34,133
A BEAUTIFUL MONUMENT
TO THE VARIED SPLENDOR
782
00:43:34,166 --> 00:43:37,333
OF AMERICAN NATURE.
783
00:43:37,666 --> 00:43:39,833
IF LIFE IS
GRANTED TO ME,
784
00:43:39,866 --> 00:43:42,566
I WILL LEAVE NO
PLACE IN THE WHOLE U.S.
785
00:43:42,600 --> 00:43:45,933
UNSEARCHED FOR BIRDS.
786
00:43:46,300 --> 00:43:48,666
ROBERTA OLSON: AFTER HIS
SOUTHEASTERN EXPLORATIONS,
787
00:43:48,700 --> 00:43:52,933
HE EMBARKED ON HIS LABRADOR
EXPEDITION AND IT WAS HERE
788
00:43:52,966 --> 00:43:56,233
THAT AUDUBON BECAME A
TRUE CONSERVATIONIST.
789
00:43:58,533 --> 00:44:01,600
CHRISTOPH IRMSCHER: LABRADOR
IS A KEY EXPERIENCE FOR HIM
790
00:44:01,633 --> 00:44:04,066
BECAUSE HE WANTS TO GO AS
HE SAYS TO WHERE THE BIRDS
791
00:44:04,100 --> 00:44:06,833
ORIGINATE WHERE THEY NEST.
792
00:44:07,633 --> 00:44:10,200
AUDUBON: ON MY VOYAGE
TO LABRADOR I OBSERVED
793
00:44:10,233 --> 00:44:12,366
ATLANTIC PUFFINS EVERY DAY.
794
00:44:15,200 --> 00:44:17,600
KNOWN AS THE SEA PARROT
TO THE FISHERMEN OF
795
00:44:17,633 --> 00:44:19,866
NEWFOUNDLAND AND LABRADOR,
796
00:44:19,900 --> 00:44:23,300
IT IS QUITE COMMON ON THE
ISLANDS OF THE BAY OF FUNDY,
797
00:44:24,000 --> 00:44:26,633
ALTHOUGH THERE IS
PERHAPS NOT ONE NOW FOR
798
00:44:26,666 --> 00:44:29,966
A HUNDRED THAT BRED
THERE TWENTY YEARS AGO.
799
00:44:33,733 --> 00:44:36,200
CHRISTOPH IRMSCHER:
LABRADOR IN A SENSE LEADS HIM
800
00:44:36,233 --> 00:44:40,800
TO REALLY THINK MORE
COMPREHENSIVELY ABOUT WHAT IT
801
00:44:40,833 --> 00:44:42,933
IS THAT HE'S DOING,
802
00:44:42,966 --> 00:44:44,800
AND WHAT IT IS
THAT HUMANS ARE DOING TO
803
00:44:44,833 --> 00:44:46,066
BIRD LIFE AROUND THEM.
804
00:44:46,100 --> 00:44:50,466
HE HAS SEEN ENOUGH EVIDENCE
OF THE DECLINE OF BIRD
805
00:44:50,500 --> 00:44:51,933
POPULATIONS AROUND HIM.
806
00:44:51,966 --> 00:44:54,500
IT IS IN LABRADOR THAT
HE PAINTS A STARTLING
807
00:44:54,533 --> 00:44:57,766
REPRESENTATION OF A DEAD
BIRD IN A PLATE THAT IS NOT
808
00:44:57,800 --> 00:45:01,400
ANOTHER BIRD'S PREY,
BUT SIMPLY DEAD, LYING THERE.
809
00:45:01,433 --> 00:45:04,933
IT'S A FEMALE ESKIMO CURLEW,
WE HAVE A MALE ESKIMO CURLEW
810
00:45:04,966 --> 00:45:08,766
LOOKING DOWN AT HIS DEAD MATE.
811
00:45:09,033 --> 00:45:12,500
FROM THAT PERIOD ALSO COMES
A REPRESENTATION OF GANNETS,
812
00:45:12,533 --> 00:45:16,166
OF A MALE GANNET SHIELDING
ITS YOUNG WITH ITS
813
00:45:16,200 --> 00:45:19,266
BODY RIGHT BEHIND IT.
814
00:45:19,300 --> 00:45:21,600
HE'S A PRE-DARWINIAN AND
WE NEED TO REMEMBER THIS,
815
00:45:21,633 --> 00:45:23,966
HE'S NOT QUITE ABLE TO
PUT THE DOTS TOGETHER AND
816
00:45:24,000 --> 00:45:26,533
COME UP WITH A SORT OF
COMPREHENSIVE SENSE OF WHAT IS
817
00:45:26,566 --> 00:45:28,266
HAPPENING AROUND HIM.
818
00:45:28,300 --> 00:45:32,300
BUT HE'S ABSOLUTELY AWARE THAT
NATURE AROUND HIM IS CHANGING.
819
00:45:32,333 --> 00:45:34,733
THE LANDSCAPES THAT HE'S
SEEN ARE DIFFERENT WHEN
820
00:45:34,766 --> 00:45:37,866
HE COMES BACK, AND HE KNOWS
THAT THIS IS SOMETHING THAT
821
00:45:37,900 --> 00:45:41,466
JUST DOESN'T
HAPPEN ON ITS OWN.
822
00:45:41,500 --> 00:45:44,500
HE RETURNS TO BIRDS OF
AMERICA WITH RENEWED ENERGY,
823
00:45:44,533 --> 00:45:46,566
REALLY PUSHING
HAVELL TO FINISH,
824
00:45:46,600 --> 00:45:50,233
AND HAVELL RACES TO THE END.
825
00:45:51,166 --> 00:45:54,800
IN 1838 THEY PULL
THE LAST PLATE,
826
00:45:54,833 --> 00:45:58,800
THEY ARE DONE WITH WHAT IS
HIS LIFE'S WORK, BASICALLY.
827
00:46:01,300 --> 00:46:03,833
AUDUBON: THE
TASK IS ACCOMPLISHED.
828
00:46:04,400 --> 00:46:07,866
I HAVE DEPICTED THE BIRDS
OF AMERICA AND STUDIED THEIR
829
00:46:07,900 --> 00:46:11,300
HABITS AS THEY ROAM AT LARGE
IN THEIR PECULIAR HAUNTS.
830
00:46:13,833 --> 00:46:16,933
YOU MAY WELL IMAGINE HOW
HAPPY I AM AT THIS MOMENT,
831
00:46:16,966 --> 00:46:20,100
WHEN I FIND MY JOURNEY
IS ALL FINISHED,
832
00:46:20,133 --> 00:46:25,666
MY ANXIETIES VANISHED,
MY MISSION ACCOMPLISHED.
833
00:46:36,433 --> 00:46:39,366
RICHARD RHODES: WHEN
FINALLY AROUND 1838 THIS
834
00:46:39,400 --> 00:46:41,500
PROJECT WAS DONE,
835
00:46:41,533 --> 00:46:46,100
THEY RETURNED TO
AMERICA AS CELEBRITIES.
836
00:46:47,666 --> 00:46:52,533
AUDUBON WAS THEN VERY QUICKLY
ALMOST A NATIONAL HERO.
837
00:46:53,466 --> 00:46:56,700
THEY DINED AT THE WHITE HOUSE
WITH THE PRESIDENT.
838
00:46:56,733 --> 00:47:01,466
THIS POOR BASTARD CHILD,
THIS SEMI-ORPHAN FROM FRANCE,
839
00:47:02,066 --> 00:47:05,433
HAD ACHIEVED THE PINNACLE
OF AMERICAN SUCCESS.
840
00:47:05,466 --> 00:47:08,166
CHRISTOPH IRMSCHER: HE'S
FINALLY ABLE TO GIVE LUCY THE
841
00:47:08,200 --> 00:47:10,600
KIND OF LIFESTYLE THAT
SHE'S ALWAYS WANTED.
842
00:47:10,633 --> 00:47:13,733
AND LONG TIME COMING,
BUT IT FINALLY CAME.
843
00:47:13,766 --> 00:47:17,533
ROBERTA OLSON: HE WROTE TO
DANIEL WEBSTER IN 1841 ASKING
844
00:47:17,566 --> 00:47:21,766
THAT THIS COUNTRY
HAVE A NATIONAL MUSEUM
845
00:47:21,800 --> 00:47:24,566
A NATIONAL MUSEUM
OF NATURAL HISTORY,
846
00:47:24,600 --> 00:47:26,766
AND HE SUGGESTED
TO DANIEL WEBSTER THAT
847
00:47:26,800 --> 00:47:28,200
HE COULD BE THE DIRECTOR.
848
00:47:28,233 --> 00:47:31,833
AND HE DID SO BECAUSE HE
SAW THE WRITING ON THE WALL,
849
00:47:31,866 --> 00:47:35,133
HE KNEW THAT BIRDS WERE THE
CANARY IN THE COAL MINE AND HE
850
00:47:35,166 --> 00:47:38,833
SAW THE RAMPANT DESTRUCTION
OF HABITAT AND WILDLIFE,
851
00:47:38,866 --> 00:47:42,466
AND HE WANTED TO TAKE OVER
THE REINS OF PRESERVATION.
852
00:47:42,500 --> 00:47:46,133
WHICH IS WHY OF COURSE THE
NATIONAL AUDUBON SOCIETY NAMED
853
00:47:46,166 --> 00:47:49,500
THEIR ORGANIZATION AFTER HIM.
854
00:47:51,200 --> 00:47:54,000
PAUL SWEET: THE LAST WILD
PASSENGER PIGEON WAS SEEN
855
00:47:54,033 --> 00:47:56,100
AROUND 1900 ALTHOUGH
THERE WERE SPORADIC
856
00:47:56,133 --> 00:47:57,600
REPORTS AFTERWARDS.
857
00:47:57,633 --> 00:48:00,866
BUT WE KNOW FOR SURE THAT
THE LAST EVER PASSENGER PIGEON,
858
00:48:00,900 --> 00:48:04,966
WHOSE NAME WAS MARTHA,
DIED IN THE CINCINNATI ZOO
859
00:48:05,000 --> 00:48:08,233
A HUNDRED YEARS AGO IN 1914.
860
00:48:08,833 --> 00:48:11,433
AUDUBON: THE MULTITUDES
OF PASSENGER PIGEONS IN
861
00:48:11,466 --> 00:48:14,400
OUR WOODS ARE ASTONISHING.
862
00:48:14,666 --> 00:48:17,633
I HAVE VIEWED A COLUMN
ONE MILE IN BREADTH,
863
00:48:17,666 --> 00:48:21,200
PASSING OVERHEAD WITHOUT
INTERRUPTION FOR THREE HOURS,
864
00:48:21,233 --> 00:48:24,066
AT A RATE OF ONE
MILE IN THE MINUTE.
865
00:48:24,333 --> 00:48:26,933
THE NOISE MADE BY THE
MIGHTY FLOCK REMINDED ME OF
866
00:48:26,966 --> 00:48:30,200
A HARD GALE AT SEA.
867
00:48:30,433 --> 00:48:32,133
JOEL CRACRAFT:
FOUR TO FIVE BILLION,
868
00:48:32,166 --> 00:48:34,100
PROBABLY THE MOST COMMON,
869
00:48:34,133 --> 00:48:37,800
POTENTIALLY THE MOST
COMMON VERTEBRATE ON EARTH,
870
00:48:37,833 --> 00:48:41,766
WAS KILLED OFF OVER A
PERIOD OF PARTICULARLY ABOUT
871
00:48:41,800 --> 00:48:44,533
50, 60 OR 70 YEARS.
872
00:48:44,566 --> 00:48:49,533
WHICH IS PROBABLY THE
MOST REMARKABLE STORY OF
873
00:48:49,566 --> 00:48:51,666
EXTINCTION ON EARTH.
874
00:48:51,700 --> 00:48:55,466
RICHARD RHODES: AUDUBON
LIVED ON THE CUSP OF THE CHANGE
875
00:48:55,500 --> 00:49:00,633
FROM WILDERNESS TO FARM
AND INDUSTRIAL AMERICA.
876
00:49:01,533 --> 00:49:04,633
THE TRAINS, THE STEAM
ENGINE AND THE RAILROAD CAME
877
00:49:04,666 --> 00:49:07,733
IN DURING THIS
PERIOD OF HIS LIFE.
878
00:49:07,766 --> 00:49:12,766
SO HE SAW THE WILDERNESS
IN ITS LAST FLOURISHING AND
879
00:49:12,800 --> 00:49:16,766
HE SAW THE BIRDS IN
THEIR LAST FLOURISHING.
880
00:49:19,533 --> 00:49:22,533
AUDUBON: WHEN I THINK OF
THOSE TIMES AND CALL BACK TO
881
00:49:22,566 --> 00:49:25,133
MIND THE GRANDEUR AND
BEAUTY OF THOSE ALMOST
882
00:49:25,166 --> 00:49:28,000
UNINHABITED SHORES;
883
00:49:28,033 --> 00:49:31,500
WHEN I PICTURE TO
MYSELF THE DENSE AND LOFTY
884
00:49:31,533 --> 00:49:35,500
SUMMITS OF THE FOREST THAT
EVERYWHERE SPREAD ALONG THE
885
00:49:35,533 --> 00:49:39,700
HILLS AND OVERHANG THE
MARGIN OF THE STREAM;
886
00:49:40,000 --> 00:49:43,333
WHEN I SEE THAT NO LONGER
ANY ABORIGINES ARE TO
887
00:49:43,366 --> 00:49:48,166
BE FOUND THERE, AND THAT THE
VAST HERDS OF DEER AND ELK
888
00:49:48,200 --> 00:49:51,200
AND BUFFALO HAVE
CEASED TO EXIST;
889
00:49:51,233 --> 00:49:55,633
WHEN I REFLECT THAT ALL THIS
GRAND PORTION OF OUR UNION,
890
00:49:55,666 --> 00:49:58,166
INSTEAD OF BEING IN
A STATE OF NATURE,
891
00:49:58,200 --> 00:50:01,800
IS NOW MORE OR LESS COVERED
WITH VILLAGES, FARMS,
892
00:50:01,833 --> 00:50:06,633
AND TOWNS; WHEN I REMEMBER
THAT THESE EXTRAORDINARY
893
00:50:06,666 --> 00:50:10,266
CHANGES HAVE ALL TAKEN
PLACE IN THE SHORT PERIOD
894
00:50:10,300 --> 00:50:13,100
OF TWENTY YEARS...
895
00:50:13,133 --> 00:50:19,133
I PAUSE, WONDER, AND CAN
SCARCELY BELIEVE ITS REALITY.
896
00:50:23,266 --> 00:50:25,933
CHRISTOPH IRMSCHER:
IN 1843 HE GOES WEST.
897
00:50:25,966 --> 00:50:30,033
HE EXPECTED TO FIND THE
WEST AS GEORGE CATLIN AND
898
00:50:30,066 --> 00:50:32,600
OTHERS HAD DESCRIBED
IT AND HE DOES NOT.
899
00:50:32,633 --> 00:50:35,700
HE FINDS SOMETHING
THAT DEPRESSES HIM,
900
00:50:36,200 --> 00:50:38,600
BECAUSE AGAIN HE'S
CONFRONTED WITH MASSIVE,
901
00:50:38,633 --> 00:50:42,066
MASSIVE EVIDENCE OF
DEVASTATION: BUFFALO BEING
902
00:50:42,100 --> 00:50:44,966
NEEDLESSLY KILLED; INDIANS,
TO WHOM HE'S ALWAYS
903
00:50:45,000 --> 00:50:48,633
FELT REALLY ATTUNED,
LIVING IN DINGY SURROUNDINGS,
904
00:50:48,666 --> 00:50:51,666
DIRTY, DISEASED.
905
00:50:51,700 --> 00:50:55,100
AND HIS EYESIGHT GIVES OUT,
WHICH IS KIND OF POIGNANT WHEN
906
00:50:55,133 --> 00:50:59,833
YOU THINK ABOUT HOW IMPORTANT
SEEING HAS ALWAYS BEEN TO HIM.
907
00:51:00,200 --> 00:51:02,033
HE'S NOT ABLE TO
PAINT ANYMORE,
908
00:51:02,066 --> 00:51:05,633
AND HE SINKS INTO SOME
KIND OF MENTAL DARKNESS FOR
909
00:51:05,666 --> 00:51:09,366
WHICH NO NAME
AT THE TIME EXISTED.
910
00:51:18,666 --> 00:51:21,100
RICHARD RHODES: AUDUBON
GRADUALLY FELL INTO A DECLINE
911
00:51:21,133 --> 00:51:22,733
AND DEVELOPED DEMENTIA.
912
00:51:22,766 --> 00:51:25,200
THERE'S A VERY POIGNANT
MOMENT IN A LETTER HOME FROM
913
00:51:25,233 --> 00:51:28,200
AN OLD FRIEND OF HIS WHO'S
VISITING HIM FROM CHARLESTON,
914
00:51:28,233 --> 00:51:31,633
WHERE HE SAYS 'THE MAN IS TO
ALL APPEARANCES THE SAME MAN,
915
00:51:31,666 --> 00:51:34,600
BUT THE MIND IS ALL IN RUINS.'
916
00:51:34,633 --> 00:51:37,733
AND EVENTUALLY HE
WAS CONFINED TO HIS BED
917
00:51:37,766 --> 00:51:41,533
AND HE DIED IN 1851,
AT HOME, SURROUNDED BY HIS
918
00:51:41,566 --> 00:51:44,766
SONS AND HIS
WIFE, HIS WIDOW.
919
00:51:46,166 --> 00:51:49,133
THE SAD THING ABOUT
BIOGRAPHY IS ALWAYS THAT
920
00:51:49,166 --> 00:51:52,900
THE HERO DIES IN THE END.
921
00:51:56,633 --> 00:52:00,033
I ALWAYS THINK OF AUDUBON
WITH HIS BIRDS AROUND HIM,
922
00:52:00,066 --> 00:52:01,433
OUT IN THE WOODS.
923
00:52:01,466 --> 00:52:04,500
THAT'S WHERE HE
SHOULD BE REMEMBERED.
924
00:52:08,166 --> 00:52:13,133
IN THE FIRST MAJOR PUBLISHED
ESSAY BY HENRY DAVID THOREAU
925
00:52:13,166 --> 00:52:17,200
THAT ESSAY OPENS WITH
A TRIBUTE TO AUDUBON'S
926
00:52:17,233 --> 00:52:19,500
DESCRIPTIONS OF THE
AMERICAN WILDERNESS.
927
00:52:20,633 --> 00:52:24,500
HE REALLY WAS RIGHT AT
THE HEART OF A CHANGE IN
928
00:52:24,533 --> 00:52:27,800
AMERICAN LIFE THAT WAS
JUST BEGINNING TO BE NOTICED
929
00:52:27,833 --> 00:52:31,566
BY AMERICAN WRITERS LIKE
EMERSON AND THOREAU.
930
00:52:32,366 --> 00:52:36,966
HIS WRITINGS ABOUT THESE
CHANGES WERE ONE OF THE
931
00:52:37,000 --> 00:52:41,966
PRECURSORS FOR THE MOVEMENT
OF CONSERVATION THAT WOULD COME
932
00:52:42,000 --> 00:52:44,800
TOWARD THE SECOND HALF OF
THE NINETEENTH CENTURY.
933
00:52:44,833 --> 00:52:47,800
DANNY HEITMAN: AUDUBON
REALLY DIDN'T HAVE A FORMAL
934
00:52:47,833 --> 00:52:51,000
PHILOSOPHY AS A
CONSERVATIONIST.
935
00:52:51,033 --> 00:52:54,233
BUT I THINK THE ORNITHOLOGIST
ROGER TORY PETERSON
936
00:52:54,266 --> 00:52:56,733
SAID IT BEST,
WHEN HE SAID THAT,
937
00:52:56,766 --> 00:53:02,000
"AUDUBON'S REAL
GIFT TO US IS AWARENESS,
938
00:53:02,033 --> 00:53:04,900
AND IN THAT AWARENESS
IS THE BEGINNING OF
939
00:53:04,933 --> 00:53:08,133
ALL TRUE CONSERVATION."
940
00:53:08,666 --> 00:53:12,700
JOHN FITZPATRICK: HIS ART
MOVED STIFF PORTRAYALS OF
941
00:53:12,733 --> 00:53:16,833
NATURE INTO LIVING,
BREATHING, PASSIONATE,
942
00:53:17,233 --> 00:53:19,433
CHARACTER-FILLED PORTRAYALS.
943
00:53:19,466 --> 00:53:24,566
HIS ART GAVE WAY IN THE
LATE 1800'S TO THE ROMANTIC
944
00:53:24,600 --> 00:53:28,666
HUDSON RIVER SCHOOL AND THE
GREAT PAINTINGS OF YELLOWSTONE
945
00:53:28,700 --> 00:53:31,866
THAT CREATED THE
NATIONAL PARK SYSTEM.
946
00:53:31,900 --> 00:53:34,833
JAMIE WYETH: MY FATHER WAS
A GREAT ADMIRER OF AUDUBON,
947
00:53:34,866 --> 00:53:38,233
AS I THINK WAS MY
GRANDFATHER, N.C. WYETH,
948
00:53:38,266 --> 00:53:42,466
I MEAN I LITERALLY
GREW UP WITH HIS WORK.
949
00:53:42,733 --> 00:53:47,433
I PUT HIM RIGHT UP THERE WITH
REMBRANDT AND MICHELANGELO,
950
00:53:47,466 --> 00:53:50,800
I THINK HE'S AN
EXTRAORDINARY PAINTER.
951
00:53:51,033 --> 00:53:53,233
ROBERTA OLSON: THE NEW
YORK HISTORICAL SOCIETY,
952
00:53:53,266 --> 00:53:55,866
NEW YORK'S OLDEST
MUSEUM FOUNDED IN 1804,
953
00:53:55,900 --> 00:54:01,233
HAS ALL 435 WATERCOLOR MODELS
FOR THE BIRDS OF AMERICA.
954
00:54:01,266 --> 00:54:05,600
THEY ARE AUDUBON'S ORIGINAL
WORKS AND ALL ROOST HERE.
955
00:54:08,000 --> 00:54:11,200
LUCY BAKEWELL AUDUBON
SOLD THE WATERCOLORS TO THE
956
00:54:11,233 --> 00:54:15,400
HISTORICAL SOCIETY IN 1863.
957
00:54:15,433 --> 00:54:17,666
KELLY BRENGELMAN: LUCY WAS
A VERY STRONG WOMAN AND MANY
958
00:54:17,700 --> 00:54:20,766
STRONG WOMEN OFTEN OUTLIVE
THE MEN IN THEIR LIVES.
959
00:54:20,800 --> 00:54:23,166
SHE ALSO OUTLIVED
BOTH OF HER SONS.
960
00:54:23,200 --> 00:54:25,266
SHE MOVED BACK TO KENTUCKY
AND MOVED IN WITH HER
961
00:54:25,300 --> 00:54:28,466
GRANDDAUGHTERS, WHO TOOK CARE
OF HER UNTIL SHE PASSED AWAY.
962
00:54:28,500 --> 00:54:32,033
SHE PASSED AWAY AND HER
BODY WAS MOVED TO NEW YORK
963
00:54:32,066 --> 00:54:33,733
WHERE JOHN JAMES WAS LAYING.
964
00:54:33,766 --> 00:54:37,033
AND THAT'S WHERE THEY
REST TODAY, TOGETHER.
965
00:54:38,933 --> 00:54:42,800
AUDUBON: NEITHER THIS
LITTLE STREAM, THIS SWAMP,
966
00:54:42,833 --> 00:54:45,600
THIS GRAND SHEET
OF FLOWING WATER,
967
00:54:45,633 --> 00:54:49,266
NOR THESE MOUNTAINS WILL
BE SEEN IN A CENTURY HENCE
968
00:54:49,300 --> 00:54:51,766
AS I SEE THEM NOW.
969
00:54:51,800 --> 00:54:55,333
THE FISHES WILL NO LONGER
BASK ON THE SURFACE,
970
00:54:55,366 --> 00:55:00,100
THE EAGLE SCARCE EVER
ALIGHT, AND THESE MILLIONS
971
00:55:00,133 --> 00:55:04,000
OF SONGSTERS WILL BE
DROVE AWAY BY MAN.
972
00:55:05,333 --> 00:55:07,633
OH, AMERICA.
973
00:55:07,666 --> 00:55:10,866
LOOK UPON HER,
SEE HER GRANDEUR.
974
00:55:10,900 --> 00:55:15,266
NATURE STILL NURSES HER,
CHERISHES HER,
975
00:55:15,300 --> 00:55:19,366
BUT A TEAR FLOWS IN HER EYE.
976
00:55:21,733 --> 00:55:23,033
REPORTER: NOW HERE'S
A QUESTION FOR YOU.
977
00:55:23,066 --> 00:55:24,766
WOULD YOU PAY
TEN MILLION DOLLARS
978
00:55:24,800 --> 00:55:26,000
FOR A BOOK?
979
00:55:26,033 --> 00:55:27,666
WELL TOMORROW
CHRISTIE'S WILL SELL THE
980
00:55:27,700 --> 00:55:29,800
WORLD'S MOST EXPENSIVE
BOOK AT AUCTION.
981
00:55:29,833 --> 00:55:31,966
JOHN JAMES AUDUBON'S
'THE BIRDS OF AMERICA'
982
00:55:32,000 --> 00:55:33,666
IS EXPECTED TO
FETCH BETWEEN SEVEN AND
983
00:55:33,700 --> 00:55:34,666
TEN MILLION DOLLARS.
984
00:55:35,666 --> 00:55:37,500
JOINING THE COMPANY
NOW IS FRANCIS WALGREN,
985
00:55:37,533 --> 00:55:39,266
CHRISTIE'S INTERNATIONAL
HEAD OF BOOKS
986
00:55:39,300 --> 00:55:40,466
AND MANUSCRIPTS.
987
00:55:41,800 --> 00:55:44,100
UP TO TEN
MILLION DOLLARS.
988
00:55:44,133 --> 00:55:45,533
WHY IS IT
SO VALUABLE?
989
00:55:45,566 --> 00:55:47,533
FRANCIS WALGREN: IT WAS A
VERY EXPENSIVE PRODUCTION
990
00:55:47,566 --> 00:55:48,700
AND IT'S RETAINED
IT'S VALUE OVER THE YEARS.
991
00:55:48,733 --> 00:55:50,766
IT'S CONTINUALLY BEEN
THE MOST EXPENSIVE BOOK,
992
00:55:50,800 --> 00:55:53,033
ONLY IN A VERY FEW
YEARS HAS IT NOT BEEN THE
993
00:55:53,066 --> 00:55:55,900
MOST EXPENSIVE
BOOK EVER SOLD.
78169
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.