Extract from a Report made to the Royal Academy of Sciences of Paris. By Baron Cuvier.

L'Academie m'a chargÉ de lui rendre un compte verbal de l'ouvrage qui lui a ÉtÉ communiquÉ dans une de ses prÉcÉdentes sÉances par M. Audubon, et qui a pour objet les oiseaux de l'Amerique Septentrionale. On peut le caractÉriser en peu de mots, en disant que c'est le monument le plus magnifique qui ait encore ÉtÉ ÉlevÉ À l'ornithologie.

L'auteur, nÉ À la Louisiane, et qui s'est adonnÉ dÈs sa jeunesse À la peinture, est venu, il y a 25 ans, se perfectionner dans son art À l'École de David. RetournÉ dans son pays, il n'a cru pouvoir faire de son talent un usage plus utile, que de le consacrer À la representation des productions les plus brillantes de cet hÉmisphÈre. L'observation scrupuleuse nÉcessaire À des images telles qu'il voulait les faire, l'a bientÔt rendu naturaliste.

C'est en sa double qualitÉ d'artiste et de savant, qu'il a produit l'ouvrage qui a ÉtÉ mis sous les yeux de l'Academie. Vous avez ÉtÉ frappÉs d'un format Égal ou supÉrieur a ce qui a ÉtÉ publiÉ de plus grand en ce genre, et qui approche des doubles planches de la description de l'Egypte. Cette dimension extraordinaire lui a permis de rendre des espÈces de la taille de l'aigle et du tÉtras dans leur grandeur naturelle, et de multiplier celles qui sont moins volumineuses de maniÈre À les reprÉsenter dans toutes les attitudes.

Il a pu aussi reprÉsenter sur les mÊmes planches, et de grandeur naturelle, les vÉgÉtaux sur lesquels ces oiseaux se tiennent le plus habituellement, et donner dans le plus grand dÉtail leurs nids et leurs oeufs.

L'exÉcution de ces planches, si remarquables par leur grandeur, nous paraÎt avoir Également bien rÉussi, sous le rapport du dessin, de la gravure et du coloris, et quoiqu'il soit difficile À l'enluminure de rendre les reliefs avec autant d'effet, qu'À la peinture proprement dite, ce n'est pas un inconvenient pour des ouvrages d'histoire naturelle; les naturalistes prÉfÈrent la couleur propre des objects, À ces teintes accidentelles, rÉsultat des diverses inflexions de la lumiÈre, nÉcessaires pour complÉter la vÉritÉ pittoresque, mais ÉtrangÈres et nuisibles mÊme À la vÉritÉ scientifique.

M. Audubon a dÉjÀ prÉparÉ quatre cents dessins qui contiennent À-peu pres deux mille figures, et il se propose de les publier successivement, s'il est encouragÉ par les amateurs. Un ouvrage conÇu et exÉcutÉ d'aprÈs un plan si vaste, n'a qu'un dÉfaut, et sans doute que sur celui-lÀ mes auditeurs m'ont dÉjÀ prÉvenu, c'est que sa chertÉ le rend presqu' inaccessible À la plupart de ceux auxquels il serait le plus nÉcessaire. Toutefois on ne peut pas dire que le prix en soit exorbitant. Une livraison de cinq planches se paie deux guinÉes; chaque planche revient donc À 10 ou 11 fr., et comme il n'en paraÎtra que cinq livraisons par an, la dÉpense annuelle de son acquisition ne serait pas Énorme. Il est À dÉsirer du moins, dans l'intÉrÊt de l'art autant que dans celui de la science, que les grands dÉpÔts publics, et les propriÉtaires qui aiment À enrichir leurs bibliothÈques d'ouvrages de luxe, veuillent se le procurer.

Autrefois c'Étaient les naturalistes EuropÉens qui Étaient obligÉs de faire connaÎtre À l'AmÉrique les richesses qu'elle possÉdait; maintenant les Mitchill, les Harlan, les Wilson, les Charles Bonaparte, rendent avec usure À l'Europe ce que l'AmÉrique en a reÇu. L'histoire des oiseaux des Etats-Unis de Wilson Égalait dÉjÀ en ÉlÉgance nos plus beaux ouvrages d'ornithologie. Si celui de M. Audubon se termine, il faudra convenir que ce sera l'AmÉrique qui, pour la magnificence de l'exÉcution, aura surpassÉ l'Ancien Monde.

Extract from a Review by W. Swainson, Esq. F. R. S. F. L. S. &c., published in the Natural History Magazine, for May 1828.

M. Audubon, if I have been rightly informed, is a citizen of America, descended from French parents. Devotedly attached to the study of nature, no less than to painting, he seems to have pursued both with a genius and an ardour, of which, in their united effects, there is no parallel. His two ornithological narratives, printed in one of the Scotch journals, are as valuable to the scientific world, as they are delightful to the general reader. They give us a rich foretaste of what we may hope and expect from such a man. There is a freshness and an originality about these essays, which can only be compared to the animated biographies of Wilson. Both these men contemplated Nature as she really is, not as she is represented in books; they sought her in her sanctuaries. The shore, the mountain, and the forest were alternately their study, and there they drank the pure stream of knowledge at its fountain-head. The observations of such men, are the corner-stones of every attempt to discover the system of nature. Their writings will be consulted when our favourite theories shall have passed into oblivion. Ardently, therefore, do I hope, that M. Audubon will alternately become the historian and the painter of his favourite objects, that he will never be made a convert to any system, but instruct and delight us as a true and unprejudiced biographer of nature.

I am now to speak of M. Audubon more particularly as a painter. I shall, therefore, view the work before me as a specimen of the fine arts, and judge of it by those rules which constitute pictorial criticism. The size of the plates exceeds any thing of the kind I have ever seen or heard of; they are no less than 3 feet 3 inches long by 2 feet 2 inches broad. On this vast surface every bird is represented in its full dimensions. Large as is the paper, it is sometimes (as in the Male Wild Turkey, pl. 1.) barely sufficient for the purpose. In other cases, it enables the painter to group his figures, in the most beautiful and varied attitudes, on the trees or plants they frequent. Some are feeding, others darting, pursuing, or capturing their prey: all have life and animation. The plants, fruits and flowers which enrich the scene are alone still. These latter, from their critical accuracy, are as valuable to the botanist as the birds are to the ornithologist.

Such is the general character of the work, but it is of a nature to demand a more particular notice. What I have said might, in a general way, be repeated of others. This, as I shall presently shew, is perfectly unique, both in its conception and execution. To explain this, I shall call the reader's attention to the following plates, or rather pictures.

Turtle-Doves of Carolina. (Plate 17.) It is quite impossible to treat this subject with greater truth or delicacy of conception, than it has here received. In a thicket of the beautiful Stuartia Malacodendron, (whose white blossoms are emblematic, like the dove, of chasteness and purity), a pair of turtles have built their nest. The female is sitting, and, their union being consummated, she is receiving the caresses of the male. Above is another pair their love is in its infancy. The male, seated on the same branch with his intended partner, is eagerly pressing forwards to reach a "stolen kiss," but the head of the female is coyly turned. Her secret satisfaction is, however, expressed by the agitation of her wings and tail. If the artist had never painted any picture but this, it would secure him the highest meed of praise, as long as truth and nature continued the same.

Mocking Birds defending their nest from a Rattlesnake. (Plate 21.) The same poetic sentiment and masterly execution characterizes this picture. The formidable reptile has driven the female bird from her eggs, which he intends to suck. Unable to defend them while sitting, she clings to the side, and, "with outstretched wings and forward breast," seems prepared to strike her bill into the very jaws of her enemy. Her cries have brought two others of her race to the spot; but these, not feeling a parent's solicitude, "come not boldly" to the attack. On the courage of the male bird the fate of the conflict seems to depend. He is close to the serpent, aiming a deadly stroke at its eye, while his own is lighted up with a determination and courage, which seem to bespeak anticipated victory. Every part of the story is told with exquisite feeling, the artist has thrown his greatest skill in the figure of the female bird, and it is uncommonly fine.

It will depend on the powerful and the wealthy, whether Britain shall have the honour of fostering such a magnificent undertaking. It will be a lasting monument, not only to the memory of its author, but to those who employ their wealth in patronizing genius, and in supporting the national credit. If any publication deserves such a distinction, it is surely this, inasmuch as it exhibits a perfection in the higher attributes of zoological painting, never before attempted. To represent the passions and the feelings of birds, might, until now, have been well deemed chimerical. Rarely, indeed, do we see their outward forms represented with any thing like nature. In my estimation, not more than three painters ever lived who could draw a bird. Of these the lamented Barrabaud, of whom France may be justly proud, was the chief. He has long passed away; but his mantle has, at length, been recovered in the forests of America.