poverty. He at once took him to his house and kept him as a guest, till, like Micawber, "something turned up " for him to do. When this gentleman left, this entry is made: "Mr. Matabon's departure is regretted by us all, and we shall sorely miss his beautiful music on the flute."
Summer approaching, when those who purchased pictures and took drawing-lessons were about to leave the city, Audubon accepted a position as tutor in the household of a Mr. Quaglas near Natchez. Mrs. Audubon, who had for some time been teaching in the family of Mr. Brand, removed to that gentleman's house with her sons; they, however, were almost immediately sent to school at Washington, nine miles from Natchez, Audubon's salary enabling him to do this, and in September he was joined by his wife.
While at Natchez, the long summer days permitted the drawing of birds as well as the teaching, which was conscientiously performed, and the hope of eventually publishing grew stronger. In the autumn of this year (1822), Audubon met a portrait painter named John Steen or Stein, from Washington, Pa., and thus writes, December, 1822: "He gave me the first lesson in painting in oils I ever took in my life; it was a copy of an Otter from one of my water-colors. Together we painted a full length portrait of Père Antonio, which was sent to Havana."
January, 1823, brought fresh changes. Mrs. Audubon, with her son John, went to Mrs. Percy's plantation, Beechwoods, to teach not only Marguerite Percy, but also the daughters of the owners of the neighboring plantations, and Audubon, with Victor and Mr. Steen, started on a tour of the Southern States in a dearborn, intending to paint for their support. The journal says, March, 1823; "I regretted deeply leaving my Natchez friends, especially Charles Carré and Dr. Provan. The many birds I had collected to take to France I made free; some of the doves had become so fond of me that I was obliged to
