Cardinal Grosbeak (Fringilla cardinalis, Linn.), Volume 2, Plate 159

Painted in 1822. The wild (or mock) orange branch is the work of Audubon’s assistant Joseph Mason. Havell attached the two leaves–free–floating towards the lower left frame of the watercolor—to the branch on which the female sits.

Audubon depicts a male above, on a branch of mock orange, and a female, below, sitting on a mostly bare branch. Note the female’s foreshortened head, an indication of Audubon’s evolving skill as a natural history artist. The accompanying essay is remarkable for the praise of the bird’s song it offers, describing it both from the perspective of the bird and of the grateful human listener.

From John James Audubon’s Ornithological Biography

In richness of plumage, elegance of motion, and strength of song, this species surpasses all its kindred in the United States. … Its song is at first loud and clear, resembling the finest sounds produced by the flageolet, and gradually descends into more marked and continued cadences, until it dies away in the air around. During the love-season the song is emitted with increased emphasis by this proud musician, who, as if aware of his powers, swells his throat, spreads his rosy tail, droops his wings, and leans alternately to the right and left, as if on the eve of expiring with delight at the delicious sounds of his own voice. Again and again are those melodies repeated, the bird resting only at intervals to breathe. They may be heard from long before the sun gilds the eastern horizon, to the period when the blazing orb pours down its noonday floods of heat and light, driving the birds to the coverts, to seek repose for awhile. Nature again invigorated, the musician recommences his song, when, as if he had never strained his throat before, he makes the whole neighbourhood resound, nor ceases until the shades of evening close around him.