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Title: Sir D.Y. Cameron, R.A.
Author: Salaman, Malcolm Charles (1855-1940)
Illustrator: Cameron, David Young (1865-1945)
Date of first publication: 1925
Edition used as base for this ebook:
   London: The Studio Ltd., 1925
   [Modern Masters of Etching 7]
   (first edition)
Date first posted: 2 December 2009
Date last updated: 2 December 2009
Project Gutenberg Canada ebook #426

This ebook was produced by:
Marcia Brooks, Mark Akrigg
& the Online Distributed Proofreading Team
at http://www.pgdpcanada.net




MODERN MASTERS OF ETCHING

SIR D. Y. CAMERON, R.A.

INTRODUCTION BY
MALCOLM C.
SALAMAN

1925
THE STUDIO
44 LEICESTER SQUARE LONDON


MODERN MASTERS OF ETCHING

1. FRANK BRANGWYN, R.A.

2. JAMES McBEY

3. ANDERS ZORN

4. J. L. FORAIN

5. SIR FRANK SHORT, R.A., P.R.E., R.I.

6. FRANK W. BENSON

7. SIR DAVID YOUNG CAMERON, R.A.

Printed at The Morland
Press, 190 Ebury
Street, London, S.W.1.,
Photogravure Plates by
Waterlow and Sons,
Limited, London




"To give us nature, such as we see it, is well and deserving of praise;
to give us nature, such as we have never seen, but have often wished to
see it, is better, and deserving of higher praise." These words of
Hazlitt's seem to me particularly appropriate whenever I look at one of
those enchantingly solemn pictures of the Scottish highland landscape in
which Sir David Young Cameron, with the painter's means or the etcher's,
shows us some aspect of loch and hills that has moved his spirit to fuse
with his vision in the discovery of harmonies through which he reveals
the inherent pictorial beauty. He has won to his eminence as both
painter and etcher, because he has disciplined his art to distil in its
expression the poetic significance as well as the pictorial truth of the
thing he has seen with his inward and his outward eye, communicating in
this way a fresh experience of natural beauty. Yet long comparatively as
his pre-eminence among living landscape--painters has been recognised,
the young artist had already won a very prominent position as an etcher,
with more than three hundred and fifty plates to his name, when some two
and twenty years ago he painted the impressive _Dark Angers_, which with
its austere beauty first pointed definitely to his promise of mastery,
and preluded a series of masterpieces, hall-marked with his personality,
his romantic imagination, his artistic sincerity, dignity and majestic
simplicity. Of these, four are among our reproductions, and perhaps
another dozen may be distinguished as representing milestones on
Cameron's steady march toward that place which has been so long assured
to him among the master-etchers in the foremost rank. Already, before
1903, the year of the painting _Dark Angers_, my friend Frederick
Wedmore, the first cataloguer of Meryon, the first important cataloguer
of Whistler, had begun with enthusiasm to catalogue the etchings of
Cameron, whom he regarded even then as "one of our modern masters," but
an etcher above all of architecture. This view of Cameron as
preeminently the romantic etcher of picturesque and storied buildings
has become traditional, though Wedmore's catalogue has, of course, been
long superseded by the complete and authoritative work of Mr. Frank
Rinder, who knows Cameron's etchings as few can know them. Not even
Professor Arthur M. Hind, of the British Museum, with all his
opportunities of study, has, in his valuable book "The Etchings of D. Y.
Cameron," written of them with greater critical acumen or more
sympathetic appreciation of their qualities. I am glad to find myself in
agreement with both these critics in believing that Cameron's
interpretation of landscape offers fuller scope for the authentic
expression of his artistic self than his presentation of any building,
however pictorially inspiring, however romantically appealing.

It was a water-colour drawing, not an etching, that first made me aware
of D. Y. Cameron. This was, if memory serves me rightly, in the late
eighties, in one of the exhibitions of the Royal Institute. I forget the
title of the drawing, though the subject seems to recall itself as a street
corner, yet I can remember exactly where it hung in the gallery, and there
must have been some distinctive quality in the treatment that caused me to
mark it for notice. But what seems curiously significant in the light of
my later enthusiasm for the master's work was the unforgettable appeal
made by the unknown young artist's name to my ear and to my eye, and I
remember it was my whim to end my notice of the exhibition with the name
that had caught my fancy with a sort of challenge in the sound of it--D.
Y. Cameron. I knew nothing then of Cameron's etchings, although he was
elected in 1889 an Associate of the Society of Painter-Etchers on the
appeal of one of those bits of Scottish scenery he was already busily
putting on to the copper, some of them distinctly Hadenish in
derivation. Nor was I likely to be attracted to them particularly on
that account, for at that time, I confess, I was completely under the
spell of Whistler's genius, and for me etching meant paramountly
Whistler's etching, not Haden's nor another's. Before ever the youthful
Cameron had etched a plate, in fact the very year before his first--that
was in 1886--I had been permitted to sit by the master's side watching
him draw with his needle on the copperplate, had seen him ink, warm and
wipe his plate for printing, and actually been entrusted with the proud
privilege of turning the handle of his star-press. When, therefore, I
became conscious of D. Y. Cameron as an etcher, it was probably the
Whistlerian influence in some of the early plates one saw at the
Painter-Etchers' exhibitions that distinguished them for me as the
genuine utterances of a sincere young artist responsive to an inspiring
enthusiasm for the master. But it was not till Wedmore showed me the
plates of the "North Italian Set," wrought in 1895, that I recognised in
D. Y. Cameron a possible master in the making. Of course I saw Whistler
in some of them, most obviously in the _Venice from the Lido_, and _The
Palace Doorway_, but that counted to me for righteousness; Cameron was
still following the gleam in searching for his own expression. Included
in this set, however, were plates in which conception and manner seemed
to me more authentically those of an etcher who was going to be very
important. There was _Timoret's House_, an engagingly personal
conception, there was _Saint Mark's, Venice_, a forerunner of great
church interiors, there was _San Georgio Maggiore_, there was _Porta
del Molo, Genoa_, there was _Pastoral_, there was _The Wine Farm_.
Probably I thought more of these thirty years ago than I do now,
conscious now of the noble and beautiful achievements of his maturity,
masterpieces which become one's spiritual possessions just as great
poems do.

Cameron had been etching eight years when he arrived at his "North
Italian Set." He was twenty-two when he took up the needle, that
was two years after he had begun to study in the Edinburgh School of Art
with a definite view to an artist's career. Of course he had had such a
career hopefully in mind when, during four years of patient drudgery in
a commercial office in his native Glasgow, he had daily devoted a couple
of hours before and after his clerical work to learning what he could of
drawing and graphic methods in the local art school. Undaunted, while
yet a boy, by the difficulties to be overcome, he won his emancipation
from the office, and then bravely faced the long effort to command the
means of self-expression in art. With Cameron this meant constant
self-searching, self-discipline, for the artist in him was keenly
sensitive to influences and the promptings of adventure, but purpose
pointed ever steadily ahead. The young student's assiduous industry and
readiness for fresh endeavour found stimulus, moreover, in the spiritual
and romantic energy of the true-bred Cameron character which was
his--the unyielding Cameron of the old song. For, as Mr. Rinder has told
us, D. Y. Cameron is descended through his father, a minister of the
Kirk, from Dr. Archibald Cameron, the historic Lochiel's brother, who
played so important a part in helping Prince Charlie to escape after
Culloden. It was Mr. George Stevenson, an amateur etcher and a friend of
Seymour Haden, who initiated Cameron into the craft of etching and
helped him with his earliest essays on the copper. The subjects of these
were all Scotch towns or landscapes, and soon he was sending prints to
the Painter-Etchers' exhibitions. In 1889 there came a set of twenty
etchings known as the "Clyde Set," noteworthy chiefly for the nice
pictorial sense with which the etcher conceived the subjects, though
there was little in the way of personal expression. Haden was writ large
over them, and not least, perhaps, over _Bothwell_, the most favoured
plate in the set, recording a scene that had surprised Wordsworth with
the unexpected beauty of ancient Castle and harmoniously flowing Clyde.
As Cameron's technical confidence grew with his pictorial capacity,
plates of more distinctive interest were produced, such as _Greenock,
No. 2._, _The Tay at Kinfauns_, _White Horse Close_, _The Unicorn_,
_Stirling_, and the little Whistlerian "pieces," as Wedmore would call
them, _Thames Warehouses_, _A Highland Kitchen_, and _Greendyke
Street_. Passing over the etchings of old Glasgow buildings, done for
the antiquarian rather than the pictorial interest, at the instance of
the Regality Club of Glasgow, we come in 1892 to a notable group of
plates recording things seen in the land of Rembrandt, and in certain of
them deliberately reflecting the inspiration of the great Dutch master,
in others that of the very vivacious Whistler, who had been etching in
Holland only three years before. Twenty-two plates are labelled as the
"North Holland Set." Of these the most distinguished are _Zaandam
Windmills_, a brave thing to do after Whistler's wonderful masterpiece
_Zaandam_, yet a new and admirable conception of those famous windmills,
which will always attract the etcher; _The Flower Market_, _The
Windmill_, and _Storm: Sundown_, an imaginative vision of a Dutch
landscape under a very angry sky. Other etchings of interest resulted
from this Dutch visit which were not included in the "Set," and chief of
these was _A Rembrandt Farm_, a beautiful thing, with its inspiration as
patent as its etcher's joy in the doing. With _A Dutch Village_ too, and
_Haarlem_, I fancy he felt that his visit had been worth while. Between
these and the "North Italian Sets," of which I have spoken, there came
in _The Palace: Stirling Castle_, a more romantic vision of picturesque
old building, and in _A Border Tower_ and _Lecropt_ serene and
decorative aspects of landscape. After the "North Italian" there was no
further "Set" till the "London," but in the interim Cameron had given us
several interesting things: _The Smithy_, which was to be far surpassed
by _Robert Lee's Workshop_, (Plate V.) the stern-looking _Old Houses,
Rouen_, Meryonic if you like, the attractively sunny _Cour des Bons
Enfants, Rouen_, the amply conceived _Broad Street, Stirling_, unusually
animated with incidental folk, and the charming landscape _Ledaig_, with
its well-ordered design, and _Ye Banks and Braes_, in which we feel we
are getting nearer to the authentic landscape conception of the Cameron
we know to-day.

The "London Set" of 1899 at once raised Cameron to a higher plane in the
esteem of print-lovers, for it showed him capable of such original, such
admirable, pictorial interpretations of London architecture as _The
Admiralty_, with its austere dignity, _The Custom House_, _Waterloo
Bridge, No. 2._, _Queen Anne's Gate_, _St. George's_, _Hanover Square_,
and an indisputable masterpiece in _Newgate_, (Plate I.) Because there
is gloom here, because dark mysterious shadows contrast forcibly with
the strong light that falls on the stern stone portal of the old prison,
many people can never dissociate Cameron's incomparable etching of
London's historic gaol from the idea of Meryon's _Morgue_, which,
imaginatively appealing as it is, and impressive in its design, depends
for its tragic significance, less on the not very distinctive building
that we happen to know is a mortuary, than on the incident of the corpse
being carried up from the Seine. In Cameron's _Newgate_, on the other
hand, the building itself is eloquent of its function and character in
every feature, and so imaginatively stimulating is the etcher's
authentic conception, appropriately austere in its expressive dignity of
presentment, that there seems to be inherent in it the tragically
pitiable significance of all prisoned humanity. That Newgate doorway,
through which had passed so many generations of destiny's victims,
always haunted my imagination, and when I first saw Cameron's great
etching I felt again the sympathetic thrill that had been mine on
hearing that dreadful door locked behind me, when in 1881 I was
privileged--as a visitor--to go all over the prison, while it was still
used as a house of detention and men and women were hanged there in a
permanent execution shed. Yes, _Newgate_ is a print that gives us with
its decorative design, not a mere faade, as the majority of
architectural etchings do, but a rich suggestion--and how significantly
that sombre group of women by the grim portal aids it--of the haunting
spirit of the place, with its terrible associations.

Always Cameron's interest in architecture had been wide in its range,
stately or humble appealing alike, his graphic sympathies being moved
particularly by the picturesque aspects of buildings, irrespective of
their character, function or period, while romantic and dramatic
expression would be discovered in emphasis of shadow decoratively
balanced with contrasting light. With the _Newgate_ he seemed to have
developed a deeper intuition for the significant beauties of
architecture, and in the etchings which followed a year later we find
his pictorial conceptions more responsive to the rhythmical suggestions
of contours and spaces, while his imaginative disposition of glowing
lights and brooding shadows is emotionally provocative with romantic
glamour, mysterious charm. For instance, _Rosslyn_, with the Gothic
beauty of its chapel peered into, as it were, adoringly; _Siena_, with
its houses folded in a light of some strange enchantment; _The Rialto_,
brilliantly original with its frank decorative plan; _Saint Marks, No.
2._, with the glow of its great rose-window; the intriguing _Venetian
Street_; and then the charming _Palazzo Dario_, (Plate II.) and _Ca
d'Oro_, two gracious visions of palatial Venice, in which the etcher's
needle has delicately responded to his pictorial conception of the
decorative detail, while in _Palazzo Dario_, as Professor Hind has
demonstrated, the pictorial design betters the architectural reality.
Between these and the elegant _Doge's Palace_ of 1902 must be mentioned
the lovely _Elcho on the Tay_, in which, with the harmonious expression
of hilly shores and calm waters reflecting them, Cameron attained to his
so far most beautiful interpretation of landscape. _Laleham_, however,
of the same period has another kind of charm, the graphic mood and
manner of the artist differing, as the inspiration of Thames differed
from that of Tay.

Cameron came next under the spell of the historic cities of Touraine,
and how inspiring he found them we see in an important group of
etchings. Chartres, Tours, Loches, Chinon, Angers, Amboise, Blois, each
offered him something that his art and his temperament seemed prepared
for, subjects for the exercise of his own expressive style in the
pictorial treatment of architecture mellowed by the centuries. If
something of the expressiveness of this style depends on the forcible
contrasts of light and shadow, akin to those that characterise Meryon's
brooding visions of old Paris, Cameron's use of such emphasis is no
reflection of Meryon's genius; it is personal to the Scottish master,
belonging to his temperamentally romantic way of looking at buildings
that interest him significantly. Without the continued appeal of
associations charged with haunting memories, with romantic significance,
the merely architectural aspects of any place would hardly have enticed
Cameron to the copper, no matter what decorative pattern the shapes
might suggest, what rhythmic harmony the contours and tones. His
individuality was now definitely expressive, and it is interesting to
compare the penetrating impressiveness of Cameron's splendid _Loches_
and _Amboise_ with the sketchy vivacity of impression in Whistler's
_Hotel de Ville, Loches_, and _Clock Tower, Amboise_, respectively,
where the same buildings had engaged the vision of both etchers, to see
how entirely Cameron had freed himself from the old Whistlerian
influence. The boldly designed _Chinon_ too, and _Angers, Rue des Filles
Dieu_, with its sombre quietude--whose conception other than Cameron's
would have been so deeply emphatic with a chiaroscuro that seems to
bring its lights and its darks from a poet's imagination?

_St. Laumer, Blois_, (Plate III.), as this lovely twelfth-century church
was called till, after the Reign of Terror, it was reconsecrated with
the name of St. Nicholas, has been chosen to represent here Cameron's
etchings of church interiors, because, with the possible exception of
the exquisite _Five Sisters, York Minster_, it appears to me the most
beautiful of all in its complete harmony of design and expression, and
it is less widely known than that later and more generally acclaimed
masterpiece. Yet, in spite of the wonderfully emotional effect of the
stained-glass window translucence in the _Five Sisters_, I cannot feel
that the general impression is more beautiful and inspiring pictorially
than is that of _St. Laumer, Blois_, in which the artist's imagination
has been reverentially moved, and religious aspiration is implicit in
the noble design, the empty chairs facing the lofty choir being an
eloquent factor. Architecture was, at this period, chiefly engaging
Cameron's needle, aided often by the dry-point for enriching the tonal
accent, and in Tours he found the subject of one of his most attractive
plates of architectural character. This was _Place Plumereau, Tours_,
(Plate IV.), and in this row of fifteenth-century houses, with the
engaging variety of their fenestration, their gables, their quaintly
inviting balconies and shop-fronts, he discovered an implicit
picturesqueness which his fine instinct for essential design turned to
good account.

The year 1904 brought the interesting "Paris Set," which included three
notable plates, _Saint Germain l'Auxerrois_, the belfry tower from which
was sounded the signal to begin the Huguenot massacre in 1572, _Hotel de
Sens_ and _Saint Gervais_. Then followed _John Knox's House_, a
characteristic presentment of an historic landmark of old Edinburgh,
while in the same year, 1905, Cameron etched one of his finest
interiors, _Robert Lee's Workshop_ (Plate V.). This plate has a
sentimental interest of association, for it represents the
boat-builder's shed at Tweedmouth in which the celebrated Scottish
church-reformer worked awhile with his father; but the pictorial
interest is vested, in the homogeneous design into which the structural
timbers and the materials and factors of the work in hand have been
gathered, with the harmonious tonality of the vista along which the eye
is led under the dark roof to the bright glimpse of boats and river, as
it is led with similar motive of chiaroscuro, but with a suggestion of
ambient mystery, in the slightly later _Robin's Court_. In both these
plates the dry-point has subtly reinforced the bitten line.

The landscape mood was now alert, the mood especially for calm waters
and darkly shadowed shores, seen pictorially and felt poetically under
varying influences of light, and this serene mood was charmingly
reflected in _The Tweed at Coldstream_, _Murthly on the Tay_, _Moray
Firth_, _Still Waters_, _Evening on the Garry_, while _Berwick on Tweed_
was a purely etcher's conception in which his line was boldly
self-reliant in its thrifty sufficiency. Then _Robin Hood's Bay_; on the
northern Yorkshire coast in that bay of romantic aspect and tradition,
immemorially associated with the legendary Earl of Huntingdon, Cameron
found inspiration for one of his most beautifully balanced designs, with
the little houses piling up picturesquely on either bank of the gap, the
sea calmly lapping the shore, and the hills sharing the pervading
sunshine. In this mood the etcher was ripe for a landscape masterpiece,
and it was forthcoming with the "Belgian Set" of 1907. _The Meuse_
(Plate VI.) is one of Cameron's supremely beautiful achievements; with
exquisite symmetry the placid river is seen winding between its banks of
overshadowing cliff, while the Citadel of Dinant majestically crowns the
lovely scene, in which the distant prospect has a benign share. This for
me is the outstanding plate of the "Belgian Set"--but there were also
architectural plates of considerable importance and charm, such as
_Dinant_, _Old La Roche_, _The Gateway of Bruges_, and _Damme_, in which
glamour has been deliberately sought with a very sharp accent of
chiaroscuro. Cameron's standard was now exceedingly high. In the same
year as _Robin Hood's Bay_ and the "Belgian Set," came the superb _Five
Sisters, York Minster_, of which I have already spoken, and two charming
riparian landscapes, _On the Ourthe_ and _After-glow on the Findhorn_.

A visit to Egypt in 1909 resulted in something of a change of manner,
simplification rather, in the linear utterance of the master's pictorial
conception. This is seen first in the exquisite line and synthetic
simplicity of _The Turkish Fort_. _Street in Cairo_ shows its influence
also, and the remarkable still-life studies, _Rameses II_, _My Little
Lady of Luxor_, and _An Egyptian Mirror_. The exercise of giving with
the etched line pictorial life to inanimate figures seemed to fascinate
Cameron, and having begun with _The Little Devil of Florence_, he went
on to do _A Queen of Chartres_ and _Aquamanile_, that brilliant
representation in full tone of an amoured knight on horseback from a
fourteenth-century brass. But, after all, _The Little Devil of Florence_
may be regarded as but a preliminary essay for that far greater thing
_The Chimera of Amiens_ (Plate VII.), of 1910, which is one of the
masterpieces of modern etching. Here from a corner of the beautiful
Cathedral's battlement the dreadful winged monster, crouching above the
sculptured figure of a medieval monk, cranes its long neck to glower
with insatiable malevolence over the human generations below, but,
unlike the morbid menace that Meryon's _Le Stryge_ scatters on dark
pinions over Paris, in Cameron's _Chimera_ this stone creature of Gothic
imagination glowers impotently, for "nothing but well and fair" shows in
the sunny prospect of the city and country beyond. A charmingly original
plate, _Yvon_, followed in 1911, etched, I presume, from the
water-colour done in Chartres, and the etching, compared with the
drawing, exemplifies Cameron's happy readiness to improve the balance of
his design even at the expense of an obstructive actuality, for he
removed a building to let in a glimpse of sky and landscape.

This was characteristic, for now landscape was to be dominantly the
inspiring motive of the master's work upon copper as upon canvas, and it
was to be the landscape of his native land. The year 1911, which saw
Cameron elected an Associate Engraver of the Royal Academy, was
signalised by the production of the famous _Ben Ledi_, an unforgettable
plate of rare beauty, in which he has given us a poetic vision of that
noble mountain of immemorial romantic tradition, with a light of
enchantment upon it and upon the near waters, lending a glimmer to the
solemn enfolding shadows. Of all Cameron's etchings this is the most
highly appraised in the print market, yet with all its tranquil beauty,
it does not excel in the essentials of the etcher's expression some
others of his Scottish landscapes in which with more simple, more
summary linear treatment he has achieved a pictorial impression
organically true with no less beauty and charm. Look, for instance, at
_Dinnet Moor_, (Plate VIII.) how the searching lines have found in a
natural rhythm all the organic features of that fine tract of
richly-heathered moorland on Deeside, while the dry-point's burr has
given them their pictorial accents, and the pale contours of the distant
Grampians suggest all the implicit beauty of the mountains enveloped in
sunny haze. Of kindred conception and charm are _Ralia_, _Nithsdale_,
_Carselands_, _Loch-en-Dorb_, _The Cairn-gorms_, _Hills of Tulloch_,
_Dunstaffnage_, _The Frews_, and in each of these the natural scene has
offered its own rhythms, the artists vision ordering them into harmonies
with evocation of beauty from the delicate play of light with answering
shadow, perhaps on a winding river, perhaps on a valley's gentle
undulations, on the majestic shapes of dominant hills, on the calm
surface of a sheltered lake. Then, the delightful _Dunvalanree_, what a
triumph for the all-sufficiency of the bitten line! _The Esk_, a little
dry-point of peculiar charm, with what simple expressiveness of line the
river is shown winding between its low-lying shores "somewhere safe to
sea!" Those plates too, in which Cameron's vision of rocky crags is
presented with so sound a structural intuition, _Peeks of Arran_,
_Kerrera_, _The Valley_ (_Glencrutten_), how convincingly their lines
tell!

All these things were done between 1912 and 1916. In that year Cameron
was exceptionally honoured by the Royal Academy. His genius for painting
was now recognised to be as important as his genius for etching, and by
a fresh election he attained the full privilege of a Painter Associate.
In the next year he wrought three distinguished plates, one still life,
_Maut_, one architectural, _Old Museum, Beauvais_, and one landscape,
the lovely _Strathearn_, (Plate IX.) in which his pictorial poetry found
exquisite expression. After 1917, however, Cameron laid aside his
etching-needle and dry-point for six years, during which he was painting
pictures that established his mastery and his fame, and justly won him
the full honours of the Royal Academy. In 1923 he returned to the copper
with fresh enthusiasm, and in the very beautiful _Ben Lomond_ (Plate
X.), with its flawless balance of design, he reached what seems to me
his high-water mark in landscape etching. Here storied mountain and
loch, in their harmonious relation under a romantic enchantment of
light, seem with their rhythm of form and tone to sing from the copper a
lyric of pure beauty. When I look at this and the charming _Loch Ard_
(Plate XII.) of last year, and the fascinatingly designed _Lake
Menteith_ of this, in all of which the placid charm of still water has
been an inspiring element, and then think of Cameron's many etchings in
which some riparian aspect has been the motive, I am reminded how
Wordsworth, after a visit to Scotland, distinguished between the
beauties of river and lake: "The beauties of a brook or river must be
sought, and the pleasure is in going in search of them; those of a lake
or of the sea come to you of themselves." Whether he seeks them, whether
they "come of themselves," the artist who can communicate the beauties
as Sir D. Y. Cameron communicates them with pictorial magic is the rare
master. No less rare is the imaginative mood that gave us this
magnificent print, _The Baths of Caracalla_ (Plate XI.) the etcher
having found inspiration for a masterpiece of impressive design, in the
ruins of the famous _Therm_ which pandered to all the extravagant
luxuriousness of decadent Rome, ruins which Shelley found incomparable
in their "sublime and lovely desolation," inherently decorative and
charged with Time's stern significance. The mention of decorative and
significant qualities reminds me that I have said nothing of Sir David's
fine and distinctive bookplates, of which he has done many; but now that
he has taken up his etching-needle again we may hope for noble things of
various kinds. All the honours and distinctions that have come to the
master from Academies, Societies, University, the State, the Sovereign,
are but synonyms for that artistic honour which is the true inwardness
of any work that bears the name of D. Y. Cameron.

MALCOLM C. SALAMAN.


     THE EDITOR DESIRES TO ACKNOWLEDGE THE ASSISTANCE RENDERED TO
     HIM IN THE PREPARATION OF THIS FOLIO BY THE ARTIST, SIR D. Y.
     CAMERON, R.A., MR. THOMAS CONNELL, MR. CAMPBELL DODGSON,
     C.B.E., MR. MARTIN HARDIE, R.E. AND PROFESSOR ARTHUR M. HIND,
     WHO HAVE KINDLY ALLOWED THE PRINTS TO BE REPRODUCED




PLATE I.

"NEWGATE"--2ND STATE (ETCHING, 6-1/2  4-7/8 INCHES)

_From a proof in the possession of Thomas Connell, Esq._

[Illustration: NEWGATE.]




PLATE II.

"PALAZZO DARIO" (ETCHING WITH DRY-POINT, 12-3/4  6-1/2 INCHES)

_From a proof in the possession of Campbell Dodgson, Esq., C.B.E._

[Illustration]




PLATE III.

"ST. LAUMER, BLOIS"--2ND STATE (ETCHING WITH DRY-POINT, 12-3/4  7-1/2
INCHES)

_From a proof in the possession of Campbell Dodgson, Esq., C.B.E._

[Illustration]




PLATE IV.

"PLACE PLUMEREAU, TOURS"--2ND STATE (ETCHING WITH DRY-POINT, 8-3/4  7-1/2
INCHES)

_From a proof in the possession of Campbell Dodgson, Esq., C.B.E._

[Illustration]




PLATE V.

"ROBERT LEE'S WORKSHOP" (ETCHING WITH DRY-POINT, 11-3/4  8-3/4 INCHES)

_From a proof in the possession of Campbell Dodgson, Esq., C.B.E._

[Illustration]




PLATE VI.

"THE MEUSE" (ETCHING WITH DRY-POINT, 6-7/8  14-3/4 INCHES)

_From a proof in the possession of Thomas Connell, Esq._

[Illustration]




PLATE VII.

"THE CHIMERA OF AMIENS"--TRIAL PROOF (ETCHING, 9-3/4  7-1/2 INCHES)

_From a proof in the possession of Martin Hardie, Esq., R.E._

[Illustration]




PLATE VIII.

"DINNET MOOR" (DRY-POINT, 6-3/4  11-3/4 INCHES)

_From a proof in the possession of Martin Hardie, Esq., R.E._

[Illustration]




PLATE IX.

"STRATHEARN" (DRY-POINT, 4-1/2  14 INCHES)

_From a proof in the possession of Martin Hardie, Esq., R.E._

[Illustration]




PLATE X.

"BEN LOMOND" (ETCHING WITH DRY-POINT, 10-3/4  16-1/2 INCHES)

_From a proof in the possession of Professor Arthur M. Hind_

[Illustration]




PLATE XI.

"THE BATHS OF CARACALLA" (ETCHING WITH DRY-POINT, 11  16-3/4 INCHES)

_From a proof in the possession of Thomas Connell, Esq._

[Illustration]




PLATE XII.

"LOCH ARD" (DRY-POINT, 3-1/2  8 INCHES)

_From a proof in the possession of Thomas Connell, Esq._

[Illustration]




[End of _Sir D.Y. Cameron, R.A._ by Malcolm C. Salaman]
