By age, W. Russell Flint and D. Murray Smith belong to the group of younger Scottish painters, and otherwise, similarly, both artists have been resident in England for a considerable time. It is only within recent years that their work has appeared, as it were, anew in the Scottish exhibitions. W. Russell Flint (Plate XIX) was born in Edinburgh in 1880; originally studying in the art school there, he made his home in London in 1900, where, after a short course at Heatherley’s Academy, his name and work came rapidly into prominence. In 1913 he was awarded the silver medal for his water-colours in the Salon des Artistes Français. The following year he was elected an associate of the Royal Society of Painters in Water-Colours, and a full member in 1917. As an artist both figure and landscape equally reveal his versatile ability. As an illustrator, too, he can claim no less distinctive recognition by his charming imagery expressed in that phase of his talent in the publications of the Riccardi Press. Thoroughly acquainted with the medium of water-colour, he applies it with no special mannerism other than the choice his vision dictates and the subjects of his mind most emotionally demand. Though less varied paths tempt the outlook of D. Murray Smith (Plate XXII), his spacious conceptions of landscapes are uncommonly interesting. The admirable characteristics of largeness and freedom, which earlier prophesied a coming artist in the Scottish capital where he was born, have altered little. As an etcher of illustrative landscapes in those days he gained no meagre reputation, which he has vastly enhanced in England, where he settled some twenty-four years ago. In all his works there pervades a strong affection for flat expanses of Nature, unhampered in the composition by the human element, save for friendly wayside cottages or distant villages. It is, however, those examples where even such features are the least prominent, like his unpeopled roads, that have a most abiding charm, manifesting at times a vision and technical qualities akin to the rare landscapes by the old Dutch and early English masters, and to the French in their Corotesque and lyrical love of trees. And it is, perhaps, to the lyrical aspects of Nature that water-colour is most closely allied, and in such of her voiceless poems most expressively lives the spirit of the medium. [Illustration: PLATE XV. “THE MAPLE IN AUTUMN.” BY ROBERT W. ALLAN, R.W.S., R.S.W.] [Illustration: PLATE XVI. “BEN MORE.” BY A. K. BROWN, R.S.A., R.S.W. (_In the possession of J. Whitelaw Hamilton, Esq., A.R.S.A._)] [Illustration: PLATE XVII. “A MOORLAND.” BY JAMES CADENHEAD, A.R.S.A., R.S.W.] [Illustration: PLATE XVIII. “AUTUMN IN STRATH TAY.” BY D. Y. CAMERON, A.R.A., R.S.A., R.W.S., R.S.W. (_In the possession of R. Skinner, Esq._)] [Illustration: PLATE XIX. “APRIL EVENING, RYDAL WATER.” BY W. RUSSELL FLINT, R.W.S., R.S.W.