began to play a great hush fell on the crowd, and he played to an audience that scarcely breathed. He was, of course, placed first. On that matter there was no room for dispute. The photograph here reproduced was taken immediately after that competition. When Cameron was playing in the year 1859 for the Highland Society of London’s gold medal at Inverness, he had rather an awkward experience. The tune was “Mac Intosh’s Lament,” and he had not got much more than through the ground or _urlar_ when the drones began to slip off his shoulder. He made several futile attempts to adjust them, but down they would come, and down they did come, until they rested on his arm. But this made no difference whatever to the rendering of the tune. He played just as if the instrument was on his shoulder in the ordinary way. An onlooker remarked to Alexander Mac Lennan how splendidly he played, although under a disadvantage. “Sandy” replied that “it made no difference to Donald although he held the bag between his knees.” In personal appearance, as the sketch shows, he was the ideal successor of the hereditary pipers. In 1862 he won a prize of £10 offered by the Club of True Highlanders for the best rendering of pibrochs, and the chronicler of the event refers to him as being “with his grand, massive face and ample grey beard, the very impersonation of an old Highland piper.” His favourite music was pibroch, but he was an all-round master of the pipes. Like many old players, he made all his own reeds, and was very particular about them. He had one special reed, which he used only on high occasions, such as a guest night at Brahan Castle. He kept it, when not in use, in an air-tight bottle, and one day a tinker piper called at his house, and, as usual with the class, begged for a reed. Mrs. Cameron thoughtlessly gave him this old-looking reed out of the bottle, and when Donald came home some time after, and was told what had been done, he was sorely put about. Cameron was one of that small number of men who could keep up a continuous sound when playing the practice chanter, a thing very few players can do. He was the composer of some first-class tunes, including “Kessock Ferry,” “Brahan Castle,” and “Lady Anne Mac Kenzie’s Farewell to Rosehaugh.” Of his four sons, three became pipers. Colin, piper to the Duke of Fife, is well known as a teacher of pipe music; Alexander was piper to the Marquis of Huntly; and Keith Cameron, now dead, was piper to the Highland Light Infantry. They all made names for themselves in the musical world, but in no case is their personality so outstanding as that of their father. Although the mantle of the Mac Crimmons seemed to fall on him, the changing circumstances of life made it impossible for him to pass it on to another generation, and to find the true representative of the old pipers in the pipers of to- day would task the ingenuity of those best acquainted with the accomplishments of the different men.