With this by way of preface, will the _Times_ accept our apology for not crediting it with Mr. Kipling's article, will it believe us that we really did write in the "credit" after the article, and will it commission its correspondent with this Army to go to our printing works and reason with our printers from "the devil" upwards? * * * * * THE WAR ARTIST OF TO-DAY. BY H. OWEN SCOTT. The present campaign has undoubtedly commenced a new era in the history of illustrated journalism, which change has been brought about by a new school of war artists, whose method is camera work, and whose aim is to faithfully produce the actualities demanded by a picture-loving, yet critical public. The artistic value of this means of illustrating is becoming more and more realised every day, and will prove an effectual factor in crowding out the old-fashioned war artist who draws on his imagination. The only excuse for artists of any description being at the front is their capacity for reproducing true and vivid impressions of what they have seen. This is where the importance of the new school is at once apparent, and as long as the men practising this art are honest and do not attempt to foist "faked" work on the public, their efforts are bound to be acceptable and of artistic value. In speaking of camera work as an art and the individuals adopting it as artists, I do not include the persons who simply press a button and expose yards of film, regardless of subject, but the few who make pictures intelligently and pay as much attention to composition and lighting as a painter would when commencing a fresh canvas. The camera is not going to destroy the painter--and I say painter advisedly--as no black and white artist is any good unless he is a painter, and has a keen appreciation of colour value. Nature is teeming with colour, and unless this is felt how can it be suggested in line? Why does Rembrandt stand out as the greatest master of etchings? Simply because his etched works suggest colour, and it is this power of suggesting colour that placed Charles Keene head and shoulders above all other black and white men. The power of selection of subject is not developed in all artists to an equal extent, but there is always room for such men as Melton Prior, W. B. Wollen, Lester Ralph, and a few others, whose work will always be looked for as representing actuality. If the two schools of artists mentioned work with the full knowledge of the limitations of their mediums, there will always be a place for both. The mechanical draughtsman is dead. He has been killed by the camera.