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Photographing 
 in Old Lngland 
 
BY 
 
 W. I. LINCOLN ADAMS 
 
 PHOTOGRAPHING IN OLD ENGLAND: 
 
 With some Snap Shots in Scotland and Wales. Illus- 
 trated with photographs from nature by the author and 
 others. 4to, cloth, decorated, full gilt, in box . $2.50 
 
 WOODLAND AND MLADOW: 
 
 Out-of-Door Papers, written on a New Hampshire farm. 
 Illustrated. Uniform with above .... $2.50 
 Out of Print 
 
 IN NATURL'5 IMAGE.: 
 
 Chapters on Pictorial Photography. Richly illustrated. 
 
 Uniform with above $2.50 
 
 Only a few copies left 
 
 SUNLIGHT AND SHADOW: 
 
 A book for Photographers. Illustrated by original pho- 
 tographs from nature. A new edition, third thousand. 
 4lo, cloth, decorated, full gilt, in box . . . $2.50 
 
 AMATEUR PHOTOGRAPHY: 
 
 A Practical Guide for the Beginner. Illustrated. Royal 
 
 8vo. Paper 50 cents. Cloth $1.00 
 
 Out of Print 
 
 Published by 
 
 THE BAKER & TAYLOR COMPANY 
 
 33 Union Square, New York 
 
PHOTOGRAPHING 
 
 IN OLD ENGLAND 
 
 With 5ome 5nap 5hots 
 in Scotland and Wales 
 
 W. I. LINCOLN 
 
 Editor of The Photographic Times 
 
 Author of "Sunlight and Shadow" 
 
 "In Nature's Image," etc. etc. 
 
 Illustrated with Photographs from Nature, 
 by the Author and Others 
 
...0 
 
 
 COPYRIGHTLD 1910 BY 
 
 THL BAKE.R & TAYLOR COMPANY 
 
 NF.W YORK 
 
 PRESS OF STYLES & CASH, NEW YORK 
 
 ICI,A268988 
 
TO MY WIFL 
 
 AND DAUGHTLR LLIZABLTH 
 
 COMPANIONS OF MY JOURNE.Y5 
 
 IN OLD ENGLAND 
 
PRLFACL 
 
 THE following chapters on Photographing in Old England 
 were written as letters to the readers of The PJioto- 
 graphic Times during the summer of 1909. 
 
 They were illustrated for the most part, by photographs 
 made on the trips which they described, though some of the very 
 best pictures are the product of other cameras other than my own. 
 I am particularly indebted to Mr. G. P. Abraham of Keswick, for 
 some of the most beautiful illustrations, of which mention is 
 made in the chapter which they embellish. A few of the other 
 photographs were obtained in the local shops when weather, or 
 other conditions prevented me from using my own camera. 
 
 My pictures are merely what are rather aptly called "snap- 
 shots," and are not put forward as examples of excellence in 
 photography; but, for the most part, represent only the average 
 exposures of a foreign traveler, often of necessity made with con- 
 siderable haste, and not always under the most favorable condi- 
 tions of light, atmosphere, or even of the point of view. Some 
 are made with more precision, of course, and occasionally a tripod 
 was used. But of this and other practical considerations, I speak 
 at more length in the final chapter of the book. 
 
 The letters themselves were written without literary pre- 
 tense, often at the end of a day of travel, while the facts which 
 they record were fresh in mind. Their author has no illusions as 
 to their literary value, and collected them for book publication at 
 the request of a number of his magazine readers, in order, par- 
 ticularly, to preserve the pictures in a more convenient and 
 permanent form. 
 
 W. I. Lincoln Adams. 
 
 New York City. 
 May, 1910. 
 
CONTLNTS 
 
 PREFACE 9 
 
 FIRST LETTER. 
 I*"rom Windsor to Oxford, on the Thames 13 
 
 SECOND LETTER. 
 In Shakespeare's Country 23 
 
 THIRD LETTER. 
 In the Land of the Doones 35 
 
 FOURTH LETTER. 
 Clovelly . . . -43 
 
 FIFTH LETTER. 
 Motoring Through Wales 51 
 
 SIXTH LETTER. 
 Coaching Through the English Lake Country . . . " . 61 
 
 SEVENTH LETTER. 
 In Scotland 73 
 
 EIGHTH LETTER. 
 English Cathedrals . . -83 
 
 NINTH LETTER. 
 London 93 
 
 IN CONCLUSION. 
 Some Practical Hints and Suggestions for Photographing Abroad 103 
 
 10 
 
LIST OF ILLUSTRATIONS 
 
 
 
 PAGE 
 
 Magdalen College from the Cherwell, Oxford ..... 2 
 
 Bridge at Henley ...... 
 
 
 
 
 
 15 
 
 Swans on the Thames ..... 
 
 
 
 
 
 15 
 
 The Old Norman Gate in Windsor Castle 
 
 
 
 
 
 16 
 
 Windsor Castle from the Thames . 
 
 
 
 
 
 17 
 
 Old City Wall at New College, Oxford . 
 
 
 
 
 
 18 
 
 Cricket Match at Oxford .... 
 
 
 
 
 
 21 
 
 Ann Hathaway's Cottage .... 
 
 
 
 
 
 24 
 
 Holy Trinity Church 
 
 
 
 
 
 , 25 
 
 Warwick Castle from the Avon 
 
 
 
 
 
 26 
 
 Stratford-on-Avon ...... 
 
 
 
 
 
 27 
 
 Shakespeare's Birthplace .... 
 
 
 
 
 
 ■27 
 
 Lady Warwick ...... 
 
 
 
 
 
 28 
 
 Interior of Shakespeare's House . 
 
 
 
 
 
 29 
 
 The Ruins of Kenilworth Castle 
 
 
 
 
 
 30 
 
 The -Center of England ..... 
 
 
 
 
 
 31 
 
 The Shakespeare Hostelrie of "Ye Five Gables" 
 
 
 
 
 
 32 
 
 The Doone Valley . ■ . 
 
 
 
 
 
 36 
 
 On the Cliff Walk 
 
 
 
 
 
 Z7 
 
 Lynton and Lynmouth ..... 
 
 
 
 
 
 38 
 
 The Water Slide, Doone Valley . 
 
 
 
 
 
 39 
 
 Castle Rock, on the North Coast of Devon 
 
 
 
 
 
 40 
 
 A Devonshire Lane ...... 
 
 
 
 
 
 41 
 
 Ragged Jack ....... 
 
 
 
 
 
 42 
 
 High Street. Clovelly 
 
 
 
 
 
 44 
 
 Clovelly ........ 
 
 
 
 
 
 46 
 
 The Entrance to the Town .... 
 
 
 
 
 
 47 
 
 The Rose Cottage ...... 
 
 
 
 
 
 48 
 
 A Side Stairway ...... 
 
 
 
 
 
 50 
 
 Snowdon from the Pinnacles (by G. P. Abraham) 
 
 
 
 
 
 52 
 
 Llanberis Pass ...... 
 
 
 
 
 
 53 
 
 Conway Castle ...... 
 
 
 
 
 
 54 
 
 Swallow Fjalls 
 
 
 
 
 
 55 
 
 Welsh Landscape near Chester 
 
 
 
 
 
 56 
 
 The Old .Castle at Hawarden .... 
 
 
 
 
 
 57 
 
 Chester, the Old Wall, and King Charles' Tower 
 
 
 
 
 
 58 
 
 II 
 
A Welsh Cottage 
 
 Coniston Lake from Beacon Craig (by G. P. Abraham) 
 Wythburn Church ....... 
 
 The Home of the Swans, Wray Castle, Windermere (by G. P. Abraham) 
 
 Rydal Mount, Wordsworth's House (by G. P. Abraham) 
 
 Old Mill at Ambleside (by G. P. Abraham) . 
 
 "Brantwood," Ruskin's House at Coniston (by G. P. Abraham) 
 
 Great Gable — The Needle Arete (by G. P. Abraham) 
 
 Yewbarrow, Wast Water 
 
 Derwent Bridge (by G. P. Abraham) . 
 
 Ruins of Melrose Abbey .... 
 
 Abbots ford 
 
 Holyrood Palace and Arthur's Seat 
 
 The Trossachs, "Where Twines the Path 
 
 Brig o' Forth and Crag Mohr . 
 
 A Highland Cottage 
 
 Oban Harbor by Twilight 
 
 Cottages near St. Boswell's . 
 
 Ely Cathedral, West Tower . 
 
 Canterbury Cathedral 
 
 York Minster from the City Wall 
 
 Durham Cathedral . 
 
 York Minster Towers 
 
 Interior of Lincoln Cathedral . 
 
 York Minster .... 
 
 Central Tower and North Transept 
 
 Chester Cathedral from the Churchyard . 
 
 Nelson Monument, Trafalgar Square 
 
 Houses of Parliament 
 
 In Rotten Row 
 
 Thames Embankment, from Hungerford Bridge 
 
 Westminster Abbey 
 
 St. Paul's Cathedral 
 
 London Tower and Bridge 
 
 Loch Katrine and Ben Venue 
 
 Ann Hathaway's Gate 
 
 Lynmouth 
 
 Taken while it Rained 
 
 Melrose Abbey 
 
 London Cabs . 
 
 Lincoln Cathedral 
 
 PAGE 
 
 59 
 62 
 
 63 
 
 64 
 
 65 
 66 
 67 
 68 
 69 
 70 
 74 
 
 75 
 76 
 
 77 
 78 
 
 79 
 80 
 82 
 84 
 85 
 85 
 86 
 
 87 
 88 
 89 
 90 
 91 
 94 
 95 
 95 
 96 
 
 97 
 98 
 
 99 
 104 
 
 105 
 107 
 109 
 III 
 112 
 
 12 
 
From Windsor to Oxford 
 on the Thames 
 
FIRST LLTTLR 
 
 FROM WINDSOR TO OXFORD ON THL THAMES 
 
 Bridge at Henley. 
 
 HE entire trip from London to Oxford, on the 
 famous river Thames, is an interesting one, 
 and well worth the two days required for 
 making it; but that portion of the historic 
 old stream which presents the most pic- 
 turesque subjects for the camera, lies be- 
 tween Windsor and Henley, a distance of 
 some twenty-five miles. 
 
 We therefore proceeded to Windsor 
 by rail, which afforded us ample time, be- 
 fore the little river steamer left in the afternoon for Henley, to see 
 the historic old castle, with its more modern palace, the very ex- 
 tensive and beautiftil park, and to make a number of photographs 
 there while the light was right 
 for them. 
 
 Parts of Windsor castle 
 are exceedingly old, there be- 
 ing present indications of the 
 earth-works, around the cen- 
 tral "Round Tower," or cita- 
 del, which were thrown up by 
 the Romans after their con- 
 quest of Britain before the 
 Christian Era. William, the 
 Norman Conqueror, built a cas- 
 tle at Windsor in the eleventh 
 century, but the oldest part of the present castle, which is still largely 
 used in connection with the palace, as a residence by the reigning 
 
 Swans on the Thames. 
 
 15 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 house of England, representing additions and alterations by many 
 monarchs, dates from Edward III. Tlie modern restoration of the 
 palace was begun by George IV, and finished under the late Queen 
 Victoria, at a total cost of nearly five million dollars. 
 
 I chose for my first picture at Windsor, the half page illustra- 
 tion presented herewith, showing the old Norman Gateway (at the 
 left) which is inside the old castle walls, and also (at the right) part 
 
 The Old Norman Gate in Windsor Castle. 
 
 of the ancient central Tower, with remains of the Roman earth- 
 works around its base. 
 
 The picture of the palace exterior which is perhaps most often 
 seen in this country, is the view of it from the famous ''Long Walk," 
 from any part of which an impressive vista is presented between 
 the magnificent old elm trees. It can be distinctly seen from the 
 very end of this royal walk, three miles distant. But I preferred 
 the view which shows the entire palace and castle, from the banks 
 of the Thames, as having greater pictorial value. Accordingly I 
 use that picture to illustrate this letter. 
 
 16 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The picturesque Towers of Eton College, across the river from 
 Windsor, make an attractive distant picture; while in the extreme 
 distance, about four miles away, may be seen, in Stoke Pogis, the 
 ancestral home of William Penn, near which he now lies buried, 
 with his kindred. 
 
 As we leave Windsor and gently steam up the river, we pass 
 Noble country villas, on either bank, with highly developed grounds 
 and charming gardens, extending to the very water's edge. House- 
 boats are moored to the banks, in cozy sheltered places, in which 
 whole families, and, indeed, quite large house parties, are made 
 extremely comfortable. The river itself is very gay, and full of life 
 and color, on a fair day like this, with "punts," barges, shallops, and 
 motor boats. We pass lock after lock, on our winding journey, all 
 perfectly kept, and brilliant with many-colored flower beds and 
 gardens. 
 
 The sun shines in England, even in summer, on an average of 
 not more than one day in the seven; so that photographing, when 
 
 Windsor Castle from the Thames. 
 
 17 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 
 
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 Old City Wall at New College. Oxford. 
 
 skies are blue and clouds are fleecy white, with shadows broad and 
 transparent, is not often possible here. Fortune smiled on us on 
 this occasion, however, and I was able to make a number of pleasant 
 snapshots from the deck of our little steamer, and from the river 
 banks, when we stopped at the locks. The initial letter illustration 
 is one of these, showing the bridge at Henley near which is the boat 
 house of the famous Leander club. Another shows a group of 
 swans, which are very numerous along the entire length of the 
 Thames. 
 
 And so we glide on, past Cliveden, that noble seat which Mr. 
 W. W. Astor purchased from the Duke of Westminster and pre- 
 sented to his son. It stands on a wooded eminence several hundred 
 feet above the river and where a bend in the stream gives a view of 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 it many miles in extent. Then we pass on to the quaint old town of 
 Marlow (pronomiced "Morrow") "the Mecca of fishermen," and 
 where dear old Izaak Walton himself used to angle. The ex- 
 cellent Inn here is called, after his classic, "The Complete Angler." 
 
 At Henley we complete our trip for the day, but there was still 
 sufficient light on these long English summer afternoons to make 
 the pictures referred to above, which illustrate this letter. The 
 bridge here is a most pictorial subject; so, too, is the Red Lion Inn, 
 where we lay for the night. As it happened this excellent old Inn 
 was full on this occasion, and the "Manageress," who presides over 
 every well-regulated English Inn, had a bed put up for me in the 
 private sitting room on the second floor. This was the room which 
 King Charles I used as his royal bed chamber, when he visited 
 Henley, as he frec[uently did; and when the old house was done over 
 in 1889 they found on the wall, over the mantel in this room, an 
 excellent fresco of the royal arms, which was made in 1632. 
 
 The next day the trip was resumed to Oxford ; but from Henley 
 on, the scenery is scarcel}^ so interesting and picturesque as it is 
 below that pretty town, though it is full of charm the entire length 
 of the river. Our first outing in Oxford was on the classic Cher- 
 well. The sun was kind for only a few minutes at a time on this 
 occasion, but it stayed out long enough for the coveted view of 
 Magdalen (pronounced "Maudlin") College Tower, and the Bridge, 
 from the river, which is used as the frontispiece to this letter. 
 
 The next day was not so favorable, as is shown by the much 
 softer picture of the Old City Wall at New College. But nothing 
 can be more picturesque in nature, than this fragment of the old 
 city wall, now in ruins, and overgrown with ivy and other luxuriant 
 English vegetation. Oxford is a very old city, dating back to the 
 nunnery of Saxon St. Frideswide, which was probably founded as 
 early as in the Eighth Century. The University is supposed to have 
 been established by the good King Alfred in 972 and the town was 
 an important military stronghold during the Danish wars of in- 
 vasion, the struggle with the Normans, and the various civil strifes 
 which occurred in England at a later period of its interesting his- 
 
 19 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 tory. The name is a corruption of Oxenford, referring to the fact 
 that, in earUer, ruder times, it was accessible only by an oxen ford 
 across the historic river. 
 
 Oxford is literally teeming with the most delightful subjects 
 for a hungry camera. I made a great many exposures while here, 
 though space will permit of showing only two or three of my pic- 
 tures. But I must refer to the one I made of a cricket match be- 
 tween two crack university teams, for the game seemed so tame 
 and slow as compared with our own national sport of baseball that 
 I could not but wonder why it should have taken so strong a hold on 
 the British youth. 
 
 For instance, the ball is delivered to the batsman, on the bound, 
 and the bat itself is a large, flat, blade-like instrument, with which 
 one would have great difficulty in niissiug the ball, as it seems to 
 the on-looker. As a matter of fact the ball is rarely missed, and 
 runs are made on foul balls, as well as on fair ones. As a con- 
 sequence the scores are enormous, frequently reaching several hun- 
 dred runs. 
 
 The ball is thrown from the field, also, so that it reaches the 
 player on the bound; and to an outsider, at least, there appears to 
 be no fast, snappy plays such as characterize a closely contested 
 baseball match. Cricket seemed a very lady-like sort of sport to 
 me, I must confess, without difficult plays and sharply contested 
 points. The game progresses leisurely throughout an afternoon, 
 and, at five o'clock, all the players repair to pavilion or refresh- 
 ment tent nearby, and have tea. Then the game is resumed in the 
 same leisurely fashion until dark. Often two or three days are re- 
 c[uired to conclude a match. It seemed to me like a game which 
 belonged rather to the class of croquet than as an athletic sport for 
 young collegians. 
 
 But English people of every class are enthusiastic over cricket, 
 and have been so for many generations. It is undoubtedly the 
 national athletic sport and must possess attractions undiscernible by 
 the outsider. The players, all in immaculate white flannels, on a 
 closely cropped green lawn, at least make a very gay and pretty pic- 
 
 20 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 ttire, which, however, does not photograph very well, particularly 
 when taken from the distance at which I was obliged to stand, as is 
 shown in the tail piece illustration to this letter. 
 
 I was loth to leave Oxford, for I realized the charm of the 
 place referred to by Hawthorne in "Our Old Home," where he said: 
 "The world, surely, has not another place like Oxford; it is a despair 
 to see such a place and ever to leave it, for it would take a lifetime 
 and more than one, to comprehend and enjoy it satisfactorily." 
 
 .,|i,,i, 
 
 
 ft I 
 
 Cricket Match at Oxford. 
 
 21 
 
In Shakespeare s Country 
 
5LCOND LLTTLR 
 
 IN 5HAKL5PEARL'5 COUNTRY 
 
 Holy Trinity Church. 
 
 Y FIRST letter in this series was dispatched 
 from the university town of Oxford, from 
 whence we proceeded to the Royal Spa of 
 Leamington, not that we desired the mineral 
 waters or baths of that attractive place 
 ( though we took both ! ) , but because it is so 
 centrally situated for short excursions to 
 stately old Warwick Castle, the picturesque 
 ruins of Kenilworth, Stratfo'rd-on-Avon and 
 the country thereabout, made famous by the 
 immortal bard of the Anglo-Saxon race. 
 It is but a short trip by coach from Leamington to the his- 
 toric old town of Warwick, with its famous castle, which is one of 
 the finest and most picturesque feudal residences in all England. 
 Its strange, eventful history is said to run back to the days of 
 Ethelfleda daughter of the Saxon King Alfred, who is supposed to 
 have commenced its construction — more than one thousand years 
 ago. The quaint old town itself is even older than that, having 
 been originally a British settlement which was afterward occupied 
 by the Romans. Many of the old buildings retain their mediaeval 
 appearance, and two of its old gates are still standing. Pictorial 
 subjects enough here for the camera, and to spare. 
 
 But we made so many exposures at Kenilworth, Stratford, and 
 elsewhere in this picturescjue country, that I have selected only one 
 of the Warwick views for reproduction here. It is the picture of 
 the castle from the bridge which crosses the Avon at this point. 
 It does not show much of the castle itself, but the river, the trees 
 and their reflection in it, combine to make up a pleasing composition 
 
 25 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Warwick Castle from the Avon. 
 
 as it seems to me. But the most beautiful thing about Warwick 
 is the Lady Warwick ! A superb picture of her by Carolus Duran, 
 and another even more beautiful, b}^ our own great Sargent, adorn 
 the castle walls. I send a small reproduction of one. 
 
 Another day we drove to Kenilworth Castle, which is still 
 beautiful in its ruins. It is probably the finest and most extensive 
 baronial ruin in the country. It was originally founded by the 
 chamberlain of King Henry First, Geoffrey de Clinton, about 1120, 
 and was the scene of many desperate encounters through the stormy 
 period of English history. It was not so fortunate as Warwick 
 Castle, however, in being held by a "King Maker" at one time of 
 warfare, and by a friend of Cromwell at another; for, though it 
 once held out for half a year against a determined siege, it finally 
 fell to the Parliamentarians, who scattered its costly collections 
 and demolished its stately pile. Here it was that the Earl of 
 
 26 
 
5tratford-on-Avon. 
 
 Shakespeare's Birthplace. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Lady Warwick. 
 
 Leicester entertained Queen Elizabeth, whose chief favorite he was, 
 in 1575, as described so fascinatingly by Sir Walter Scott in his 
 historical romance of the same name. I give one picture of the old 
 ruins, which shows nearly all _of the castle proper, though framed in 
 and partly covered by the trees and bushes surrounding it. 
 
 And now we come to Stratford-on-Avon, the most interesting, 
 as it is most rich in pictorial subjects, of all the places we have yet 
 visited with the camera. The first illustration of Stratford is a 
 general view, showing Holy Trinity Church in the distance, where 
 Shakespeare lies buried, and the graceful river Avon in the fore- 
 
 28 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Ruins of Kenilworth Castle. 
 
 ground flowing by it. This picture I purchased of Mr. WilHam 
 Stanton at "Ye Five Gables," and it seems to me a particularly ex- 
 cellent one. 
 
 The frontispiece is rather an unusual view of Ann Hathaway's 
 cottage across the fields, in Shottery. Here it was that Master 
 William used to come a-courting in "the good old times." Most 
 pictures of the gentle Ann's cottage which I have seen in this coun- 
 try are taken from the road in front, which shows rather a stifle 
 English hedge that makes a hard line across the foreground. This 
 picture is taken from the attractive garden within the hedge, and 
 gives what seems to me a more pictorial side view of the old 
 thatched-roof cottage. 
 
 The initial letter illustration is a near view of Holy Trinity 
 Church taken from the river, without a tripod, of course. And 
 so was the picture of Shakespeare's birthplace taken. The room 
 
 ;o 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Center of Lngland. 
 
 in which the poet was born is behind the second window from the 
 left, on the second floor, immediately over the doorway. On that 
 window are inscribed the names of many noted men and poets, in- 
 cluding a large number of Americans. There are still to be seen 
 the signatures of Thomas Carlyle, Sir Walter Scott, Robert Brown- 
 ing, Washington Irving, and many others. They say that more 
 than one quarter of the thirty thousand pilgrims who annually visit 
 this shrine, are our fellow-countrymen. 
 
 The full page illustration showing the interior of Shakespeare's 
 library, with his own arm chair directly opposite the beholder, in 
 
 31 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 m m 
 
 The Shakespeare Hostelrie of "Ye Five Gables." 
 
 the center of the picture, is from a photograph which I purchased 
 for this purpose; as I had not the proper lens and outfit for this 
 work, even if they would have allowed me to photograph these. The 
 library contains many old books, MSS., and pictures, besides the 
 furniture, of the greatest interest to Shakespearean students and 
 lovers. 
 
 There are at least three places in Old England where the An- 
 glo-Saxon, whether of the English or the American branch of the 
 race, is very likely to experience an emotion, when he stands for 
 the first time. And one place is that little upper chamber of the 
 old house on Henley Street, Stratford, where the immortal bard 
 of all English-speaking peoples was born, in 1564. Another 
 place is the historic old Abbey in AVestminster, London, where 
 so many of the noble dead of our race lie buried. And a third 
 place is the little island in the River Thames where the barons 
 
 32 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 reqiiired King John to sign the Great Charter which gave to 
 Anglo-Saxons their first constitution. We passed that island 
 on the river journey described in my first letter. Of West- 
 minster I shall speak in a latter communication. In this letter 
 I give a picture of Shakespeare's birthplace, which to me is the 
 most interesting single spot to visit in all of England. I wish I 
 might give a picture also of the low roof, humble interior; but the 
 interior of the poet's library will have to suffice. 
 
 The remaining picture, not before mentioned, is of the hand- 
 some old oak tree, which one passes on the way from Leamington 
 to Kenilworth, and said to stand in the very center of England. I 
 made a number of exposures on our return trips from Kenilworth 
 to Stratford, particularly of Guy's Cliff, and the beautiful old 
 castle there, and the old Saxon Mill near by, which is supposed to 
 be the oldest in all England; but space will not permit of more il- 
 lustrations to this letter. We are now going to the picturesque 
 country of North Devon, in the West of England, where I shall 
 visit and photograph in the Land of the Doones, about which T 
 shall write in my next letter. 
 
In the Land of the Doones 
 
THIRD fILLTTLR 
 
 IN THL LAND OF THL DOONL5 
 
 On the Cliff Walk 
 
 E CAME from Stratford-on-Avon ("In 
 Shakespeare's Country") to the beautiful 
 country of North Devon, in the west of Eng- 
 land, bordering- on the Bristol Channel, and 
 here we have seen and photographed probably 
 the wildest, grandest, and most picturesque 
 scenery in all rural England. It is a com- 
 bination of mountain landscape, rising over 
 a thousand feet from the sea; rugged coast 
 line with majestic "combes" or fiords sug- 
 gesting, and equal in grandeur to, the noted 
 ones of Norway; and rolling moors and 
 downs, covered with heath, and gracefully 
 undulating as far as the eye can reach. 
 
 My first illustration shows the little seaport town of Lyn- 
 mouth at the foot of the hill, and the village of Lynton, high up on 
 the mountain itself. Here it was we made our headc[uarters, as 
 it is a particularly beautiful situation, within easy walking and 
 driving distance of the places of greatest attraction. One of the 
 world's famous walks encircles the headland in this picture, cut out 
 of sheer cliff, with no parapet, or retaining wall, and winding along 
 the mountain side hundreds of feet above the sea. M}^ initial let- 
 ter illustration suggests, but does not adequately portray the sub- 
 limity of the view from these dizzy heights. 
 
 Farther along, after passing through the wild scenery of "The 
 Valley of Rocks," the driveway itself extends out upon the cliff and 
 ascends the mountain's side in like manner, many hundred feet 
 above the sea. This drive has been compared to the famous 
 Axentrasse along the mountain edge, at Lake Lucerne in Switzer- 
 land, but to me (who have photographed on both), the cliff* drive 
 
 37 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 -^'mixf"^ 
 
 Lynton and Lynmouth. 
 
 from Lynton in North Devon, is the .more wonderful, both as an 
 engineering feat in road-building, and in the grandeur and sublimity 
 of the scenery which it affords. 
 
 In North Devon, not far from Lynton, is Exmoor, the Land of 
 the Doones, made interesting for all time by the genius of Black- 
 more in his great novel, entitled "Lorna Doone." But apart from 
 the literary and historical associations of Exmoor, this country is 
 well worthy a visit for pictorial reasons, particularly by photog- 
 raphers. Gainsborough, the famous English painter, said it was 
 "the most delightful place for a landscape painter this country 
 could boast." 
 
 Badgeworthy Valley is really a very beautiful glen, in fact the 
 most interesting in all Exmoor. From the green bottoms the land 
 rises on either side two or three hundred feet high, to the moors 
 above. It is in fact very like the picture which Blackmore draws of 
 the Doone Valley and much more like his description than the out- 
 
 38 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Water 51ide, Doone Valley 
 
 laws' haunt itself. Indeed one must be prepared for some disap- 
 pointment in visiting this glen where the stalwart John Kidd wooed 
 the fair Lorna. 
 
 Readers of the romance will remember how John went poach- 
 ing up the Badgeworthy stream, and first came upon the Doone Val- 
 ley. After wading some distance he reached a water slide coming in 
 from the right. He tells the story himself as follows: "I stood 
 at the foot of a long pale slide of water, coming smoothly to me 
 without any break or hindrance, for a hundred yards or more, and 
 fenced on either side with cliff, sheer and straight and shining. 
 The water neither ran nor fell, nor leaped with any spouting, but 
 made one even slope of it, as if it had been combed or planed and 
 looking like a plank of deal laid down a deep black staircase. How- 
 ever, there was no side rail nor any place to walk upon, only the 
 channel a fathom wide, and the perpendicular walls of crag shutting 
 
 out the evening." 
 
 39 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Castle Rock, on the North Coast of Devon. 
 
 There was a big black pool at the foot of this slide, and, after 
 being nearly swept away into this and drowned by the strength of 
 the down rush, John finally managed to gain the top of the slide, 
 more dead than alive, and almost unconscious. When he recovered 
 he found himself in a deep, almost inaccessible glen, with a little 
 maiden tending him. This little maiden was Lorna Doone, who 
 had been carried awa}^ by the outlaws inhabiting this wild glen, and 
 who lived here by preying on the people in the neighboring country- 
 side. 
 
 How John grew to love this little maiden, how she showed him 
 her bower in the rocks, and the secret track or "warpath" over the 
 walls of the glen, how he visited her again and again, at the peril of 
 his life, how he finally carried her ofif when the outlaws were going 
 
 40 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 A Devonshire Lane. 
 
 to marry her to their chief, and then at the head of his neighbors 
 finally captured their stronghold and exterminated them, the reader 
 must find in the magic pages of Blackmore's great book. We are 
 more particularly concerned with the pictures of the place as they 
 appear in nature at present. 
 
 The illustration of the Badgeworthy Valley is a fairly satis- 
 factory one ; but the water slide will be seen to scarcely come up to 
 Blackmore's rather idealized description of it in his romance. The 
 foundations of the Doone's huts may still be seen in the Doone 
 Valley, though they do not make a particularly attractive picture. 
 Descendants of John Kidd are actually living in Exmoor at present ; 
 but the Doones seem to have been literally exterminated; though 
 the traditions of their terrible strength and cruelty still linger in 
 the neighborhood, notwithstanding that it was more than two hun- 
 dred years ago that these bandits lived and committed their re- 
 volting crimes here. 
 
 41 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Another most picturesque place in this country is the Httle sea- 
 port town of Clovelly, with its central street rising from the sea 
 by a series of steps, almost like a stairway. This is a famous place 
 for artists, and the picture of High street has been reproduced on 
 canvas and by lens and camera a great many times. The half-page 
 picture of "A Devonshire Lane" is by some photographer unknown 
 to me, as I purchased it in a shop. My picture of the same cozy 
 cottage lacks the sheep, and so misses the finishing touch in the fore- 
 ground. The tail piece was made by me on the cliff walk near 
 Lynton, and shows "Ragged Jack," a picturesque old landmark on 
 the North Coast of Devon. 
 
 In a few days we shall cross the Bristol Channel, to Cardiff, 
 in Wales, and then proceed by rail and coach through that country 
 of beautiful scenery; but before I describe our journey through 
 Wales, I want to devote a little more space to the unique old fishing 
 village of Clovelly. It is so particularly rich in pictures, so full of 
 color and of character, that I desire to devote one letter to this 
 subject alone. It is, moreover, the country made interesting by 
 Charles Kingsley in "Westward Ho," and he refers to it particularly 
 in his great book. 
 
Clovelly 
 
High Street, Clovelly. 
 
FOURTH LLTTLR 
 
 CLOVLLLY 
 
 N MY letter from "The Land of the Doones/' 
 I made but a brief reference to Clovelly, as 
 space did not permit of further description 
 there though the subject itself well deserved 
 more extended attention. 
 
 Clovell}^ is probably the most pic- 
 turesque village of Devon, if not of all rural 
 England, and I desire to devote an entire 
 chapter to it, as mentioned in my preceding 
 letter. It is decidedly the c[uaintest and 
 most unusual little village which I have yet 
 seen or photographed in any of my journeys 
 and is a veritable paradise for artists and 
 photographers. 
 This little fishing town lies in a narrow and richly wooded 
 valley or "combe," as they call it here, high above the sea, near the 
 mouth of Bristol Channel, and it descends abruptly to the water's 
 edge along a single narrow street, or rather a main stairway of 
 stones, with perhaps a hundred cottages and cabins climbing on 
 each side of the combe as far as the narrow space allows. 
 
 The cozy little houses themselves, each standing on a higher, 
 or a lower, level than its neighbor, are all neatly whitewashed, with 
 gray-green doors and lattices, and are almost literally covered with 
 flowering vines and brightly colored blossoms. The efl'ect of the 
 little village, as a whole, is strikingly unusual, foreign-like, and 
 picturescjue. I was fortunate enough to be here while the roses 
 were in bloom, and I can never forget the charm or the beauty of 
 the place. We came to Clovelly intending to spend the day, as most 
 tourists do, but stayed on and on under the c[uaint spell of the little 
 
 45 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Clovelly. 
 
 hamlet. No wonder that Charles Kingsle}^ loved his Clovelly, or 
 that one lady, whose name I saw in the guest book of our little cot- 
 tage, had returned to it every summer for twenty-one years. 
 
 I never longed so for the ability to work in color as I did at 
 Clovelly. The June roses — pink, yellow, and white, — were in full 
 bloom, and the little village was literally ablaze with color. My 
 poor little black and white photographs give but a feeble idea of the 
 charm of the place, particularly at this time; but small as they are 
 I have selected a few of them to illustrate this letter. 
 
 The frontispiece picture to this letter shows the main, or High, 
 street of the village and gives some idea of the little place as a 
 whole. This particular photograph is so much better than the one 
 I made of the same subject that I select it for reproduction in 
 preference to my own. The donkeys had been placed just right 
 by my predecessor ! One of the best views, however, is looking 
 down this main stairway, to the sea, which, far below, serves with 
 the sky as a background to the scene. An even better picture is the 
 one from the quay, or best of all, from the harbor (if the sea is 
 
 46 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Entrance to the Town. 
 
 calm) which shows the wharf in the foreground (or rather in the 
 forewater) and the village high above. The first illustration which 
 I show was made from the pier as the sea was too rough to photo- 
 graph it from the water. 
 
 The foundations of the cottages on the water-front at this, 
 the lower end of the hamlet, are hewn out of the living rock. This 
 part of the town is very old, its name appearing in Domesday, and 
 some authorities assert that there was a Roman station here even 
 earlier than that. It is the only harbor in Bideford Bay, west of 
 the Taw, and has been an important fishing place for a very long 
 time. 
 
 The oldest inhabitant, who says he is ninety-four years of age 
 (and he certainly looks it), claims that the present village is seven 
 hundred years old. He has many wonderful tales to relate of his 
 hairbreadth escapes by sea and land, and of those who did not 
 escape. Every year many brave fishermen and sailors lose their 
 lives on this perilous coast. My photograph of "The Entrance to 
 the Town," shows this interesting old seaman in his favorite resting 
 place at the foot of the main stairway, near the Red Lion Inn. 
 
 47 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Rose Cottage. 
 
 The old man seemed to take great pride in the fact that he 
 never went to school, "except," as he said, "to Charles Kingsley's 
 Sunday School." Kingsley was rector of Clovelly parish at one 
 time and a married daughter of his lives here in summer at the 
 present time. He told me, also, but somewhat confidentially, to be 
 sure, that he personally thought "Mr. Kingsley loved riding, sailing, 
 hunting, and fishing, better than he loved preaching," but that he 
 did all equally well. "Oh, you should have seen him jump a fence," 
 he exclaimed in his enthusiasm, as his memory recalled the old 
 times, "he never opened a gate or climbed a wall, but always vaulted 
 or jumped over them." 
 
 Mr. Kingsley himself speaks as follows of Clovelly in his great 
 book of "Westward Ho": 
 
 "And even such are those delightful glens, which cut the high 
 table-land of the confines of Devon and Cornwall, and opening each 
 through its gorges of down and rock, towards the boundless West- 
 
 48 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 ern Ocean. Each is like the other, and each is Hke no other Enghsh 
 scenery. Each has its upright walls, inland of rich oak-wood, 
 nearer the seas of dark furze, then of smooth turf, then of weird, 
 black cliffs which range out right and left far into the deep sea, in 
 castles, spires, and wings of jagged iron-stone. Each has its nar- 
 row strip of fertile meadow, its crystal trout stream winding across 
 and across from one hill-foot to the other, its gray stone mill, with 
 water sparkling and humming round the dripping wheel ; its dark 
 rock pools above the tide mark, where the salmon-trout gather in 
 from their Atlantic wanderings after each autumn flood ; its ridge 
 of blown sand, bright with golden trefoil and crimson lady's finger; 
 its gray bank of polished pebbles down which the stream rattles 
 towards the sea below. Each has jts jagged shark-tooth rock, which 
 paves the cove from side to side, streaked with here and there a 
 pink line of shell sand, and laced with white foam from the eternal 
 surge, stretching in parallel lines out to the westward, in strata set 
 upright on edge, or tilted towards each other at strange angles by 
 primeval earthquakes ; — such is the 'Mouth' — as those coves are 
 called; and such the jaw of teeth which they display, one rasp of 
 which would grind abroad the timbers of the stoutest ship. To 
 landward, all richness, softness, and peace; to seaward, a waste 
 and howling wilderness, of rock and roller, barren to the fisherman, 
 and hopeless to the ship-wrecked mariner." 
 
 The initial letter illustration shows where we lived at Clovelly. 
 The cozy little cottage is really a converted barn, the kitchen being 
 where the stable formerly was, and our rooms were in the hay loft 
 overhead. From King Charles' royal bed-chamber at Henley, to 
 the hay loft of a barn in Clovelly, is cjuite a descent, to be sure ; but 
 our windows here looked out over the sea, and the place was pro- 
 fusely overgrown with rose vines and fuchsias, so that it was a 
 veritable flowery bower, as cozy and comfortable a nest as one's 
 heart could desire for dreamless sleep after a long day with the 
 camera on sea and land. 
 
 Another picture shows the Rose Cottage where the old seaman 
 lived, with his bench before it in the sun and my daughter standing 
 
 49 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 near it ; while the last illustration gives a glimpse of a side stairway, 
 branching off from the main one. I made many snapshots while 
 here, on this main stairway and the "Back stairs," on the quay of 
 the harbor, and on the sea ; but I have already occupied all the space 
 I should take for one of these letters. Next month we are going to 
 Wales, where we shall make a tour en-auto through this wild and 
 picturescjue country of the north, and from there, accordingly, I 
 shall despatch my next letter. 
 
 A Side Stairway. 
 
Motoring in Wales 
 
FIFTH LLTTLR 
 
 MOTORING IN WALL5 
 
 T IS only a short trip by steamer 
 across the Bristol Channel, from Lyn- 
 mouth, in North Devon, to the city of 
 Cardiff, in Wales. Here excellent 
 railroad connections can be made for 
 Chester, which lies on the border be- 
 tween England and North Wales, 
 where the wildest and most pictur- 
 Lianberis Pass. cscjue country is to bc seen. 
 
 A convenient and comfortable way to tour in Wales is by 
 motor, and Chester is the most accessible starting point. Ac- 
 cordingly we procured an automobile there and made an early start 
 for the border. We passed the extensive park of Eton Hall, which 
 is one of the seats of the wealthy young Duke of Westminster, 
 crossed the river Dee, and we were soon in Wales, touring along 
 excellent country roads which abound in picturesque scenery on 
 either hand. 
 
 Our first stop was at Bala, where we stayed for lunch ; then 
 a drive around the lovely lake at Bala, and we proceed on our way, 
 over a wild mountain pass, shrouded in mist, to the little Welsh vil- 
 lage of Festiniog. Here another stop was made (to repair a 
 punctured tire), and we arrived at the unic[ue mountain resort of 
 Bettws-y-Coed (don't try to pronounce it!) where we put up for 
 the night. 
 
 Referring to the pronunciation of Welsh names it may be in- 
 teresting to know that they are spoken not at all as they are spelled, 
 difficult as it would be to do that! For instance, when a word 
 begins with two I's, as often happens, it is pronounced as if spelled 
 with a fJil, e. g. Llangollen is spoken as if spelled Thlangotlilcn, 
 
 53 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Conway Castle. 
 
 Llandudno is spoken Tlilandidno, the 7/ being- pronounced as i; and 
 Bettws-y-Coed (which means The Chapel in the Woods), is pro- 
 nounced as if spelled Betfoosycoed. 
 
 The next day we drove along the picturesque Swallow River, 
 past the Falls, a picture of which I made in passing, and on to the 
 famous Llanberis Pass, at the highest point of which I made an- 
 other picture which is shown in the initial letter illustration. 
 
 We must pause at this height, — Gorphwysfa, they call it in 
 Welsh — the resting-place. On either side of the road are great 
 jagged masses of rock that have fallen in bygone times from the 
 hills above. Away in the rear you can trace the long valley, with 
 its road winding around the hillside, going towards Beddgelert. 
 That road offers one of the finest motoring or coaching drives in 
 the British Islands. To the left ahead, Snowdon, with its triple 
 
 54 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 5wallow Falls. 
 
 head, towers up. To the right is the commanding height of 
 Glyder-fawr, within less than three hundred feet of equal height to 
 Snowdon itself. Beyond are other hills of every shape and size, 
 impressive, fantastic, grotesque. Straight ahead to the side of 
 Llanberis village are the beautiful twin lakes, Llyn Padarn and 
 Llyn Peris. 
 
 55 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Welsh Landscape near Chester. 
 
 But how is one to describe Snowdon? I might quote Tal- 
 fourd's pen-picture: "Of the four British mountains which pos- 
 sess the most powerful influence upon the imagination, Snowdon, 
 Cader-Idris, Helvellyn, and Ben Nevis, each has its own attributes. 
 * * * Of these mountains Snowdon forms beyond comparison 
 the noblest aggregate, because, except on the side opposite Car- 
 narvon, its upper portion is all mighty framework, a top uplifted 
 on vast buttresses, disdaining the round lumpish earth, spreading 
 out skeleton arms towards heaven, and embracing on each side huge 
 hollows, made more awful by the red tints of the copper ore which 
 deepens among the shadows and gleams through the scanty herbage 
 of its loveliest pathways." 
 
 As we approach this majestic mountain, we find it wreathed in 
 mist and crowned with clouds, as it usually is, so photographing was 
 out of the c[uestion. The full page picture of Snowdon which 
 illustrates this letter, as frontispiece, I obtained at a shop in Wales. 
 It is an excellent print, by G. P. Abraham, showing the summit from 
 the Pinnacles. 
 
 56 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Old Castle at Hawarden. 
 
 We now pursue our way down Llanberis Pass which has 
 justly been called the "Chamounix of Wales," for it reveals the 
 grandest scenery in the principality. For miles you pass between 
 the loftiest mountains in Wales. For miles you do not pass a single 
 house, or see a human being. Sturdy Welsh sheep alone clamber 
 amid the boulders and the crags. There is a grand solemnity 
 brooding over the place, and one receives here a vivid impression 
 of the sublimity of Nature, untouched and untouchable, a sense of 
 the infinite which swallows up one's petty humanity in an overpower- 
 ing sentiment of awe. Contemplating Nature in this mood one may 
 well repeat the old question, "What is man that Thou art mind- 
 ful of him, or the son of man * * >i^ ?" 
 
 From Llanberis we motored to Carnarvon, where the grand 
 old castle which Edward I built in 1283, still stands, majestic in its 
 partial ruin. 
 
 Here Edward II, the first Saxon Prince of Wales, was born, 
 
 57 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Chester, the Old Wall, and King Charles' Tower. 
 
 and he greatly strengthened and enlarged the old stronghold after 
 he became king. 
 
 But it was the picturesque ruins of Conway castle which most 
 charmed us. This castle was likewise built by Edward I, a little 
 later than Carnarvon, and is considered the master structure of 
 his architect, Henry de Ebreton, who also designed Carnarvon, 
 Beaumaris, and other castles in Wales. and England. Edward was 
 himself beleaguered here by the Welsh, and was hard put to it, too, 
 for a time, for the river Conway was so swollen that his English 
 reinforcements could not cross over. But, as an old narrative has 
 it, "the foaming flood subsided," and Edward was succored by his 
 Englishmen. Hawthorne says in his English notes: "Nothing 
 can ever have been so perfect in its own style, and for its own pur- 
 poses, when it was first built; and now nothing else can be sO per- 
 fect as a picture of ivy-grown peaceful ruin." Our picture of Con- 
 way Castle is by Chidley, of Chester, successor to our old friend, 
 G. Watmough Webster, of that ancient city. This picture is un- 
 
 58 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 avoidably marred by the modern suspension bridge which crosses 
 the Conway River at this place. It cannot be avoided, nor can it be 
 eliminated, but it is obviously out of keeping with the antiquity of 
 the castle ruins. 
 
 We motor on to Llandudno, perhaps the most fashionable 
 watering place of Wales, where we make a brief stop. And then 
 we pass out of the mountainous scenery entirely and tour along 
 through smiling fields and past pleasant home-like cottages. The 
 tail piece to this letter is a fair illustration of the latter, and the 
 little landscape near Chester, which we are now approaching, is 
 typical of the country near that old city. 
 
 But before we enter Chester again we visit Hawarden (pro- 
 nounced Harden), which w^as the seat of Gladstone, in Wales, and is 
 now in possession of his son. The house is modern and so lacks 
 the picturescjue cjualities of the old castle, which is in ruins, over- 
 grown with ivy, and rising in dignified desolation from a bank of 
 luxuriant herbage. 
 
 Chester itself, though not in Wales, is too interesting and 
 picturescjue a city to pass over without a mention or an illustration. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 As a matter of fact I made many pictures here, of its fine old 
 cathedral and the ruined Abbey adjacent; of its encircling wall, 
 with the ruins of its Roman earth works and fortifications; of its 
 quaint old English shops, and the "Rows" above them; but we have 
 space here for one only, and I have selected for the purpose a section 
 of the old wall near King Charles' Tower. Here that ill-fated 
 ruler is said to have stood and witnessed the defeat of his royal 
 troops on Rowton Moor in 1645. ^ picture of the cathedral 
 is included in another letter which I write about English 
 Cathedrals, a little later. But before we visit them we expect to 
 make a coaching trip through the English Lake country en route to 
 Scotland, and in my next letter I shall describe that interesting trip. 
 
 60 
 
Coaching Through the English 
 Lake Country 
 
u 
 
51XTH LLTTLR 
 
 Wythburn Church. 
 
 COACHING THROUGH THE, ENGLISH LAKL COUNTRY 
 
 IROM Chester we journeyed by rail to 
 Windermere, which is the largest 
 and, in some respects, the most beau- 
 tiful of all the English Lakes. Here 
 w^e spent the night, and the next 
 morning, before our coach started 
 from the hotel, I made the acquaint- 
 ance of a fine type of the old school 
 landscape photographer from whom 
 I obtained some excellent prints of 
 Windermere and other lakes. It was 
 well I did so, for the rain which usually falls, some time at least, 
 during every day in English Lakeland, made no exception of this 
 
 day, and I was unable to make a single exposure here. Mr. 
 
 was a friend of John Ruskin, in his later years, and had some in- 
 teresting intimate photographs of the famous author, inscribed to 
 him in autograph. 
 
 At Keswick, on Derwentwater, I was fortunate enough to fall 
 in with Mr. G. P. Abraham, the distinguished English landscape 
 photographer, who has made a specialty of Lake and Mountain sce- 
 nery. From Mr. Abraham I obtained the photographs illustrating this 
 letter which are credited to him, and many courtesies as well, which 
 I gratefully acknowledge. 
 
 The English Lake Country, beautiful as it certainly is, perhaps 
 did not quite fulfil our anticipations of it from the pictorial point of 
 view. Its charm is so largely due to the poetic and literary asso- 
 ciations of the great authors who have made this country their 
 home, that the American traveler is likely to feel some slight dis- 
 
 63 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Copyrighted by 
 
 Rydal Mount, Wordsworth's House. G. P. Abraham, Photo.. Keswick. 
 
 appointment that the Lakes and Fells are not more impressive in 
 themselves. 
 
 The country undoubtedly has a certain mild and pleasant 
 beauty of its own, apart from the glamor of romance and poetry 
 which English men of genius have shed upon this land ; but the lakes 
 seem rather tame in their aspect, and scarcely to justify in them- 
 selves the rhapsodies of praise which the poets have bestowed upon 
 them, or the reputation which they have enjoyed for great pictur- 
 esqueness. If it were possible to remove from the landscape the 
 literary associations which are so inextricably interwoven through- 
 out this pleasant countryside, I apprehend that these lakes and hills 
 would be but mildly enjoyed for the scenery which they afford. 
 
 It is, however, impossible not to feel the charm of association 
 with which the gentle Wordsworth and the philosophic Ruskin have 
 imbued this place, not to mention such well known and loved writers 
 as De Quincey and Coleridge, Sir Walter Scott, Tennyson, Robert 
 Southey, and Harriet Martineau. 
 
 65 
 
Copyrighted by 
 
 Old Mill at Ambleside. G. P. Abraham, Photo., Keswick. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Copyrighted by 
 
 " Brantwood," Ruskin's House at Coniston. 
 
 G. P. Abraham, 
 
 Photo., Keswick. 
 
 Rydal Mount, on Rydal Water, where lived "The Laureate of 
 the Fells," as Wordsworth has been called, has a charm and interest 
 all its own from the fact of his long residence there. But Rydal 
 Water itself would scarcely be called a lake in this country, so small 
 and inconspicuous is it. The exquisite beauty of "The Clouds" and 
 "The Mountain Echo," is bound to invest with charm, however, the 
 spot where such noble poems were composed. Thus is the poet 
 described by one who visited him in this house on Rydal Water : 
 
 "He took me by the hand in a way that did me good. There 
 was welcome in his words and looks, as well as in the shake of his 
 hand, and in less than five minutes he was taking me round his fairy 
 dwelling-place and pointing out to me the most striking objects of 
 the beautiful and glowing scenes around. He was rather tall and 
 thin, with a countenance somewhat pale, and more thoughtful than 
 joyous. Simple and courteous in his demeanor, and frank in his 
 
 67 
 
Copyrighted by 
 
 Great Gable— The Needle Arete. G. P. Abraham, Photo., Keswick. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Yewbarrow, Wast Water. 
 
 remarks, he made me feel at ease. * * * 'w\ might find these 
 secluded temples of beauty, but all will not give themselves the 
 trouble to seek them,' he said." 
 
 The same is true of Brantwood, on Lake Coniston, where 
 Ruskin lived, as well as the other haunts and places made famous 
 in English Lakeland by England's men of letters. There are 
 fifteen lakes in all, though all are not well known or often visited. - 
 
 We coached from Windermere, in the morning, past Grasmere 
 and Rydal Water to Derwent Water; in the afternoon driving 
 around the latter lake to Keswick, where we later took train for the 
 Scottish Border. We visited the falls of Lodore, celebrated by 
 Southey's rather jingling rhymes, and made several pleasant side 
 excursions, which, however, were rendered photographically un- 
 fruitful by the inclemency of the weather. 
 
 69 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The frontispiece to this letter is an extended view of Coniston 
 Lake taken from Beacon Craig by Mr. Abraham. It is fairly 
 characteristic of the English Lakes, showing the surromiding hills, 
 the trees, the occasional house, and the winding coach road. 
 Coniston has been called "a Miniature Windermere." "The Home 
 of the Swans," also by Abraham, is on Windermere, near Wray 
 Castle, and is a most beautiful photograph, as it seems to me. 
 
 The initial letter illustration is of Wythburn Church, situated 
 on a bleak hillside about half way between Windermere and Kes- 
 wick. It is said to be the smallest church edifice in England, and on 
 that account is often humorously referred to as "The Cathedral." 
 
 I procured from Mr. Abraham the excellent picture of "Brant- 
 wood," which was Ruskin's home for so many years at Coniston; 
 and also the view of "Rydal Mount," where W^ordsworth lived near 
 Rydal Water. The Old Mill at Ambleside is also one of Abraham's 
 artistic productions, as well as the Derwent Bridge, showing the 
 picturescjue lake cattle in the foreground with the mountains well 
 outlined in the distance. I consider this a particularly fine ex- 
 ample of landscape photography. 
 
 But Mr. Abraham has made his greatest reputation, perhaps, 
 in photographing mountains. We have space left in this letter for 
 but a single illustration of mountain scenery. If the lakes are con- 
 sidered by some as only mildly beautiful, the mountains are certainly 
 very picturesque and impressive. They are wild, craggy, and bar- 
 ren; and while not so very high as measured from the sea level, 
 they, nevertheless, rise so precipitously in many instances, from the 
 valleys and plains below, that they create the impression of being 
 much higher than they really are. The excellent full page picture 
 of "Great Gable," is a good illustration of this. Another picture 
 shows the fine dome of Yewbarrow at Wast Water, which is said 
 to be the deepest of all the English Lakes. 
 
 71 
 
In Scotland 
 
5LVLNTH LLTTLR 
 
 IN SCOTLAND 
 
 Abbotsford. 
 
 E JOURNEYED by rail from Keswick, in 
 the English Lake country, to Edinburgh, the 
 capital of Scotland. The rain which had 
 prevailed for the most part in English Lake- 
 land followed us north, and continued for a 
 day or two after we arrived in bonnie Scot- 
 land. So w^e remained snugly established in 
 Midlothian until the skies brightened again, 
 which they shortly did. 
 
 Then we visited the ancient castle on 
 the hill overlooking the city, and photo- 
 graphed it; drove about the interesting- old 
 city, photographing its splendid monuments 
 and its extensive public gardens, made snapshots on Princes street, 
 and spent a most delightful afternoon at Holyrood Palace, the 
 former residence of the Scottish Kings. 
 
 The rooms of Mary Queen of Scots are still preserved sub- 
 stantially as they were used by that ill-fated Princess ; so too are the 
 apartments of Lord Darnley, one of her husbands, and the father of 
 King James Sixth of Scotland, and the first of the royal house of 
 Stuart to reign over England.- Here was the scene of the cruel 
 murder of Rizzio, the Italian favorite of Queen Mary, and they 
 show you the spot in the vestibule of the audience chamber where 
 he expired. Holyrood Abbey, which adjoins the palace, is now a 
 picturesque ruins, and makes a very good photograph in the soft 
 light of late afternoon. My picture shows the Castle, the Palace, 
 and the ruins of the Abbey, with the mountain called "Arthur's 
 
 Seat" in the background. 
 
 75 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Holyrood Palace and Arthur's Seat. 
 
 The next day we started on our trip through the Highlands of 
 Scotland, going first to Stirling, by rail, where we saw the fine old 
 castle, memorable to all readers of Scottish history, and particularly 
 to readers of that favorite of our youth, the romantic "Scottish 
 Chiefs," By rail on to Aberfoyle, where we took coach for the 
 Trossachs and the world-famous lochs and mountains of the Scot- 
 tish Highlands. 
 
 While waiting for the grooms to change horses at Aberfoyle I 
 made the pretty Brig o' Forth, with Crag Mohr for a background. 
 
 Now we are in the romantic country of Rob Roy and of 
 Scott's ballads and historical romances. The coach road follows 
 in full sight of the scenes and places made classic and interesting 
 by the immortal works of Sir Walter Scott. We see where Fitz 
 James' "gallant gray" falls exhausted in "the chase" which opens 
 "The Lady of the Lake." 
 
 "Wo worth the chase, wo worth the day. 
 That cost thy life, my gallant gray!" 
 
 76 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 The Trossachs, " Where Twines the Path." 
 
 Then the road passes on through the famous Trossachs "where 
 twines the path" to lovely Loch Katrine. I give a half page picture 
 of the former, and though the Silver Strand in the latter is now 
 partially submerged by the rising waters of the lake, it made so 
 beautiful a picture, at its best, that I procured a print of it from a 
 local shop. 
 
 At Loch Katrine we leave the coach for a pretty little lake 
 steamer, and pass around beautifully wooded Ellen's Isle, to the 
 other end, where we take coach again and journey on to picturesque 
 Loch Lomond. There we embark once more on a lake steamer 
 and sail down to Balloch, amid the most beautiful and impressive 
 scenery of the Scottish Highlands, as it seemed to me. 
 
 But it must be remembered here as in English Lakeland, that 
 all these scenes are enhanced in the imagination of the beholder by 
 the glamor of poetry, romance, and history, which is so intimately 
 associated with them; and they cannot be judged apart from this as- 
 
 77 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Brig o' Forth and Crag Mohr. 
 
 sociation. The Trossachs, for instance, are indeed truly beautiful, 
 particularly when seen, as we saw them, on a bright sunny day, in 
 July, with lovely shadows cast on the roadway by the oak leafage 
 which almost arches the road in places. They are not more beauti- 
 ful, however, than the drive from the Profile House, in the Fran- 
 conia Notch of our own White Mountains, down the Profile brook 
 valley to the Flume; nor are the scenes which we pass in the Tros- 
 sachs more interesting in themselves than the Great Stone Face on 
 Mt. Cannon, the lovel}^ 'Emerald" Basin, the mysterious "Pool," 
 and the remarkable "Flume," at the end of the drive. 
 
 At Inversnaid, on Loch Lomond, the light was just right for 
 photographing the falls which tumble into the loch at this place. 
 About a mile from here is the famous cave of Rob Roy, and further 
 down the loch, his "Prison." So we steam on past lovely wooded 
 isles, with vistas of dim mountain peaks opening in the distance, for 
 twenty miles or more, till we come to Balloch, at the extreme lower 
 end of the lake, where we take train for Glasgow, and here we re- 
 main for the night. 
 
 78 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 A Highland Cottage. 
 
 The Steamer trip from Glasgow down the interesting Clyde, 
 past the vast shipping of this, the second city of the United King- 
 dom, is full of pictures. We pass through the noted Crinan Canal, 
 and on to Oban, where a stop is made for the next night. 
 
 The picture of Oban harbor, showing the yachts riding at their 
 anchors, with the pretty village itself in the background, was made 
 at nine o'clock in the evening, while the sun was still above the sea, 
 though near the western horizon. It lighted the harbor with that 
 peculiar golden illumination which is so lovely a characteristic of 
 this hour of the day in the far north. On this evening the twilight 
 lingered till long after ten o'clock. I wrote by my window till ten, 
 without artificial light, and went to bed while the sea and sky were 
 still bright. Then the anchor lights of the yachts were set, one by 
 one, and glimmered across the harbor like the first stars of evening. 
 
 The famous islands of Staffa and lona are within a day's sail 
 of Oban, the former being the site of the celebrated Fingal's Cave, 
 and the latter contains the tombs of many of the early Scottish, Irish, 
 and Norwegian Kings. 
 
 79 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Oban Harbor by Twilight. 
 
 The next day we pursue our journey through the extensive 
 and very beautiful Caledonian Canal to Inverness in the extreme 
 North of Scotland. Here we- make another stop, and the next day 
 return by rail to the interesting City of Edinburgh. 
 
 Edinburgh is so full of literary and historic interest, and is 
 withal so beautiful a modern city that we were extremely loth to 
 leave it. The New Town has been growing and mellowing for a 
 hundred years ; there are memorials of the Old Town that have been 
 aging for eight centuries. 
 
 We strolled once more along the magnificent Princes street, 
 with its extensive public gardens on one side, from which rises the 
 lofty monument to Sir Walter Scott, in Gothic impressiveness. This 
 majestic avenue is probably the most beautiful city street in the 
 British Isles, and is alone worth a visit to Edinburgh. 
 
 And there is the ancient castle in the background "rooted in a 
 garden," as Stevenson has described it, "One of the most satis- 
 factory crags in nature — a Bass rock upon dry land, rooted in a 
 garden, shaken by passing trains, carrying a crown of battlements 
 
 80 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 and turrets, and describing its warlike shadow over the HveHest and 
 brightest thoroughfare of the new town. It dominates the whole 
 countryside from water and land." 
 
 But we have other places of equal interest and beauty to visit 
 ere we leave Scotland. There is Melrose Abbey, probably the most 
 picturesque ruins in the whole Island, to be seen, and to them I 
 gladly devote a whole page. Then there is Abbotsford nearby, the 
 stately home of dear old Sir Walter, and still in possession of his 
 descendants. The initial letter illustration gives us a glimpse of 
 that. I visited and photographed also the beautiful old ruins of 
 Dryburgh Abbe}^ where Sir Walter lies buried with his kindred, 
 and the tail-piece to this letter is a pretty group of cottages at St. 
 Boswell's, near this old Abbey. 
 
 Though the rain and dull weather interfered with our photo- 
 graphing in Scotland considerably, the climatic conditions there are 
 nevertheless responsible for much of the charm of Scotch scenery. 
 The gray mists soften and sufifuse the colors on the hillsides, and 
 give great variety and beauty to the country and the town. It is, 
 as another has sympathetically described it: "Grey! why, it is grey, 
 or grey and gold, or grey and gold and blue, or grey and gold and 
 blue and green, or grey and gold and blue and green and purple, 
 according as the heaven pleases and you choose your ground ! But 
 take it when it is most sombrely grey, where is another such grey 
 city?"* 
 
 And who, having once seen the glory of the wild Scotch hills 
 when the purple heather bloom transfigures them, can ever forget 
 the transcending beauty of the scene. A little unsigned poem which 
 appeared in the Pall Mall Gazette about the time of our visit to 
 Scotland suggests the spirit of the landscape so faithfully, its color 
 and subtle charm, that I conclude this letter by repeating the stanzas. 
 
 They are entitled: — 
 
 'The City of Edinburgh. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 THL HLATHLR HILL5. 
 
 Oh, the sheen of the heather hills, in lovely splendor lying 
 Against the far blue skyline, long slopes of amethyst. 
 
 Oh, the sweep of the bracken feUs where lonely curlew's crying 
 O'er dusky green and amber, and heather's purple mist. 
 
 Oh, the light on the heather hills, the long rays softly falling. 
 Where whin and whortleberry are tangled gold and blue, 
 
 Oh, the gray and silver plovers by gray boulders calling, calling, 
 And the thyme in purple tussocks with its breath of honeydew. 
 
 Oh, the peace of the heather hills, like stairs to Heaven leading. 
 With naught between but God's blue sky, God's mighty rushing 
 wind, 
 Oh, who could climb those purple heights and go their way un- 
 heeding. 
 Without a thought of new glad life, old sorrows left behind? 
 
 Cottages near St. Boswells. 
 
 82 
 
Lnglish Cathedrals 
 
E-ly Cathedral, West Tower. 
 
Canterbury Cathedral. 
 
 LIGHTH LLTTLR 
 
 ENGLISH CATHLDRALS 
 
 OST of the famous English Cathedrals are 
 situated in the inland cities or towns of Cen- 
 tral England, in the east, between the Scot- 
 tish Border and London; and the principal 
 ones may, therefore, very conveniently be 
 seen on the way from Edinburgh, the capi- 
 tal of the North, to London, the great me- 
 tropolis of the British Empire. 
 Exeter Cathedral, it is true, is situated in the city of that 
 name in Devonshire, of which it is the capital, in the southwestern 
 part of England; and it is distinguished for its magnificent West 
 Front, which is probably the most beautiful of all. Chester Cathe- 
 
 York Minster from the City Wall. 
 
 85 
 
Durham Cathedral. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 
 York Minster Towers. 
 
 dral I have already mentioned in a former letter, though its picture 
 I reserved for this; and Canterbury we saw and photographed on 
 our way from Dover, where we disembarked, on our first trip to 
 London. Majestic St. Paul's and beautiful old Westminster will 
 be given in the following letter about London. 
 
 On our return trip from Edinburgh to London, after seeing 
 and photographing the lovely old ruins of Melrose and Dryburgh 
 we stopped first at Durham and visited the fine old Norman cathe- 
 dral in that interesting historic town. 
 
 The first structure was erected here by the Monks in the Tenth 
 Century as a resting-place for the remains of St. Cuthbert; and 
 they were probably attracted to the place by its capability of de- 
 
 87 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Interior of Lincoln Cathedral. 
 
 fence, situated, as it is most grandly, on the high, precipitous banks 
 of the Wear. For this reason Durham has no western portal, and 
 in this respect is unique among English cathedrals. It also has 
 nine altars which is another unique feature of this cathedral. I 
 give a picture showing the two noble eastern towers. 
 
 From Durham we went on to the ancient City of York where 
 probably the most impressive cathedral, all things considered, is 
 located. Our initial letter illustration gives a distant view of this 
 cathedral, taken from the old city wall, which is shown in the fore- 
 ground ; and the half page picture shows the beautiful minster near 
 at hand. 
 
 This cathedral is even older than Durham, the earliest church 
 on this site dating back to the Eighth Century. It is considered the 
 finest example of the decorated style in England, ornament being 
 
 88 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 York Minster. 
 
 nowhere spared, yet a simplicity obtaining, which is peculiarly 
 pleasing. In its original stained glass windows York also excels 
 all other English cathedrals; the oldest and most beautiful, the 
 "Jesse Window," dating back to about 1200. The great east win- 
 dow is interesting owing to its enormous size, being second in that 
 respect only to the window in Gloucester. In this cathedral, too, 
 in the north transept, are the famous "Five Sisters," so-called, 
 being five very beautiful old windows, each fifty feet high by about 
 five feet in width. 
 
 Lincoln Cathedral was particularly interesting to us. In the 
 first place it has such a good name ! and then it is probably the most 
 beautifully located cathedral in England. It crowns the hill on 
 which the old city was built, and seemed to us to be the finest church 
 
 89 
 
. t.'/f 
 
 ts '.■. 
 
 
 
 '.h.- Vi 
 
 Central Tower and North Transept, Lincoln Cathedral. 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Chester Cathedral from the Churchyard. 
 
 edifice in all of Great Britain. Other cathedrals may equal or even 
 surpass Lincoln in certain respects ; but, in the combination of size 
 with delicacy of detail, effectiveness of both exterior and interior, 
 good preservation, with the grandeur of its location, Lincoln stands 
 without rival. The famous Lincoln "Imp" is here graven in stone, 
 about which so many legends and traditions cluster. Our full page 
 picture of Lincoln shows the impressive Central Tower, while the 
 smaUer one may give a faint idea, perhaps, of the beauty and deli- 
 cacy of the interior structure and decoration. 
 
 The Towers of Ely Cathedral may be seen for miles, as you 
 approach it, because of the flatness of the surrounding country. 
 And as you draw near, the fine old trees in the park about it shade 
 and soften its impressive outlines in a most picturesque and satis- 
 fying manner. The minster itself is of a design unlike any other 
 in England. It is one of the largest and most imposing, "the most 
 
 91 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 individual," as Mrs. Van Rensselaer says, and the most varied. It 
 certainly offers many picturesque subjects for the camera, in its 
 beautiful park setting", and many were the pictures which I made 
 of it. The castellated West Tower, which suggests military rather 
 than ecclesiastical architecture, I show in the full page illustra- 
 tion accompanying, but I really think the more distant view of the 
 cathedral from the park, rising as it does above the fine old Eng- 
 lish oaks surrounding it, is a better picture from the pictorial point 
 of view, though it naturally shows less of the minster itself. I like 
 to recall my last view of this imposing old pile rising through the 
 trees to the fair summer sky above them, and the well-fed sheep 
 browsing lazily in the shade of the foreground. 
 
 From Ely we went on to the University town of Cambridge and 
 found this old city not less picturesque than Oxford, with which it 
 is naturally often compared. The Chapel of King's College in 
 Cambridge is the glory of the city as it is of the college, being easily 
 the most beautiful ecclesiastical interior in the kingdom. Eailure 
 of light made it impossible to photograph this fine interior, though 
 we were able to get good views of the famous "Backs" of Cam- 
 bridge, which are the beautiful lawns and avenues behind the col- 
 leges extending to the winding river Cam. 
 
 Then on to London, the place of our beginning, about which I 
 shall write in my final letter on photographing in Old England. 
 
 92 
 
London 
 
Nelson Monument, Trafalgar Square. 
 
Houses of Parliament. 
 
 NINTH LLTTLR 
 
 LONDON 
 
 Empir 
 There 
 
 OW we are in London once more. 
 Having- finished our tour through 
 rural England, Wales, and Scot- 
 land, we have completed the circle 
 and have returned to the place of 
 our beginning. London ! What im- 
 pressions of power and of greatness 
 it makes upon the minds of all who 
 come within its immense sphere of 
 influence. Capital of the British 
 
 e, it seems, in a sense, to be the capital of the civilized world. 
 
 are a dozen Londons and each city is pre-eminent in itself. 
 
 In Rotten Row 
 
 95 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Thames E.mbankment, from Hungerford Bridge. 
 
 One feels here the tremendous power arising from the vast 
 accumulation of wealth, typified by the impregnable walls of the 
 fortress-like Bank of England. Here is the Tower of London which 
 grimly recalls the stirring historical events of an interesting Past ; 
 and the Abbey at Westminster, hallowed by the English dead that 
 rest within its tombs. Impressive St. Paul's looms large above the 
 city dwellings and shops, testifying to man's universal need for 
 religious expression, even in the very heart of the world's greatest 
 commercial city. The Parliament Buildings with their ancient his- 
 torical associations ; the Thames, and its magnificent embankment, 
 on which they so grandly stand; the river's beautiful bridges, and 
 its busy shipping; the markets, the public places, the thronging 
 thoroughfares; all proclaim the great metropolis. 
 
 Then there is the Great Museum, with the scarcely lesser 
 museums, the libraries, and the art galleries, stored as they are 
 with some of the world's greatest historical, literary, and art treas- 
 ures; the Royal Opera House, the theatres, and the hotels. Prob- 
 
 96 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 J i- III 
 
 Westminster Abbey. 
 
 ably the most extensive and best-managed rapid transit system in 
 the world is here, with its more than two hundred stations within 
 the city's limit. Police and Fire Departments that are pre-eminent 
 in efficiency. Horse and motor omnibuses that take you anywhere 
 from everywhere. Shops that are a delight (to the ladies) ! And 
 a system of public parks and gardens that occupies fully one-tenth 
 the total area of the city. 
 
 It is good to learn that the largest and finest of these parks are 
 royal gifts to the City of London and its people, who are allowed 
 untrammeled use of them. Here the children of the poor may 
 sprawl on the grass and play contentedly. In the ponds and stream- 
 lets, beside which, in the old days, Kings sauntered, the youngsters 
 of the slums fish with bent pins or scoop with small nets for stickle- 
 backs. There is a delightful social suavity which knows no tyranny 
 and needs none. The rangers are the friends of the people, and I 
 noticed one the other day helping a little kiddie to a patch where 
 
 97 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 St. Paul's Cathedral. 
 
 daisies might be picked for daisy chains, then guiding another to a 
 good fishing spot. Some one has said that these parks alone are 
 sufficient to justify the institution of monarchy. 
 
 The bird hfe here is glorious. The trees are all a-twitter 
 with songsters. In the ponds and streams a gorgeous variety of 
 water fowl display themselves — giant white pelicans, black swans 
 from Australia and white swans of England, all manner of ducks 
 and geese and teal. Children bring crumbs and feed these birds, 
 and also the pigeons, which in consequence reach a bloated size and 
 are veritable aldermen of the pigeon world. On the meadows a 
 few sheep are pastured and help to give a rural air to the landscape. 
 In the larger parks deer are kept; and there you meet the only 
 "don't" of these places of freedom ; the public are asked not to feed 
 the deer, which might suffer from mistaken generosity. 
 
 In a recent interview, Mr. John Burns, the laboring man's 
 member of parliament, who loves his London, speaking of its parks 
 
 98 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 London Tower and Bridge. 
 
 said: "Look at them! I am not going to mention Battersea Park 
 first because it is my electorate park, but because from its situation 
 it is at once one of the most beautiful and the most useful. You 
 should go on Saturday to see the cricket in Battersea Park, hun- 
 dreds of little teams playing, all with real good grass pitches to play 
 on. Now start from here and consider the number of parks, the 
 Embankment Gardens first. Cross Whitehall and you get into St. 
 James's Park. Through that and past Buckingham Palace, with- 
 out a break in the green trees, you come to the Green Park. Trav- 
 erse that, and by crossing one street you reach Hyde Park. Fol- 
 low that on the left hand side and 3^ou come without a break to 
 Kensington Gardens. Or follow it on the right and, with a brief 
 break, you reach Regent's Park, and that runs into Primrose-hill, 
 and there you are quite close to Hampstead Heath and Golder's 
 Green ; and after them the country. I tell you, no city in the world 
 has such parks." There are no fewer than 300 little squares of 
 park land in London besides the big parks. And even a brief 
 residence in London convinces one that Mr. Burns' contention that 
 it is the cleanest, the most efficiently administered, and the most 
 progressive city in the world is undoubtedly true. It does not 
 
 99 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 make one less loyal an American to wish that our own cities were 
 more like London in some of these respects. 
 
 After photographing from the tops of omnibuses the crowded 
 streets, the public fountains and monuments, I strolled into some 
 of these parks and found delightful subjects abounding there. The 
 grass lawns are allowed to grow to some extent and so appear more 
 natural than the closely cropped turf. They are of a glowing green 
 that seems to be suffused with light, and when I was there they 
 were starred with the English little white daisy, not half the size 
 of our own. These were in such profusion as to make a kind of 
 Milky Way on a firmament of emerald green. 
 
 On another day I followed on horseback the bridle path that 
 winds beneath the trees, from park to park. The equestrian pic- 
 ture of the writer with his little riding companion which serves as 
 an initial letter illustration to this article was made in famous 
 Rotten Row, by the old photographer who has made a specialty of 
 this kind of photography. He uses a plate camera, which he sets 
 up in an advantageous position, where a good light falls upon his 
 subject, and then, having previously focussed upon a spot in the 
 road which he indicates to his subject, you pull up your horses, at 
 the right place, he gives a low whistle, which invariably catches the 
 attention of the animal; who raises his head, pricks up his ears, 
 usually turns slightly toward the photographer, and the photog- 
 rapher presses the bulb. 
 
 On the day previous he made an excellent picture of the Prince 
 of Wales as he rode by. He had photographed the Prince when he 
 was a child and when opportunity offered reminded him of the fact ; 
 Prince George smiled, seemed to recognize his old photographer 
 and good naturedly drew up his horse to a standstill for the old man 
 to make another and better picture of him. The second photograph 
 was excellent, catching His Royal Highness with the smile illumi- 
 nating his face (the Prince's expression is habitually melancholy), 
 and his splendid saddle horse in a most alert and characteristic at- 
 titude. 
 
 lOO ''•. ] 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 And now that we have completed our journey in Old England, 
 with the side excursions into Scotland and Wales, I am conscious 
 of the inadequacy of my photographs, and particularly of my 
 sketchily written descriptions, to suggest the real beauty and charm 
 of the places we have visited. They were written for the most 
 part on the trips which they describe, often at night, after a full 
 day of sightseeing and photographing, and were intended as ex- 
 planatory notes of the pictures which they accompany, rather than 
 as adequate written descriptions in themselves. If the letters and 
 the photographs recall, with pleasure, similar journeys made by the 
 reader in the past ; or if they should stimulate his desire to make 
 such a trip in the future (in case he has not already had such an ex- 
 perience), I shall rest content. In the latter even I venture to con- 
 clude with the hope that the opportunity may come quickly, and that 
 it may be attended by a complete and entirely successful fulfilment. 
 
 lOI 
 
In Conclusion 
 
IN CONCLUSION 
 
 50ML PRACTICAL H1NT5 AND SUGGESTIONS 
 FOR THL TOURIST PHOTOGRAPHER 
 
 FEW practical suggestions, growing out of 
 my experience with the camera on the trips 
 which the foregoing letters describe, may 
 not be unwelcomed by the reader who is con- 
 templating making a similar journey. 
 
 And first I will say a word in regard to 
 the outfit. While I personally prefer glass 
 plates to films for exact and deliberate 
 photography, I must confess that the perfec- 
 tion to which the manufacturers of films 
 have brought their products, makes it dif- 
 ficult for anyone to detect any difference in 
 the quality of the prints which are made from film negatives from 
 those that are made from glass. 
 
 Often, indeed, there is a pleasant, soft quality that characterizes 
 a print from a film negative, which is lacking in the glass negative 
 print. But the convenience of the manipulation, the absence of 
 weight, and the portability of films, are the chief considerations 
 which should decide the tourist photographer in their favor over 
 glass. 
 
 Then, too, I have always advocated the use of a tripod for most 
 photographic work, and I always carry one on my own trips with 
 the camera ; but I found comparatively little use for it on the jour- 
 neys described in these letters. There are a number of the illus- 
 trations in this book made by timed exposures on a tripod; but I 
 found it possible quite often to make a timed picture by resting my 
 
 Ann Hathaway 's Gale. 
 
 105 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 hand camera on a conveniently located wall, the balustrade of a 
 bridge, or from a coach or motor seat; so that the tripod, compact 
 and portable as it was, could, nevertheless, very largely be dispensed 
 with. The convenience of a hand camera of fair size (31-4 inches 
 by 5 1-2 inches) using spool film, was proved to me by experience 
 on this trip, as never before. 
 
 I always recommend the photogr-apher to do his own develop- 
 ing, and even his printing, where possible; he should certainly per- 
 form both operations until he is quite proficient in them ; but I know 
 from experience that it is often dif^cult to do these things oneself, 
 on a trip where darkrooms are infrequent, and time is limited. Ar- 
 rangements by the dealers, moreover, for attending to all these 
 matters for the traveling photographer are now so complete, that I 
 personally took advantage of them on most occasions, and would ad- 
 vise the touring amateur to do likewise. 
 
 On most of the newer steamers excellent facilities are now pro- 
 vided for the photographer. The splendid new Red Star Liner, 
 "The Lapland," for instance, has a well equipped darkroom, just off 
 her promenade deck where it is most convenient. It has a red and 
 deep orange electric light for non-actinic illumination, a good sized 
 sink, with running water, capacious shelves for trays, plateholders, 
 etc., and everything to make the ways of the photographer easy. 
 And on the White Star S. S. "Canopic," returning from the Medi- 
 terranean, I found that one of the stewards was a pretty good 
 photographer, and did developing arid printing for the amateurs on 
 shipboard. 
 
 But there are not many suitable subjects for the camera, at sea. 
 In the first place, the weather conditions are not always advanta- 
 geous. There is considerable mist and fog in the North Atlantic, even 
 in the summer time, and often it rains real water, as it did on three 
 days, at least, of our voyage to England. Of course there are the 
 usual snapshots of the deck groups, etc., to be made on bright days; 
 and occasionally a cloud effect at dawn or sundown, which is well 
 worth attempting. The sea itself rarely makes an interesting photo- 
 graph, however, there is too much foreground, or too much sky ; and 
 
 106 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Lynmouth. 
 
 withal, a certain dull monotony which it is hard to avoid, particularly 
 from a steamer's deck, where you are some distance removed from 
 the sea below it 
 
 The things which I found most interesting, as subjects, for my 
 camera, were the seaman, either individually or in groups of two or 
 three, at their characteristic occupations, or off duty, smoking and 
 
 107 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 spinning yarns. With a little cordage for a background, and the 
 sea or sky beyond that, a typical, old salt, if taken unconsciously, 
 makes a very interesting human subject. There are many strongly 
 marked individual types to be found on a great Atlantic liner. The 
 exposure should be instantaneous, of course; but the diaphragm 
 should be rather generous — /i6 I found on the whole most suitable. 
 
 And this leads me to the general subject of exposure, the size of 
 the diaphragm, etc., on which I should like to say a few words. The 
 size of the diaphragm, and the length of exposure, depend, of 
 course, upon the amount of light, the time of day and of the year, 
 and also upon the character of the subject, whether it be a dark or 
 light object, whether the sun is shining full upon it, or from one 
 side, and particularly whether it be near a body of water, in which 
 case there is usually considerable light added to the subject by re- 
 flection. 
 
 There may be some guess work required in exposing the first 
 roll of films in a foreign country by the beginner ; but one learns by 
 one's mistakes, and the second roll is very likely to be more ac- 
 curately exposed than the first one. I recommend that a small 
 memorandum book be kept for the purpose of jotting down the par- 
 ticulars of each exposure, as this enables one to profit by one's 
 failures, as well as by one's successes. And it is an excellent plan 
 to develop oneself, at least the first roll of film, in order to ascertain 
 just now correctly one is diaphragming and timing one's exposures. 
 
 I found /i 6 to be a good average. stop for the usual street scene 
 and snapshot. On a particularly bright day, between the hours of 
 ten and three, /32 was better. But with the latter stop, I generally 
 set my shutter to expose in 1-50 of a second, while with the larger 
 stop, I could use i- 100 of a second exposure. And when moving ob- 
 jects were to be photographed, particularly on land, I found I nat- 
 urally got much sharper figures with the latter exposure. In snapshot 
 work, I usually set my focus at 100 feet, as I could generally place 
 myself so as to have all the principal objects in my picture fall be- 
 yond that distance, and so be in sufficiently sharp focus. The 
 nearer the focus, the quicker the exposure required in order to get 
 
 108 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Taken while it Rained. 
 
 an equally distinct image, so one should try to take near snapshots 
 on bright, days, as near noon as possible, in order that the quickest 
 exposure may be sufficient. 
 
 For timed exposures, a much smaller diaphragm can, and 
 usually should, be used, as thereby greater definition is obtained, and 
 
 T09 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 the increase of time given is partially offset by diminishing the 
 quantity of light admitted through the lens. I usually stopped 
 down to /64 for my timed exposures. 
 
 Qne reason why so many of the negatives made during the 
 summer vacation time prove disappointing is simply because they 
 have too much light and too little shade. This is, in turn, largely 
 due to the very common mistake of working too near the middle of 
 the day. During July and August the light from seven to nine a. m. 
 and three to five p. m. is so strong that it only requires about one 
 and one half times the exposure of the midday hours. And when 
 one takes into consideration the great advantag'e of a moderately 
 low-down sun in giving long shadows, the extra exposure time is 
 not worth considering as a detrimental factor. Moreover, it is in 
 the early morning and late afternoon hours that we get the best 
 atmospheric eft'ects due to haziness of the air. The moral for the 
 pictorialist in August is therefore : — avoid work between nine a. m. 
 and three p. m. 
 
 And now, in conclusion, a few words in regard to the size and 
 shape of the pictures, the point of view, and the method of print- 
 ing. Often the best view of a subject cannot be made when the 
 photographer sees it for the first time, on account of the direction 
 of the light. The exposure should then be deferred until the il- 
 lumination is just right, so that the best possible picture may be 
 made. Hand cameras are usually of a shape that makes the up- 
 right picture seem most natural to make; but there are many sui> 
 jects, in fact, I think I may safely say that most subjects, par- 
 ticularly landscapes, look much better in a horizontal picture. It 
 is only necessary to turn the camera, and with it the finder, in order 
 to make the photograph in that position. 
 
 Study your subject first, carefully and in detail, and then de- 
 cide intelligently what point of view gives the most pictorial effect; 
 what lighting, whether morning or afternoon, or late twilight is most 
 pleasing to the subject; and whether an upright or a horizontal 
 picture is going to make the best composition. Then make your 
 exposure deliberately, under just the conditions which you have 
 
 I lO 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 Melrose Abbey. 
 
 decided are the best for this individual picture, even though it re- 
 quires, as it frequently does, your return to the place on the fol- 
 lowing day. 
 
 When the film or plate is developed, and the picture is made, 
 there is still room for considerable improvement of your picture by 
 the way it is trimmed. Because the negative is a certain size and 
 shape is no conclusive reason why the printed picture should be of 
 exactly the same size and shape. Usually a little judicious trim- 
 ming greatly improves the pictorial effect of a print, and some- 
 times I have found that to ruthlessly cut away a large part of it, 
 makes an effective picture of what was before rather uninteresting 
 and perhaps not particularly well composed. I have even found 
 that there were two interesting smaller pictures to be found in a 
 single larger one. The tail piece to this chapter, for instance, was 
 cut from a larger picture, which was greatly improved thereby, and, 
 at the same time, gave the little picture of London Cabs, which is 
 quite complete and effective in itself. 
 
 Ill 
 
PHOTOGRAPHING IN OLD ENGLAND 
 
 There is, of course, room for all kinds of taste in making the 
 print. Of late the fashion seems to be, if I may use the word, for 
 black and brown tones, and rather rough surfaces on the prints. 
 On the whole, the present taste for matt surfaces seems to me to be 
 an improvement over the highly polished print of an earlier day; 
 and for most subjects, the dark brown and sepia tones are well 
 adapted to the average landscape or snapshot. 
 
 After suitably trimming and assorting your prints, mount them 
 loosely on heavy sheets with liberal margins ; or, what I personally 
 very much prefer, preserve them in a substantially bound album, 
 with gray or soft brown tinted leaves. 
 
 H 2i6-79 
 
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