Argues that William Dyce painted his 1858 Highland Ferryman (Aberdeen, Art Gallery) from a contemporary photograph supplied by George Washington Wilson. Remarks on the discrepancy of scale between foreground and background, and the inappropriateness of the landscape to the Dee region; explains that Wilson's photograph would have been just such a composite image. Suggests that Dyce may have increasingly relied on photographs in the late 1850s.
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