Helensburgh is a Scottish town whose quiet streets lead uphill away from the North Clyde Estuary. A short walk from the waterfront esplanade, almost hidden behind a naval housing estate (1957), an observant tourist can contemplate the stone remains of Ardencaple Castle, parts of which might date to the thirteenth century but more of which dates to the eighteenth century. Walking near the stone wall which runs parallel to the small street, it is difficult to imagine that a large, imposing, perhaps intimidating, building once stood upon vast grounds, housing the chief of the Clan MacAuley (or Macaulay). Recently, I stood with a friend in the warm September sun looking at the grey wall, trying to imagine the visage and the determination of nineteenth-century watercolourist Kate Macaulay as she might have gazed, sketchbook in hand, at the then extant house, once the property of her dispersed clan. She may have turned her eyes and her pencil away from the house toward the river or toward the rolling, treed and rocky terrain that stretched beyond the castle walls toward Loch Lomond. She, after all, preferred to draw and paint land and water more than the buildings sprouting from the stone and the soil. But she did paint ‘MacAuley’ land, recording numbers of scenes in and around Loch Lomond, Gare Loch and Loch Long, sometimes moving beyond clan boundaries to Oban and Skye or to the area around her own ‘Ardencaple House’ in North Wales.