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ALLAN,
a name meaning, in the British, Alan, swift like a greyhound; in
the Saxon, Alwin, winning all; and in the Celtic, Aluinn,
when applied to mental qualities or conduct, illustrious. The primary
meaning of the word, however, is sparkling or beautiful, and it is on that
account the name of several rivers, particularly one in Perthshire, which
waters the fertile district of Strathallan. It is the opinion of Chalmers
that the Alauna of Ptolemy and of Richard of Westminster, (in his
Itinera Romana, a work referable to the second century,) was situated
on the Allan, about a mile above its confluence with the Forth, so that
the name has an ancient as well as a classical origin. The popular song of
‘On the banks of Allan Water,’ is supposed to refer to a smaller stream of
the same name, a tributary of the Teviot. Allan is also not unfrequently a
Christian name in Scotland, as Allan Ramsay.
ALLAN, DAVID,
an eminent historical painter, the son of David Allan, shoremaster at
Alloa, was born there on 13th February 1744. His mother, Janet Gullan, a
native of Dunfermline, died a few days after his birth, and it is related
of him that, when a baby, his mouth was so small that no nurse in his
native place could give him suck, and a countrywoman being found, after
some inquiry, a few miles from the town, whose breast he could take, he
was, one very cold day, after being wrapped up in a basket, amidst cotton,
to keep him warm, sent off to her under the charge of a man on horseback.
On the road the horse stumbled, the man fell off, and the little Allan
being thrown out of the basket, among the snow which then covered the
ground, received a severe cut on his head. While yet a mere child of
little more than eighteen months old, he experienced another narrow escape
from a premature death. The servant girl who had the care of him, while
out with him in her arms one day in the autumn of 1745, thoughtlessly ran
in front of some loaded cannons, at the very moment that they were fired
by way of experiment, but she and the child were providentially not
touched.
Like that of
many other great painters, his genius for designing was discovered by
accident. Being when a boy kept at home from school, on account of a burnt
foot, his father seeing him one day doing nothing, reproved him for his
idleness, and giving him a bit of chalk, told him to draw something with
it on the floor. He accordingly attempted to delineate figures of houses,
animals, &c., and was so well pleased with his own success, and so fond of
the amusement, that the chalk was seldom afterwards out of his hand. His
sense of the ludicrous was great, and he could not always resist the
propensity to satire. Having when about ten years of age drawn a
caricature on his slate of his schoolmaster, a conceited old dominie,
who used to strut about the school attired in a tartan nightcap and
long tartan gown, and circulated it among the boys, it fell into the hands
of the object of it, who straightway complained to Allan’s father, and he
was in consequence withdrawn from his school. On being questioned by his
father as to how he had the impudence to insult his master in such a way,
he answered, "I only made it like him, and it was all for fun." In one
account of his life it is stated that the first rude efforts of his genius
were formed merely by a knife, and displayed a degree of taste and skill
far above his years; and these having attracted the notice of Mr. Stewart,
then collector of the customs at Alloa, that gentleman, when at Glasgow,
mentioned the merits of young Allan to Mr. Foulis, the celebrated printer,
and he was sent, on the 25th of February 1755, when eleven years of age,
to the Messrs. Foulis’ academy of painting and engraving at Glasgow, where
he remained seven years. In the year 1764 some of his performances
attracted the notice of Lord Cathcart of Shaw Park, near Alloa. At the
expense of his lordship, Mr. Abercromby of Tullibody, and other persons of
fortune in Clackmannanshire, to whom his talents had recommended him,
among whom were Lady Frances Erskine of Mar, and Lady Charlotte Erskine,
he afterwards proceeded to Italy, and studied for sixteen years at Rome.
In 1775, he received the gold medal given by the academy of St. Luke, in
that city, for the best specimen of historical composition; the subject
being ‘The Origin of Painting, or the Corinthian Maid drawing the Shadow
of her Lover;’ an admirable engraving of which was executed at Rome by
Dom. Cunego in 1776, and of which copies were published by him in February
1777, after his return to London. Mr. Allan presented the medal received
by him for this painting to the Society of Antiquaries of Scotland, on the
7th January 1783, and an account of it was published in their
transactions, vol. ii. pp. 75, 76. The only other Scotsman who had ever
received the gold medal of St. Luke’s academy was Mr. Gavin Hamilton.
After a residence of two years in London, he returned to Edinburgh, in
1779, and, on the death of Alexander Runciman in 1786, was appointed
director and master of the academy established by the board of trustees
for manufactures and improvements in Scotland. In 1788 he published an
edition of the Gentle Shepherd, with characteristic etchings. In
‘Observations on the Plot and Scenery of the Gentle Shepherd,’ from
Abernethy and Walker’s edition (Edinburgh: 1808), reprinted in edition of
A. Fullarton & Co., 1848 (vol. ii. p. 25.), the following passage occurs:
"In 1786, an unexpected visit was paid at New Hall house, (the romantic
seat of Mr. John Forbes, advocate, situated in the parish of Penicuick,
Edinburghshire, the scenery round which is supposed to have been that of
the Gentle Shepherd,) by Mr. David Allan, painter in Edinburgh,
accompanied by a friend, both of whom were unknown to the family. His
object was to collect scenes and figures, where Ramsay had copied his, for
a new edition of the pastoral. Mr. Allan was an intelligent Scottish
antiquarian, and well acquainted with everything connected with the poetry
and literature of his country. His excellent quarto edition was published
in 1788, with aquatinta plates, in the true spirit and humour of Ramsay.
Four of the scenes at New Hall are made use of with some figures collected
there; and in his dedication to Hamilton of Murdiston in Lanarkshire, the
celebrated historical painter, he writes, ‘I have studied the same
characters’ (as those of Ramsay), ‘from the same spot, and I find that he
has drawn faithfully, and with taste, from nature. This likewise has been
my model of imitation, and while I attempted, in these sketches, to
express the ideas of the poet, I have endeavoured to preserve the costume
as nearly as possible, by an exact delineation of such scenes and persons
as he actually had in his eye." Mr. Allan published also, some time after,
a collection of the most humorous old Scottish songs, with similar
drawings ; these publications, with his illustrations of the Cottar’s
Saturday Night, the Stool of Repentance, the Scottish Wedding, the
Highland Dance, and other sketches of rustic character, all etched by
himself in aquatinta, procured for him the title of the Scottish Hogarth.
One of his subjects, representing a poor man receiving charity from the
hand of a young woman, is here copied.
As
an instance of simple character and feeling without caricature, it gives a
tolerably good idea of his natural manner, and illustrates the particular
locality of Edinburgh of that epoch, where its scene is laid. It, as well
as the view of the General Assembly, which appears in another part of this
volume, was also etched by himself. He likewise etched and published
various subjects drawn when in Italy, exhibiting the peculiarities of the
people, and especially the devotional extravagances of the church of Rome
of that time, which appear to have excIted his sense of the ludicrous.
Besides these he published four engravings, done in aquatinta by Paul
Sandby, from drawings made by himself when at Rome, where, in a vein of
quiet drollery, he holds up to ridicule the festivities of that city in
connection with the sports of the carnival. Several of the figures were
portraits of persons well known to the English who visited Rome during his
stay there, and their truthfulness gave much satisfaction at the time.
His personal appearance was not in his favour. "His figure," says the
author of his life in Brown’s Scenery edition of the Gentle Shepherd,
1808, "was a bad resemblance of his humorous precursor of the English
metropolis. He was under the middle size; of a slender, feeble make; with
a long, sharp, lean, white, coarse face, much pitted by the small pox, and
fair hair. His large prominent eyes, of a light colour, looked weak, near-
sighted, and not very animated. His nose was long and high, his mouth
wide, and both ill-shaped. His whole exterior to strangers appeared
unengaging, trifling and mean. His deportment was timid and obsequious.
The prejudices naturally excited by these external disadvantages at
introduction, were soon, however, dispelled on acquaintance; and, as he
became easy and pleased, gradually yielded to agreeable sensations; till
they insensibly vanished, and were not only overlooked, but, from the
effect of contrast, even heightened the attractions by which they were so
unexpectedly followed. When in company he esteemed, and which suited his
taste, as restraint wore off, his eye imperceptibly became active., bright
and penetrating; his manner and address quick, lively, and interesting —
always kind, polite, and respectful; his conversation open and gay,
humorous without satire, and playfully replete with benevolence,
observation, and anecdote." He resided in Dickson’s close, High street,
Edinburgh, where he received private pupils in his art. One of the most
celebrated of his pupils was the late Mr. H. W. Williams, commonly called
Grecian Williams. "The satiric humour and drollery," says Mr. Wilson, in
his Memorials of Edinburgh. (vol. ii. rage 40), "of his well-known ‘rebuke
scene’ in a country church, and the lively expression and spirit of the
‘General Assembly,’ and others of his own etchings, amply justify the
character he enjoyed among his contemporaries as a truthful and humorous
delineator of nature." "As a painter," says the author of his life already
quoted; "at least in his own country, he neither excelled in drawing,
composition, colouring, nor effect. Like Hogarth, too, beauty, grace, and
grandeur, either of individual outline and form, or of style, constitute
no part of his merit. He was no Corregio, Raphael, or Michael Angelo. He
painted portraits, as well as Hogarth, below the size of life; but they
are recommended by nothing save a strong homely resemblance. As an artist
and a man of genius, his characteristic talent lay in expression,
in the imitation of nature with truth and humour, especially in the
representation of ludicrous scenes in low life. His vigilant eye was ever
on the watch for every eccentric figure, every motley group, or ridiculous
incident, out of which his pencil or his needle could draw innocent
entertainment and mirth." He died at Edinburgh on the 6th of August 1796,
in the 53d year of his age, and was interred in the High Calton
burying-ground. He had married in 1788 Shirley Welsh, the youngest
daughter of Thomas Welsh, a carver and gilder in Edinburgh. He had five
children, three of whom died in infancy. His surviving son, David, went
out as a cadet to India in 1806. He also left a daughter named
Barbara.—Brown’s Scenery edition of the Gentle Shepherd, appendix.
ALLAN,
ROBERT,
a minor poet, some of whose lyrics and songs have long been popular in
Scotland, was born at Kilbarchan, in Renfrewshire, 4th November, 1774. He
was a handloom weaver, and all his life in humble circumstances. To
relieve the tedium of his occupation he occasionally had recourse to
poetry. In 1836, a volume of his poems was published by subscription, but
made no great impression. The principal poem in the volume, entitled ‘An
Address to the Robin,’ is written in the Scottish dialect. His most
popular pieces are ‘The bonny built wherry;’ ‘The Covenanter’s Lament;’
‘Woman’s wark will ne’er be dune;’ ‘Hand awa’ frae me, Donald;’ and the
ballad ‘O speed, Lord Nithsdale.’ He had a numerous family, all of whom
were married except his youngest son, a portrait painter of great promise,
who emigrated to the United States. Desirous of joining his son, Allan
sailed for New York, where he arrived 1st June 1841, but died there on the
7th, six days after his arrival, from the effects of a cold caught on the
banks of Newfoundland. He is represented as having been a most
single-hearted and unaffected being, and much of the simplicity of his
character is reflected in his poems.
ALLAN,
SIR WILLIAM,
an eminent historical painter, was born at Edinburgh,
in 1782,
of humble parentage, his father being one of the doorkeepers of the Court
of Exchequer. He was educated partly at the High School of his native
city, under William Nicol, the friend of Burns, and served his
apprenticeship to a coach-painter, George Sanders the celebrated
miniature-painter being in the same employment. All his spare hours were
devoted to drawing. He studied for several years at the Trustees’ Academy,
having Wilkie as a fellow-student. These two great painters began drawing
from the same example, and thus continued for months, using the same copy,
and sitting on the same form. The friendship thus commenced in their youth
increased with their years, and ceased but with the life of Wilkie, who
died nine years before him. One of his first pieces engraved was ‘Flora
parting with Ascanius,’ in Home’s ‘Adventures of the young Ascanius,’
1804. After the close of his studies in Edinburgh, Allan removed to
London, and was admitted to the school of the Royal Academy, where he
remained some time. Not ultimately finding professional employment in
London, he determined upon proceeding to Russia, to try whether
encouragement could not be obtained in that country, and that he might
study the rude and picturesque aspects there presented, and find suitable
and striking materials for his pencil. Hastily communicating his intention
to his friends in Scotland, with one or two letters of introduction to
some of his countrymen at St. Petersburg, he embarked in 1805 in a vessel
bound for Riga. Owing to adverse winds the ship, almost a wreck, was
driven into Memel in Prussia, where, though ignorant of the German
language, he took up his abode at an inn, and at once commenced
portrait-painting. He began with the portrait of the Danish consul, to
whom he had been introduced by the captain of the vessel. Having, in this
way, recruited his nearly empty purse, he proceeded overland to St.
Petersburg, encountering on the road various romantic incidents, and
passing through a great portion of the Russian army on their way to the
battle of Austerlitz. On his arrival at the Russian capital, he was
introduced to many valuable friends, through the kindness of Sir Alexander
Crichton, then physician to the Imperial family; and was soon enabled to
pursue his art diligently, and successfully. Having attained a knowledge
of the Russian language, he travelled into the interior, and remained for
several years in the Ukraine, making excursions at various times to
Turkey, Tartary, the shores of the Black Sea, the Sea of Azoph, and the
banks of the Kuban, amongst Cossacks, Circassians, Turks, and Tartars;
visiting their huts and tents, studying their history, character, and
costume, and forming a collection of their arms and armour, for his future
labours in art, as he had resolved to devote his great powers to
historical painting.
In 1812,
Mr. Allan began to think of returning to Scotland, but was prevented by
the French invasion of Russia of that year. The whole country was thrown
into confusion and alarm by the Emperor Napoleon’s advance to Moscow, and
thus was Allan forced to remain, when he witnessed not a few heart -
rending miseries incident to that eventful period. In 1814, however, he
was enabled to set out on his return home, and, after a lapse of ten
years, he once more trod the streets of Edinburgh. His improvement had
been so rapid and so remarkable, that the most eminent of his countrymen
in literature and art visited, and were in daily intercourse with, the
young and enterprising artist, and he numbered among his friends Scott,
Wilson, Lockhart, and other distinguished literati of the day in
Edinburgh, which city he resolved to make his future residence. His first
efforts, after his return, were directed to embodying on the canvass, some
of those romantic and striking scenes which had been suggested by his
travels and adventures in the strange countries he had visited. His
‘Circassian Captives,’ a work full of novel and original matter,
character, and expression, and remarkable for the completeness of its
design, and the masterly arrangement of its parts, was exhibited at
Somerset House, London, in 1815, and immediately made his name generally
known. To this great picture succeeded ‘Tartar Banditti;’ ‘Haslan Gheray
crossing the Kuban;’ ‘A Jewish Wedding in Poland;’ and ‘Prisoners Conveyed
to Siberia by Cossacks,’ which, with many others, he brought together, and
exhibited in Edinburgh, along with the armour and costumes he had
collected in his travels. The exhibition proved highly attractive, and the
artist rose higher in the estimation of his countrymen. His picture of
‘The Circassians’ was purchased by Sir Walter Scott, John Wilson, the
poet, his brother, James, the naturalist, Lockhart, and a number of the
artist’s other friends, and it was resolved to raffle it in Edinburgh. In
a letter to the Duke of Buccleuch, dated 15th April, 1819, Sir Walter
Scott, who took a great interest in Allan, thus gives an account of the
circumstance, and of the artist himself ;—" A hundred persons subscribed
ten guineas apiece to raffle for his fine picture of the Circassian chief
selling slaves to the Turkish pacha—a beautiful and highly poetical
picture. There was another small picture added by way of second prize,
and, what is curious enough, the only two peers on the list, Lord Wemyss
and Lord Fife, both got prizes. Allan has made a sketch, which I shall
take to town with me when I can go, in hopes Lord Stafford, or some other
picture-buyer, may fancy it, and order a picture. The subject is the
murder of Archbishop Sharpe on Magus Moor, prodigiously well treated. The
savage ferocity of the assassins, crowding on one another to strike at the
old prelate on his knees, contrasted with the old man’s figure, and that
of his daughter endeavouring to interpose for his protection, and withheld
by a ruffian of milder mood than his fellows—the dogged, fanatical
severity of Rathillet’s countenance, who remained on horseback,
witnessing, with stern fanaticism, the murder he did not choose to be
active in, lest it should be said that he struck out of private
revenge—are all amazingly well combined." The picture which Allan executed
from the sketch here described by Sir Walter Scott, was worthy of his
genius. It was afterwards engraved, and is well known. The painting itself
is in the possession of Mr. Lockhart, of Milton-Lockhart. Sir Walter
added:—" Constable (the eminent publisher) has offered Allan three hundred
pounds to make sketches for an edition of the ‘Tales of my Landlord,’ and
other novels of that cycle, and says he will give him the same sum next
year, so, from being pinched enough, this very deserving artist suddenly
finds himself at his ease. He was long at Odessa with the Duke of
Richelieu, and is a very entertaining person."
During the visit of the Grand Duke Nicholas, afterwards Czar of Russia, to
Edinburgh, about this time, he purchased several of Allan’s pictures; one,
the ‘Siberian Exiles,’ and another, ‘Haslan Cheray,’ both already
mentioned. Allan’s works were now readily bought. His most affecting
picture, ‘The Press-Gang,’ was purchased by Mr. Horrocks of Tillyheeran;
his ‘Knox admonishing Mary, Queen of Scots,’ a work full of character, by
Mr. Trotter of Ballendean; and his ‘Death of the Regent Moray,’ by the
then duke of Bedford. A serious malady in his eyes, which was a source of
suffering for several years, caused a cessation from all professional
labours. A change of climate being advised by his physician, he went to
Italy, and after spending a winter at Rome, he proceeded to Naples, and
thence made a journey to Constantinople. He afterwards, with restored
health, visited Morocco, Greece, Spain, and the wild range of country from
Gibraltar to Persia, and from Persia to the Baltic, for the purpose of
studying the scenery and manners of the various nations through which he
passed. These he faithfully embodied on his canvass, and among his
greatest pictures in this style may be noticed, ‘The Discovery of the Cup
in the Sack of Benjamin;’ ‘The Polish Captives;’ ‘The Slave Market at
Constantinople,’ which was purchased by Alexander Hill, Esq.,
print-publisher; ‘Tartar Banditti Dividing their Spoil;’ ‘The Moorish
Love-Letter;’ ‘Byron in the Fisherman’s Hut, after Swimming the
Hellespont,’ which was bought by his friend Robert Nasmyth, Esq., who was
also the purchaser of his whole-length cabinet portraits of ‘Scott and
Burns.’ The eastern pieces named were executed after his return to
Edinburgh, with numerous others, descriptive of oriental scenery, persons,
and manners. The history of his own land also furnished him with subjects
for his powerful and graphic pencil. Besides ‘The Murder of Archbishop
Sharpe,’ and ‘The Death of the Regent Moray,’ he devoted his genius to
many other scenes illustrative of our Scottish annals, so fruitful in
remarkable and striking events. His painting of Mary and Rizzio is one of
the best of these historic pictures.
In
his famous picture of ‘The Ettrick Shepherd’s House-heating,’ executed in
1819, he introduced a portrait of his friend Sir Walter Scott, who had
always a great regard for him. His figure of ‘The Author of Waverley in
his Study,’ done shortly before Sir Walter’s death, is considered one of
his most successful efforts in this department of art. He also finished an
admirable painting of Sir Walter’s eldest son, when cornet of dragoons,
holding his horse, which hangs over the mantelpiece of the great library
at Abbotsford. He was there during the last melancholy scenes of Scott’s
life. Mr. Lockhart says, "Perceiving, towards the close of August 1832,
that, the end was near, and thinking it very likely that Abbotsford might
soon undergo many changes, and myself, at all events, never see it again,
I felt a desire to have some image preserved of the interior apartments as
occupied by their founder, and invited from Edinburgh, for that purpose,
Sir Walter’s dear friend, William Allan, whose presence, I well knew,
would, even under the circumstances of that time, be nowise troublesome to
any of the family, but the contrary in all respects. Mr. Allan willingly
complied, and executed a series of beautiful drawings. He also shared our
watchings, and witnessed all but the last moments."
In
1834 he visited Spain, with the object of collecting fresh materials for
the subjects of his art. He sailed for Cadiz and Gibraltar, proceeded into
West Barbary, and crossing again into Spain, travelled over the greater
part of Andalusia, intending to go on to Madrid, but was recalled to
Scotland, by news from home.
In
1835 Mr. Allan was elected a member of the Royal Academy, and in 1838 he
was chosen president of the Royal Scottish Academy of Painting, Sculpture,
and Architecture, on the death and in the room of Mr. Watson, the original
president. In 1841, on the death of Sir David Wilkie, he was appointed her
Majesty’s limner for Scotland, and in the following year he was knighted.
He was an honorary member of the Academies of New York and Philadelphia.
Having long intended to paint a picture of the Battle of Waterloo, he
several times visited France and Belgium to make sketches of the memorable
field, and to collect the requisite materials for his purpose. The view he
chose was from the French side, Napoleon and his staff being the
foreground figures. This picture was, in 1843, exhibited at the Royal
Academy, London, and purchased by the Duke of Wellington, who expressed
his high satisfaction at the truthfulness of the arrangement and detail in
his work. He was subsequently induced, by the success of the first, to
paint another great picture of Waterloo, from the British side, with the
view of entering the lists of the West minster Hall competition of 1846.
This piece also gained the approbation of the Duke of Wellington, and was
much praised by the public, but though voted for by W. Etty, R.A., one of
the best judges in the committee, as worthy of public reward, it was not
judged deserving of a prize.
In
1844 Allan revisited Russia, and had an opportunity of again seeing his
early patron, the Emperor Nicholas. While there he painted a picture of
‘Peter the Great teaching his subjects the art of shipbuilding,’ which is
now in the winter palace of St. Petersburgh.
After his return to his native city, he continued his professional
labours, with the enthusiasm that ever marked his character. His last
energies were expended on a national piece, and one commemorative of the
most remarkable event in the history of Scotland’s independence, namely,
‘The Battle of Bannockburn,’ on the same extensive scale as his latter
picture of Waterloo. On this picture he worked with as much diligence as
his weakened condition would admit, for already his last illness was upon
him. So eager was he to complete the work in time for the ensuing
exhibition of the Royal Academy, that, it is stated, he had his bed
carried into his painting room that he might sleep near his work. When the
pencil at length fell from his hand he was too far gone in illness to be
removed, and he died in his painting room, in front of his latest picture.
He was never married, his niece having kept house for him.
Sir William died at his residence, 72 Great King Street, Edinburgh, on the
23d February, 1850, in the 69th year of his age. He had for
many
years been afflicted with chronic disease of the windwipe, and had
latterly become much enfeebled. His genius as an artist was of the highest
order, and he possessed singularly unassuming manners and an amiable
disposition. As an instance of his kindly feeling, it may be stated that
on a few of the scholars of Mr. John Robertson, the first teacher in
Gillespie’s hospital, Edinburgh, who had been educated in that institution
under his charge, wishing to have the portrait taken of their old master,
two of them waited on Sir William Allan to ascertain if his engagements
would permit him to do it, and on what terms, when, appreciating their
motives, he at once generously agreed to paint Mr. Robertson’s portrait
without remuneration, and it is now in the hall of the hospital. Sir
William was much esteemed, not only by his brother artists, but by an
extensive circle of friends. A picture of his commemorative of the Ettrick
Shepherd’s birthday, at Hogg’s house at Altrive, after a day’s sport in
trouting and rambling on the mountains, contains nineteen portraits of the
Shepherd’s intimate friends and his own, in rural costumes, among whom,
besides Hogg and himself, are Sir Walter Scott; his son-in-law John Gibson
Lockhart; the two Ballantynes, James and John; Professor Wilson and his
brother James; Captain Thomas Hamilton, author of ‘Cyril Thornton;’
Alexander Nasmyth, the celebrated landscape painter; David Brydges;
Constable the publisher; James Russell, the comedian; and James Bruce,
piper to Sir Walter Scott; a list of names calculated to make the painting
interesting, although not among the most finished of the artist’s
performances. It is now the property of Mrs. Gott of Armsly House.
Sir William Allan was for a long period the only resident historical
painter of his country, and for seventeen years master of the Trustees’
academy, at Edinburgh, where he and Wilkie first began their career. His
excellence as a painter consisted in his dramatic power of portraying a
story, and his general skill in composition, rather than in character or
in colour. He will be remembered in the history of Scottish art by the
impulse which he gave to historical composition; while his name will
always be endeared to the admirers of Sir Walter Scott by the strong
partiality which the latter evinced on all occasions for his friend
"Willie Allan." With the office of limner to the queen for Scotland, which
Allan received in 1842, the honour of knighthood is always conveyed to its
holder. A small salary also accompanies it. The office was revived by
George the Fourth, and given to Sir Henry Raeburn, and at Raeburn’s death
it was conferred on Sir David Wilkie, who was succeeded by Sir William
Allan. At the death of the latter, Sir James Watson Gordon, R.A.,
president and trustee of the Royal Scottish Academy, was appointed in his
place. A portrait of Sir William Allan is given separately. Besides Wilkie,
John Burnet the engraver, Alexander Fraser the painter, and others eminent
in art, were his fellow students at the Trustees’ Academy, Edinburgh. When
he first went to London, Opie, the Cornish painter, was then at the height
of his reputation, and in the first picture which Allan sent to the Royal
Academy, he imitated Opie’s style, so far as colour went, with something
like servility. This picture, called ‘A Gipsy and Ass,’ was exhibited in
1805. His ‘Russian Peasants Keeping Holiday,’ was exhibited in 1809.
Besides the pictures above mentioned, he also painted the following :—‘
Circassian Prince on Horseback selling two boys of his own nation to a
Cossack chief of the Black Sea ;‘ ‘ Circassian Chief selling to a Turkish
Pasha Captives of a neighbouring tribe taken in war;’ ‘The parting between
Prince Charles Stuart and Flora Macdonald at Portree;’ and ‘Jeanie Deans’
first interview with her father after her return from London.’
The
name Allan from the Dictionary of National Biography
David Allan
Peter Allan |
