Page:Cyclopedia of painters and paintings - Volume I.djvu/68

 as a follower of the so-called classical school under the influence of Ingres. He made his studies chiefly after Italian scenery, visited Greece and painted several views of the Acropolis and around Athens. His color wants truth and life, and his handling is hard and unsympathetic. Works: Daphnis and Chloë (1822); Murder of the Druids (1831); Prometheus (1837), Luxembourg Museum; Hay Harvest (1839); Landscape with praying Monk (1839), Rennes Museum; View near Naples, and two other Landscapes, Nantes Museum; Defeat of Du Guesclin (1840), Versailles Museum; Hercules fighting the Hydra (1842), Carcassone Museum; Bacchus with Nymphs (1852), Bordeaux Museum; Christ at Emmaus (1837), Besançon Museum; Good Samaritan, Amiens Museum.—Meyer, Künst. Lex., i. 313; Kunstblatt (1835), 172; (1837), 190; (1839), 218; Clement, Études, 383; Athenæum (1871), i. 342.

ALIMPI (Olimpi), 11th century, born probably in Kiev, said to have died in 1114. The earliest Russian painter of altarpieces whose name has been handed down to us. He learned his art from the Byzantine painters, who about 1084 decorated the great church in the cave-monastery at Kiev. In 1087 he entered that monastery as a monk, and is revered as a saint in Russia; supernatural power is attributed to his pictures, with whose origin is connected many pious legends. Madonna, Uspenski Church, Moscow.—Meyer, Künst. Lex., i. 314.

ALLADIO. See Macrino d'Alba.

ALLAN, DAVID, born at Alloa, near Edinburgh, Feb. 13, 1744, died near Edinburgh, Aug. 6, 1796. After studying at Glasgow in Foulis' Academy, and in Rome (1764-79), where he gained a gold medal from the Academy of St. Luke for his Origin of Painting (1773), he returned to London with four humorous sketches of the Roman Carnival, which won for him the surname of the Scottish Hogarth. His fame depends, however, rather upon the genre pieces of Scottish life which he painted after he had settled at Edinburgh in 1792. His illustrations to some of Burns' poems, and to Allan Ramsay's Gentle Shepherd, which he engraved in aquatint, and his pictures of the Highland Dance, the Scotch Wedding, and the Repentance Stool, met with deserved success, and show him to be the worthy forerunner of Wilkie. His portraits, one of which, that of Sir William Hamilton (1775), now in the National Portrait Gallery, are chiefly remarkable for a strong, homely resemblance. He was Master of the Academy of Arts, Edinburgh, during the last ten years of his life.—Cunningham; Redgrave; Seguier.

ALLAN, Sir WILLIAM, born in Edinburgh in 1782, died there, Feb. 23, 1850. Apprenticed to a coach painter; student at Trustee's Academy, Edinburgh, and at Royal Academy, London, where he exhibited his Gipsy Boy in 1803. Failing to meet with success in London, he went, in 1805, to Russia, and spent ten years, much of the time in travel, visiting Circassia, Tartary, and Turkey. In 1814 he returned home with many costume and landscape studies which he utilized in his pictures of Circassian Slaves, Prisoners on the Road to Siberia, and Tartar Robbers, the last now in the National Gallery, works in a measure attractive through local colour; but in historical subjects, which he next attempted, he was totally wanting. The Murder of Archbishop Sharp, the Death of the Regent Murray, and the Abdication of Mary Queen of Scots, all prove that he was a poor draughtsman and a weak colourist. Nevertheless, the last named of these pictures brought him 800 guineas (1825), and he received many honours. He became A. R. A. in 1825, R. A. in 1835, President