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.
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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
