stantly fixed on that picture, which the earl of Winton observing, offered it in a present to the king; but he declined accepting it, saying, that he would never rob the family of so inestimable a jewel. This picture is still extant in Scotland. There are many original pictures of the unfortunate Mary, but they are thought to have been done while she was in France. There are said to be portraits of James VI. done before he went to England: but we may look upon Jamieson as the first great genius that appeared in that reign. In 1633, when Charles I. held a parliament at Edinburgh, and—as was then the custom-was about to ride in procession from the palace to the parliament-house, the magistrates of Edinburgh, desirous to pay a compliment to the king's taste in painting, begged of Jamieson to allow them the use of as many portraits done by him as could be gathered together. These were hung up on each side of the Netherbow-port, the gate through which the cavalcade was to pass. The exhibition so attracted the king's attention, that he stopped his horse for a considerable time, and expressed his admiration of them, and sending for the painter, rewarded him with a diamond-ring. This was a lucky circumstance for Jamieson; for the king, while at Edinburgh, sat to a full length picture; and having heard that Jamieson had been accustomed to wear his hat while at work, by reason of a complaint in his head, his majesty very humanely ordered him to be covered, which privilege Jamieson ever after thought himself entitled to, in whatever company he might be. Jamieson's colouring is admirable, and his style soft and agreeable, but short of the strength of Vandyke. He had few or no disciples, excepting one of the name of Alexander, who drew a picture of Sir George M'Kenzie, king's advocate, at full length in his gown.

The painter most in repute in Scotland in Charles the Second's time, was the Elder Scougal, who imitated Sir Peter Lely in his drapery. He was very successful in hitting the likeness; and there are portraits by him in the possession of almost every old family in Scotland. He had a son, George, whom he bred a painter, and who is known by the name of the younger Scougal, but he was as an artist greatly inferior to the father. There was a foreigner called Coirudes at this time in Scotland, who did many pictures in a good style; and James duke of York, afterwards James II. when the palace of Holyrood was finished, engaged De Witt, a Flemish painter, to come to Scotland to ornament the gallery of that palace,—an extensive undertaking, for there are in it no fewer than 120 portraits, 19 of which are full lengths! This painter must have had a fertile imagination, as well as ready pencil; for the heads must have been, most of them, ideal. The story goes, that whenever the painter found a proper subject, he made him sit; but the later kings are copies of originals, or taken from descriptions given of them by our historians. He also painted the ceilings and chimney-pieces of several of the apartments of that palace. There are likewise many of his works at Glamis, at Castle-Lyon, and at Clerkington in MidLothian. De Witt was well employed till the Revolution in 1688; but was then dismissed from the public service, without receiving complete payment, it is said, for his works; he, however, remained in Scotland till his death.

For some time after the Revolution painters were few. The younger Scougal was the only one; and his great run of business seems to have

brought him into an incorrect and slovenly manner, totally void of expression. His carelessness occasioned many complaints amongst his employers; but his contemptuous answer was, that they might seek others; well knowing there was none to be found at that time in Scotland.

The next painter who appeared in Scotland was Nicolas Hude, a native of France, who had been in great repute at Paris, and one of the directors of the French academy; but on the revocation of the edict of Nantz, 1685, was banished and took up his residence in London. Nei ther his sufferings on account of religion, however, nor the compliments he paid to King William, availed him, till William, first duke of Queensberry, brought him to Scotland, and employed him about the palace of Drumlanrig. His genius led to history rather than to portrait painting; but he was forced to practise the latter for a livelihood. Had his natural turn been favoured with an easy fortune, he would have excelled any that had gone before him in Scotland. His invention was good, his drawing correct, and manner agreeable; the portraits done by him were out of the common style, and set off by touches of historical composition.

About 1703 some of the Scots nobility met with Jean Baptiste Medina, a native of Brussels residing in London, whom they invited to come to Scotland, and in a few years thereafter he was knighted by the duke of Queensberry, commissioner to the parliament. Sir John applied himself first to historical compositions; but finding small encouragement that way, he turned to portrait painting, and succeeded so well that he equalled any of his predecessors. His manner is free, easy, and bold, a style which succeeds better in men's than in women's portraits. He must have wrought with great facility and expedition, for he filled the country with portraits in the short period of six or seven years, having died in 1710. Mr Paton, a miniature drawer in black and white deserves to be remembered in the foregoing period. He drew a great number of small pictures from life, and also copies from portraits, which are remarkable for their likeness and a lively expression. The ornaments, such as the hair, wigs, cravats, and necklaces, are finished with minute exactness.

Shortly after the death of Sir John Medina, Mr William Aikman returned from Italy, and was much employed in Scotland. He improved greatly by practice; at first his manner was cold, but it afterwards became soft and easy; he was particularly lucky in giving graceful airs and genteel likenesses to his ladies. His patron, John Duke of Argyle, persuaded him to leave Scotland and go to London, where he further improved his colouring by the study of Sir Godfrey Kneller's works. Mr Aikman's taste and performances introduced him to the acquaintance of the duke of Devonshire and Lord Burlington; and had not death cut him off in the prime of life, in the year 1733, he might have attained to the reputation of one of the first-rate painters that had appeared in Britain. The duke of Tuscany made a collection of the portraits of painters done by their own hands; among these is to be found that of Aikman, in the gallery at Florence.

From 1708 to 1722, Richard Wait, a scholar of the younger Scougal, professed portrait painting in Scotland; but his genius led him to the painting pieces of still life, in which he greatly excelled. He used to copy from nature with surprising ease and freedom, so that he

may justly be thought to have surpassed any of his brethren who had gone before him in Britain. Cotemporary with Wait was George Marshal, also a scholar of Scougal, and thereafter of Sir Godfrey Kneller, who is remarkable for good colouring, though there is a flatness in his pictures which displeases. After a long practice in Scotland he went to Italy, but his travels produced no visible improvement on his works. He died about 1732.

John Alexander, a descendant of the celebrated Jamieson, spent his younger days in Italy, mostly at Florence, about the court of Cosmo de Medicis. Upon his return to Scotland he executed several poetical and historical ornaments at Gordon-castle, and professed portrait painting. He made drawings of some of Raphael's paintings in the Vatican, and published prints of them. This painter's favourite subject was Mary Queen of Scots; and, towards the latter part of his life, he began a historical landscape of the escape of that unfortunate and injured princess from her confinement at Lochleven. The landscape of the lake, castle, and adjacent hills, was done from nature,—a fine subject. Had Alexander lived to finish this picture, it would have acquired him the name of a historical painter.

Gavin Hamilton, descended from an ancient Scotch family, and born at Lanark about the year 1740, after having received a liberal education, went to Rome, where he pursued the study of historical painting under Augustine Massuchi. With the exception of a few visits to Scotland, he passed the principal part of his life in the Roman capital, and died there in 1797. Modern art is indebted to him for a valuable publication, entitled Schola Italica Picturæ,' in which is traced the progress of its styles from Leonardo da Vinci to the successors of the Caracci. Fuseli said of him, “He had not perhaps the genius of an inventor; but the advantages of a liberal education, and of a classic taste in the choice of his subjects; and the style at which he always, and often successfully, aimed, made him at least equal to his most celebrated contemporaries. Some of the subjects which he painted from the Iliad bear ample evidence of this. Achilles grasping the body of Patroclus, and rejecting the consolation of the Grecian chiefs, and Hector tied to his chariot, have something of Homeric sublimity and pathos: the moment chosen is the crisis of the fact, and the test of the hero's character. But in this last he is not always happy, as in Achilles dismissing Briseis, where the gesticulation of an actor supplants the expression of the man. Of his women, the Briseis, in the same subject, is the most attractive. Neither his Andromache mourning over Hector, nor the Helen, in the same, nor the scene with Paris, reach our ideas of the former's dignity and anguish, or the form and graces of the latter. Indeed, what idea can be supposed to reach that beauty, which, in the confession of age itself, deserved the ten years' struggle of two nations? And yet, in the subject of Paris, those graces and that form are to be subordinate to the superior ones of Venus. He would rank with the first names in arts who, from such a combination, should escape without having provoked the indignation, contempt, or pity, of disappointed expectation. Though he was familiar with the antique, the forms of Hamilton have neither its correctness nor characteristic purity: something of the modern scholastic principle prevails in his works, and his composition is, not seldom, as much beholden to common-place ornamental conceits and habits as to propriety."

David Allan, the more immediate subject of this memoir, was born on the 13th of February, 1744, at Alloa, in Stirlingshire, where his father held the place of shoremaster. He first displayed his taste for drawing in a caricature of his schoolmaster, which procured him a sound thrashing. When his father admonished him for having ridiculed his preceptor, he replied; "I could nae help it, he looked sae queer; I made it like him, and a' for fun." It was determined, however, that his predilection for the art should be encouraged; and he was accordingly, in February, 1755, placed at Foulis academy, where he was initiated in drawing, painting, and engraving. In 1764 the liberality of some noblemen and gentlemen in the neighbourhood of Alloa, enabled him to proceed to Rome, where among other honours he obtained the gold medal of the academy of St Luke, for the best historical composition. The subject was 'The Origin of Painting.' Wilkie is said to have pronounced it one of the best told stories that colour and canvass ever united to relate. Whilst at Rome, he painted The Prodigal Son,' 'Hercules and Omphale,' &c.; but his four sketches of The Carnival at Rome,' and which, with a few others gained him the name of the Scottish Hogarth, chiefly deserve to be mentioned.

Few particulars of Allan's life are known for some years after he left Scotland for Italy. He appears to have been in London in 1777, and in 1786 his reputation had become so great, that he was elected master of the Academy of arts at Edinburgh. About the same time he commenced a series of illustrations for Allan Ramsay's 'Gentle Shepherd,' of which he published an edition in quarto, accompanied by his engravings. His skill lay principally in rustic subjects, and upon these he continued to employ his pencil until within a short period of his death, which took place on the 6th of August, 1796 Burns, some of whose subjects he illustrated, said, that himself and Allan were the only genuine and real painters of Scottish costume in the world.

John Tweddell.

BORN A. D. 1769.-died a. d. 1799.

THE name of John Tweddell holds a distinguished place in the melancholy list of those scholars whose untimely fate has disappointed high expectations founded on premature excellence. He was born on the first of June, 1769, at Threepwood, near Hexham, in the county of Northumberland, and was the son of a very respectable country gentleman in that district. His earliest years were passed under the care of a pious and affectionate mother, whose love was rewarded in the dutiful obedience and constant attachment of her son. At the age of nine years he was sent to Hartforth school, near Richmond, then kept by the Reverend Mr Raine. From thence he was taken to Cambridge, after having spent some time under the tuition of the celebrated Dr Parr. His academical career was uncommonly brilliant. He received in succession all the honours which it was possible for him to contend for. His Prolusiones Juveniles,' being a collection of his prize exercises, which he published in 1793, obtained the very flattering approbation of the illustrious Heyné, who was pleased to say in refer

ence to Tweddell, in a letter to Bishop Bruges,—“ eruditionem ejus exquisitam ex prolusionibus juvenilibus perspexi."

In 1792 he was elected fellow of Trinity college, and soon after, in compliance with his father's wishes rather than from any predilection of his own, he entered himself a student of the Middle temple. He seems, however, to have conceived an aversion for the law, which he was never able to surmount. It has been justly observed with respect to legal studies, "that the inextricable maze of technicalities,-the chief use of which is to perplex the heads of the younger members of the profession, and to swell the purses of the elder,—is well-calculated to disgust the classical mind, which has hitherto contemplated the principles of jurisprudence only in the polished and harmonious periods of the great pleaders of antiquity." Finding himself unfitted for the pursuit of the profession of his father's choice, he resolved to qualify himself for a diplomatic station, towards which his wishes greatly inclined; and with this view he determined to pass some time in acquiring an intimate knowledge of the leading continental languages. Accordingly, in the autumn of 1795 he went to Hamburgh, and, after remaining sometime there, visited most of the principal towns in Germany. During his residence in that country he made acquaintance with the celebrated Klopstock, the Abbé Montesquieu, Madame Genlis, and the Polignac family. From Germany he proceeded to Switzerland, then in the hands of the French, whose government of the unhappy Swiss he pronounced to be "the ne plus ultra of barbarous despotism, rioting in the consciousness of impunity, and the lust of evil." He examined this interesting country with great diligence, and gained the friendship of several distinguished residents, amongst whom were Professor Wyttenbach, M. Fellenbrug, Count Rumford, the ex-minister Nechar, and his accomplished daughter Madame de Stael. From Switzerland he returned to Vienna, whence he pursued his tour through the north of Europe, some districts of Asia, and the provinces of Greece. After visiting several of the islands of the Archipelago, he fixed his residence at Athens, and here, on a spot teeming with so many glorious classical associations, the feelings of young Tweddell may be better imagined than described. His emotions were of the most intense kind, and he had already spent four months in exploring with restless ardour the interesting remains with which he was surrounded, when the hand of a wise but mysterious Providence suddenly arrested his career on the 25th of July, 1799. He appears to have fallen a sacrifice to an aguish complaint acting upon a weak chest, and stimulated by the imprudent use of antimonial powers. M. Fauvel, the French consul at Athens, obtained liberty to bury him in the temple of Theseus, where a plain marble, with an elegant inscription in Greek verse, from the classic pen of the Rev. Robert Walpole, marks his grave.

"Mr Tweddell," says the editor of his Life and Remains,' "in his person was of the middle stature, of a handsome and well-proportioned figure. His eye was remarkably soft and intelligent. The profile or frontispiece to the volume gives a correct and lively representation of the original; though it is not in the power of any outline to shadow out the fine expression of his animated and interesting countenance. His address was polished, affable, and prepossessing in a high degree; and there was in his whole appearance an air of dignified benevolence,