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of the 'Defeat of the Spanish Armada,' after De Loutherbourg. He excelled very much in his etching, and was devoted to his art. Of eccentric habits, and suffering from ill-health, he died in middle age.
ALLEN, Thomas, marine painter. His subjects were chiefly naval battles. Practised about the middle of the 18th century. He painted the incidents of Queen Charlotte's voyage and arrival in this country, also the 'Great Harry' from Holbein's design of that vessel. His works were engraved by P. C. Canot.
ALLEN, Thomas, topographical draftsman. An ingenious man, who was engaged in several antiquarian publications. He drew and etched the illustrations for his 'History of the Antiquities of Lambeth' and 'History of the Antiquities of London, Westminster, and Southwark' and was the author of some other antiquarian works; but his illustrations possessed no higher merit than careful neatness. He died suddenly, of cholera, July 20, 1833, aged 30.
ALLEN, Thomas John, architectural-draftsman. Excelled in water-colours. He committed suicide, it was said owing to the death of his sister, September 20, 1846, aged 25.
ALLOM, Thomas, architect. Was born in London, March 13, 1804, and was articled to Francis Goodwin, in whose office he passed about seven years; and was also a student in the schools of the Royal Academy. In 1824 he first appears as an exhibitor at Suffolk Street of designs for a cathedral, and in 1827 at the Academy, contributing a design for Sydenham Church. Soon after he travelled for improvement in his art. He had great skill in finishing architectural drawings, and drew and sketched with great facility, and was soon engaged by publishing firms to furnish them with views of the continental cities. He continued an occasional exhibitor of views and architectural designs. In 1846 he was awarded a premium for his design for the Choristers' Schools at Oxford. He was the architect of the Union Workhouse at Calne and at Kensington; also of Highbury Church, 1850; the Cambridge Military Asylum, Kingston, 1852; St. Peter's Church, Notting Hill, 1856; and other works. But his reputation will rest upon his numerous published views, by which he is so widely known — Cumberland and Westmoreland; Devonshire and Cornwall; Yorkshire, Derbyshire, and the Midland bounties; Surrey, Belgium, Scotland, France, Constantinople, Asia Minor, China. He was one of the founders of the Institute of British Architects. He died at Barnes, October 21, 1872.
ALLPORT, H. C., water-colour painter. He lived near Lichfield, and first appears as an 'exhibitor' at the Water-Colour Society in 1813. He continued to exhibit landscape views, but chiefly of well-known buildings, and in 1818 was elected a member of the Society. In 1822 his name disappears from the list of members, but he contributed several drawings, chiefly Italian scenes, in 1823, and is then classed as an ' associate exhibitor.' He does not appear to have again exhibited.
ALLSTON, Washington, A.R.A., history painter. Was born in South Carolina, 1779, and entered Havard College. Massachusetts, 1796. Drawing was his favourite amusement as a boy, and he early tried to design. He first attempted miniature, but without success. In 1800 he graduated and then returned to Charleston, where he devoted himself to art, banditti being his favourite subjects. Then, with a desire for his improvement, in May, 1801, having sold his hereditary property to enable him to study art, he came to England and at once entered the schools of the Royal Academy; was an exhibitor in 1802 and 1803. After three years' study he went to Paris in 1804, copied some pictures at the Louvre, and then set out for Italy, where he passed four years, the greater part of the time in Rome, studying modelling in clay as well as drawing; and there, in 1805, he painted his 'Joseph's Dream' a work which at once laid the foundation of his fame. In 1809 he went back to America, where he married the daughter of Dr. Channing, and in 1811 brought his wife to England. Soon after he commenced 'The Dead Man touching Elisha's Bones' but his work was interrupted by a dangerous illness; and when, after a short residence at Clifton to re-establish his health, he finished his picture, it was exhibited at the British Institution, and gained, in 1814, a premium of 200 guineas. It was afterwards purchased by the Pennsylvanian Academy of Fine Arts for 3500 dollars. In the same and the two following years he exhibited at the Academy, chiefly Italian landscapes. He had returned to London, and had hardly settled in his newly-furnished house when his wife died suddenly. The shock produced the deepest melancholy and temporary derangement. But recovering, he visited Paris in 1817, in company with his friend C. R. Leslie, and on his return commenced his 'Jacob's Dream' which he sent to the Academy from Boston in 1819, his first contribution to that exhibition. He continued in England during the American war; on its termination a home sickness seized him, and with great regret he left his English friends and again crossed the Atlantic, arriving at Boston in 1818. He had the same year been elected an Associate of the Academy, and had gained a premium of 150 guineas at the British Institution for his 'Angel Uriel
