have been familiarized to the public at large through the medium of engraving. His labours, however, were more than once subject to interruption from ill health; and at last, a complaint in the eyes suspended his exertions for several years, and threatened to end in total blindness. By medical advice he went to Italy; and after sojourning a winter at Rome, and spending a short time in Naples, he visited Constantinople, Asia Minor, and Greece, and returned with recruited health to his beloved studio in Edinburgh. He became once more a traveller in 1834, being desirous of visiting the romantic and historical scenery of Spain. His journey on this occasion extended into Western Barbary, and would have been still further lengthened, but for a sudden necessity of returning home, after which he continued to produce many of his best paintings. A desire also to paint the Battle of Waterloo led him several times to France and Belgium, that he might collect sufficient materials in costume, scenery, and incident, and study accurately the field of conflict. The result was a magnificent view of this great combat of nations, which, at the exhibition of the Royal Academy in 1843, was purchased by the Duke of Wellington, who testified his approbation of its truth and accuracy. Allan had now done enough for fame and fortune, both as artist and traveller; but in 1844, he again grasped his pilgrim's staff for a journey into the far north. He visited Russia, and there produced his painting of "Peter the Great teaching his subjects the art of shipbuilding;" which, after being exhibited in the Royal Academy in 1845, was purchased by the Emperor of Russia, for the winter palace of St. Petersburg. In consequence of the success of his first painting of Waterloo, he resolved on producing a second; and, as the former was delineated as viewed from the French side of the action, the latter was from the British. Independently also of the stirring nature of the subject, his personal as well as patriotic feelings were engaged in this new effort, for it was intended for the competition of Westminster Hall in 1846. Great, however, as were its merits, it was unsuccessful. It was afterwards purchased by the Junior United Service Club in London, of whose splendid rooms it now forms a conspicuous ornament. The public honours which had already rewarded him, might indeed sufficiently console him under this disappointment; for in 1826 he was elected an Associate of the Royal Academy, and in 1835 an Academician. Four years later, on the death of Watson, he was unanimously preferred to the office of President of the Royal Scottish Academy; and in 1842, after having been appointed her Majesty's Limner for Scotland on the death of Wilkie, he received the honour of knighthood. He was now also the venerable father of Scottish painting, and could look around him with pleasure upon a race of promising artists whose genius his example and labours had kindled in a department which, as yet, his countrymen had almost wholly neglected.
The last professional labour in which Sir William Allan was engaged was the Battle of Bannockburn, into the difficult and complicated details of which he entered with all the inspiration and vigour of his best days. The period of action selected was the critical moment when the English, daunted by the discomfiture of their bowmen, the overthrow of their splendid cavalry among the concealed pits, and the appearance of what seemed a fresh Scottish army descending from the Gillie's Hill, gave way on every side, and were pressed and borne down by the resistless effort of the four Scottish bodies, now united into one, with the heroic Bruce at their head. But this painting, to which he clung to the last, and touched and retouched with a dying hand, he did not live to
