“Valiant,” was Commodore Keppel’s flag-ship in the expedition against Belleisle in that year, and also in 1762, when it took an important part in the capture of Havana. In 1778, on the recommencement of war with France, Captain Duncan was appointed to the “Suffolk,” whence before the close of the year he removed to the “Monarch,” one of the Channel Fleet. On January 16,1780, in an action off Cape St Vincent, between a Spanish squadron under Don Juan de Langara and the British fleet under Sir George Rodney, Captain Duncan in the “Monarch” was the first to engage the enemy; and in 1782, as captain of the “Blenheim,”he took part in Lord Howe’s relief of Gibralta;·. From the rank of rear-admiral of the blue, received in 1789, he was gradually promoted until, in 1799, he became admiral of the white. In February 1795 he hoisted his flag as commander-in-chief of the North-Sea fleet, appointed to harass the Batavian navy. Towards the end of May 1797, though, in consequence of the wide-spread mutiny in the British fleet, he had been left with only the “Adamant,” 50, besides his own ship the “Venerable,” 74, Admiral Duncan proceeded to his usual station off the Texel, where lay at anchor the Dutch squadron of fifteen sail of the line, under the command of Vice-Admiral De Winter. From time to time he caused signals to be made, as if to the main body of a fleet in the offing, a stratagem which probably was the cause of his freedom from molestation until, in the middle of June, reinforcements arrived from England. On October 3 the admiral put into Yarmouth Roads to refit and victual his ships, but, receiving information early on the 9th that the enemy was at sea, he immediately hoisted the signal for giving him chase. On the morning of the 11th De Winter’s fleet, consisting of four seventy-fours, seven sixty-fours, four fifty-gun ships, two forty-four-gun frigates, and two of thirty-two guns, besides smaller vessels, was sighted lying about nine miles from shore, between the villages of Egmont and Camperdown. The British fleet numbered seven seventy-fours, seven sixty-fours, two fifties, two frigates, with a sloop and several cutters, and was slightly superior in force to that of the Dutch. Shortly after mid-day the British ships, without waiting to form in order, broke through the Dutch line, and an engagement commenced which, after heavy loss on both sides, resulted in the taking by the British of eleven of the enemy’s vessels. When the action ceased the ships were in nine fathoms water, within five miles of a lee shore, and there was every sign of an approaching gale. So battered were the prizes that it was found impossible to fit them for future service, and one of them, the “Delft,” sank on her way to England. In recognition of this victory, Admiral Duncan was, on October 21, created Lord Viscount Duncan of Camperdown, and baron of Lundie, with an annual pension of £3000 to himself and the two next heirs to his title. In 1800 Lord Duncan withdrew from naval service. He died August 4, 1804.

See Charnock, Biographia Navalis, 1794-6; Collins, Peerage of England, p. 378, 1812; W. James, Naval History of Great Britain, 1822; Yonge, History of the British Navy, vol. i. 1863.

DUNCAN, Thomas (1807-1845), a distinguished Scottish portrait and historical painter, was born at Kinclaven, in Perthshire, May 24,1807. He was educated at the Perth Academy, and afterwards began the study of the law, which, however, he speedily abandoned for the more congenial pursuit of art. Commencing his new career under the instruction of Sir William Allan, he early attained distinction as a delineator of the human figure; and his first pictures established nis fame so completely, that at a very early age he was appointed professor of colouring, and afterwards of drawing, in the Trustees’ Academy of Edinburgh. In 1840 he produced one of his finest pieces, Prince Charles Edward and the Highlanders entering Edinburgh after the Rattle of Prestonpans. This painting secured his election as an associate of the Royal Academy in 1843. In that same year he produced his no less famous picture of Charles Edward asleep after Culloden, protected by Flora Macdonald, which, like many other of his pieces, has been often engraved. In 1844 appeared his Cupid and his Martyrdom of John Brown of Priesthill, the last effort of his pencil, with the exception of a portrait of himself, now in the National Gallery in Edinburgh. He particularly excelled in his portraits of ladies and children. He died at Edinburgh, May 25, 1845.