Mary of Guise grace may perceive the perplexed state of affairs in Scotland." At first Guise stayed unwillingly at Linlithgow Palace, then in July 1543 she moved with the infant Queen to Stirling Castle. When Ralph Sadler spoke to her again in August, Guise assured him the English marriage would go ahead when Mary was ten years old. In the meantime Mary was safe at Stirling, and Guise said she was glad to be at Stirling and, "much she praised there about the house." It soon became clear to Henry VIII that Mary and Edward would not be married, despite Scottish promises and
Scottish art in the eighteenth century suggesting the ultimate motivation for art was love. The same theme was painted by another of Hamilton's proteges, David Allan, two years later. In the late eighteenth century Ossian became a common subject for Scottish artists, and works were undertaken by Alexander Runciman and David Allan among others. Alexander also produced one of the earliest examples of a Scottish historical painting, showing the escape of Mary, Queen of Scots from Loch Leven Castle, which would become a major form in the nineteenth century. Allan returned to Edinburgh in 1780, became director and master of the Academy of Arts in 1786.