lunette window are sliced off at the top, the picture gives no
impression of confinement. This sense of space is increased by the
rim of a marble basin in the immediate foreground, the reclining
figures which lower the eye level, and the skilful introduction
through the open window, above the heads of the passers-by, of the
entrance columns and intricate façade of an adjoining building. The
triangle of blue sky and the blue glass vase standing out against the
distant columns of the building across the square form one of Alma
Tadema's many happy combinations.
In some respects the most important picture painted by Alma Tadema of
late years is called _The Coliseum_, which excited wondering praise
for its masterly handling, its colour scheme, its archæological
knowledge, when exhibited at the Royal Academy in 1896. Attached to
the title in the catalogue was this motto from Lord Byron's "Don
Juan" that gave the keynote to that which the artist desired to
express:
"And here the buzz of eager nations ran
In murmured pity, or loud-roared applause,
As man was slaughtered by his fellow man,
And wherefore slaughtered, wherefore, but because
Such were the bloody circus' genial laws,
And the Imperial pleasure. Wherefore not?"
Dominating the whole picture, and occupying more than half of its
canvas, is the huge Flavian Amphitheatre colloquially known
throughout the whole world as _the_ Coliseum. Even in the title
therefore in this case the inanimate object takes the first place,
relegating to a secondary rank the human interest. Very wonderfully
does the artist convey to our eyes a sense of the gigantic bulk and
height of the huge Amphitheatre, and with accurate archæological
knowledge has he reconstructed its form upon his canvas. Here are
its two tiers of arcades, whose arches, we learn from the evidence of
tradition, inscriptions and ancient coins, were filled, as in the
painting, with groups of colossal white marble statues. Above these
arcades rose a series of pilasters, and above these again, supported
on the topmost parapet, were stout poles that held the velarium or
canvas awning which sheltered from the sun or rain the thousands of
spectators gathered to witness the bloody deeds which took place in
the arena below. These supporting poles stand out distinct against
the glowing sky, a sky always introduced if possible by Alma Tadema.
The hour chosen is late afternoon, when from out the Amphitheatre
pour the thousands who have lately thronged the tiers upon tiers of
seats that surrounded the arena, high functionaries and proletariat,
tender-born ladies and women of the market-place, all equally eager
to witness the orgies of blood that were here enacted. Outside the
broad walk that encircled the Amphitheatre stood the famous Baths of
Titus, second only in magnificence to the Coliseum itself. Alma
Tadema has imagined for it a balcony of white marble, raised high
above the road. On its parapet stand tall wide-mouthed sculptured
vases, connected together with thick festoons of yellow daffodils
proving that the season of the year is Alma Tadema's favourite one of
early spring. A nude bronze statue of a nymph wreathing her tresses,
in accordance with the usages of the Baths, crowns the parapet of the
balcony. Around her feet too, are twined the wreaths of yellow
flowers that give such a sunny note to the whole scheme of colour.
Two ladies and a child have taken up their station on this festively
decorated parapet, evidently come thither to witness some spectacle
of quite unusual importance that has called to the arena not only the
populace, but even the Consul himself, who, preceded by his clients,
and attended by his lictors, is seen issuing from the main exit of
the Coliseum, which was almost in front of the Baths. To keep the
way clear for the grandees, some guards are roughly pushing back the
dense crowd that is packed on either side of the roadway. Yet
another crowd is issuing from the side door of the Coliseum. This
mob is chiefly composed of plebs, though among them are mingled
palanquin bearers plying for hire. Yet further off again is seen the
Arch of Constantine and the famous goal known as the Meta Sudans.
[Illustration: THE COLISEUM.]
It is not quite evident what it is that chiefly interests these lady
spectators. We are told that the dark-haired and elder of the two is
the little girl's mother. For safety's sake she plucks at the
child's gown for fear the little one in her excitement should fall
over the low parapet. The younger lady is more eager in her
interest. She, who is supposed to be the child's governess, has
evidently recognized some one, friend or lover, in the crowd
immediately below to whom the child is excitedly pointing. The
"Athenæum," when describing this picture on its first exhibition,
wrote concerning it:
"It would be difficult to do justice to the breadth, brilliance and
homogeneity (in spite of its innumerable details) of this splendid
picture. The painting of the minutest ornaments, the folds of the
ladies' garments, even the huge festoons we have referred to, and the
delicate sculptor's work of the vases and mouldings on the balcony
are equally noteworthy. Even more to be admired are the faces, of
which that of the maiden in blue is undoubtedly the sweetest and
freshest of all Mr. Alma Tadema's imaginings. Her companion (the
more stately matron) who wears a diadem of silver in her black hair,
illustrates a pure Greek type of which the painter has given us
several examples, but none so fine as this one, which is very
skilfully relieved against the peacock fan of gorgeous colours which
she holds in her hand. It is easy to imagine that in her noble
spirit some thought of the victims of the Amphitheatre arose, which
explains the painter's intention in choosing the motto of the
Coliseum."
The picture is certainly in every respect worthy of Alma Tadema's
high reputation and is a perfect example of his style, a brilliant
work, true and complete in every touch.
THE PRINCIPAL PICTURES
BY
SIR LAWRENCE ALMA TADEMA
WITH THE NAMES OF THEIR OWNERS AS
FAR AS CAN BE ASCERTAINED
Clotilde at the Tomb of Her Grandchildren. _M. Jules Verspreeuwen._
Education of the Children of Clovis. _H.M. King of the Belgians._
Venantius. _A. G. Hill, Esq._
Fortunatus and Radegonda. _A. G. Hill, Esq._
Gonthran Bose. _A. G. Hill, Esq._
Egyptians Three Thousand Years Ago. _J. Dewhurst, Esq._
The Chess-players. _Sir Henry Thompson._
The Egyptian at His Doorway. _Sir Henry Thompson._
The Mummy. _John Foster, Esq._
Agrippina with the Ashes of Germanicus. _N. G. Clayton, Esq._
A Roman Family. _John Pender, Esq._
Lesbia. _The Marquis de Santurce._
Entrance to a Roman Theatre. _John Straker, Esq._
Roman Dance. _John Straker, Esq._
The Discourse. _Henry Mason, Esq._
Glaucus and Nydia. _The Marquis de Santurce._
Claudius. _The Marquis de Santurce._
Tarquinius Superbus. _Sir Henry Thompson._
The Visit to the Studio. _M. X. Puttermans Bonnefoy._
Phidias and the Elgin Marbles. _D. Price, Esq._
The Siesta. _M. Gambart._ (?)
A Roman Amateur. _The Marquis de Santurce._
The Convalescent. _Hon. W. F. D. Smith, M.P._
Confidences. _F. W. Cosens, Esq._
The Pyrrhic Dance. _C. Gassiot, Esq._
The Chamberlain of Sesostris. _H. Hilton Phillipson, Esq._
A Visit. _W. Houldsworth, Esq._
In the Peristyle. _C. R. Fenwick, Esq._
The Silver Statue. The Marquis de Santurce.
A Soldier of Marathon. _Alfred Harris, Esq._
Exedra. _The Marquis de Santurce._
The Wineshop. _R. Christy, Esq._
Tibullus at Delia's. _M. Gambart._ (?)
A Juggler. _The Marquis de Santurce._
The First Whisper. _James Hall, Esq._
The Vintage Festival. _Baron Schroeder._
Hush. _Mariano de Murrieta, Esq._
Une Fete Intime. _The Marquis de Santurce._
The Widow. _M. Gambart._ (?)
The Improvisatore. _Alfred Harris, Esq._
The Death of the First-born. _Sir Lawrence Alma Tadema._
The Nurse. _Baron Schroeder._
Fishing. _Baron Schroeder._
The Siesta. _W. Lee, Esq._
Between Hope and Fear. _T. G. Sandeman, Esq._
After the Dance. _H. F. Makins, Esq._
At Lesbia's. _W. J. Newall, Esq._
Cherry Blossom. _Wilberforce Bryant, Esq._
Hide and Seek. _John Fielden, Esq._
Pleading. _C. Gassiot, Esq._
The Kitchen Garden. _W. Lee, Esq._
The Bath. _Baron Schroeder._
Pandora. _Royal Society of Painters in Water Colours._
The Garland Seller. _A. D. Halford, Esq._
Balneatrix. _H. F. Morton, Esq._
A Roman Artist. _H. J. Carr, Esq._
A Garden Altar. _A. Macdonald, Esq._
The First Reproach. _H. Hilton Phillipson, Esq._
The Last Roses. _Sir James Joicey, Bart. M.P._
On the Steps of the Capitol. _Baron Schroeder._
The Sculptor. _John Foster, Esq._
Grecian Wine. _The Marquis de Santurce._
Cleopatra. _Sir Henry Thompson._
The Question. _D. Price, Esq._
Fregonda at the Death-bed of Praetextatus. _D. Price, Esq._
Water Pets. _W. Lee, Esq._
The Siesta. _W. Lee, Esq._
The Architect. _John Foster, Esq._
A Sculpture Gallery. _M. Gambart._ (?)
An Audience at Agrippa's. _The Marquis de Santurce._
After the Audience. _Henry Mason, Esq._
A Picture Gallery. _M. Gambart._ (?)
Wine. _W. Lee, Esq._
In the Time of Constantine. _J. W. Knight, Esq._
A Hearty Welcome. _Sir Henry Thompson._
A Sculptor's Model. _Rt. Hon. Sir Robert Collier._
In the Temple. _Angus Holden, Esq., J.P._
Play. _J. G. Sandeman, Esq._
A Well-Protected Slumber. _J. S. Forbes, Esq._
Antistius Labeon. _The Marquis de Santurce._
Love's Missile. _John Fielden, Esq._
Cherry Blossom. _Wilberforce Bryant, Esq._
A Torch Dance. _John Paton, Esq._
Ave Caesar! Ió Saturnalia. _J. Dyson Perrins, Esq._
Quiet Pets. _M. Verstolk Volekin._
Reflections. _Lord Battersea._
A Harvest Festival. _James Barrow, Esq._
A Pastoral. _Wakefield Christy, Esq._
An Audience. _G. H. Boughton, Esq., A.R.A._
The Tepidarium. _Sharpley Bainbridge, Esq._
Cleopatra. _-- Hawk, Esq._
Young Affections. _Henry Joachim, Esq._
Sappho. _M. Coquelin._
Repose. _M. Coquelin._
Oleanders.
On the Way to the Temple.
Shy.
Who Is It?
Hadrian Visiting a British Pottery.
Expectations.
A Reading from Homer.
An Apodyterium.
Not at Home.
Down to the River.
Pomona's Festival,
Departure.
The Seasons.
The Silent Counsellor.
A Bacchante.
At the Shrine of Venus.
Heliogabalus.
The Women of Amphissa.
Spring. _Herr Robert Mendelssohn._
The Benediction.
Past and Present Generations.
Love's Jewelled Fetter. _Geo. McCulloch, Esq._
Fortune's Favourite. _Herr Robert Mendelssohn._
Unwelcome Confidence. _America._
A Coign of Vantage. _America._
Whispering Noon. _Sir Samuel Montagu._
The Coliseum. _America._
A Difference of Opinion. _America._
"Nobody asked you, Sir, she said" (water colour). _Australia._
Watching. "Her eyes are with her thoughts and
they are far away." _America._
Wandering Thoughts. _America._
Melody. _America._
Roses, Love's Delight. _The Czar of Russia._
The Conversion of Paula. _America._
Hero. _America._
A Listener. _The Tate Gallery._
Thermae Antoninae. _America._
Goldfish. _Sir Ernest Cassell._
Vain Courtship. _Sir Ernest Cassell._
"Under the roof of Blue Ionian Weather." _Sir Ernest Cassell._
"The year's at the Spring
. . . . . . . . . . . . .
All's well with the world." _Alfred de Rothschild, Esq._
THE PRINCIPAL PORTRAITS
BY
SIR LAWRENCE ALMA TADEMA.
Dr. and Mrs. Hueffer.
Dr. W. Epps.
Prof. G. B. Amendola.
L. Lowenstam, Esq.
My Youngest Daughter.
My Children.
Herr Henschel.
Dr. and Mrs. Semon.
Herr Hans Richter.
Ludwig Barnay as Mark Antony.
Sir Henry Thompson.
Herbert Thompson, Esq.
Mrs. Rowland Hill and Children.
George Simonds and Family.
Mrs. Marcus Stone.
A Family Group.
Miss Enid Ford.
Maurice Sons.
Portrait of Himself for Uffizi.
Lady Waterlow.
Miss Tina Mavis.
Mrs. George Lewis and Miss Elizabeth Lewis.
Mrs. George Armour of Princetown.
Prof. George Aitchison, R.A.
Max Waechter.
CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.