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On the other hand, the removal of a man like Sir Lawrence Alma-Tadema from his native sphere of influence is quite enough to account for the unlooked-for flowering of blossoms like the brothers Maris, Bosboom, Israels, and Mauve in the Dutch garden, and if that is so, one need not grudge him his interment amongst Nelson, Wellington, and other heroes of our own.
Alma-Tadema, and some of them liked Mr. Alma-Tadema better than Lord Leighton.
What would Alma-Tadema say, for instance, if it were proposed to him that in a picture of the Roman Amphitheatre the figures should be painted in the costume of Spain? I do not think he would see the point of such a noble disregard of detail; and why should he, unless what is false in art is held to be higher than what is true?
They were all delighted about it, and such busy men as Sir Laurence Alma-Tadema, Mr. Abbey, Mr. Byam Shaw, Mr. Walter Crane, Mr. Bernard Partridge, Mr. James Pryde, Mr. Orpen, and Mr. William Nicholson all gave some of their work to me. Mr. Sargent was asked if he would allow the first Lady Macbeth study to be reproduced.
Nothing is more common, indeed, than to see classical pictures of the Alma-Tadema school not, of course, from the brush of the master himself, who is impeccable in such details, but fair works of decent imitators in which Caia or Marcia leans gracefully in her white stole on one pensive elbow against a marble lintel, beside a courtyard decorated with a Pompeian basin, and overgrown with prickly pear or "American aloes."
Such half-way masters as Leighton, Alma-Tadema, Sant, and Dicksee were as yet to them something of what Rossetti and Burne-Jones, and certain old Italian masters, were soon to become.
Born in London. From early childhood this artist was fond of drawing and had the usual drawing-class lessons at school and also drew from the antique in the British Museum. Her serious study, however, began at the age of eighteen, under the direction of Laurenz Alma-Tadema. Her pictures are principally of domestic scenes, child-life, and other genre subjects.
But the designs on the Greek vase are carefully rendered; though I have heard it remarked by a classical scholar that these kind of vases were not in use about Homer's time. Still, the intention is good, though the costumes are not what WE should have called Ancient Roman when the President was a boy ay, or earlier. Then, Mr. Alma-Tadema, he has not turned HIS back on the glorious Antique.
Old David Bles is here, and Blommers, De Bock, Bosboom, Valkenburg, Alma-Tadema, Ary Scheffer of Dutch descent Roelofs, Mesdag, Mauve, Jakob Maris, Jongkind, and some of the Frenchmen, Rousseau, Millet, Dupré, and others. The Six gallery is not so accessible as it was some years ago. No doubt its Rembrandts and Vermeers will eventually find their way into the Rijks Museum.
When in the vintage season the upright poles forming its sides are bound together by a wickerwork of vine branches with their large leaves, and the inside is heaped with purple grapes, it is a goodly sight, and one which Alma-Tadema might paint as a Roman vintage, for it is doubtless a counterfeit presentment of the grape-laden wains which moved in the season of vintage over the Campagna.
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