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There were some famous names written there Joachim, Sarasate, Paderewski, Neruda, Piatti, to mention a few. Naturally an artist playing at Alma-Tadema's home for the first time could not help speculating as to his chances. Many were called, but comparatively few were chosen. We were guests at a dinner given by Sir Lawrence.

I realized how keenly alive the musical listener is to this fact once when our quartet had played in Alma-Tadema's beautiful London home, for the great English painter was also a music-lover and a very discriminating one.

Of Alma-Tadema's work he observed, "My only objection to Tadema's pictures is that they are unfinished." Starr spoke approvingly of the promising work of some of the younger artists. "They are all tarred with the same brush," said Whistler. "They are of the schools!" Of one particular rising star Whistler remarked: "He's clever, but there's something common in everything he does.

"Let us cross over and see what it is," he said. We did so. It was a photograph of L. Alma-Tadema's painting of Antony and Cleopatra. Maitland started a little as he read the title, and then said lightly: "Do you suppose, Doc, that woman's mummy is in existence? I should like to find it.

Little studies of women of the people or ladies of the 18th century; water-colors of Moorish women; Greek women with the stiff severity of Alma-Tadema's archaic figures; everything in the parlor, everything he had painted, was Josephina, had her face, or showed traces of her with the vagueness of a memory.

On wall B is Sir Laurens Alma-Tadema's "Among the Ruins," sole representative here of the English School of "polished" painters that strongly influenced a number of American artists. On wall D are two very interesting portrait studies by Franz von Lenbach, intended to suggest the influence of the Munich School on American art, before Americans began to flock to Paris to study.