The intimate life of the Roman women has often attracted Alma Tadema's brush. We see this again and again inWell-protected Slumber, inQuiet Pets, inDeparture, the scene suggested by Theocritus's fifteenth Idyll, inThe Bath, inApodyterium(or women's disrobing-room), and it is also accentuated in theShrine of Venus, a scene in a Roman hairdresser's shop. This picture was exhibited at the Royal Academy in 1889, where it attracted considerable attention, not only because of the perfection of its painting, the beauty of marbles and metals and textiles, the richness of its soft, full colour, its yellows and blues, but because of the masterly skill with which the human figures were painted (see illustration, p. 32).
Two beautiful young girls, one awaiting her turn to becoiffée, caressing the masses of her thick, dark, loosened hair, the other already dressed, lingering to gossip with her friend, are reclining on a marble bench. These are so entirely absorbed in their own beauty that they pay but slight attention to the entrance of a tall, simply attired matron, who, glancing inquiringly in their direction, passes on to an inner apartment. In sweeping by she has carelessly plucked one from a mass of blossoms heaped upon a coloured marble table in the outer shop, and her hand, holding the flower, falls heavily beside the warm white folds of her gown. At the open lunette shop window, exposing to view coils and twists of hair, some attendants are distributing vases and lotions to the customers, whose heads appear above the marble balustrade, on which stands a deep blue vase, encrusted with exquisite enamel figures. The figure of the attendant who is reaching down an alabaster pot is especially graceful and free in poise.
Although the marble screen, surmounted by fluted columns, and the 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 calledThe 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 ranIn murmured pity, or loud-roared applause,As man was slaughtered by his fellow man,And wherefore slaughtered, wherefore, but becauseSuch 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 astheColiseum. 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.
THE COLISEUM.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.
WITH THE NAMES OF THEIR OWNERS ASFAR 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 andthey 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.
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.
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