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 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.
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.