The young Alma Tadema was among those who plotted to secure a visit from the great Gambart, and he too was doomed to see his hopes dashed. At last, however, these hopes were fulfilled. It was thanks to van Leys, who had purposely given a wrong address to Gambart's coachman, directed to carry his master to the studio of a painter then much _en vogue_. Hence it came that the great dealer found himself in front of Alma Tadema's modest studio instead. In the doorway stood the young artist palpitating with excitement. Gambart, who by this time had perceived his error, was too good-natured to turn back without entering. After he had looked at the work upon the easel in silence, he suddenly asked in brusque tones, "Do you mean to tell me you painted this picture?" Alma Tadema bowed his acquiescence, he was too overcome to speak. "Well," replied the dealer, after asking the price and a few other details, "turn me out twenty-four other pictures of this kind and I will pay for them at progressive prices, raising the figure after each half dozen." This was indeed an unexpected stroke of good fortune for Alma Tadema, who at once set to work to fulfil his commission. It was not all plain sailing however. Gambart wished to pin down the wings of the artist's fantasy, and it was only after long discussion and bargaining that he permitted the painter to choose his themes from among classical subjects instead of remaining among those of the Middle Ages in which he had first found him engaged. It was thus that some of the most famous of the artist's earlier works were included in this series ordered at so much the half dozen, as if they had been gloves or any article of haberdashery. It took Alma Tadema four years to carry out Gambart's first commission. When he was at the finish of his task, Gambart once more appeared upon the scene. "I want you to paint me another twenty-four pictures," was the quaint order given by this dealer--Maecenas again offering to remunerate Alma Tadema at an ascending rate of payment, only this time the starting point was a very much higher figure. Once more the artist consented. The first work of the new series was the famous _Vintage_. When the dealer saw it he perceived that it was a far more important canvas than any of its predecessors, a work, too, that had cost the artist far more time and labour, and he at once insisted upon paying for it the figure which was to have been given for the last half dozen. For Gambart, despite his profession and his bizarre ways, was liberal and generous, and perhaps he understood too that it paid to be honest.