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To think of standing in a garden and being able to throw stones—carefully, of course—on to the green lawns of Sir Frederick Leighton, Mr Val Prinsep, R.A., Mr Watts, R.A., Mr Marcus Stone, R.A., and Mr Colin Hunter, A.R.A."67 How, accompanied by the Strand photographer, always paid attention to the collections of paintings, engravings, furniture, and furnishings in the artist's house. "79 De Cordova's account of Alma-Tadema's hall panels, published in December 1902, was an extraordinary puff focusing on the artist's unique position in the art world as revealed through the gifts of paintings from his friends: "There are many halls whose walls are graced by valuable paintings, some of which may be, and undoubtedly are, the gifts of artist friends. The Strand did engage a number of women authors, including the bestselling novelist Elizabeth Thomasina Meade (1844–1914) whose scientific and medical mysteries under the name L. T. Meade competed directly with Doyle's Sherlock Holmes stories.89 Meade herself featured in "Portraits" in 1898, just after the conclusion in the Strand of "The Brotherhood of the Seven Kings," her serial story "featuring the criminal machinations of the sinister female gang leader Madame Koluchy. In "Told in the Studios: Three Stories of Artist Life" (1891), she presented women in stereotypical roles: the coquettish model who marries the artist and becomes a dutiful wife; the model who leaves her artist-husband for a life of sin and eventual suicide; and the wife who takes up a paintbrush to complete the work of a desperately ill husband.94 There are no independent "women of the brush," nor do the male artists present bohemian characteristics.