Some context: James Watt  (30 January 1736 (19 January 1736 OS) - 25 August 1819) was a Scottish inventor, mechanical engineer, and chemist who improved on Thomas Newcomen's 1712 Newcomen steam engine with his Watt steam engine in 1781, which was fundamental to the changes brought by the Industrial Revolution in both his native Great Britain and the rest of the world. While working as an instrument maker at the University of Glasgow, Watt became interested in the technology of steam engines. He realised that contemporary engine designs wasted a great deal of energy by repeatedly cooling and reheating the cylinder. Watt introduced a design enhancement, the separate condenser, which avoided this waste of energy and radically improved the power, efficiency, and cost-effectiveness of steam engines.
Watt retired in 1800, the same year that his fundamental patent and partnership with Boulton expired. The famous partnership was transferred to the men's sons, Matthew Robinson Boulton and James Watt Jr. . Longtime firm engineer William Murdoch was soon made a partner and the firm prospered.  Watt continued to invent other things before and during his semi-retirement. Within his home in Handsworth, Staffordshire, Watt made use of a garret room as a workshop, and it was here that he worked on many of his inventions. Among other things, he invented and constructed several machines for copying sculptures and medallions which worked very well, but which he never patented. One of the first sculptures he produced with the machine was a small head of his old professor friend Adam Smith. He maintained his interest in civil engineering and was a consultant on several significant projects. He proposed, for example, a method for constructing a flexible pipe to be used for pumping water under the Clyde at Glasgow.  He and his second wife travelled to France and Germany, and he purchased an estate in mid-Wales at Doldowlod House, one mile south of Llanwrthwl, which he much improved.  In 1816 he took a trip on the paddle-steamer Comet, a product of his inventions, to revisit his home town of Greenock.  He died on 25 August 1819 at his home "Heathfield" in Handsworth, Staffordshire (now part of Birmingham) at the age of 83. He was buried on 2 September in the graveyard of St Mary's Church, Handsworth. The church has since been extended and his grave is now inside the church.
Why did he retire?
A: He and his second wife travelled to France and Germany,
Some context: Sir Lawrence Alma-Tadema,  (; born Lourens Alma Tadema Dutch pronunciation: ['l^ur@ns 'alma: 'ta:d@,ma:]; 8 January 1836 - 25 June 1912) was a Dutch painter of special British denizenship.
Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings.
Anyone else?
A: Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas.
Some context: Sven Anders Hedin, KNO1kl RVO, (19 February 1865 - 26 November 1952) was a Swedish geographer, topographer, explorer, photographer, travel writer, and illustrator of his own works. During four expeditions to Central Asia, he made the Transhimalaya known in the West and located sources of the Brahmaputra, Indus and Sutlej Rivers. He also mapped lake Lop Nur, and the remains of cities, grave sites and the Great Wall of China in the deserts of the Tarim Basin. In his book Fran pol till pol (From Pole to Pole), Hedin describes a journey through Asia and Europe between the late 1880s and the early 1900s.
Hedin was a monarchist. From 1905 onwards he took a stand against the move toward democracy in his Swedish homeland. He warned of the dangers he assumed to be coming from Czarist Russia, and called for an alliance with the German Empire. Therefore, he advocated a strengthened national defence, with a vigilant military preparedness. August Strindberg was one of his opponents on this issue, which divided Swedish politics at the time. In 1912 Hedin publicly supported the Swedish coastal defense ship Society. He helped collect public donations for the building of the coastal defense ship HSwMS Sverige, which the Liberal and anti-militarist government of Karl Staaff had been unwilling to finance. In early 1914, when the Liberal government enacted cutbacks to the country's defenses, Hedin wrote the Courtyard Speech, in which King Gustaf V promised to strengthen the country's defenses. The speech led to a political crisis that ended with Staaff and his government resigning and being replaced by a non-party, more conservative government.  He developed a lasting affinity for the German empire, with which he became acquainted during his formal studies. This is also shown in his admiration for Kaiser Wilhelm II, whom he even visited in exile in the Netherlands. Influenced by imperial Russian and later the Soviet union's attempts to dominate and control territories outside its borders, especially in Central Asia and Turkestan, Hedin felt that Soviet Russia posed a great threat to the West, which may be part of the reason why he supported Germany during both World Wars.  He viewed World War I as a struggle of the German race (particularly against Russia) and took sides in books like Ein Volk in Waffen. Den deutschen Soldaten gewidmet (A People in Arms. Dedicated to the German Soldier). As a consequence, he lost friends in France and England and was expelled from the British Royal Geographical Society, and from the Imperial Russian Geographical Society. Germany's defeat in World War I and the associated loss of its international reputation affected him deeply. That Sweden gave asylum to Wolfgang Kapp as a political refugee after the failure of the Kapp Putsch is said to be primarily attributable to his efforts.
who did he support?
A:
shown in his admiration for Kaiser Wilhelm II, whom he even visited in exile in the Netherlands.