Jama painted a 17th-century bridge called the Hoornbrug, which, halfway between Delft and the Hague at Rijswijk, crosses the Vliet canal, leading from Rotterdam and splitting off towards Leiden before reaching the Hague. His Motiv iz Holandije (Motif from Holland) is not identical to his Most na Holandskem (Bridge in Holland) from 1920 (catalog 1942, no. 39). Tomaž Brejc knew this work as the (Dvižni) Most na Holandskem (The (Draw-)bridge in Holland), noting that Jama at last took lessons from van Gogh’s work during his second stay in The Hague 1915−1922. This supports attempts at dating the work to Jama’s first trip to Holland in 1910, when he still held Monet as the undisputed authority. The mirror-image composition with the towering (corn) windmill, the iconic emblem of the Netherlands, was certainly inspired by Jacob van Ruisdael’s Windmill at Wijk bij Duurstede when Jama first arrived in this new land. Otherwise, Jama looked to Monet in studying reflections on the surface of water, as we also find in the painting Pristanišče v Amsterdam (Harbor in Amsterdam) (1910). Monet’s paintings from Zaandam and Vétheuil in the 1970s, as well as later works, serve as an excellent comparison of how to treat natural phenomena observed in situ, while composing a painting with the vertical and horizontal both in the foreground, which then echoes in the horizon on the right, appears to be one of Jama’s inventive sparks.