But it was only a passing phase and proved of no real import. Alma Tadema's pictures continued as before to be distinguished by a certain calm and majestic solemnity, such as suits best the Roman people whom by choice he represented. Still this third and finest version of the Claudius story can scarcely be classed among his calmer works. It is dramatic and full of movement. For brilliant colouring, for vigorous drawing, for its admirable archæological verity this picture is distinguished even among Alma Tadema's many distinguished works. Note too that it is painted in proportions so small as would hardly suffice a latter-day Italian artist for the depicting of a cauliflower. But Alma Tadema, far from thinking that a canvas must be large in proportion to the importance of his subject, is of the opinion that minute dimensions tend to excite the imagination and give to a work a more poetic and ideal character. [Illustration: "AVE CÆSAR! IO SATURNALIA."] In this _Ave Caesar! Iò Saturnalia!_ we look upon the man whose supposed imbecility saved him from the cruel fate to which Caligula subjected his relations, found by the soldiery in a corner of the palace where he had hid himself in his dread, a hiding place whence the Praetorians dragged him forth and proclaimed him their ruler. We see the elected Emperor, his face blanched with terror, holding for support to the curtain which has lately hid his trembling form from the pursuing soldiers and the populace. These ironically salute him as Imperator. Especially obsequious and excellent in rendering is the figure of the guard who has drawn aside the heavy drapery. A confused heap of corpses, all that is left of those who have been slain in defence of their murdered master, litter the marble pavement. Above them, laurel crowned, smile down in marble indifference the portrait busts of other Caesars now dead and gone to their account. In the far corner is huddled the populace mingled with the lance-bearing soldiers. They are sarcastically amused by Claudius's undignified election to the great Roman throne. Tragedy and comedy are most felicitously fused. Furthermore, wonderful though the details be, as they always are with Alma Tadema, in this case the accessories do not withdraw our attention for one moment from the human interest. Marbles and draperies, metals and flowers, though so perfectly rendered, take their natural place in the composition without detracting from the central interest.