nd amusements,
and a hundred and ten chosen matrons had taken solemn part in the
services.[943] But I must pass these over and turn in the last place to
the question, as interesting as it is old and difficult, as to how and
where Horace's hymn was sung, and how we are to understand it.

The instructions given to the poet by Augustus are obvious as we read
the Carmen in the light of the ceremonial of which it was to mark the
conclusion. He was to bring into it, as we have already seen, the ideas
which were to be revived and made resonant, of religion, morality, and
the fertility of man, beast, and crop; and they are all there. He was
also to include all the deities who had been addressed in prayer both by
day and night, by Tiber bank and on the Capitol, and to give the most
prominent place to those who on this last day were worshipped on the
Palatine; to Apollo, for whom Augustus had built a great temple close to
his own house (_in privato solo_[944]), as his own specially protecting
deity since Actium, and Diana, who as equivalent to Artemis, could not
but be associated with Apollo. Thus the deities of the hymn are both
Latin and Greek,[945] and this expresses the undoubted fact that the
religion of the Romans was henceforward to be even in outward expression
a cosmopolitan or Romano-Hellenic one, in keeping with the fact that all
free men of every race might take part in this great festival. But it
cannot fail to strike every careful reader that the great trias of the
Capitol is hardly visible in the poem, though Jupiter and Juno had been
the chief objects of worship on the two previous days. Jupiter is twice
incidentally named, but in no connection with the Capitol;[946] and it
is only when we read between the lines of the fourteenth stanza that we
discover Jupiter and Juno as the recipients of the white oxen which had
been sacrificed to them there. I have already said that we must not make
too much of the neglect of Jupiter and Juno by Augustus; but it is plain
that he directed Horace not to make them too prominent in this hymn, and
I think it is quite possible that Horace a little overdid his obedience.

The result of all this is that the hymn, in spite of its neatness and
adequacy, is wanting in spontaneity, and presents the casual reader with
an apparently unmeaning jumble of Greek and Roman gods and goddesses.
The only way to clear it up is by taking it in immediate relation with
what we know about the places in