tant circumstance was, that, probably on the
institution of the curule aedileship (387) which was from the first
entrusted with the preparation and oversight of the festival,(3) it
lost its extraordinary character and its reference to a special vow
made by the general, and took its place in the series of the ordinary
annually recurring festivals as the first of all. Nevertheless the
government adhered to the practice of allowing the spectacle proper
--namely the chariot-race, which was the principal performance--to
take place not more than once at the close of the festival. On the
other days the multitude were probably left mainly to furnish
amusement for themselves, although musicians, dancers, rope-walkers,
jugglers, jesters and such like would not fail to make their
appearance on the occasion, whether hired or not But about the year
390 an important change occurred, which must have stood in connection
with the fixing and prolongation of the festival, that took place
perhaps about the same time. A scaffolding of boards was erected at
the expense of the state in the Circus for the first three days, and
suitable representations were provided on it for the entertainment of
the multitude. That matters might not be carried too far however in
this way, a fixed sum of 200,000 -asses- (2055 pounds) once for all
appropriated from the exchequer for the expenses of the festival; and
the sum was not increased up to the period of the Punic wars. The
aediles, who had to expend this sum, were obliged to defray any
additional amount out of their own pockets; and it is not probable
that they at this time contributed often or considerably from their
own resources. That the new stage was generally under Greek influence,
is proved by its very name (-scaena-, --skene--). It was no doubt at
first designed merely for musicians and buffoons of all sorts, amongst
whom the dancers to the flute, particularly those then so celebrated
from Etruria, were probably the most distinguished; but a public stage
had at any rate now arisen in Rome and it soon became open also to
the Roman poets.

Ballad Singers, -Satura- --
Censure of Art

There was no want of such poets in Latium. Latin "strolling minstrels"
or "ballad-singers" (-grassatores-, -spatiatores-) went from town to
town and from house to house, and recited their chants (-saturae-(4)),
gesticulating and dancing to the accompaniment of the flute.
The measure was of course the only one