R. R. i. 2,
27).

4. Each of the first five lines was repeated thrice, and the call
at the close five times. Various points in the interpretation are
uncertain, particularly as respects the third line. --The three
inscriptions of the clay vase from the Quirinal (p. 277, note)
run thus: -iove sat deiuosqoi med mitat nei ted endo gosmis uirgo
sied--asted noisi ope toilesiai pakariuois--duenos med faked
(=bonus me fecit) enmanom einom dze noine (probably=die noni) med
malo statod.-Only individual words admit of being understood with
certainty; it is especially noteworthy that forms, which we have
hitherto known only as Umbrian and Oscan, like the adjective -pacer-
and the particle -einom with the value of -et, here probably meet
us withal as old-Latin.

5. I. II. Art

6. The name probably denotes nothing but "the chant-measure,"
inasmuch as the -satura- was originally the chant sung at the
carnival (II. Art). The god of sowing, -Saeturnus- or -Saiturnus-,
afterwards -Saturnus-, received his name from the same root; his
feast, the Saturnalia, was certainly a sort of carnival, and it is
possible that the farces were originally exhibited chiefly at this
feast. But there are no proofs of a relation between the Satura
and the Saturnalia, and it may be presumed that the immediate
association of the -versus saturnius- with the god Saturn, and the
lengthening of the first syllable in connection with that view,
belong only to later times.

7. I. XII. Foreign Worships

8. I. XIV. Introduction of Hellenic Alphabets into Italy

9. The statement that "formerly the Roman boys were trained in
Etruscan culture, as they were in later times in Greek" (Liv. ix.
36), is quite irreconcilable with the original character of the
Roman training of youth, and it is not easy to see what the Roman
boys could have learned in Etruria. Even the most zealous modern
partizans of Tages-worship will not maintain that the study of the
Etruscan language played such a part in Rome then as the learning
of French does now with us; that a non-Etruscan should understand
anything of the art of the Etruscan -haruspices- was considered,
even by those who availed themselves of that art, to be a disgrace
or rather an impossibility (Muller, Etr. ii. 4). Perhaps the
statement was concocted by the Etruscizing antiquaries of the last
age of the republic out of stories of the older annals, aiming
at a causal explanation of facts, such as that whic