the first intrusted with the preparation and oversight of the festival (P. 306), 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 annual festivals. Nevertheless the government adhered to the rule of allowing the proper spectacle, namely the chariot-race which was its principal feature, 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 [364] an important change occurred, which must have been connected with the fixing and prolongation of the festival that took place shortly before. The Roman stage. A scaffolding of boards was erected at the state's expense in the Circus for use during the first three days, and provision was made for suitable representations on it for the entertainment of the multitude. That matters might not be carried far however in this way, a fixed sum of 200,000 asses (£2055) was once for all appropriated from the exchequer for the expenses of the festival; and the sum was not augmented up to the period of the Punic wars. The ædiles, who had to expend this sum, were obliged to defray any additional expense out of their own pockets; and it is not probable that they contributed often or much from their own resources. That the new stage was generally under Greek influence, is proved by its very name (scaena, σκηνή). It was no doubt primarily designed for mere musicians and buffoons of all sorts, amongst whom the dancers to the flute, particularly those then so celebrated from Etruria, were probably the chief; but a public stage had now arisen in Rome and thereby became accessible to the Roman poets.
Ballad-singers. Satura.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 (saturæ, P. 29), gesticulating and dancing to the accompaniment of the lute. The measure was of course the only one that then existed, the so-called Saturnian (P. 233). No distinct plot lay at the basis of the chants, and as little do they appear to have been in the form of dialogue. We must conceive of them as resembling those monotonous, sometimes improvised sometimes recited, ballads and tarantelle, such as one may still at any time
