Among the objects discovered in the excavation of the temple of Athena Chalkioikos at Sparta is a small bronze figure of a trumpeter (illustrated in the Annual of the British School at Athens, xiii p. 146). Mr. Dickins, who says that the figure ‘can be dated without hesitation in the middle of the fifth century,’ regards ‘the presence of a trumpeter as a dedication in Sparta as perplexing, because the Spartans marched to battle to the sound of flutes, and made no use of trumpets for martial music’. This is, I think, the view generally held. The purpose of this paper is to suggest a possible reason for the dedication of the trumpeter at the date, which the style of the work suggests.

ποιετ Heyler ' e libris suis scripsit pro says Hertlein. Neither verb looks very satisfactory; Julian probably wrote . The Celts tested, or were fabled to test, the legitimacy of children by throwing them into the Rhine; cf. Nonnus, Diunysiaca, xlvi. 54–62.

The Aeolic dimeter and trimeter constitute so considerable a part of Greek lyric and dramatic poetry that the correct apprehension of their form is a matter of great moment. The Greek metricians comprehended this rightly, in the main, but in the first half of the nineteenth century the doctrine of these learned men was supplanted by a new theory that attempted to apply the principles that underlie modern poetry to the explanation of the undoubtedly complex rhythm of these clauses. Many scholars persistently maintain this theory. It is not difficult to discover why it was invented (it is absolutely new) and why it remains attractive. That the quantitative rhythms and metres of Greek poetry should seem complicated to men whose language is accentual is inevitable, whereas modern metres and rhythms are notoriously simple. The limitations imposed upon poetic form by accentual speech are extreme. No modern poet, for example, has attempted Ionic or Cretic measures. Again Greek music was simple, and both music and dance were under the control of the singers, but modern music is a complex art, and casts language in an iron mould. Nevertheless musical expression must be the basis of comparison, so far as we allow ourselves to institute it, between ancient and modern rhythms. The attempt to conform Greek lyrics to the elementary—and uncertain—rhythms of modern poetry that is merely read or recited implies a fundamental misconception of relations. Greek lyrics were melic. Agathon, in the Thesmophoriazusae, sings as he composes. These Greek songs were never intended to be read by anybody, Greek or barbarian.

When a man has breathed his last, do particles of the soul remain in the body or do they not? If they do, the soul, thus impaired by loss, cannot fairly be deemed immortal; if they do not, whence come the living creatures which are bred in carcases?

Amongst the readings of the Parisian codex collated by Mr. Stuart (supra pp. 1–7) which he classes as interpolations is one whose singularity at once arrests attention. In the well-known passage, I. 113 sqq., where all known MSS. including P have

etsi, funesta Pecunia, templo

nondum habitas, nullas nummorum ereximus aras,

ut colitur Pax atque Fides Victoria Virtus

quaeque salutato crepitat Concordia nido,

II presents firma instead of atque.

Having read Prof. Housman's article in the Classical Quarterly of October 1907, it seemed to me worth while, when I was in Madrid last year, to examine the MS of Manilius, Matritensis 31, in those places where Prof. Housman notes that the testimony of Loewe and of Mr Ellis disagree, with the result that I have found Loewe's account of the reading, as given by Prof. Housman, to be correct in all places except the following:

I propose . It may be noted that Longinus does not avoid hiatus after the vowels ν and ι, which possess an easy ‘glide’ accompaniment.