^{page 16 note 1} On the length of the column: fr. 3 col. ii has 25 vv., breaking off wanting 5 vv. to complete a stanza; fr. 3 col. iii has beginnings of all 9 vv. of a stanza. Length of col. therefore probably 30 vv.—and this is curiously confirmed by the relation of fr. 1 + 3 i to fr. 3 ii: 1 + 3 i would amount to 60 vv., = 6 stanzas + 6 verses, which leaves 3 vv. of a stanza to be completed at the top of the following column: and that is exactly what happens at the top of 3 col. ii. The ends of the seventh and eleventh stanzas (3 ii 3, second hand; 3 iii 9)‘are’ strangely marked by coronis, which usually marks end of poem. The poem consisted of at least 14 stanzas (126 vv.).

^{page 16 note 2} Is it possible that the coronides at the ends of str. 7 and 11 were meant to indicate change of speaker (or choir)?; If so, the Alex. edd. may have been mistaken, as they certainly were in the Louvre-poem, schol. col. ii 14 (cf. col. ii 2), if that is what they meant there.

^{page 18 note 1} If the length of the line is given by supplying [-cτωρ τε πωλων ωκεων] between κα] in v. 5 and] δματηρεc in v. 6, the space between cιoιcιπ[in v 3 and αι]δoι-in v. 4 will be about a dozen letters—much too short for the suggested .

^{page 19 note 1} In fr. 50, the position of (b) to the right of (c), suggested by the join αχε|ρυcιηc, may be confirmed by another join, κρητηραc | επεcτε [ψαντo, two lines below—two con-nexions, and no clashes, in six lines.