[Footnote 487:  Roman Festivals, p. 241.]

[Footnote 488:  Ib. p. 77 foll.]

[Footnote 489:  Dionys.  Hal. in. 68 gives this number for Augustus’ time, and so far as we know Augustus had not enlarged the Circus.]

[Footnote 490:  Gell. iii. 10. 16.]

[Footnote 491:  Pliny, N.H. x. 71:  he seems to be referring to an earlier time, and this Caecina may have been the friend of Cicero.  In another passage of Pliny we hear of the red faction about the time of Sulla (vii. 186; Friedl. p. 517).  Cp.  Tertullian, de Spectaculis, 9.]

[Footnote 492:  For a graphic picture of the scene in the Circus in Augustus’ time see Ovid, Ars Amatoria, i. 135 foll.]

[Footnote 493:  ch. 59.]

[Footnote 494:  See Schol.  Bob. on the pro Sestio, new Teubner ed., p. 105.]

[Footnote 495:  Val.  Max. ii. 3. 2.  The conjecture as to the object of the exhibition by the consuls is that of Buecheler, in Rhein.  Mus.1883, p. 476 foll.]

[Footnote 496:  The example was set, according to Livy, Epit. 16, by a Junius Brutus at the beginning of the first Punic war.]

[Footnote 497:  ad Fam. ii. 3.]

[Footnote 498:  The origin of these bloody shows at funerals needs further investigation.  It may be connected with a primitive and savage custom of sacrificing captives to the Manes of a chief, of which we have a reminiscence in the sacrifice of captives by Aeneas, in Virg. Aen. xi. 82.]

[Footnote 499:  See Lucian Mueller’s Ennius, p. 35 foll., where he maintains against Mommsen the intelligence and taste of the Romans of the 2nd century B.C.]

[Footnote 500:  Cic. Brutus, 28. 107, where he speaks of having known the poet himself.]

[Footnote 501:  ad Att. ii. 19.]

[Footnote 502:  Pro Sestio, 55. 117 foll.]

[Footnote 503:  ad Q. Fratr. iii. 5.]

[Footnote 504:  It is only fair to say that this information comes from a letter of Asinius Pollio to Cicero (ad Fam. x. 32. 3), and as Pollio was one who had a word of mockery for every one, we may discount the story of the tears.]

[Footnote 505:  Tibicines, usually mistranslated flute-players; this characteristic Italian instrument was really a primitive oboe played with a reed, and usually of the double form (two pipes with a connected mouthpiece), still sometimes seen in Italy.]

[Footnote 506:  See above, p. 70.]

[Footnote 507:  Val.  Max. ii. 4. 2; Livy, Epit. 48.]

[Footnote 508:  Tacitus, Ann. xiv. 20.]

[Footnote 509:  Tertullian, de Spectaculis, 10; Pliny, N.H. viii. 20.]

[Footnote 510:  See the excellent account in Huelsen, vol. iii. of Jordan’s Topographie, p. 524 foll.  Some of the arches of the supporting arcade are still visible.]