Page:The history of Rome. Translated with the author's sanction and additions.djvu/249

Rh genial art a hollow and heart-withering idol. The field of the inward in art (so far as we may in the case of art distinguish the &#32; inward and outward at all) is not that which has fallen to the Italian as his special province; the power of beauty, to have its full effect upon him, must be placed, not ideally before his mind, but sensuously before his eyes. Accordingly he is thoroughly at home in architecture, painting, and sculpture; in these he was during the epoch of ancient culture the best disciple of the Hellenes, and in modern times he has become the instructor of all nations.

From the defectiveness of our traditional information it is not possible to trace the development of artistic ideas among the several groups of nations in Italy; and in particular we are no longer in a position to speak of the poetry of Italy, we can only speak of that of Latium. Latin poetry, like that of every other nation, began in the lyrical form, or, to speak more correctly, sprang out of those primitive festal rejoicings, in which dance, music, and song were still inseparably blended. It is remarkable, however, that in the most ancient religious usages dancing, and next to dancing instrumental music, were far more prominent than song. In the great and solemn procession, with which the principal festival at Rome was opened, the chief place, next to the images of the gods and the intending competitors, was assigned to the dancers grave and merry. The grave dancers were arranged in three groups of men, youths, and boys, all clad in red tunics with copper belts, with swords and short lances, the men being moreover furnished with helmets, and generally in full armed attire. The merry dancers were divided into two companies, the "sheep" in sheepskins with a party-coloured over-garment, and the "goats" naked down to the waist, with a buck's skin thrown over them. In like manner the "leapers" (salii) were perhaps the most ancient and sacred of all the priesthoods (P. 175), and dancers (ludii) were indispensable in all public processions, and particularly at funeral solemnities. Accordingly dancing became in very ancient times a common trade. But, wherever the dancers made their appearance, there appeared also the musicians or (which was in the earliest times the same thing) the pipers. They too were never wanting at a sacrifice, at a marriage, or at a funeral; and by the side of the primitive priesthood of the "leapers" there was ranged, of equal antiquity, although of far inferior rank,