The Religious Experience of the Roman People From the...

On this area the choirs of boys and girls took their station, facing the marble temple, on the fastigium of which was represented the Sun driving his four-horse chariot.952 After singing, probably together, the first two stanzas or exordium of the hymn, they addressed this Sol:

As they sang these last words, they would turn towards the city that lay behind them, and look over it to the Tiber and the scene of the nightly sacrifices of the Tarentum; and with the deities of these rites, who must of course be taken before those of day and light, as in the order of the festival, the next five stanzas are occupied:953 Eilithyia, the Moirae (Parcae), and Tellus or Ceres. When that duty is over they turn once more to the temple, and the Greek deities of the Tarentum are mentioned no more. Three stanzas are devoted to Apollo and Diana (Luna), with a happy allusion to the Aeneid, and then once more the choirs turn, and this time they face the Capitol; the hymn is long, and these changes of movement would be at once a relief to the singers and a pleasant sight to the spectators. They address the deities of the Capitol in appropriate language:

Horace has cleverly made Augustus himself the leading figure in this and the following stanza, and the listeners forget the Capitoline gods as they note the allusion to Venus, the ancestress of the Julii, the prestige of Augustus that has brought envoys to him from Scythia, Media, and India, and in the next stanza the public virtues, presented here as deities—Fides, Pax, Honos, Pudor, Virtus—on whose aid and worship the new régime is based.954

At the sixteenth stanza the choirs again face about to the temple of Apollo, and with him and Diana again the next two stanzas have to do. Only one remains, in which as an exodos we may be sure the two choirs of boys and girls joined; it sums up the whole body of deities, but with Apollo and Diana as the special objects of the day's worship:

The performance on the Palatine was now over, and the procession streamed down the hill to join the Via Sacra near the Regia and the Vesta temple, and so to make its way up to the Capitol, where the performance was repeated.955 Taking station at this noble point of view, he who will can again follow its movement with the hymn in his hand. The area in front of the Capitoline temple looked across to the Palatine, and the image of Sol and his quadriga must have been in full view; thus the exordium and the next stanza (alme Sol) would be sung looking in that direction. Equally well in view, if they turned to the right, would be the scene of the midnight sacrifices across the Campus Martius; and so on throughout the singing the changes of position would be easy and graceful, here as on the Palatine.

Here I prefer to make an end of the performance, following the text of the inscription, which tells us nothing of a return to the Palatine. It would be far more in keeping with Roman practice that the Capitol should be the scene of the conclusion of the processional ceremony, even on a day when Apollo was, with Augustus himself, the principal figure. From the musical point of view, too, a third performance is improbable, for the singers were young and tender.

And here, too, with this impressive scene, which can hardly fail to move the imagination of any one who has stood on Palatine and Capitol, I will close my account of the religious experience of the Romans. A few remarks only remain for me to make about its contribution, such as it was, to the Latin form of Christianity.