[950] See Hülsen-Jordan, Topographie, iii. 72 and note. See also map at the end of the volume, No. 1 of the series. There is, however, some doubt as to whether the site was not on the side of the Palatine looking towards the Tiber over the Circus maximus. See my paper in the Classical Quarterly, 1910, p. 145 foll. If so, my explanation of the performance of the hymn seems rather to be confirmed than weakened.
[951] Ovid, Tristia, iii. 1. 59 foll.
[952] Propertius, iii. 28 (31): "In quo Solis erat supra fastigia currus." No one seems to have noticed the connection between this and Horace's allusion to Sol, which is otherwise not easy to explain.
[953] I will not enter on the insoluble question as to what stanzas or parts of stanzas were sung by the boys and girls respectively. That the hymn was so sung in double chorus is intrinsically probable, and stated in the oracle, lines 20, 21. Some of the schemes which have been propounded are given in Wickham's Horace. I imagine that the stanzas may have been sung alternately except in the case of the first two and the last, but the ninth looks as though it might have been divided between the two choirs. Ferrero has a scheme of his own, p. 91 foll.; and if he had taken a little more pains might have worked out the whole problem satisfactorily.
[954] Of these quasi-deities Fides is the oldest, and was associated with Jupiter on the Capitol; Wissowa, R.K. 103 foll. Thus we may find a callida iunctura between the thirteenth, fourteenth, and fifteenth stanzas, for Fides and Pax would fit in well with the responsa petunt of the fourteenth. Whether Pax was recognised as a deity at this time is not quite certain; but a few years later, in 9 B.C., an altar of Pax Augusta was dedicated. The Ara Pacis was begun in 13 B.C. See Axtell, Deification of Abstract Ideas (Chicago, 1907), p. 37, who may also be consulted for the other deities here mentioned. See also above, p. 285. In Tibull. i. 10. 45 foll., Pax seems to be on the verge of deification, but not to have attained it except in the poet's fancy.
[955] The route may be followed in the map of the Via Sacra in Lanciani's Ruins and Excavations, and in his chapter entitled, "A Walk through the Sacra Via," or more shortly in my Social Life in the Age of Cicero, p. 18 foll.
Note.—The whole question of the singing of the Carmen saeculare in its relation to the two principal sites and to the topography of the festival generally, is fully discussed by the author in Classical Review for 1910, p. 145 foll.