“At the corners of the tray we also noted four figures of Marsyas and from their bladders spouted a highly seasoned sauce upon fish which were swimming about as if in a tide-race.”

German scholars have adopted the doctrine that Marsyas belonged to that mythological group which they designate as “Schlauch-silen” or, as we would say in English, “Wineskin-bearing Silenuses.” Their hypothesis seems to be based upon the discovery of two beautiful bas-reliefs of the age of Vespasian, which were excavated near the Rostra Vetera in the Forum. Sir Theodore Martin has a note on these bas-reliefs which I quote in extenso:

“In the Forum stood a statue of Marsyas, Apollo’s ill-starred rival. It probably bore an expression of pain, which Horace humorously ascribes to dislike of the looks of the Younger Novius, who is conjectured to have been of the profession and nature of Shylock. A naked figure carrying a wineskin, which appears upon each of two fine bas-reliefs of the time of Vespasian found near the Rostra Vetera in the Forum during the excavations conducted within the last few years by Signor Pietro Rosa, and which now stand in the Forum, is said, by archaeologists, to represent Marsyas. Why they arrive at this conclusion, except as arguing, from the spot where these bas-reliefs were found, that they were meant to perpetuate the remembrance of the old statue of Marsyas, is certainly not very apparent from anything in the figure itself.” Martin’s Horace, vol. 2, pp 145-6.

Hence German philologists render “utriculis” by the German equivalent for “Wineskins.”

“The Romans,” says Weitzius, “had two sources of water-supply, through underground channels, and through channels supported by arches. As adjuncts to these channels there were cisterns (or castella, as they were called). From these reservoirs the water was distributed to the public through routes more or less circuitous and left the cisterns through pipes, the diameter of which was reckoned in either twelfths or sixteenths of a Roman foot. At the exits of the pipes were placed stones or stone figures, the water taking exit from these figures either by the mouth, private parts or elsewhere, and falling either to the ground or into some stone receptacle such as a basket. Various names were given these statuettes: Marsyae, Satyri, Atlantes, Hermae, Chirones, Silani, Tulii.”

No one who has been through the Secret Museum at Naples will find much difficulty in recalling a few of these heavily endowed examples to mind, and our author, in choosing Marsyae, adds a touch of sarcastic realism, for statues of Marysas were often set up in free cities, symbolical, as it were, of freedom. In such a setting as the present, they would be the very acme of propriety.

“The figures,” says Gonzala de Salas, “formerly placed at fountains, and from which water took exit either from the mouth or from some other part, took their forms from the several species of Satyrs. The learned Wouweren has commented long and learnedly upon this passage, and his emendation ‘veretriculis’ caused me to laugh heartily. And as a matter of fact, I affirm that such a meaning is easily possible.” Professor E. P. Crowell, the first American scholar to edit Petronius, gravely states in his preface that “the object of this edition is to provide for class-room use an expurgated text,” and I note that he has tactfully omitted the “wineskins” from his edition.

In this connection the last sentence in the remarks of Wouweren, alluded to above, is strangely to the point. After stating his emendation of “veretriculis or veretellis” for “utriculis,” he says: “Unless someone proves that images of Marsyas were fashioned in the likeness of bag-pipers,” a fine instance of clarity of vision for so dark an age.