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