Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

1170 TRUTINA. TUBA.
when they were taken out of the water, or to dis- Minerva. Three other weights lie on the base of
pel the froth from its surface. (Non. MIarcell. p. the stand, designed to be hung upon the hook when
19, ed. Merceri.) The ladle here drawn was occasion required. (1AIus. C'apit. vol. ii. p. 213.)
found in the kitchen of "the house of Pansa," at Vitruvius (x. 3. s. 8. ~ 4) explains the principle
Pompeii. of the steelyard, and mentions the following constituent parts of it: the scale (lancula) depending
from the head (caput), near which is the point of
revolution (centrumn) and the handle (ansa). On
the other side of the centre from the scale is the
beam (scapus) with the weight or equipoise (aequipondizoe), which is made to move along the points
The tul-zla v;inazaei (Varro, L. L. ov. 1 l, ed. (perepuncta) expressing the weights of the different
Mvliuller) seems to have been a species of colander that are put into the scale. [J. Y.]
[COLUM], used as a wine-strainer. (Cic. Vemr. TUBA (ah.MrvyT), a bronze trumpet, distiniv. 27; Hor. Sat. ii. 3. 144.) Though generally
iv. 27 Her. St. ii 3. 144.) Though generally guished from the cornu by being straight while the
applied to these domestic and culinary purposes latter was curved: thus Ovid (Met. i. 98)
(Eupolis, p. 174, ed. Runkel) the trulla was
found to be convenient for putting bees into a hive. Non tuba directi non aeris cornua flexi."
(Col. de Re Rust. ix. 12.) It was also commonly (Compare Vegetius, iii. 5.) Facciolati in his Lexiused to plaster walls (Pallad. de Re Rust. i. 13, con (s. u. Tuba) is mistaken in supposing that
15), and thus gave rise to the verb trullissare. Aulus Gellius (v. 8) and Macrobius (Sat. vi. 8)
[PARIES.] who copies him, intend to affirm that the tuba was
Fellows (E c. ilu Asic Minor, p. 153) explains crooked. The words of the former do not mean
the Eastern method of using a kind of colander in that both the lituus and the tuba were crooked,
washing the hands. It is placed as a cover upon but that both that kind of trumpet which was
the jar [OLLA], which receives the dirty water. clled a litus and also the staff of he augur were
This may tetherefore be the bsllens, which, the crooked, and that it was doubtful which of the
ancients used, together with the basin and ewer, to t had lent its name to te other. LTu s, two had lent its name to the other. [LITUUS]
Mash their hands. (Non. Macell. p. 547, ed. The tuba was employed in war for signals of
MT~Ierceri.N) CL..E ] every description (Tacit. Hist. ii. 29; Caesar, B. C.
TRUBLION. [COTYLA..] iii. 46; Hirt. B. G. viii. 20; Liv. xxxix. 27), at
TRU'TINA (TpVm'dvr7), a general term including 1,
boTRU'TINA (arPban), a general term including the games and public festivals (Juv. vi. 249, x.
both LmIBRA, a balance, and sfates~a, a steelgyard. 214; Virg. Aen. v. 113; Ovid, Fast. i. 716), also
(Non. Marc. p. 180.) Payments were originally at the last rites to the dead (hine tuba, candelae,
made by weighing, not by counting. Hece a nc Pers. iii. 103; Virg. Aen. xi. 191; Ovid. Heroitd.
balance (trutina) was preserved in the temple of xii. 140, Amos. ii. 6. 6), and Aulus Gellius(xx.
Saturn at Rome. (Varro, L. L. v. 183, ed. Miuller.) 2) tells us from Atteius Capito that those who
The balance was much more ancient than the steel- n u
sounded the trumpet at funerals were termed
yard, which according to Isidore of Seville (Orig.'yard, which according to Isidore of Seville (Or. siticines, and used an instrument of a peculiar form.
xvi. 24) was invented in Campania, and therefore The tones of the tuba are represented as of a harsh
called by way of distinction Trbutzina Canspana. and fear-inspiring character (fsactos sonitus tubaConsistently with this remark, steelyards have unu, Virg. (eosg. iv. 72; tesibilem son/tune ae
been found in great numbers among the ruins of Aeg. ix. 503), which Ennius (Serv. ad
Herculaneum and Pompeii. The construction of a, Aen i
V'ir#. Aen. ix. 503,; Priscian viii..1 8. 103, ed.
some of them is more elaborate and complicated Krehl) endeavoured to imitate in the line
than that of modern steelyards, and they are in Krehl) endeavoured to imitate in the line
some cases mu.ch ornamented. The annexed wood- At tuba terribili sonitu taratantaca dixit."
cut represents a remarkably beautiful statera which The invention of the tuba is usually ascribed by
is preserved in the Museum of the Capitol at Rome. ancient writers to the Etruscans (Athenaeu, iv. c
Its support is the trunk of a tree, round which a 83 * Pollux iv. 85, 87 Diodor. v. 40; Serv ad
serpent is entwined. The equipoise is a head of Viy. Aca. viii. 516; Clem. lex. Stro r. i. p
306), and the epithet A71rro-oaha7rL-ratT (i.e. robbertrumpeters, Photius and Hesych. s. v. and Pollux,
1. c.) would seem to indicate that they had made it
famous by their piracies. It has been remarked
~~'_-_ __ \> that Homer never introduces the oCaM7rLy in his
c~_~-, —-, &'~~ >narrative but in comparisons only (Ii. xviii. 219,
xxi. 388; Eustath. and Schol.), which leads us to
/I i. FJ \ infer that although known in his time it had
been but recently introduced into Greece, and it is
certain that notwithstanding its eminently martial
character, it was not until a late period used in the
armies of the leading states. By the tragedians its
Tuscan origin was fully recognized: Athena in Aeschylus orders the deep-toned piercing Tyrrhenian
trumpet to sound (.Eumen. 567), Ulysses in Sophocles (Aj. 17) declares that the accents of his beloved
goddess fell upon his ears like the tones of the
brazen-mouthed Tyrrhenian bell (cw'6wvos, i. e. the
-----— A= ~~bell-shaped aperture of the trumpet), and similar
epithets are applied by Euripides (Phloeniss. 1376