We now approach a more interesting inquiry. What light do the Roman sepulcral inscriptions throw upon the social relations, the domestic affections, the religious belief of the people from whom they originate? The voice of nature speaks more truly from the tomb than anywhere else; and if monumental phrases at last become formulary and unmeaning, in their origin at least they carry with them a deep significance, and express a genuine sentiment. We feel curious to know how a people so different from ourselves in manners and religion expressed themselves, in reference to the most solemn event of human existence. For what qualities did they praise their departed friends? Whether true or false, in reference to the individual, the monumental panegyric will, at all events, teach us what was the standard of virtue in the conceptions of the times. In what language did they express their affection or regret? With what hopes respecting the future did they bid them farewell? The Roman lapidary style was well adapted to express feeling or describe character with energetic conciseness, and in this respect stands in striking contrast with the diffuse and overloaded epitaphs in which the moderns delight. A loquacious or boastful epitaph in Latin excites the suspicion of the critic of inscriptions, unless it is evidently of the latest age of heathenism.[75] The use of the Latin language has been of no avail in checking the prolixity of modern composers; the Italians alone have caught the true spirit of classical antiquity, and can compress much meaning into a few words. The language of genuine sorrow is simple and concise. What could convey to the heart the feeling of a mother's grief and affection more forcibly, than the apostrophe, AVE LUCI, PRÆREPTE MATRI! or FILI BENE QUIESCAS! MATER TUA ROGAT TE UT ME AD TE RECIPIAS. The inscription of the sarcophagus in our Museum, D. M. SIMPLICIÆ FLORENTINÆ, ANIMÆ INNOCENTISSIMÆ, QUÆ VIXIT MENSES X., SIMPLICIUS PATER FECIT, would have gained nothing in pathos by the elaborate description of a father's sorrow. Neither would the inscription placed by her parents on Cornelia Anniana, who died just when her prattle was beginning to delight their ears. FILIÆ DULCISSIMÆ, JAM GARRULÆ, BIMULÆ NONDUM.[76] The great majority of records of the dead content themselves with the mention of the name, station, and age, or with such a brief and modest encomium as is expressed in the words HOMINI OPTIMO ET SINGULARIS EXEMPLI. We sometimes, indeed, find in epitaphs a play upon a name, hardly consistent with our notions of the true style of such compositions. Yet a genuine sorrow might be struck with the relation between the name and the character, such as the second of these inscriptions notices, or find relief in the playful allusion in the third. On the tomb of Aper[77] was inscribed this distich:-- Innocuus Aper ecce jaces, non Virginis ira Nec Meleager atrox perfodit viscera ferro. And on the tomb of Glyconis,[78]--