Titus Livius, an earlier and more authoritative writer, knows neither of these stories. For he has it that the chasm was permanent, not a sudden opening but an old one, there before the founding of the city, and called Curtius’ Pond, because Mettius Curtius, a Sabine, fleeing from an attack by the Romans, had hidden in it; and that the Juno did not reply, but nodded assent, and it was added to the story afterwards that she had spoken.[510] And about the nod also, it is evident that they lied, either by interpreting the movement of the image when they pulled it away as made by its own accord, or by pretending in the same joking way in which they asked the question that the hostile, conquered, stone goddess nodded assent. Indeed, Livy does not say that she nodded, but that the soldiers exclaimed that she nodded. Such stories, too, good writers do not defend as facts, but excuse as tradition. For even as this same Livy says, “This indulgence is to be granted antiquity, that by mingling the human and the divine it may make the beginnings of cities more august.”[511] And elsewhere: “But in connection with events of such ancient times, if probabilities should be accepted as facts, no harm would be done. These stories are more suited to the display of a stage which delights in wonders, than to sober belief; it is not worth while either to affirm or to refute them.”[512] Terentius Varro, an earlier, more learned and, I think, more authoritative writer than these two, says there were three accounts of Curtius’ Pond given by as many writers; one by Proculus, that this pond was so called for a Curtius who cast himself into it; another by Piso, that it was named for Mettius the Sabine; the third by Cornelius, and he adds Luctatius as his associate in the matter, that it was for Curtius the consul, whose colleague was Marcus Genutius.[513] Nor should I have concealed that Valerius cannot be altogether criticised for speaking as he does, since a little later he earnestly and seriously adds; “And I do not ignore the fact that as to human eyes and ears perceiving the movement and the voice of immortal gods, our judgment is rather confused by wavering opinion; but because what is said is not new but the repetition of traditions, the authors may lay claim to credence.”[514] He spoke of the voice of the gods on account of the Juno Moneta,[515] and on account of the statue of Fortune which is represented to have twice spoken in these words, “With due form have you seen me, matrons; with due form have you dedicated me.”[516]