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In spite of numerous publications devoted to the ancient Italic verse, the study of the verbal art in some Venetic inscriptions has been largely neglected by scholars. This lack of attention paid to poetical features is in part closely tied to the obvious limitations in our understanding of the Venetic language: the rich harvest of new inscriptions contributed only marginally to improving our knowledge of the grammar and lexicon. However, according to a view first expressed by Aldo Luigi Prosdocimi (1972), a metrical structure can be discerned in two archaic texts from Lozzo Atestino and Pernumia / Cartura, dated by their letter-forms and the use of scriptio continua (without syllabic punctuation) to the sixth century BCE. Prosdocimi’s proposal is corroborated not only by an internal analysis of the texts, but also by comparative evidence from the Paleo-Sabellian epigraphic records. Both the text from Lozzo Atestino and the South Picene inscription TE 2 (Bellante) consist of three groups of seven syllables (7+7+7). Whereas TE 2 exhibits clear alliterations in Anlaut, there are no repetitions of word initial sounds on the kantharos of Lozzo Atestino. Nevertheless, a Jakobsonian approach reveals (among other poetical properties of the text) that the vowel qualities (‘timbres’) of the first and third heptasyllables are arranged in a chiastic order, since the timbres [a-(o-o)-e-o-i-o] (alkomno metlon śikos) are mirrored in the last sequence horvionte donasan [o-i-o-e-o-(a-a)] (the correction *horeionte is unnecessary). The Venetic inscription from Pernumia / Cartura consists of three heptasyllabic sequences (each with a dative ending -oi in rhyming position) followed by a trisyllabic extension

graeco-latina brunensia

Convergences métriques méconnues entre la poésie vénète et la poésie paléo-sabellique: inscriptions paléo-vénètes de Lozzo Atestino et de Pernumia/Cartura, stèles sud-picéniennes de Crecchio et de Bellante, guerrier de Capestrano