of the rites from paintings which, although of later date, undoubtedly
represent the continuous tradition of domestic custom. In a
wall-painting at Herculaneum, for instance, we have a picture of the
_pater familias_, represented with veiled head (according to regular
Roman custom) and the cornucopia of the Genius, making sacrifice at a
round altar or hearth. Opposite him stands the flute-player (_tibicen_)
playing to drown any unpropitious sound, while on either side are two
smaller figures, presumably the sons, acting as attendants (_camilli_),
and both clad (_succincti_) in the short sacrificial tunic (_limus_);
one carries in his left hand the sacred dish (_patera_), and in his
right garlands or, more probably, ribbons for the decoration of the
victim: the other is acting as _victimarius_ and bringing the pig for
sacrifice, but the animal is hurrying with almost excessive eagerness
towards the altar, no doubt to show that there is none of the
reluctance which would have been sufficient to vitiate the sacrifice.

But from our point of view such formal acts of worship are of less
importance than the part played by religion in the daily life of the
household. There is evidence both for earlier and later periods that
the really 'pious' would begin their day with prayer and sacrifice to
the household gods, and like Virgil's Aeneas, typically _pius_ in all
the meanings of the word, would 'rouse the slumbering flame upon the
altar and gladly approach again the Lar and little Penates whom he
worshipped yesterday.' But this was perhaps exceptional devotion, and
the daily worship in the normal household centred rather round the
family meal. In the old and simple house the table would be placed at
the side of the hearth, and, as the household sat round it, master and
man together, a part of the meal, set aside on a special sacred dish
(_patella_), would be thrown into the flames as the gods' portion.
Sometimes incense might be added, and later a libation of wine: when