Cato in his treatise on agriculture has left us, in the form of
instructions to a real or imaginary bailiff, the formula of the
lustratio as it was used in the second century B.C. It is obviously
applicable in detail rather to the estate of that period than to a farm
of primitive Latium: there are, for example, words which suggest that
it was not necessary in those days to go in procession round the whole
of the boundary; as was the case afterwards with the lustratio of the
ager Romanus, the form survived accommodated to the great increase
of the land concerned. But the two main features of the whole rite
are no doubt identical with those of the earliest form of it--i. e.
the procession of the victims, ox, sheep, and pig, the farmer’s most
valuable property, with the sacrificer and his helps, in this case the
bailiff and his assistants: and secondly the prayer to Mars pater,
after libations to Janus and Jupiter, asking for his kindly protection
of the whole _familia_ of the farm, together with the crops of every
kind, and the cattle within the boundary-line. Though it is not
explicitly told us, we can hardly doubt that originally the procession
followed the boundary-line, and thus served to keep it clear in the
memory as well as to preserve everything within it from hostile spirits
outside of it. In Cato’s formula it is disease, calamity, dearth, and
infertility, that the farmer seeks to ward off--that is the language
of the second century B.C.: and it is Mars pater who is invoked, i.
e. a great god who has long ago emerged from the crowd of impersonal
spirits; but we need not doubt that the primitive farmer used language
of a different kind, and addressed the spirits of disease and dearth
themselves, of whom one survived into historic times--Robigus, the
spirit of mildew. In the ritual of the Arval Brethren, who perhaps
retained some details more antique than those of Cato’s instructions,
it is a nameless deity, the Dea Dia, who is the chief object of
petition (_Acta Fratr. Arv._, p. 48).
Public-domain text, read in full here on John Shaqi.
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