"Livia's Garden Room at Prima Porta"

Paper Summary:

The paper provides an assessment of the painting "Livia's Garden Room at Prima Porta" in order to show how it is a clear technical, symbolic and cultural point of inflection in the history of Roman art. The paper analyzes the symbolic entities such as the laurel, the bird and the garden as well as the themes of diversity, fertility and serenity.

From the Paper:

"When Augustus evolved to take on the mantle of Octavian, uniting ruler of the glorious Roman Empire, his tenure would initiate a period characterized by an interest in reform, rebirth and the strict maintenance of peace-time conditions. His rule is one which , even today in historical reflection and through the lens of Roman mythology, reflects a high-water mark with respect to the cultural state of affairs. In some of the most well-known and singular pieces to come from this time and place, we are shown something of the combined public sentiment and self-declaration which preserved Augustus in a place of high regard to history. Particularly, in such works of art as were produced in close vicinity to the city of Rome from which he held a seat of sweeping and revered authority, there is an opportunity to observe some of the qualities which the Emperor pointedly sought to associate with his rule and the era there represented for Rome, Romans and the world under their purview."

Sample of Sources Used:

• Caneva, G. & Bohuny, L. (2003). Botanic analysis of Livia's villa painted flora. Journal of Cultural Heritage, 4(2), 149-155.
• Flory, M.B. (1989). Octavian and the Omen of the 'Gallina Alba.' The Classical Journal, 84(4), 346-356.
• Gabriel, M.M. (). Livia's Garden Room at Prima Porta.
• Hoover, M. (2001). The Fine Art of Roman Wall Painting. San Antonio University. Online at http://www.accd.edu/sac/vat/arthistory/arts1303/Rome4.htm
• Kellum, B.A. (1994). The construction of landscape in Augustan Rome: The Garden Room at the Villa ad Gallinas. The Art Bulletin, 76(2), 211-224.

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