Thursday, June 8, 2017


TOP FLOOR - Frescoes and mosaics from the first century BC to the fourth century AD
Fragments of frescoes with “Fishes” and “Navigation scenes” about 130 AD from Lungotevere Pietra Papa
First Gallery
Colorful and Black and White Mosaics of the Imperial Period from the Lazio Region
“Mosaics with geometric designs” first century BC from a Villa of Casale S. Basilio
Èmblema with landscapes and masks” second century AD from Priverno
“Mosaic coffered floor with Nikai and Dionysian Masks” end of the first century BC from Villa Ruffinella in Tuscolo
“Geometric mosaic floor with still life” beginning the first century AD from Grotte Celoni on Via Casilina
“Mosaic floor with Nilotic landscape” early second century AD from the Cellae Vinariae Nova et Arruntiana on Lungotevere della Lungara
First Room
Frescoes from Via Graziosa on Esquiline Hill with “Scenes from the Odyssey”
Frescoes from a columbarium on Esquilin Hill of the gens (family) of Statilii Tauri:
“Various iconographic and compositional models are used, the selection of which is motivated by the need for immediate readability of images; thus if the fight scenes are dependent on patterns of the high Hellenistic period, the bucolic images derive stylistically instead from landscape paintings, while the figures of the individual gods and personifications recall classical statuary types. The episode of the masons at work to erect the walls of the city is reminiscent of the realistic genre scenes. The political message that informs the entire composition well fits the Augustan propaganda that every Roman citizen is called upon to feel part of the legendary history of Rome” (Lucio Fiorini)
Villa of Livia Ad Gallinas Albas
Frescoes from the Villa of Livia (Augustus’ wife) at Prima Porta known as Ad Gallinas Albas with “Garden of the Villa of Livia” of the years 30/20 BC, measuring 11.7 x 5, 9 m (38.3 x 19, 3 feet)
It is a room that used to be half buried to avoid the summer heat and it was called paradeisos (paradise). Incredible decoration painted with 23 species of plants and 69 of birds
The villa was so called because of the event of the fall from an eagle in the lap of Livia, during her marriage with Augustus, of a white hen with a sprig of laurel in her mouth
“Following the incident and on the recommendation of the auruspici, the hen and all of her offspring was brought up and a grove of laurels was planted around the villa, from which the branches used for imperial triumphs were gathered. Suetonius notes that the drying of a plant was considered an omen of death and that at the death of emperor Nero all the wood burned down to the roots and all the hens died” (Elena Calandra)
Discovered in 1863 and detached in 1952. The painted plaster was applied on a wall composed of a coating of tiles arranged in five rows, detached from the wall so as to create a cavity that would isolate from moisture
It is a painting of a kind that, as Ranuccio Bianchi Bandinelli remarked, “can't be found anywhere else”
Villa Farnesina
Discovered in 1879 while working on the construction of the banks of the River Tiber. About half of it was discovered in excellent condition. It was formed by at least two floors, of which only the lower was preserved
It was probably built, according to Hans Gustav Beyen, for the wedding of Julia, the only daughter of Augustus, with his cousin Marcello (son of the sister of Augustus, Octavia) who died at age 19 in 23 BC
The villa was later used by Giulia for her second marriage with Agrippa in 21 BC
In reality the exceptional quality of the frescoes is not in itself a sufficient argument in favor of demonstrating that it was an imperial home. Perhaps it was painted by Studius (or Ludius) who, according to Pliny, was specialized in this type of paint even though his typological schemes were more extensive

No comments:

Post a Comment