![]() The focus is on analysing how the content and enactment of these roles were transformed as a consequence of the development of the principate and Livia’s increasing status within it. The material is organized, both theoretically and methodologically, according to the three principal roles Livia performed, viz. The study is based on a multifarious collection of material including literary texts, inscriptions, statues, coins, and gems. They are delineated by an investigation of important events of her life, the diverse privileges given to her, and the patterns that were established to enable subjects to express their loyalty to her and the imperial power. This thesis is concerned with the foundations of Livia’s position in the Roman state. The individual, sexual love where pleasure creates a sensation of ‘bliss’ is compared to the religious/ spiritual beliefs in a happy afterlife as well as to public expressions of a shared and lasting love where the goal – fertility and reproduction – embodied welfare and happiness. This paper addresses Eudaimonia, Felicitas and Fortuna in a diachronic perspective on Greek and Roman art and directs the attention to the use of these personifications/goddesses as visual expressions of the significance of love and reproduction in a good life. The Latin beatitudo has no personification in the arts, but the iconographic qualities of Eudaimonia are cited in variants of the Roman Felicitas and her alter ego, Fortuna, who were believed to govern a more pragmatic kind of love in which fertility was regarded as one road to happiness, but there were also other paths, such as health and safe homecoming from the sea. When Eudaimonia appears as a personification in Classical Greek vase painting, she is closely connected to Aphrodite and Eros. ![]()
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