7ĭomestic pigeons of varying colors were kept and depicted in wall paintings. 6 These birds were common throughout Europe, though special treatment differed greatly by regional and national culture. This species is identified by a “white neck patch and the white on the wing.” 5 Wood pigeon were said to have been raised and bred with domestic doves as profit birds. They may well reflect, amongst other Greek-Roman influences, bird diversity of Roman murals. 4 Though these avian depictions are both Greek and of a different medium than wall paintings, which I will investigate below, these statistics still hold substance. 3 Feral Pigeons were shown in 12-19% of mosaics, and Domestic fowl were depicted in 10-12% of mosaics. 15-21% of mosaics included depictions of Mallard ducks, 2 also referred to at times as types-of-geese. 1 Three birds were most widely distributed amongst the mosaics. Similarly, taking mainly avian species into account over plant species, I will explore the plausibility of these constructed murals and the purposes in creating naturally-illogical scenes.Īn investigation into the diversity of identifiable bird type representation in Romano-Campanian floor mosaics showed that, of 67 mosaics collected, there were some birds that were substantially more prevalent than others. To explore this possibility further, I will look at murals of the triclinium of the House of the Golden Bracelet and The Villa of Livia’s garden room at Prima Porta for evidence of bird-type and bird diversity at the villa. Credibility of Birds in Murals coexisting and Fourth -Dimensional Qualities of the Villa
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