tầm nhìn, không có khả năng quan sát để so sánh các đối tượng không liên quan với hiện trường, mà có thể relativize ấn tượng của hình ảnh. Cũng như ở rìa Đại dei Villa Misteri, nguyên tắc thống nhất về thời gian và địa điểm cũng được sử dụng ở đây. | Figure Landscape room in the Villa Livia. South wall fresco near Primaporta 20 . Soprintendenza Archeologica di Roma. Figure Landscape room in the Villa Livia detail. By kind permission of Michael Greenhalgh The Sir William Dobell Professor of Art History Australian National University. Chapter 2 30 Figure Landscapes from The Odyssey on the Esquiline Hill. Rome 40 . detail Vatican Museum. Author s archive. the field of vision there is no possibility for the observer to compare extraneous objects with the scene which might relativize the impression made by the picture. As in the Great Frieze of the Villa dei Misteri the principle of unity of time and place is also used here. Further the observer confronts a simultaneous image that envelops panoramatically and transports him or her into another To increase the effect of the illusion and maintain continuity light falls into the chamber from an opening in the wall immediately below the ceiling which is painted to represent the overhanging rocks of a grotto. This construction is similar to the lighting method used later in panoramas. Archaeological research has not succeeded in discovering what this room was actually used for. Yet it is apparent that with the aid of the most advanced contemporary techniques of painting and representation the intention was to create a virtual refuge in the form of a peaceful garden. These heroic landscapes from Homer s epic poem stand apart from the illusion spaces discussed above because of the smaller vertical dimensions of their panoramic In the remains of a building on the Esquiline Hill in Rome which dates from the late republican era and is of unknown function a frieze was discovered with pictures of mythological scenes from Cantos 10 and 11 of The Odyssey. Each picture is approximately meters high and meters wide and together they form a sequence fig. . Experts agree that originally the frieze formed a band on the upper part of a
