In 42 BC, her father married her to Tiberius Claudius Nero, her cousin of patrician status who was fighting with him on the side of Julius Caesar's assassins against Octavian. Her father committed suicide in the Battle of Philippi, along with Gaius Cassius Longinus and Marcus Junius Brutus, but her husband continued fighting against Octavian, now on behalf of Mark Antony and his brother. In 40 BC, the family was forced to flee Italy in order to avoid Octavian's proscriptions, and joined with Sextus Pompeius in Sicily, later moving on to Greece.
After Mark Antony's suicide following the Battle of Actium in 31 BC, Octavian had removed all obstacles to his power and henceforth rules as Emperor, since 27 BC under the honorific Augustus. With Livia always by his side, the couple formed the role model for Roman households. Despite his wealth and power, Augustus and his family continued to live modestly in their house on the Palatine Hill. Livia would set the pattern for the noble Roman matrona. She wore neither excessive jewelry nor pretentious costumes, she took care of the household and her husband (often making his clothes herself), always faithful and dedicated.
In 35 BC Octavian gave Livia the unprecedented honour of ruling her own finances and dedicated a public statue to her. She had her own circle of clients and pushed many protégés into political offices, including the grandfathers of the later Emperors Galba and Otho.
With Augustus being the father of only one daughter (Julia the Elder by Scribonia), Livia revealed herself to be an ambitious mother and soon started to push her own sons, Tiberius and Drusus, into power. Drusus was a trusted general and married Augustus's favourite niece, Antonia Minor. Tiberius married Augustus' daugher Julia in 11 BC and was ultimately adopted by his stepfather in 4 and nominated heir to the empire.
Rumor had it that when Marcellus, nephew of Augustus, died in 23 BC, it was no natural death, and that Livia was behind it. After the two elder sons of Julia by Marcus Vipsanius Agrippa, whom Augustus had adopted as his sons and successors, had died, the one remaining son Agrippa Postumus was incarcerated and finally killed. Tacitus charges that Livia was not altogether innocent of these deaths (esp. Annals 1.3; 1.6), and Cassius Dio also mentions such rumours (53.33.4, 55.10A, 55.32; 57.3.6), but not even the gossipmonger Suetonius, who had access to official documents, repeats them. Most modern historical accounts of Livia's life discount the idea. There are also rumors mentioned by Tacitus (Annals 1.5) and Cassius Dio (55.22.2; 56.30) that Livia brought about Augustus' death by poisoning fresh figs.
For some time, Livia and her son Tiberius, the new Emperor, appeared to get along with each other. Speaking against her became treason in AD 20, and in AD 24 he granted his mother a theatre seat among the Vestal Virgins. Livia exercised unofficial but very real power in Rome, with a man convicted of treason let go at her request. Eventually, Tiberius became resentful of his mother's political status, particularly against the idea that it was she who had given him the throne. At the beginning of the reign he vetoed the unprecedented title Mater Patriae ("Mother of the Fatherland") that the Senate wanted to bestow upon her, in the same manner in which Augustus had been named Pater Patriae ("Father of the Fatherland"). (Tiberius also consistently refused the title of Pater Patriae for himself.)
The historians Tacitus and Cassius Dio depict an overweening, even domineering dowager, ready to interfere in Tiberius’ decisions, the most notable instances being the case of Urgulania, a woman who correctly assumed that her friendship with the empress placed her above the law (Cassius Dio 57.12, Tacitus, Annals 2.34), and Plancina, suspected of murdering Germanicus and saved at Livia’s entreaty (Annals 3.17). A notice from AD 22 records that Julia Augusta dedicated a statue to Augustus in the centre of Rome, placing her own name even before that of Tiberius.
Ancient historians give as a reason for Tiberius’ retirement to Capri his inability to endure her any longer (Annals 4.57, Cassius Dio 57.12.6). Until AD 22 there had, according to Tacitus, been "a genuine harmony between mother and son, or a hatred well concealed" (Annals 3.64); Dio tells us that at the time of his accession already Tiberius heartily loathed her (57.3.3). In AD 22 she had fallen ill, and Tiberius had hastened back to Rome in order to be with her (Annals 3.64). But in AD 29 when she finally fell ill and died, he remained on Capri, pleading pressure of work and sending Caligula to deliver the funeral oration (Annals 5.1, Dio 58.2). Suetonius (Vita Tiberii 51) adds the macabre detail that "when she died... after a delay of many days, during which he held out hope of his coming, she was at last buried because the condition of the corpse made it necessary...". Divine honours he also vetoed, as if he took a perverse pleasure in depriving her of her secret aspirations. Later he vetoed all the honours the Senate had granted her after her death and canceled the fulfillment of her will.
It would not be until 13 years later in AD 42, under the reign of her grandson Claudius, that all her honours would be restored and her deification finally completed. Named Diva Augusta (The Divine Augusta), she received an elephant-drawn chariot to convey her image to all public games. A statue of her was set up in the temple of Augustus along with her husbands, races were held in her honour, and women were to invoke her name in their sacred oaths.
Her Villa ad Gallinas Albas north of Rome is currently being excavated; its famous frescoes of imaginary garden views may be seen at National Museum of Rome. One of the most famous statues of Augustus - the Augustus of Prima Porta came from the grounds of the villa.
While reporting various unsavoury hearsay, the ancient sources generally portray Livia (Julia Augusta) as a woman of proud and queenly attributes, faithful to her imperial husband, for whom she was a worthy consort, forever poised and dignified. With consummate skill she acted out the roles of consort, mother, widow and dowager. Dio (58.2.5) records two of her utterances: "Once, when some naked men met her and were to be put to death in consequence, she saved their lives by saying that to a chaste woman such men are in no way different from statues. When someone asked her how she had obtained such a commanding influence over Augustus, she answered that it was by being scrupulously chaste herself, doing gladly whatever pleased him, not meddling with any of his affairs, and, in particular, by pretending neither to hear or nor to notice the favourites of his passion."
With time, however, and widowhood, a haughtiness and an overt craving for power and the outward trappings of status came increasingly to the fore. Livia had always been a principal beneficiary of the climate of adulation that Augustus had done so much to create, and which Tiberius despised ("a strong contempt for honours", Tacitus, Annals 4.37). In 24, typically, whenever she attended the theatre, a seat among the Vestals was reserved for her (Annals 4.16), and this may have been intended more as an honour for the Vestals than for her (cf. Ovid, Tristia, 4.2.13f, Epist.Ex Ponto 4.13.29f).
Livia played a vital role in the formation of her children Tiberius and Drusus. Attention focuses on her part in the divorce of her first husband, father of Tiberius, in 39/38 BC. It would be interesting to know her role in this, as well as in Tiberius’ divorce of Vipsania Agrippina in 12 BC at Augustus' insistence: whether it was merely neutral or passive, or whether she actively colluded in Caesar’s wishes. The first divorce left Tiberius a fosterchild at the house of Octavian; the second left Tiberius with a lasting emotional scar, since he had been forced to abandon the woman he loved for dynastic considerations. Ancient testimonies are lacking, but it may well be that Tiberius’ deep-seated antipathy towards Livia is rooted in these two events.
Livia's image appears in ancient visual media such as coins and portraits. She was the first woman to appear on provincial coins in 16 BC and her portrait images can be chronologically identified partially from the progression of her hair designs, which represented more than keeping up with the fashions of the time as her depiction with such contemporary details translated into a political statement of representing the ideal Roman woman. Livia's image evolves with different styles of portraiture that trace her effect on imperial propaganda that helped bridge the gap between her role as wife to the emperor Augustus, to mother of the emperor Tiberius. Becoming more than the "beautiful woman" she is described as in ancient texts, Livia serves as a public image for the idealization of Roman feminine qualities, a motherly figure, and eventually a goddess like representation that alludes to her virtue. Livia's power in symbolizing the renewal of the Republic with the female virtues Pietas and Concordia in public displays had a dramatic effect on the visual representation of future imperial women as ideal, honorable mothers and wives of Rome.
Livia is also dramatized in the HBO/BBC series Rome. Introduced in the 2007 episode A Necessary Fiction, Livia (Alice Henley) soon catches the eye of young Octavian, who has never been married or fathered any children. Historically, of course, Octavian had already been married to and divorced Clodia Pulchra by this time, and was married to a pregnant Scribonia. Rome does acknowledge the existence of Livia's child, Tiberius Nero, by her first husband, but not that she was pregnant with Nero Claudius Drusus when she met Octavian. Livia is portrayed as deceptively submissive in public, while in private she possesses an iron will, and a gift for political scheming that matches Atia's.