The figured capital is a structural statement in stone. As an abbreviated synthesis of images, the multi-sided capital tailored Imperial messages to local consumption. Originally, the capital was not merely in the building or on the building, but of the building -- a functional part of the edifice. Therefore, it is an important element in the archaeological study of ancient structures. This thesis examines the relationship of the iconography of the figured capital to its structure, to local history, and to Imperial influences. Combining information about capitals excavated and published in the last twenty-five years with older reports, this study seeks to explore patterns of iconographic relationships among archaeological sites. By examining widely distributed cities, it is possible to compare structures which share similar functions in different parts of the Empire. In order to uncover the effect of local differences, the following four cities have been chosen: Cyrene, in North Africa; Sardis, in Asia Minor; Aphrodisias, in Asia Minor; and Vienne, in France. This investigation shows that the figured capital is a flexible vehicle for merging popular regional themes with Imperial images. For example, the figure of a local King is placed back-to-back with Commodus on a capital at Cyrene. At Sardis, Caracalla's portrait is used for the image of Dionysus, a god whose mythological birth place was close-by. Over ninety percent of the total images from all sites combined, display Imperial themes. Impressively adaptable, the policy of Imperial rule can be read on figured capitals. For the Romans the policy dictated: "When in Aphrodisias do as the Aphrodisians.� That approach was repeated over and over, with only the names of the cities changing each time. One can read in stone that in Vienne; the Emperor is Apollo: in Sardis, he is Dionysus; in Aphrodisias, his Divine ancestors reign; and in Cyrene, the Emperor is associated with the founder of the city. Thus, this study adds new threads to the vast web of Roman iconographic communication.Bibliography: pages 174-179California State University, Northridge. Department of Art
