Since nothing remains in situ of the Capuan gateway-except the bases of the towers, and since the surviving sculptural pieces are now in the local museum, it is exceedingly difficult to visualize this key monument as it seems to have appeared to those who passed through it centuries ago and referred to it in chronicles which have come down to us. Chapter I deals with the history of the period and Italy's place in it, the artistic creativity of the area concerned, and relevant details regarding the life of Frederick II and his times. Chapter II lists and describes the few extant documents relating to the archway. In connection with these are the surviving drawings or sketches which are described and compared, as well as the hypothetical reconstructions which have appeared over the past some 40 years. Chapter III describes the surviving pieces of sculpture and notes the opinions of various authorities. Putative heads of the emperor are referred to and examples of classical prototypes given with respect to the most important pieces. Examples of comparable iconography as seen in the minor arts are mentioned. To my mind, these aspects have not been sufficiently stressed heretofore. Chapter IV investigates the possible influences of earlier gateways in Italy as well as the influence brought to bear on the design of subsequent archways. Because of Frederick's philosophy and contemporary politico-religious affairs, there is a discussion of the symbolism of the gate in general, as well as of the imperial role as sun-king and the iconography of the lion-throne. In the literature of the Capuan Gate, none of these elements have been referred to, as far as I know, although allusions are to be seen in related readings. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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