Modern studies of Roman oscilla, in their focus on the Latin etymology of the term and their treatment of the iconography as standardized Dionysiac imagery, neglect the animation of—and subsequent viewer engagement with—the objects themselves. Oscilla were double-sided marble reliefs suspended in the intercolumniations of predominantly domestic atria and peristyles. This thesis develops an experiential methodology to study the oscillum’s form, context, and disposition and examines their presence in elite and sub-elite houses and in atria and peristyles. The traditional view has characterized oscilla as commodified ancient agrarian ornaments that depict standardized imagery fit for a garden space; I argue in this thesis that the oscillum’s presence within such inherently social spaces as the Roman atrium and peristyle warrants more scrutiny. No two discovered oscilla are the same, and it is the varied imagery and forms that visually and mentally stimulate the Roman viewer as he waits in the reception spaces of the atrium and peristyle to conduct business with the head of the household.I discuss the oscilla programs of three Campanian houses, where oscilla are displayed in various parts of the Roman house, in houses of diverse social strata, and in different levels of quality. My first case study, the House of the Telephus Relief in Herculaneum, offers an opportunity to begin reconstructing a wealthy ancient viewer’s cognitive experience as four tondi oscilla are reinstalled in situ. These oscilla depict scenes of active movement, urging the viewer’s physical engagement alongside his intellectual recognition of proper decorum in the socially and politically charged space of the atrium. In my second case study, I investigate the oscilla program in the peristyle of the House of Marcus Lucretius in Pompeii, where images of solitary masks and instruments provoke theatrical participation and recollection; the oscilla frame and simultaneously disrupt the framing of the theatrical garden to draw attention to the aristocratic viewer’s participation in social performances. Finally, at the House of Fortune in Pompeii, a freedman involved in trade commissioned numerous albeit poor-quality oscilla that pair scenes of conflict with those of cooperation to convince the viewer of the patron’s social and civic participation in the domestic sphere. Together, these case cases demonstrate the oscillum, a unique double-sided and suspended decorative object, inherently mobile and mutable, offered multifaceted experiences between the object’s two sides and for many different types of Roman viewers.