**7. Conclusions**

In order to summarize the general line of Frederick II of Hohenstaufen's iconography, we can conclude that the number of official images commissioned by this king seems to be limited in comparison with what has been generally claimed by historians, and, regarding royal representation, the emperor also left the initiative to the local powers. However, in comparison with other kings of Sicily in the period between the 12th and 14th centuries, this monarch made more extensive use of his image and introduced important innovations. Regarding the media utilized, he privileged coins and seals but also adopted monumental representations of himself that, for the first time, were intended for secular locations and for wide public visibility: the façade of the Capua Gate and the courtroom of the Castel Capuano in Naples. These images were addressed to all subjects of the Kingdom of Sicily (and, in part, to foreign visitors of the lands of Southern Italy). If we also add to these the augustale (with its international circulation), we can assume that, after 1231, Frederick II began to pay specific attention to the managemen<sup>t</sup> of his image, and he attempted to use it as a governmen<sup>t</sup> tool for particular political purposes. The thematic and iconographic choices confirm this impression. Indeed, they explicitly referred to the ideological program developed by Frederick II's court. In particular, the figurative themes are connected to the concepts of Frederick II as judge and legislator and as successor of the Ancient Roman Empire. Additionally, the iconographic rendering of the royal image (and the related symbols of power, attires, and physical features) perfectly follows the iconographic tradition of ancient Roman emperors. The particular attention that contemporary chroniclers devoted to these artworks seems to confirm that we face something original and highly innovative for that time. However, that said, we should underline that these are only limited and isolated examples, and this interpretation should not be overemphasized. Moreover, we should point out that Frederick II's use of his image does not seem to have any explicit propagandistic function.

**Funding:** This research received no external funding.

**Conflicts of Interest:** The authors declare no conflict of interest.

**Entry Link on the Encyclopaedia Platform:** https://encyclopedia.pub/13730.
