**6. Conclusions**

Ferdinand II is one of the grea<sup>t</sup> personalities related to the image of the king of Aragon. Firstly, a new conception of power based on joint governmen<sup>t</sup> with Elisabeth was witnessed and reflected in the iconography in all artistic genres, with the most representative media being seals and coins, stamped at their behest and whose surfaces shared, for the first time, the effigies of both kings. Secondly, the Catholic Monarchs were the object of adulation on the part of the artistic patrons among their subjects, whether these were private individuals or members of secular or religious institutions, and they personified the exaltation of the monarchy to a hitherto unseen extent, although always in keeping with the clear instrumental nature of the artistic projects, including those promoted by the monarchs themselves. Regarded as *caput milicie* and true defenders of the faith, which earned them the nickname of the Catholic Monarchs, they continued the already established use of sacred works as true vehicles of political propaganda, and under their rule the use of iconography as a pretext or structure for concealing complex symbolic ideas became systematic and generalized.

**Funding:** This research was funded by *Edificis i Escenaris religiosos medievals a la Corona d'Aragó*, [2017 SGR 1724]. Generalitat de Catalunya-AGAUR.

**Conflicts of Interest:** The author declares no conflict of interest.

#### **Entry Link on the Encyclopedia Platform:** https://encyclopedia.pub/16887.
