**6. Conclusions**

In order to summarize the general line of Frederick III of Aragon's iconography, we can conclude that this king did not make an abundant use of his images. The mediums that he preferred to use were seals and coins, but he also adopted mosaics. The latter were placed in churches and, specifically, in the presbyterial area (with a particular predilection for the main apse), namely, in restricted areas. For this reason, although they had a monumental nature and a greater visual impact in comparison with seals and coins, presumably they were addressed only to religious beholders. Certainly, seals and coins had grea<sup>t</sup> circulation and could reach a wide part of population. However, their images were of small size, and the denaro especially did not pay accurate iconographic attention to rendering the details of the royal image. The iconographic themes adopted in these artefacts present Frederick III as a knight but also as a donor and devotee towards Christ or sacred figures (as Saint Peter). In the rendering of the royal image (and the related symbols of power, attire, and physical features), seals and coins seem to follow the Aragonese tradition of the brother James II. On the other hand, the mosaics probably adopted elements of the Norman iconographic tradition (see, for instance, the specific type of crown, the use of loros, and the embroideries of the robe).

**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/12981.
