Abstract
In the early modern era, Rome was known as " teatro del mondo ", because the balances and tensions of international politics were reflected there in the form of representations, as part of the pontifical ceremonial determining the hierarchy between the various crowns. On this stage, arbitrated by the pontiff, foreign monarchs enjoyed image rights as sons and defenders of the Church. Their portraits could be placed in the palaces of their embassies and allies, in the outbuildings of their national churches and convents, and even displayed in the public space on the occasion of certain secular or religious festivals. In times of international conflict, this custom often gave rise to violent quarrels, even endangering the artists commissioned to paint the disputed portraits. Through the study of representative cases, we propose to retrace the gradual codification of the right to portray foreign sovereigns in the Eternal City, as well as the establishment of control instruments by the pontifical administration.
