Pope St. Leo the Great (440–461) commissioned the painted decoration of St. Peter’s Basilica and St. Paul’s Outside the Walls with a New and Old Testament cycle on the walls of the nave and Prophets on the clerestory. These paintings became a reference model over the coming centuries, especially between the 12th and 13th centuries during the Gregorian Reform, thus starting the figurative tendency known as Renouveau Paléochrétien; that system of images was imitated in many churches in Rome as well as in the dependent territories of the Holy See and art became the privileged way to spread a specific meaning: the cultural and political belonging to the Holy See.At the eastern end of the Patrimonium Petri, there was the March of Ancona, a region that Popes and emperors vied for since the assignment by Charlemagne to Pope Adrian I. One of the most important towns of the March of Ancona was Ascoli Piceno, where there are only a few frescoes dating back to the second half of the 12th century: the fragmentary New Testament cycle in Sant’Ilario and the Prophets in Sant’Angelo Magno. Both those frescoes recall the iconography of St. Leo’s painted cycles in Rome and reproduce the formal point of view that can be found in Rome: the painted architectonic frame that separates the episodes of the Passion of Christ is a poor translation of the frame in stucco present in the painted cycle in St. Paul’s and probably in St. Peter’s Basilica, whereas the Prophets in Sant’Angelo Magno are stylistically similar to the Elders of the Apocalypse painted in the presbytery of the Roman church of San Giovanni a Porta Latina.Therefore, it is possible to recognize in both painted cycles the two important cases of Renouveau Paléochrétien, and interpret them as figurative evidence of the way in which Rome was capable to exercise its power also in its peripheral domains.